On an autumn day, within the context of prepa-
ring for an exhibition project, I was standing in an empty factory building in Geneva. The changes associated with the Berlin Wall were still a thing of the future. As I wandered among the regularly spaced columns on the vacant factory floor, I could not help but think of a number of criteria for exhibition spaces presented as necessities: solid walls, the white of those walls, entrances, series of adjoining rooms, and their influence on the act of exhibiting. At that moment it became clear that my own contextual perspective was very much bound up with a booklet Zaugg had published two years previously. In the recurring debate over whether architecture is the artist’s ally or his adversary, or whether, in view of the givens, one would simply could-shoulder it, I have often brought up the incisiveness of the text by Rémy Zaugg. Because that text is an artistic work which intervenes in precisely the debates that characterize the history of the development of artistic practices in and with architectural space to the present day.

The exhibition comprised a representative selection of photographs by renowned German photo-journalist and traveller Leonore Mau. Presented next to a 16 minute audio interview with her, conducted by the artist, a reprint of selected magazine contributions by Mau from 1962–92 was featured.

Podcast conversation between Marie-France Rafael and Hinrich Sachs, about the multi-author editorial framework Fog Friend Font: Ways of Doing Multilingual Sense.

…the first avatars appeared in the art world,
while community-engaged practices reflected upon the contradictory urban societal condition.
In Vancouver during this time, artist Rodney Graham produced three video works, one after the other, and declared it a trilogy. All three narrate a male character living under marginal conditions in the historical past.

A canvas sewn the size of the foresail on the historical ship San Ignacio de Loyola is installed in the museum’s permanent collection…

An iconographic flow – presented as a lecture performance including slides and video material – traces evidence of powerful relationsships between mining industry, space discourse, and educational narratives.