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.

… combines stories with vehicles as supporting actors, dealing with motion, weekend forays, pilgrimage and time travel. Visual information provided the starting point for the stories, which the artist commissioned from Ruth Buchanan, Hans-Christian Dany, Mark von Schlegell, Burkhard Strassmann, and Birgit Kempker. A peculiar process of creation and reaction is driving it.

El impulso recurrente de dejar de hablar … Sondear el terreno para ver lo que se avecina. “De todas formas, por el momento una de mis opciones es decir poco y no ser escuchado.” (1)
Escrita, la frase nos da una superficie útil. Una superficie en la cual estamos disponibles, preparados para que la información fluya según requiere nuestra profesión. Móviles. Sí, nos encanta estar en movimiento. De la bienal a la feria de arte; de la inauguración de la exposición de un amigo artista hasta una convención de dos días; de una cena con una coleccionista a la fecha límite de entrega de un artículo para un catálogo. Antes o después de las exposiciones o de las conferencias, damos las gracias a la organización que ha hecho posible que estemos ahí. Pero esta gratitud debería trasladarse también hacia otro lado: al bullicio familiar de la escena cultural, la actividad que hace que todo esté en continuo movimiento.

Anna Winteler groeide op in Neuchâtel, in het Franstalige deel van Zwitserland, en werd in de jaren ’80 internationaal bekend met haar videowerk. In 1991 besloot ze een punt te zetten achter haar artistieke bedrijvigheid. Toen ik haar de afgelopen zomer toevallig ontmoette, stonden haar naam en haar werk me nog helder voor de geest. Na een eerste gedachtewisseling besloten we een afspraak te maken voor een gesprek over de omstandigheden en de motieven die haar tot haar beslissing hadden aangezet. Met Anna Winteler sprak ik ongeveer vijftien jaar nadat ze een punt achter haar artistieke werk had gezet.

A set of 12 volumes, various papers, letterpress printing, bound in green heavy duty paper, blind blocking, various dimensions, in an edition of six. With an afterword by the writer and scholar Marianne Schuller.

A large architectural model, based on the Musée
du quai Branly, a museum for non-western cultures in Paris, is floating at eye level, lit, against the backdrop of a monochrome wall. A label-like flatscreen is playing press clippings referring to
the planning of the Paris museum, as of 1996.

Display of a particular, thematically meandering selection of printed matter, alluding to topics like “mask”, “speech” and “cultures”. Compiled from existing publications and ephemera by the artist, or by other artists and writers, it was layed out towards the gallery window.

A poster announces an event, for which guests from different professional back- grounds are invited to a public debate in relation to a complete set of the international editions of ELLE magazine. Franchised around the world, the issue of ELLE on display appears in its today 32 different regional editions, all published in the same month.