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Titre:
La ville, le jardin, la mémoire : Académie de France à Rome, Villa Médicis

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Résumé:
Le cycle d'expositions d'art contemporain "La ville, le jardin, la mémoire", ouvert en 1998 à la Villa Médicis, s'achève en l'an 2000. Pour ce dernier volet du tryptique, l'accent est mis sur le jardin: aussi le parcours, se tient-il en dehors des salles d'exposition traditionnelles. Alors que 1999, -année de la mémoire-, insistait sur la dimension sonore et sur l'archéologie du lieu, les oeuvres disséminées dans le jardin de la Villa Médicis prennent en compte ses différentes facettes. Tel artiste à un souci d'ordre et de monumentalité, clairement affirmé dans le plan du XVIè siècle, tel autre à l'opposé, s'interroge sur la faune originelle et menacée d'un tel "espace vert", un troisième recrée, à sa manière, un labyrinthe comme les aiment les princes de la Renaissance. Comme les années précédentes, l'exposition a été l'occasion d'inviter des artistes venus de tous les continents, et de mêler les générations. Des artistes "historiques" tels que Daniel Buren, Giovanni Anselmo ou Dan Graham coexistent avec de plus jeunes, parmi lesquels les pensionnaires de l'Académie de France à Rome, eux-mêmes venus d'horizons divers.

Titre:
Translation Lar/Pernando Romero

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Fernando Romero is the founder of LCM (1999) and most recently LAR (2005), an office that considers architecture to be vital as a translator of current societal needs. LAR seeks to generate unprecedented spaces, explore new structures and geometries, and to implement new materials and construction methods. “Translation” divides the projects of LCM and LAR into three categories: 'Fluid Bodies' are long-lasting private projects, designed for specific situations and built with high-tech resources; 'Revised Boxes' are buildings of a more public nature, whose technology is based on industrial products. The Inbursa Bank building, located on one of Mexico City's most prestigious avenues, the Paseo de la Reforma, has a façade of laminated glass that becomes opaque or transparent depending on the visitors physical position; 'Boxes', the third category of projects, combines rapidly applicable, cheap low-tech architecture generated from commercial wholesale products, like the facade of the Cinna Bar which LCM gave a new skin of red-tinted glass.

Titre:
Ways of Curating

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Résumé:
Hans Ulrich Obrist curated his first exhibit in his kitchen when he was twenty-three years old. Since then he has staged more than 250 shows internationally, many of them among the most influential exhibits of our age. ''Ways of Curating'' is a compendium of the insights Obrist has gained from his years of extraordinary work in the art world. It skips between centuries and continents, flitting from meetings with the artists who have inspired him (including Gerhard Richter, Louise Bourgeois, and Gilbert and George) to biographies of influential figures such as Diaghilev and Walter Hopps. It describes some of the greatest exhibitions in history, as well as some of the greatest exhibitions never realized. It traces the evolution of collections from Athanasius Kircher's seventeenth-century Wunderkammer to modern museums, and points the way for projects yet to come. Obrist has rescued the word "curate" from wine stores and playlists to remind us of the power inherent in looking at art--and at the world--in a new way.

Titre:
Maria Lassnig: the pen is the sister of the brush

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Available in English for the first time, Viennese painter Maria Lassnig's diaries--originally published in German in 2000 by Hans Ulrich Obrist--are a collection of journal entries, notes, poems, letters, photographs and drawings.

Titre:
Hans Ulrich Obrist - Gustav Metzger: the conversation series 16

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Résumé:
In volume 16 of The Conversation Series, Hans Ulrich Obrist presents an in-depth exchange with the venerable German-born artist and activist Gustav Metzger, which illuminates the artist's fascinating life and 60-year career. In 1959, Metzger penned a manifesto of Auto-destructive art, which states in part, "Auto-destructive paintings, sculptures and constructions have a lifetime varying from a few moments to 20 years. When the disintegrative process is complete, the work is to be removed from the site and scrapped." In this volume, Metzger talks to Obrist about his past and present association with Auto-destructive art, how he has come to fuse his art practice with his political commitment to human rights and ecology, how he escaped the Holocaust at the age of 13 and the many projects he has yet to realize.

Titre:
Hans Ulrich Obrist - Enzo Mari: the conversation series 15

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Résumé:
Volume 15 of The Conversation Series features a riveting dialogue between series editor and cultural catalyst Hans Ulrich Obrist and the renowned Italian designer Enzo Mari. More concerned with theoretical issues in design than commercial success, Mari is one of the most thoughtful and intellectually provocative designers of the late twentieth century. His work as a product and furniture designer, as well as a writer, teacher and artist, has proved influential both to his peers and to younger generations. In this volume, Mari discusses his iconic designs for cutting-edge production houses Danese, Olivetti and Castelli, his experience of the contradictory aspects of postwar Italy and his unique take on the design trends of the 1960s and 1970s. Enzo Mari was born in 1932 in Novara, Italy. He has most recently completed a series of tubular aluminum chairs for Vienna's Gebrüder Thonet and a collection for the Japanese home store Muji.

Titre:
Gerhard Richter: writings 1961-2007

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Résumé:
For a painter who has so successfully neutralized the declarative potential of his medium, Gerhard Richter has committed to print a surprisingly large amount of discussion on his work. For this new, complete edition of the writings, Richter has placed his private archive at the editor's disposal; most of the photographic material comes from this archive and has not been previously published. Includes public statements on specific exhibitions, private reflections drawn from personal correspondence, answers to questions posed by critics and journal excerpts discussing the intentions, methods and subjects of his works from various periods.

Titre:
A brief history of curating

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Résumé:
This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d'Harnoncourt, Werner Hofman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeemann are gathered together in this volume. The contributions map the development of the curatorial field, from early independent curating in the 1960s and 1970s and the experimental institutional programs developed in Europe and in the USA at this time, through Documenta and the development of biennales.

Titre:
Formulas for now

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Résumé:
For all the contributors to this unique volume—including eminent minds from the fields of art, science, mathematics, performance, architecture, design, literature, and sociology—the formula is a fruitful way of investigating the nature of human existence. Selected especially for the book, more than one hundred invited participants have produced or chosen their own personal formulas to express the realities of contemporary life and to offer a means of negotiating a path through it.

Titre:
Hans Ulrich Obrist and Olafur Eliasson: experiment marathon

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Résumé:
In 2007, Serpentine Gallery Co-Director Hans Ulrich Obrist and artist Olafur Eliasson invited more than 100 leading artists, architects, filmmakers, academics and scientists--including Peter Cook, Simon Baron-Cohen, Gloria Friedmann, Neil Turok, Kim Gordon, Spartacus Chetwynd, Simon Forti, Fia Backstrom and Joseph Grigely--to expand the notion of experimentation for their 24-Hour Experiment Marathon, held in the Rem Koolhaas-designed Serpentine Gallery Pavilion. In the tradition of Obrist's now-legendary ongoing 24-Hour Interview Marathon, the crowds were standing-room-only and the action never stopped. This publication details the more than 40 screenings, performances and experimental films making up this genre-bending blend of science and art.