{"id":90,"date":"2020-05-08T06:40:47","date_gmt":"2020-05-08T06:40:47","guid":{"rendered":"https:\/\/mowahler.com\/?page_id=90"},"modified":"2023-11-09T18:25:13","modified_gmt":"2023-11-09T18:25:13","slug":"publications","status":"publish","type":"page","link":"https:\/\/mowahler.com\/?page_id=90","title":{"rendered":"Publications"},"content":{"rendered":"\n

<\/h2>\n\n\n\n

<\/p>\n\n\n\n

PUBLICATIONS (BOOKS, CATALOGS AND MAGAZINES)<\/strong><\/p>\n\n\n\n

<\/th><\/tr><\/thead>
<\/td><\/tr>
When the Sun Goes Down and the Moon Comes Up, Carte blanche to Ugo Rondinone, MAH, Geneva, 5 Continents, 320 pages.<\/td><\/tr>
MAGMAH #<\/a>4<\/a>, Geneva, 96 pages.<\/td><\/tr>
MAGMAH #3<\/a>, Geneva, 96 pages.<\/td><\/tr>
Draw Your Own Conclusions. Carte blanche to Jean-Hubert Martin<\/a>, Geneva, 2022, 360 pages.<\/td><\/tr>
MAGMAH #2<\/a>, Geneva, 96 pages.<\/td><\/tr>
Walk on the Water. Carte blanche to Lena Jakob Knebl<\/a>, MAH, Geneva, 2021, 264 pages.<\/td><\/tr>
MAGMAH #1<\/a>, Geneva, 96 pages.<\/td><\/tr>
Michigan Stories. Mike Kelley and Jim Shaw, MSU Broad Museum<\/a>, East Lansing, 2018; 304 pages.<\/td><\/tr>
The Transported Man,<\/a> MSU Broad Museum, East Lansing, 2018; 280 pages.<\/td><\/tr>
Jonathan Monk. Anything by the Smith, CAN Centre d\u2019art, Neuch\u00e2tel,<\/a> 2018; 64 pages.<\/td><\/tr>
Collectors\u2019 Stories \u2013 Collectors From Turkey<\/a>, CI, Istanbul, 2017; 300 pages.<\/td><\/tr>
The Order of Fireflies, Fondation Ricard, Paris<\/a>, 96 pages.<\/td><\/tr>
Hidden World. Jim Shaw \/ Didactic Art Collection<\/a>, Chalet Society \/ K\u00f6nig Verlag, Paris \/ Berlin, 2014; 512 pages.<\/td><\/tr>
From Yodeling to Quantum Physics \/\u00a0Prestige<\/a>, <\/em>Palais de Tokyo, Paris, 2012; 280 pages.<\/td><\/tr>
LOST (in LA)<\/a>, Flax and Public Fiction, Los Angeles, 2012; 108 pages. Coedited with Lauren Mackler.<\/td><\/tr>
From Yodeling to Quantum Physics \/\u00a0Prestige<\/a>, <\/em>Palais de Tokyo, Paris, 2012; 280 pages.<\/td><\/tr>
From Yodeling to Quantum Physics<\/a>, volume 4, Palais de Tokyo, Paris, 2011; 368 pages. Coedited with Frederic Grossi.<\/td><\/tr>
Palais \/ The Pledge<\/a>, #14, Paris, 2011; 96 pages. Special issue created by Alexandre Singh.<\/td><\/tr>
From Yodeling to Quantum Physics, volume <\/a>3, Palais de Tokyo, Paris, 2010; 304 pages. Coedited with Mark Alizart.<\/td><\/tr>
Palais \/ Pergola<\/a>, #\u00a011, Paris, 2010; 96 pages.
Palais \/ Dynasty<\/a>, #\u00a012, Paris, 2010; 288 pages.
Palais \/ Fresh Hell<\/a>, <\/em>#\u00a013, Paris, 2010; 128 pages.<\/td><\/tr>
From Yodeling to Quantum Physics<\/a>, volume 2, Palais de Tokyo, Paris, 2009; 352 pages. Coedited with Mark Alizart.<\/td><\/tr>
Palais \/ Chasing Napoleon<\/a>, <\/em>#\u00a010, Paris, 2009; 96 pages.
Palais \/ Spy Number<\/a>, #\u00a09, Paris, 2009; 88 pages.
Palais \/ Gakona<\/a>, #\u00a08, Paris, 2009; 96 pages.<\/td><\/tr>
From Yodeling to Quantum Physics<\/a>, volume 1, Palais de Tokyo \/ Bookstorm, Paris, 2008; 350 pages.<\/td><\/tr>
Palais \/ From One Revolution to Another<\/a>,<\/em>#\u00a07, Paris, 2008; 96 pages.
Palais \/ Cellar Door<\/a>, #\u00a05, Paris, 2008; 104 pages.
Palais \/ Superdome<\/a>, #\u00a06, Paris, 2008; 88 pages.<\/td><\/tr>
Palais \/ The Third Mind<\/a>, #\u00a04, Paris, 2007; 312 pages. Special issue created by Ugo Rondinone.
Palais \/ La Marque Noire<\/a>, #\u00a03, Paris, 2007; 96 pages.
Palais \/ M (News From the Upside-Down)<\/a>, #\u00a02, Paris, 2007; 100 pages.<\/td><\/tr>
Hysteria Siberiana<\/a>, Cristina Guerra Contemporary Art, Lisbon, 2007; 64 pages.<\/td><\/tr>
Philippe Mayaux<\/a>, S\u00e9miose, Paris, 2007; 304 pages.<\/em> \u00a0<\/td><\/tr>
Palais \/ Five Billion Years<\/a>,#1, Paris, 2006; 96 pages.<\/td><\/tr>
OK \/ OKAY<\/a>, Grey Art Gallery University of New York \/ Swiss Institute, New York, 2005; 168 pages.<\/td><\/tr>
Olav Westphalen<\/a>, Zing, New York, 2004; 128 pages.
Reedited by Revolver, Berlin, 2006.La piste noire, Loevenbruck, Paris, 2004; 58 pages.<\/td><\/tr>
EXTRA<\/a>,<\/em> Swiss Institute\u00a0\/ Merian Verlag, New York \/ Basel, 2003; 440 pages.<\/td><\/tr>
SI, Swiss Institute, New York, 2002; 64 pages.<\/td><\/tr>
TRANSFERT, Art in Public Space \/ Art dans l’espace urbain<\/a>, ESS, Biel, 2000; 464 pages. <\/td><\/tr>
5, 6, 7, 8, 9, CAN<\/a>, <\/em>CAN,Neuch\u00e2tel, 2000; 304 pages.<\/td><\/tr>
Mayday, CAN, Neuch\u00e2tel, 1999; 16 pages<\/td><\/tr>
New York \/ Berlin. Atelier de la Conf\u00e9d\u00e9ration 1997-1998<\/a>, <\/strong>Federal Office of Culture, Neuch\u00e2tel \/ Bern, 1998; 68 pages. Coedited with Pierre-Andr\u00e9 Lienhard.
<\/td><\/tr>
New York \/ Berlin. Atelier de la Conf\u00e9d\u00e9ration 1995-1996<\/a>, Federal Office of Culture, Neuch\u00e2tel \/ Bern, 1997; 68 pages. Coedited with Pierre-Andr\u00e9 Lienhard.
<\/td><\/tr>
Olivier Mosset, Bonh\u00f4te, Neuch\u00e2tel, 1997.<\/td><\/tr>
Olivier Mosset<\/a>, CAN, Neuch\u00e2tel, 1996; 120 pages.
<\/td><\/tr>
Non ! pas comme \u00e7a !<\/a>, CAN, Neuch\u00e2tel, 1996; 8 pages.
<\/td><\/tr>
Is It Nice?<\/a>, CAN, Neuch\u00e2tel, 1995; 40 pages.
<\/td><\/tr>
Claude Loewer, l\u2019\u00e9vasion calcul\u00e9e<\/a><\/em>, Acatos, Lausanne, 1993; 312 pages. Coedited with Charlotte Hug and Walter Tschopp.<\/td><\/tr>
Landry, Moser, Schwerzmann<\/a>, Fine Arts Museum, Lausanne, 1992; 64 pages. Coedited with J\u00f6rg Zutter.
<\/td><\/tr>
Le rouge et l’art<\/a>, Neuch\u00e2tel, 1991; 64 pages.
<\/td><\/tr><\/tbody><\/table>
ESSAYS IN BOOKS AND EXHIBITION CATALOGS<\/strong> (selection)<\/figcaption><\/figure>\n\n\n\n
\u201cThe Equalizer\u201d, Steven Parrino:Paintings & Drawings 1986-2003, Skarstedt, New York, 2019
<\/em><\/td><\/tr>
\u201cDavid Lamelas. Artists\u2019 Artist,\u201d Preface, David Lamelas, MSU Press, East Lansing, 2018
<\/td><\/tr>
\u201cL\u2019horizon des p\u00e2querettes,\u201d Arnaud Labelle \u2013Rojoux. Esprit es-tu l\u00e0?, Dilecta, Paris, 2016.
<\/td><\/tr>
\u00ab\u00a0Synchronicity. Robin Meier, the Crickets, and the Fireflies,\u00a0\u00bb Art|Basel, Year 46<\/a>, JRP-Ringier, Zurich, 2016.
<\/td><\/tr>
\u201cJim Shaw. The Hidden World and the Ontological Blinking,\u201d Jim Shaw. The End is Here<\/a>, New Museum \/ Skira Rizzoli, New York \/, 2015.
<\/td><\/tr>
\u201cCoca-Cola and the Post-Internet\u201d, Triennale de l’Art Imprim\u00e9, Mus\u00e9e des Beaux-Arts, Le Locle, 2015.
<\/td><\/tr>
\u201cEscape Velocity,\u201d Gianni Piacentino<\/a>, Centre d\u2019art Contemporain, Geneva, 2013.
\u201cAppearance, Disapearance, Reappaerance,\u201d \u201cThe Big Illusion,\u201d Gianni Motti<\/a>, Soci\u00e9t\u00e9 des Art de Gen\u00e8ve \/ Damiani \/ Perrotin Gallery, 2013.
\u201cConquering New Territories,\u201d Kolkoz, Audemars Piguet, 2013.
<\/td><\/tr>
\u201cThe Flight of a Fly in Negative Space,\u201d Fernando Ortega<\/a>, Samart \/ Vvz \/ L\u2019insens\u00e9, Paris, 2012.
\u201cFrom Android to Quantum Physics (Or How to Talk About Exhibitions),\u201d in From Eternity to Here<\/a>, Fondazione Arte \/ CRT, Turin, 2012.
\u201cThe Sergeons,\u201d Scalpel<\/a>, Amsterdam Worldwide \/ P. Ricard, Paris, 2012.<\/em>
<\/td><\/tr>
\u201cExtraterrestrial Language in the Service of Minimalism (Or How to Master a Language by Speaking Another),\u201d John Mc Cracken<\/a>, Castello di Rivoli, Turin, 2011.  
<\/td><\/tr>
\u201cFree Fall (Art in a State of Weightlessness,\u201d Lighten Up. Joao Onofre<\/a>, Centro de Artes Visuais, Coimbra, Portugal, 2010.
\u201cComment parler de l\u2019exposition,\u201d Swiss Exhibition Award, Julius B\u00e4r Stiftung, Zurich, 2010.
<\/td><\/tr>
\u201cTravelling permanent \u00e0 la vitesse d\u2019un vol de faucon,\u201d Preface, Laurent Grasso: The Black-Body Radiation<\/a>, Les Presses du r\u00e9el, Paris \/ Dijon, 2009.
\u201cSleeping Agents<\/em>,\u201d Preface, Arcangelo Sassolino<\/a>, <\/em>JRP \/ Ringier, Zurich, 2009.
\u00ab\u00a0Loris Gr\u00e9aud,\u201d New Perspectives in Sculpture and Installation<\/a>, Phaidon, London, 2009.
<\/td><\/tr>
\u201cOne Night,\u201d Lang\/Baumann. Beautiful Book<\/a>, JRP \/ Ringier, Zurich, 2008.
\u201cGhost Rider, Chainsaw Sculptures, Quantum Physics and Alien (Blur The Categories),\u201d Lucky Number Seven, 7th SITE Santa Fe Biennial, Santa Fe, New Mexico, 2008.
<\/td><\/tr>
\u201c<\/em>Werner Reiterer: a conversation,\u201d Werner Reiterer<\/a>, Kunsthaus Graz, Graz, 2007.
\u201cApr\u00e8s l\u2019acc\u00e9l\u00e9ration,\u201d Acceleration<\/a><\/u>, CAN, JRP \/ Ringier, Zurich, 2007.<\/em>
\u201cUltimate Fighters. Didier Cuche vs Marcel Duchamp,\u201d in Fresh Th\u00e9orie III<\/a>, L\u00e9o Scheer, Paris, 2007.<\/em>
\u201cReality is a Mille-Feuille Stretched Into Infinity,\u201d Shift and Change: Locating Korean Art Now<\/a>, Ssamzie Art Space, Seoul, 2008.
\u201cCinq Sympt\u00f4mes<\/em>,\u201d Fondation BMW<\/u>, <\/em>Saint-Quentin-en-Yvelines, 2007.

<\/em><\/td><\/tr>
Fran\u00e7ois Leval, Dada\u00efste, garde Suisse au Vatican et mort en \u00e9pectase,\u201d <\/em>Fresh Th\u00e9orie II<\/a><\/em>, L\u00e9o Scheer, Paris 2006.

<\/em><\/td><\/tr>
\u201cLe r\u00e9el : combien de couches ?,<\/em>\u201d Fresh Theorie<\/a>, L\u00e9o Scheer, Paris, 2005. <\/em>
\u201cDouble Agent<\/em>,\u201d Gabriele di Matteo. Le peintre salue la mer<\/u>, FRAC Languedoc-Roussillon, Montpellier, 2005.<\/em>
\u201cThe Double Life of James Rielly<\/em>,\u201d The Life of Rielly<\/u>, Gal. Timothy Taylor, London, 2005.<\/em>
\u201cFabrice Gygi<\/em>,\u201d Terminal 5<\/u>, Lukas & Sternberg, New York \/ Berlin, 2005.

<\/em><\/td><\/tr>
\u201cStealth and Public Space<\/em>,\u201d Moving Layers: Contextual  Video in Art and Architecture<\/u><\/em>, Elastic, Rome, 2004.

<\/td><\/tr>
\u201cLa strat\u00e9gie du couteau suisse au service des soucoupes volantes,\u201d M\u00fcnsterland Skulptur Biennale 2003, M\u00fcnster, 2003.
<\/td><\/tr>
\u201cMike Tyson. Le fabuleux destin du violeur viol\u00e9. Boxe, furtivit\u00e9, apocalypse, viol et art contemporain,\u201d Sans Consentement, CAN \/ Crash, Paris, 2002.
<\/td><\/tr>
\u201cS\u00e9duction, officialit\u00e9, furtivit\u00e9,\u201d Office f\u00e9d\u00e9ral de la culture. 100 ans, OFC, Bern, 1999.\u201cLes faiseurs d’histoires,\u201d Storymakers \/ Les faiseurs d’histoires, Le Casino, Centre d’art contemporain, Luxembourg, 1999. Co-written with Enrico Lunghi, Hubert Besacier, and Emmanuel Latreille.
\u201cLa truie est multipare,\u201d L’art c’est l’art, GHK, Mus\u00e9e d\u2019ethnographie de Neuch\u00e2tel, Neuch\u00e2tel, 1999.
\u00ab\u00a0Strat\u00e9gie d’infiltration,\u201d Gianni Motti, Cahiers d’artistes, Pro Helvetia, Zurich, 1999.
<\/td><\/tr>
\u201cDelete,\u201d Kenji Yanobe 1995-1998, R\u00f6ntgen Kunstraum, Tokyo, 1998.
\u201cUn doute subsiste,\u201d Jean-Damien Fleury, JDF, Fribourg, 1998.
\u201cThe Night of the Living Dead,\u201d Derri\u00e8re les images, GHK, Mus\u00e9e d\u2019ethnographie de Neuch\u00e2tel, Neuch\u00e2tel, 1998.
<\/td><\/tr>
\u201cClaude Loewer,\u201d Dictionnaire des artistes suisses, ISEA Institut suisse pour l’\u00e9tude de l’art, Zurich, 1997.
\u201cPierre Gattoni. Le cauchemar de l\u2019imprimeur,\u201d Artistes romands, Mus\u00e9e cantonal des beaux-arts, Lausanne, 1997.
<\/td><\/tr>
\u201cSites et M\u00f4tiers,\u201d Exposition suisse de sculpture. Art en plein air, M\u00f4tiers 95, Acatos, Lausanne, 1995.
<\/td><\/tr>
\u201cNam June Paik,\u201d Catalogue du Mus\u00e9e d’art moderne et contemporain. Fiches d’artistes, <\/em>Mamco, Geneva, 1994.
\u201cL’anamorphose de Camesi ; analyse d’une oeuvre monumentale,\u201d Camesi, Mus\u00e9e d’art et d’histoire de Neuch\u00e2tel \/ Kunstmuseum Bern, Benteli, Bern, 1994.
\u201c<\/em>Images d\u00e9ploy\u00e9es,\u201d <\/em>Jo\u00ebl von Allmen, Galerie MDJ, Neuch\u00e2tel, 1994.
<\/td><\/tr>
\u201cR\u00e9pertoire des artistes neuch\u00e2telois,\u201d L\u2019art neuch\u00e2telois, Attinger, Hauterive, 1992.
<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

TEXTS IN MAGAZINES<\/strong> (selection)<\/p>\n\n\n\n

2016<\/td>\u201cGianni Piacentino,\u201d Art Press, March 2016.

<\/strong><\/td><\/tr>
2013<\/td>\u00ab\u00a0Dream Object: Paperback Cover Painting\u00a0\u00bb, Lib\u00e9ration, October 24th<\/sup>, 2013.

<\/td><\/tr>
2008<\/td>\u201cThe Schizophrenic Quotient,\u201d The Fredericianum Columns<\/a>, <\/strong>Kunsthalle Fridericianum, Kassel, 2008.
\u201cLower Music Now,\u201d UOVO, # 17, April-May-June 2008.

<\/td><\/tr>
2007<\/td>\u201cDie Kunst im Zustand der Schwerelosigkeit,\u201d Parkett<\/a>, # 79, 2007.
\u201cTout a commenc\u00e9 un 17 janvier,\u201d Journal des Arts, # 250, 2007.<\/td><\/tr>
2006<\/td>\u201cInsert (From Einstein to John Wayne)<\/em>,\u201d Attitudes Magazine, Attitudes Art Contemporain, 2006.
\u201cFischli & Weiss,\u201d Crash, # 53, 2006.\u201cOrtwechsel\u201d, Kunstbulletin<\/a>, May 2006.

<\/td><\/tr>
2005<\/td>\u201cFran\u00e7ois Leval, dada\u00efste et garde Suisse au Vatican. Entretien posthume,\u201d Abstract, # 18, fall 2005.
\u201cScience Fiction and Contemporary Art,\u201d ARCO, summer 2005.
\u201cMike Tyson: invisible et hyper spectaculaire,\u201d Abstract, summer 2005.
\u201cLaughing Gas and Contingency. Werner Reiterer,\u201d Contemporary, May 2005.
\u201cPlus fort que Barbie,\u201d Abstract, # 17, spring 2005.\u201cOlaf Breuning,\u201d Art Press, # 308, January 2005.

<\/td><\/tr>
2004<\/td>\u201cDistillation \/ In Vitro,\u201d Abstract, # 16, winter 2004.
\u201cOlaf Breuning,\u201d Parkett, # 71, September 2004.
\u201cScience fiction, schizophr\u00e9nie et art contemporain,\u201d L’\u0153il, June 2004.
\u201cTodo con la mente,\u201d Flash Art Italia, December 2003 – January 2004.

<\/td><\/tr>
2003<\/td>\u201cExtralucide,\u201d Z\u00e9ro Deux Magazine, summer 2003.

<\/td><\/tr>
2001<\/td>\u201cChristian Marclay\u201d, Kunstbulletin, June 2001.
\u201cAu del\u00e0 du r\u00e9el. Gianni Motti,\u201d Art Press, May 2001.

<\/td><\/tr>
2000<\/td>\u201c7 x 4: mutations,\u201d Crash, special issue, summer 2000.
\u201cL’artiste, Colombo, sa femme et son amant,\u201d Material, May 2000.
\u201cGen\u00e8ve : perspectives,\u201d Le journal des Arts, March 16, 2000.
\u201cBiennale de l’image, Gen\u00e8ve,\u201d Art Press, January 2000.

<\/td><\/tr>
1999<\/td>\u201cPeter Land,\u201d Art Press, December 1999.\u201cPeter Land,\u201d Kunstbulletin, December 1999.
\u201cOlivier Mosset and Cady Noland,\u201d Art Press, November 1999.
\u201cLa Suisse et l’An 2000,\u201d Le journal des Arts, October 1999.
\u201cLe temps de l’exposition,\u00a0\u00bb Editorial,Kunstbulletin, September 1999.
\u201cIn vitro,\u201d Kunstbulletin, September 1999.\u201cOlaf Breuning,\u201d Art Press, April 1999.
\u00ab\u00a0Waiting for Sunday: Peter Fischli et David Weiss,\u201d Art Press, March 1999.

<\/td><\/tr>
1998<\/td>\u201cCuba,\u201d Kunstbulletin, December 1998.
\u201cApr\u00e8s le vernissage, techno-party avec DJ Respect,\u201d Kunstbulletin, November 1998.
\u201cA table ! Jean-Damien Fleury,\u201d Kunstbulletin, October 1998.
\u201cL\u2019Hypoth\u00e8se du tableau vol\u00e9,\u201d Art Press, September 1998.
\u201cJens Haaning,\u201d Kunstbulletin<\/a>, September 1998.
\u201cRoman Signer : artiste \u00e9l\u00e9mentaire,\u201d Art Press, July 1998.
\u201cArt contemporain : arsenic et vielles dentelles,\u201d Le Nouveau Quotidien, January 12, 1998.

<\/td><\/tr>
1997<\/td>\u201cRapports d\u2019entreprises,\u201d Art Press, December 1997.
\u201cZurich. La rentr\u00e9e,\u201d Art Press, December 1997.
\u201cHabiter un lieu d\u2019art,\u201d Kunstbulletin, December 1997.
\u201cHabiter un lieu d\u2019art,\u201d Papiers libres, April 1997.
\u201cMartin Kippenberger,\u201d Art Press, April 1997.
\u201cNatacha Lesueur,\u201d Kunstbulletin, March 1997.
\u201cMade in Switzerland,\u201d Art Press, March 1997.

<\/td><\/tr>
1996<\/td>\u201cSidney Stucki,\u201d Kunstbulletin, December 1996.
\u201cFran\u00e7ois Morellet,\u201d Kunstbulletin, November 1996.
\u201cOlivier Mosset,\u201d Kunstbulletin, May 1996.
\u201cLieu de change, lieux d\u2019\u00e9change. Fabrice Hybert,\u201d Kunstbulletin, May 1996.

<\/td><\/tr>
1995<\/td>\u201cGianni Motti,\u201d Kunstbulletin, September 1995.
\u201cIngold Airline,\u201d Kunstbulletin, July-August 1995.
\u201cLaurence Pittet,\u201d Kunstbulletin, February 1995.

<\/td><\/tr>
1994<\/td>\u201cChristian Robert-Tissot,\u201d Kunstbulletin, October 1994.
\u201cPhilippe Ramette,\u201d Kunstbulletin, July-August 1994.  <\/td><\/tr>
1993<\/td>\u201cChristian Boltanski,\u201d Perspective, February 1993.
<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

INTERVIEWS AND PORTRAITS <\/strong>(selections from 2012, 2013, and 2017 only)<\/p>\n\n\n\n

Interview by Saul Anton, Profile: Marc-Olivier Wahler, Frieze<\/a>, November 2017.<\/td><\/tr>
Interview by Bice Curiger, Prix Meret Oppenheim<\/a>, Federal Office of Culture, Bern, October 2013.
Interview by Jean-Pierre Greff, C\u2019est moi qui choisis, HEAD Haute Ecole d\u2019Art et de Design, Geneva, October 2013.
Elisabeth Chardon, \u201cL\u2019exposition \u00e0 l\u2019\u00e9preuve du XXI\u00e8me si\u00e8cle,\u201d Le Temps<\/a>, July 1, 2013.
Barbara Polla, \u201cPortrait d\u2019un prestidigitateur,\u201d Le Courrier<\/a>, April 15, 2013.
Interview by Patrice JoIly, Z\u00e9rodeux<\/a>, Paris, April 2013.
Josiane Guilloud-Cavat, \u201cJ\u2019avais atteint l\u2019\u00e2ge de mille kilom\u00e8tres,\u201d Inferno Magazine<\/a>, March 2013.
Maxwell Williams, \u201cWhy Themeless Exhibitions,\u201d Whitewall<\/a>, January 2013.

<\/td><\/tr>
William Massey, \u201cChalet Society,\u201d L\u2019Officiel Art<\/a>, # 4, November 2012.
Patrick Steffen, Flash Art International<\/a>, November 2012.
Catherine Cochard, \u201cChaque personne qui fait un don acc\u00e8de \u00e0 une communaut\u00e9,\u201d Le Temps<\/a>, October 11, 2012.
Interview by Christoph Kihm, \u201cFrom the Exhibition to the Program,\u201d Palais \/ History of Palais de Tokyo, From 1937 to Today, and Tomorrow<\/a>, # 15, March 2012.

<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

F = French, E = English, G = German, I = Italian, J = Japanese, P = Portuguese, K = Korean T = Turkish<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

PUBLICATIONS (BOOKS, CATALOGS AND MAGAZINES) When the Sun Goes Down and the Moon Comes Up, Carte blanche to Ugo Rondinone, MAH, Geneva, 5 Continents, 320 pages. MAGMAH #4, Geneva, 96 pages. MAGMAH #3, Geneva, 96 pages. Draw Your Own Conclusions. Carte blanche to Jean-Hubert Martin, Geneva, 2022, 360 pages. MAGMAH …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-90","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/mowahler.com\/index.php?rest_route=\/wp\/v2\/pages\/90","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mowahler.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mowahler.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mowahler.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mowahler.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=90"}],"version-history":[{"count":15,"href":"https:\/\/mowahler.com\/index.php?rest_route=\/wp\/v2\/pages\/90\/revisions"}],"predecessor-version":[{"id":334,"href":"https:\/\/mowahler.com\/index.php?rest_route=\/wp\/v2\/pages\/90\/revisions\/334"}],"wp:attachment":[{"href":"https:\/\/mowahler.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=90"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}