This project clearly performs what I have called ‘pre-posterous history’: an inter-temporal relationship 15 where the past and the present are in conversation, instead of a conventional chrono-logic with one- 16 directional linearity. Merging old master paintings and the contemporary in each animation is a perfect 17 example of that. Since the work is still in the making as I write this essay, I cannot imagine a more radi- 18 cally contemporary work.

That contemporaneity matters, especially in art that so insistently experiments 19 with temporality, and in a project where history meets today in an intense form of what I have termed 20 ‘inter-ship’. Malani is constantly connecting, linking, integrating; her work is essentially performing 21 inter-ship. The request to respond to the museums’ paintings matches Malani’s ongoing experimental, 22 creative spirit.2, 3

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“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.

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 In How to Construct a Time machine, edited by Marquard Smith, 34-49. London: MK Gallery 2015

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Spanish: “El tiempo que se toma”, Contra Narrativas, Revista de Estudios Visuales. Murca, SP, November 2016, np, read  Spanish here.

“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.

“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.

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!

“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.

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“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

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

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“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

“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.

“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.

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

“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.

“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.

“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.

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

“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

Using the story of Joseph and Potiphar’s wife, in which Joseph spurns the advances of his master’s wife, who then falsely accuses him of attempted rape, Mieke Bal juxtaposes retellings of the text — in addition to the Bible, the Qur’an, the visual art of Rembrandt and the prose of Thomas Mann

“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

“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.” 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

“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)

“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.

“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

“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

“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.

“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

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

“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.

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

“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)

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

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

“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.

“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 & 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

“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.

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

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

“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

“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

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

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

“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

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

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

“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

“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
 

“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