“Exposing Broken Promises: Nalini Malani’s Multiple Exposures/ La mise à nu des promesses brisées: les ‘Expositions’ multiples de Nalini Malani” in Nalini Malani: The Rebellion of the Dead / Nalini Malani: la rébellion des morts. Rétrospective, edited by Sophie Duplaix, 36-79. Paris: Centre Georges Pompidou / Ostfilden: Hatje Cantz 2017
This long essay is part I of a dual exhibition tour, which I begin with the most recent work, chronologically moving backwards to the earliest work of this exceptionally brilliant political artist. Part II will appear in 2018.

The Time It Takes
“The Time It Takes.” In How to Construct a Time machine, edited by Marquard Smith, 34-49. London: MK Gallery 2015 Spanish: “El tiempo que se toma”, Contra Narrativas, Revista de Estudios Visuales. Murca, SP, November 2016, np, read here

Something Very Strange This Way, Janet Cardiff and George Bures Miller. Ostfildern, Germany, Hatje Cantz, 2014 (entries: “Archive”, 89; “Immersion”, 115; “Madness”, 116; “Nightmare”, 119-122; “Time”, 135; “Time Machine”, 135; “White Cube”, 141-142)
The catalogue comprises, among other exceptional moves, an encyclopedia of concepts relevant for the artists’work. Lots of fun to write entries!

Stan Douglas
“Time of Show: Heterochrony in the Work of Stan Douglas”, 68-147 in Stan Douglas, edited by Fiona Bradley. Edinburgh: Fruitmarket Gallery 2014. This is a long essay I could not help myself writing after I saw both the exhibition of Douglas’ work in the Haus der Kunst in München and the new performance/film/play Helen Lawrence, the occasion for this book and the exhibition in Edinburgh.

Frida Kahlo
“Allo-Portraits: inventing Deconstruction”, 56-67 in Frida Kahlo: A Life in Art. Arken, DK/Hatje Cantz 2013 This short article is the first I ever wrote on this artist who has fascinated me for years. My personal challenge was to come up with a substantial idea in a mere 2000 words.

James Coleman
“Photograph” in “James Coleman”, 246-253. Madrid: Museo Nacional Centro de Arte Reina Sofía 2012

Ann Veronica Janssens
“Serendipity: The Miracle of Being Where You Are.” “Serendipity: le miracle d’etre où l’on est.” “Serendipiteit: het mirakel van te zijn waar je bent.”
In Ann Veronica Janssens, Serendipity, 11-32. Wiels: Centre d’Art Contemporain 2011
A revised version of this article has since been published in my book on Janssens’ work, Endless Andness, where the concept of the exhibition is turned into an artistic tool.

Towards the Other
Artist Statement, interview, Migratory Stories, Nothing is Missing
In Maria Veits, ed. Towards the Other: An Exhibition of Video Art About Migratory Culture, 15-65, State Museum of the History of Saint Petersburg 2011

Eija-Liisa Ahtila
“Liikkuva kuva rodistaa” “The Moving Image as Witness.” In Eija-Liisa Ahtila, Marian Ilmestys / The annunciation, 52-82.
Helsinki: Crystal Eye 2011
After a few essays about Ahtila’s work I was getting ready for a book. This happened soon after, with Thinking in Film.

Seet van Hout
“Memory as Lace” (Dutch) “Herinneringen van kant”, (German) “Erinnerungen aus Spitze”)
In Seet van Hout, Red Greenhouse, 31–35. Bönen/Westfalen: Verlag Kettler GmbH 2011

Eija-Liisa Ahtila
“Eija-Liisa Ahtila.” In 100 Video Artists/100 Videoartistas, 46–49. Madrid, Spain: EXIT Publicaciones, 2010. (Spanish) “Eija-Liisa Ahtila.”
In 100 Video Artists/100 Videoartistas, trans. Pablo Nogueras and Paulino Serrano, 46–49. Madrid, Spain: EXIT Publicaciones, 2010

Betty Woodman
“Whispered Conversations.” In Betty Woodman, 19. Brescia, Italy: Galleria Massimo Minini, 2009 (Italian) “Conversazioni sussurrate.”
In Betty Woodman, trans. logoService, 18. Brescia, Italy, Galleria Massimo Minini, 2009

Francesca Woodman
“Marcel and Me: Woodman through Proust.” (Spanish) “Marcel y yo: Woodman a través de Proust.”Trans. Francisco Carpio.
In Francesca Woodman Retrospective, ed. Isabel Tejeda, 114-141. Murcia, Spain: Espacio AV, 2009
It was difficult to write about this artist. The link to Proust helped me.

Jesús Segura
“Forms of Movement.”
In Jesús Segura, Stereo, 9–16. Murcia, Spain: Murcia Cultural, 2007 ((Spanish) “Formas de Moviemento.” Transl. Nuria Navarro. In Jesús Segura, Stereo, 143–148. Murcia, Spain: Murcia Cultural, 2007)

Doris Salcedo
“Earth Aches: the Aesthetics of the Cut.”
In: Doris Salcedo: Shibboleth
London: Tate Modern Publishing, 2007, 40-63

Louise Bourgeois
“Anthropometamorphosis”: Forking Paths and Crystals in Louise Bourgeois’Philosophy of Temporality.” In Louise Bourgeois: La Sage Femme, Murcia: Murcia Cultural, 2007, 20-41.

Ann Veronica Janssens
“Inside the Polis.” In: Ann Veronica Janssens: An den Frühling.
For Museum Morsbroich Leverkusen. Köln: DuMont Literatur und Kunst Verlag 2007, 165-201.

Andres Serrano
“Los Cuerpos Barrocos y la ética de la percepción.”
In: Andres Serrano: El Dedo en La Llaga, edited by María Rubio Oliva, Madrid: ARTIUM de Alava, 2006: 17-44.

Marthe Wéry
“A l’Est d’Eden / East of Eden / Ten Oosten van Eden”
In ‘Marthe Wéry; Les couleurs du monochrome’. Tournai: Musée des Beaux-Arts, 2005: 35-104 and 119-127.

Eija-Liisa Ahtila
“What If … Exploring ‘Unnaturality’.”
In World Rush: _4 Artists, 30–37. Exhibition catalogue. Victoria, Australia: National Gallery of Victoria, 2004 (about The House)

Artists in Catalogue
“Strings Attached.” In Devil-may-care: The Nordic Pavillion at the 50th Venice Biennial 2003, eds. Anne Karin Jortveit and Andrea Kroksnes, 116–25. Oslo: Office for Contemporary Art Norway, 2003

Martijn Schuppers
“The Dissolution of the World.”
In Martijn Schuppers – Early Monograph: Paintings 1994–2002, 14–21. Amsterdam: Cato Publishers, 2002

Ken Aptekar
“Companion Portraits: A Collaborative Project by Rembrandt van Rijn and Ken Aptekar.” Exhibition brochure. New York: Pamela Auchincloss Project Space, May 2001, 1–4

Jeannette Christensen
“Points of Departure: Portraits of the Body’s Cover-up.”
In Jeannette Christensen / Kim Soo-Ja, 4–23. Exhibition catalogue. Feldbach, Austria: Kunsthalle Feldbach (Steirischer Herbst), 1999

Lili Dujourie
“Looking at the Other Side with Lili Dujourie.”
In The Fascinating Faces of Flanders: 58/98 Two Hours Wide or Two Hours Long, 188–92. Antwerp: City of Antwerp, 1998

“Deceptions: ‘yes, but’, ‘re-’, ‘huh?’, ‘post-’, ‘oh yes!’” In Louise Lawler: Receptions, edited by Roxana Marcici, 42-49. New York: Museum of Modern Art 2017

Modus Vivendi
“Modus vivendi oder das unvollendete Geschäft der Geschichte, “Modus Vivendi, or History’s Unfinished Business”, Ulrike Gorssarth, Wäre ich von Stoff, ich würde mich färben; Were I made of Matter, I would Color, 35-51, 295-308, 2014
This was a challenging essay to write. The work of this artist is very conceptual, and full of historical and theoretical allusions.

Trine Søndergaard: Stasis
“Stasis: How to See”. Trine Søndergaard, Stasis, Ostfilfern, Germany: Hatje Cantz, 7-24, 2013
The book for which I wrote the essay won the Most Beautiful German Book Prize 2014 - a prize that matches the beauty of the photographs. This photo is a fragment of one of the works.

Only So Far: Drawing the Line, or Not
“Only So Far: Drawing the Line, or Not” “Fins a cert límit: traçar la línia… o no” “Hasta cierto límite: dibujar la línea, o no” 197-223, Davant l’horitsó, Barcelona: Fundació Joan Miró, 2013; shortened and adapted version 27-34 (Spanish), 126-130 (Catalan), 176-80 (English) in Islas y horizontes: Obras de la collección Es Baluard, Palma: Museu d’art modern i cotemporani Es Baluard, 2016

Waiting for the political moment
“Waiting for the political moment” “À espero do momento político” “I väntan på det politiska ögonblicket” 79-128
in Doris Salcedo, Plegaria Muda. Moderna Museet Malmö, Sweden; CAM - Fundaçao Calouste Gulbenkian Lisboa, Portugal 2011

Louise Bourgeois
“Fighting, Cutting, Crossing Him Out: Stripes Against Volume.”
In Laurie Cluitmans and Arnisa Zeqo, eds. He Disappeared Into Complete Silence: Rereading of a Single Artwork by Louise Bourgeois, 73-82.
Haarlem: De Hallen
The publication accompanies a single-work exhibition, an opportunity awarded to the two young curators who won the contest.

Jussi Niva
“Timely Remains.”
In Jussi Niva: Timely Remains, 66–117.
Helsinki: Parvs Publishing, 2010
A long essay that includes thoughts about abstraction in relation to time.

Ana Torfs
“Intertwined Dualities.” (German) “Verflochtene Dualitäten.” In Ana Torfs: Album/Tracks A + B, ed. Sabine Folie and Doris Krystof, 176–77, German 119–121 Düsseldorf: Kunstsammlung Nordrhein-Westfalen, 2010
Bound to a very short format, I could only hint at what is most important in Torfs’ work.

Annelies Planteijdt
“Synesthesie: geur, klank, en andere zintuiglijke ervaringen.” In Annelies Planteijdt, 5-92. Nijmegen: Galerie Marzee, 2009 “Synesthesia: smell, sound, and other sensory experiences.” In Annelies Planteijdt, 5-92. Nijmegen: Galerie Marzee, 2009 read catalogue essay

Video Dreams
“Setting the Stage: The Subject Mise-en-scène” In Videodreams: Zwischen Cinematischem und Theatralischem, ed. Peter Pakesch, 28–49. Cologne: Walter König, 2004; revised and expanded version in Art of Projection, eds. Stan Douglas and Christopher Eamon, 167–181. Stuttgart: Hatje Cantz, 2009

Stan Douglas
“Re-: Killing Time.” In: Stan Douglas. Past Imperfect. Werke 1986 - 2007 English Translation: Stan Douglas. Past Imperfect: Works 1986 - 2007. Edited by Hans D. Christ and Iris Dressler, Württembergischen Kunstverein Stuttgart and the Staatsgalerie Stuttgart. Stuttgart: Hatje Cantz, 2007, 64-93
I discovered this brilliant artist. More will come, I am pretty sure. (meanwhile, it did; see the essay on left column, 2014)

Olafur Eliasson
“Light Politics”
In: Take Your Time Olafur Eliasson. Edited by Madeleine Grynsztejn. San Francisco Museum of Modern Art. New York & London: Thames and Hudson (2007), 153-182 My first acquaintance with the environmental work of this artist.

Anna Fox
“Zwarte Piet’s Bal Masqué.” In Zwarte Piet, Anna Fox, 1–11. London: Black Dog Publishing, 1999; reprinted in Anna Fox: Photographs 1983–2007, ed. Val Williams, 107–119. Brighton, UK: Photoworks, 2007

Melvin Moti
“Invisible Art, Hypervisibility, and the Aesthetics of Everyday Life.” In: Nichts / Nothing, Martina Weinhart and Max Hollein (eds.), 81-104. Schirn Kunsthalle Frankfurt, Frankfurt 2006

Peter Friedl
“De-Centering: The Fragility of Mastery”
In ‘Peter Friedl: Work 1964-2006’, edited by Bartomeu Marí. Barcelona: MACBA (Museu d’Art Contemporani de Barcelone), 2006, 79-110

Ann Veronica Janssens
“Bodily Light / Lichaamslicht” In De Verbeelding Pavilion in Zeewolde, 6 July 2002. In ‘Look and Feel: art landscape nature 2002-2003’, Zeewolde: De Verbeelding art landscape nature, 2004: 56-60.

Seet van Hout
“Matter and Memory / Materie en geheugen.”
In Seet van Hout: Rood draad – Red Thread, 6–25. Staphorst, the Netherlands: Hein Elferink, 2004

Women Who Ruled
“Women as the Topic.” In Women Who Ruled: Queens, Goddesses, Amazons in Renaissance and Baroque Art, ed. Annette Dixon, 61–96. University of Michigan Museum of Art, 2002

George Deem
“George Deem & Peter Angelo Simon: Timely Conversation.” In George Deem & Peter Angelo Simon: Paintings & Photographs in Conversation, intro by John W. Streetman III, 4–40. In: Evansville Museum of Arts and Science, 2001

Louise Bourgeois
“Beckoning Bernini.”
In Louise Bourgeois: Memory and Architecture, 75–85.
Madrid: Museo Nacional Reina Sofía, 2000

David Reed
“David Reed’s #275: A Story of Erotic Vision.”
In David Reed Paintings: Moving Pictures, 36–49. San Diego, CA: Museum of Contemporary Art San Diego, 1998

Ken Aptekar
“Larger than Life: Reading the Corcoran Collection.”
In Ken Aptekar: Talking to Pictures, 5–12. Washington, D.C.: Corcoran Gallery of Art, 1997

Edwin Janssen
“Imagination: manifestations of narcissism.” In Edwin Janssen, Narcissus en de poel des verderfs / Narcissus and the Pool of Corruption, 33–50. Rotterdam: Museum Boijmans Van Beuningen, 1994

Charlotte van Pallandt
“De verbeelding van vrouwen.”
In Cahier Charlotte van Pallandt, 39–56. Scheveningen, the Netherlands: Museum Beelden aan zee, 1995