Calendar 2026

A re-examination of Yvonne Rainer's Parts of Some Sextets, a radical performance and pivotal piece in the American choreographer's career, which led her to theorize her conception of dance in the 1960s, before being revived in 2019.

Parts of Some Sextets, Yvonne Rainer's 1965 performance for ten people and twelve mattresses, represents a turning point in the American choreographer's oeuvre. "My mattress monster," as Rainer calls it, was built in her formative years with the experimental downtown New York group Judson Dance Theater. In this work, she asserted her exploration of "ordinary" actions as well as her disregard for narrative constructions to create an intricate choreography that unfolded with a new scene every thirty seconds.

More than half a century after its premiere, Rainer, in collaboration with choreographer and dancer Emily Coates, directed the 2019 revival of the piece for the Performa 19 Biennial in New York, grappling with the changing contexts of a new presentation of her radical performance. Remembering a Dance: Parts of Some Sextets, 1965/2019 delves into every aspect of this dance, from its original manifestation to its reconstitution.

This book, designed by visual artist Nick Mauss, includes previously unpublished archival images and documents from the 1965 stagings at the Judson Memorial Church in New York and the Wadsworth Atheneum in Hartford, Connecticut. Texts by Emily Coates, RoseLee Goldberg, Jill Johnston, Kathy Noble, Yvonne Rainer, David Thomson, Lynne Tillman, and Soyoung Yoon, as well as a new interview with Rainer, pose questions about the trajectories of artworks, performers, and audiences, all while tracing the life—and afterlife—of a dance.

Edited by Emily Coates. 
Texts and contributions by Emily Coates, RoseLee Goldberg, Jill Johnston, Kathy Noble, Yvonne Rainer, David Thomson, Lynne Tillman and Soyoung Yoon; conversation between Yvonne Rainer, Emily Coates and Nick Mauss.

Across objects, writing, sound and choreography, British artist Cally Spooner addresses the manners in which specific technological and financial conditions shape and organize life. This volume surveys her artistic output of the last five years.

Sweat Shame Etc. includes a lecture by Spooner along newly commissioned essays by Laura McLean Ferris, Pierre Bal-Blanc, and Lucrezia Calabrò Visconti. A 2018 series of drawings on paper, from which the monograph takes its name, features hastily sketched figures that take care of their bodies while shedding clothes, socks, limbs, and torsos. Though their heads are scratched out, they remain unexpectedly determined and unperturbed.
Published following the eponymous exhibition at the Swiss Institute, New York, in 2018-2019.

Cally Spooner (born 1983 in Ascot, UK, lives and works in London and Turin) is an artist who exhibits performances that unfold across media—on film, in text, as objects, through sound, and as illustrated in drawings.

Edited by Alison Coplan and Laura McLean-Ferris.
Texts by Pierre Bal-Blanc, Lucrezia Calabrò Visconti, Laura McLean-Ferris, Cally Spooner.

The future of architecture lies in the curatorial approach. This is the thesis put forward by architect Wilfried Kuehn and theorist Dubravka Sekulić in their book Curatorial Design: A Place Between, which brings together contributions from more than 30 authors working in the fields of architecture, art, and curatorial knowledge and practice.

Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively, design and the curatorial challenge specialization and produce relational knowledge. They intend to create an in-between place, as together they form a novel practice that—in combining heterogenous forms of knowledge—takes center stage rather than serving as a moderator or mediator of sorts. What unites them is the assertion of a relational form, the autonomy of which consists precisely in teasing out relations between different elements. What happens to architectural design when it consciously enters a relationship with the curatorial?
The book is aimed at practitioners and educators in the field of architecture and design, as well as curators and exhibition makers. It contains three photo series by Armin Linke that accompany the three sections of the book: "Public School for Architecture", "Total Reconstruction," and "Designing for Co-Habitation."

Contributions by Martina Abri, Ross Exo Adams, Thomas Auer, Giovana Borasi, Susana Caló, Brendon Carlin, Peggy Deamer, Clémentine Deliss, FICTILIS, Francesco Garutti, Maria Shéhérazade Giudici, Joyce Hwang, Anousheh Kehar, Bettina Köhler, Elke Krasny, Wilfried Kuehn, Ippolito Pestellini Laparelli, Maxim Larrivée, Matthew Leander Kalil, Mark Lee, Steve Lyons for Not An Alternative, Armin Linke, Mona Mahall, Charlotte Malterre-Barthes, Dejan Marković, Ana Miljački, Erica Petrillo, Christian Raabe, Albert Refiti, Damon Rich, Christiane Salge, Ivonne Santoyo-Orozco, Anna Schäffler, Bernd Scherer, Laila Seewang, Dubravka Sekulić, Asli Serbest, Stuart Smith, Laurent Stalder, Milica Tomić.

Antonio Obá: Rituals of Care traces the practice of the Brazilian artist since 2016, offering a broad survey of his recent work, dwelling on the recurring motifs and iconographic sources that feed the complex imagery of his painting. Extensively illustrated, the book returns the richness of Obá's paintings, with enlargements on some of the details woven into the pictorial texture that, in addition to showing his masterful technique, make certain elements of his visual vocabulary stand out.

The conversation between Andrea Bellini and Antonio Obá that opens the book offers the opportunity to learn, through the artist's voice, about the key passages of his research, and to examine his diverse cultural references—from the Baroque of Minas Gerais to traditional Chinese painting, from Rembrandt to the Catholic ex-votos—until we discover the Obá's civic vocation, of painting as a spiritual practice.

The two essays commissioned for the occasion analyze the complexity of these layered signifiers. Lorraine Mendes's essay "Every Boy Is a King" offers an in-depth analysis of Obá's religious syncretism. It suggests an interpretation of its layered symbols, particularly the sankofa and the deity Exú, both of which pay tribute to the artist's West African roots. Above and beyond the specific cultural contexts of this iconography, the author emphasizes the universal value of Obá's work, its evocative, transformative, dynamic power, which—like music or dance—knows no national boundaries or barriers.

Larry Ossei-Mensah's essay "Embodiment: The Art of Antonio Obá" investigates the complex cultural legacy that is intertwined with the artist's practice, connected to his Afro-Brazilian roots, to the social and political realities of the Black diaspora, and to Christian, Candomblé, and Umbanda traditions. In addition to examining the context in which Obá's work is rooted, the author situates it within a galaxy of artists who have focused on questions of identity, often using their own bodies as tools of social and cultural critique.

Completing the book is a chronology, compiled by Sara De Chiara, tracing the artist's formative years and exhibition history, accompanied by rich documentary materials.

Published on the occasion of Antonio Obá: Rituals of Care, the first mid-career survey in Europe dedicated to the Brazilian artist, curated by Andrea Bellini, at the Centre d'Art Contemporain Genève, in 2025.

Antonio Obá (born 1983 in Ceilândia, Brazil) lives and works in Brasília. His multifaceted practice encompasses painting, sculpture, photography, installation, video, and performance. His œuvre interrogates and subverts historical representations, reappropriating spiritual practices and stigmas of racism. Obá endeavors to reclaim his African heritage in a societal framework that has historically sought to dilute Black culture. His works therefore confront the violence inflicted over centuries upon African-Brazilian traditions and communities with new narratives.

Hardscapes / Here documents and brings together two exhibition projects by artists Nina Canell and Maria Hassabi. Produced on the occasion of the exhibitions of the same name curated by Samuele Piazza at the OGR Torino, the publication consists of two graphically specular books that merge into a single volume. Essays, unpublished materials and a rich set of photographic materials form the driving force behind two visual narratives that offer new keys to understanding the research of the two artists.

Hassabi's live installation Here calls on visitors to share space and spend time with six performers portrayed in a decelerated rhythmic choreography within a sculptural environment. In constant motion, the dancers contribute to a situation of shifting presence, demonstrating the contestable nature of the "here and now." Immobility and slowing down are thus used both as techniques and as subjects of representation: the performing bodies oscillate between dance and sculpture, subject and object, living body and static image.

Canell's Hardscapes combines two works that focus on the concepts of circulation and transformation as well as on unexpected forms of coexistence. Energy Budget (2017–18), a video that alternates between two subjects: a basement in which a leopard snail crawls over an electrical panel, and the gradual shifting of the frame away from "dragon gates"—portal-like openings in huge buildings on the Hong Kong waterfront. Muscle Memory (16 Tonnes) (2020–21) is a floor sculpture, decomposed and transformed by the density of moving bodies, which literally crumbles under the soles of passing visitors.

In addition to texts by the curator, the publication includes essays by Felicia Leu and Laura Preston, along with a conversation by Maria Hassabi and Nina Canell with Lorenzo Giusti.

Published on the occasion of the epoymous exhibitions at OGR Torino in 2022.

Edited by Samuele Piazza.
Texts by Lorenzo Giusti, Felicia F. Leu, Samuele Piazza, Laura Preston.

Oracular Transmissions weaves together three of the most recent collaborative projects Etel Adnan and Lynn Marie Kirby have completed through processes of exchange and translation: Back, Back Again to Paris (2013), The Alhambra (2016), and Transmissions (2017). 

The book also includes poems by Denise Newman, a friend to both Adnan and Kirby, and an introduction by Kadist Foundation curator Jordan Stein presenting their works and performances.

Sophie T. Lvoff revient avec « The Prime Times, Volume 2 » à l'occasion de la fin de sa résidence aux ateliers de la ville de Marseille, bye, bye! Au travers de poèmes en haïku, de gros titres et de photographies de son atelier traversé par la lumière du jour au milieu de l’après-midi, le journal chronique la torpeur des longues journées de travail mêlées d’attente, de glimpses et de glances. En attendant the prime time, Sophie lit les nouvelles sur son téléphone, parcourt paresseusement sa bibliothèque, écrit des emails à des amix éloigné·es et parfois à elle-même. Elle note des blagues et des poèmes dans son cahier, mange des snacks, doute d’elle-même, fume, jette des regards autour d’elle, jusqu’au moment précis où la photo doit être prise.

Sophie T. Lvoff is back with « The Prime Times, Volume 2 »! Through haiku poems, headlines, doodles and photographs of her studio pierced by mid-afternoon daylight, the journal chronicles the torpor of long workdays mixed with waiting, glimpses, and glances. While waiting for the prime time, Sophie reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.

Mapping constellations between five specific pre-colonial cosmological examples extending from the Sahel to the Horn of Africa, this work reframes cosmology as a multi-dimensional and scalable practice of situated technologies and embodied cartographies. The resulting publication which was produced during the Jan van Eyck residency is a culmination of several years of research and exploration into precolonial cosmologies and spatial orders rooted in the African Sahel extending to the Horn of Africa.

The (Incomplete) Cosmic Catalogue is an output of a research project that was initially commissioned by the Canadian Centre for Architecture as part of the multi-disciplinary research fellowship, The Digita Now: Architecture and Intersectionality in 2022.