--- title: "Exhibition Making" description: "Exhibition Making, 2015–2026: shows Arthur Fouray organised and curated with the teams of Silicon Malley in Prilly, DOC! in Paris and LUMA Arles." canonical: https://arthurfouray.systems/exhibition-making type: CollectionPage year: 2026 updated: "2026-09-26T22:46:56+00:00" image: https://freight.cargo.site/w/100/q/75/i/V1378492361635616514533352277419/rt4a-Exhibition-Making-2023-logo-bk.svg license: https://creativecommons.org/licenses/by-nc-nd/4.0/ --- # Exhibition Making Exhibition Making Index Exhibition IVIaking Making and organising exhibitions for others is essential in the lives of artists. Exhibition IVIaking is a collaborative practice: organising solo and group shows, first at Silicon IVIalley, then at DOC! and LUMA Arles. 2026 Hans Ulrich Obrist Archives: Maria Lassnig Living with art stops one wilting! LUMA Westbau Hans Ulrich Obrist Archives Chapter 6: Zaha Hadid I Think There Should Be No End to Experimentation LUMA Arles 2025 Hans Ulrich Obrist Archives: Gustav Metzger All of Us Together LUMA Westbau Hans Ulrich Obrist Archives Chapter 5: Maria Lassnig Living with art stops one wilting! LUMA Arles They Hover over Me Lauren Coullard DOC! 2024 Hans Ulrich Obrist Archives: Agnès Varda A day without seeing a tree is a waste of a day LUMA Westbau Hans Ulrich Obrist Archives Chapter 4: Gustav Metzger All of Us Together LUMA Arles 2023 Hans Ulrich Obrist Archives Chapter 3: Agnès Varda A day without seeing a tree is a waste of a day LUMA Arles Hans Ulrich Obrist Archives: Édouard Glissant Where all the world’s imaginations can meet and hear one another LUMA Westbau 2022 Hans Ulrich Obrist Archives Chapter 2: Etel Adnan The world needs togetherness, not separation. Love, not suspicion. A common future, not isolation. LUMA Arles 2021 Hans Ulrich Obrist Archives Chapter 1: Édouard Glissant Where all the world’s imaginations can meet and hear one another LUMA Arles 2020 DEMANDS & SUPPLIES Matthieu Laurette Silicon IVIalley 2018 On Italian Museography... EPFL Studio Master I Silicon IVIalley Fondation Vincent van Gogh Arles Pierre Joseph DOC! Ending Explained ECAL Master of Arts HES-SO in Fine Arts DOC! Tournures Grichka Commaret, Kim Farkas DOC! 2017 Road Rage Christophe Lemaitre DOC! La Nuit juste avant les forêts DOC! BREAK (FEAST) Lauren Coullard Silicon IVIalley So Leggere Francesco Cagnin DOC! free time Demelza Watts Silicon IVIalley 2016 Guitars Francis Baudevin DOC! Cluster César Chevalier & Noémie Vulpian Silicon IVIalley Rob a Robe DOC! Suite Nicolas Degrange Silicon IVIalley 2015 1 Robin Lebey Silicon IVIalley Guitare, Tanpura & Tabla électronique Myriam Stamoulis Silicon IVIalley CCI Silicon IVIalley Exhibition Making LUMA Westbau Hans Ulrich Obrist Archives Chapter 5 Maria Lassnig Hans Ulrich Obrist Archives: Maria Lassnig Living with art stops one wilting! Apogee Graphics ( Laura Owens & Asha Schechter ) Herbert Brandl Alice Dos Reis Sheela Gowda Camille Henrot Dozie Kanu Liz Larner Maria Lassnig Renée Levi Matthew Lutz-Kinoy Mark Manders Paul McCarthy Alois Mosbacher Jill Mulleady Precious Okoyomon Hans Werner Poschauko Amy Sillman Pol Taburet Philipp Timischl Maja Vukoje 13.06—20.12.2026 Artistic direction by Vassilis Oikonomopoulos (Artistic Director, LUMA Arles) Co-curated by Hans Ulrich Obrist (Artistic Director, Serpentine, London, and Senior Advisor, LUMA Arles) and Arthur Fouray (Curator and Archivist, LUMA Arles) With thanks to the Maria Lassnig Foundation for their generous support and collaboration LUMA Westbau Schwarzescafé Zurich, Switzerland https://westbau.com/en/program/maria-lassnig Photographs: Gina Folly ‘Living with art stops one wilting!’ Maria Lassnig , January 2014 LUMA Westbau presents the next chapter of the Hans Ulrich Obrist Archives, focusing on the pioneering Austrian artist Maria Lassnig (1919–2014). Born in rural Southern Austria, Lassnig pursued a 70-year career across painting, drawing, and animated film. Building on the profound connection shared by Lassnig and curator Hans Ulrich Obrist , this presentation deepens the contextual understanding of the artist’s groundbreaking oeuvre, which has shaped the history of modern and contemporary art through the concept of ‘Body Awareness’ and its feminist engagement. In Lassnig ’s earlier work, Expressionist and Surrealist influences were strongest, followed by Art Informel and Nouvelle Figuration, developments which shaped Lassnig ’s approach, rooted in drawings and paintings driven by sensations from inside the body rather than outward appearance. Her colours vibrate, and figures seem to spring from an understanding of ‘the micro-world of the millions of neurons’, where no camera can penetrate. Celebrated as one of Austria’s most significant painters since Egon Schiele and Oskar Kokoschka , Lassnig has been the subject of over one hundred books and, among others, she inspired a critically acclaimed biographical film Sleeping with a Tiger , premiered at the Berlinale in 2024, and a theatre play, Alte Meisterin. Lassnig/Beresin/Bitzan (2024). A towering figure of post-war art, she remains a vital reference for the evolution of European painting. Obrist discovered Lassnig ’s work as a child, when he acquired a postcard of one of her paintings and tucked it into his self-made ‘shoebox museum’. In 1986, at seventeen, he boarded a night train to Austria, where he first encountered Lassnig at her Maxingstrasse studio in Vienna. At the time, she taught painting and animated film at the University of Applied Arts. Lassnig introduced Obrist to the work of Austrian poet Friederike Mayröcker , prompting his exploration of Mayröcker ’s writing. Years later, concerned that Obrist might be left adrift whenever he returned to Vienna in her absence, Lassnig connected him directly with Mayröcker , who became a close friend until her passing in 2021. From 1993 until 2014, Lassnig and Obrist maintained a steady exchange of letters and frequently met in her Vienna studio. In 1993, when Kasper König invited Obrist to co-organise The Broken Mirror exhibition for the Wiener Festwochen [Vienna Festival], Lassnig ’s paintings and the film The Ballad of Maria Lassnig (1992) emerged at the opening as a central element of that landmark painting survey. In 2000, Obrist helped Lassnig publish a selection of her own writings spanning from the 1940s to 1997, revealing the depths of her artistic doubts and the evolution of her distinct Body Awareness practice. Although Lassnig was famously reluctant about formal interviews, she granted Obrist permission to film her in 1999, initiating numerous recorded conversations until 2012. Subsequently, in 2005, he collaborated with Daniel Birnbaum and Akiko Miyake on selecting Lassnig for the Safety Curtain project by museum in progress at the Vienna State Opera, a reproduction of her oil painting Frühstück mit Ohr [ Breakfast with Ear , 1967]. When Obrist joined the Serpentine in London, he co-curated with Julia Peyton-Jones an ambitious show of Lassnig in 2008 at the Serpentine Gallery, supported by Maja Hoffmann . A decade later, in 2017, Obrist curated a posthumous exhibition in Athens, conceived with Maria Lassnig and centred on her passion for Greek mythology, guided by a poetic title by Friederike Mayröcker : The Future is Invented with Fragments from the Past . Since her death, Obrist has remained close to the Maria Lassnig Foundation, serving briefly on its advisory board and participating in the jury of the Maria Lassnig Prize, envisioned by Lassnig before her passing to encourage artists not yet familiar to the public. LUMA Westbau presents, for the first time, the complete video interviews between Lassnig and Obrist , accompanied by their extensive correspondence in chronological order. Featured works include selected watercolours presented in Athens, alongside the biographical film The Ballad of Maria Lassnig (1992) and the animated film Selfportrait (1971), which reveals her pioneering experiments in animation in the 1970s New York feminist art scene. Echoing ‘Living with art stops one wilting!’, a sentence she wrote to Hans Ulrich Obrist in her last and unfinished letter on 11 January 2014, this show honours the vibrant legacy of a painter whose interior visions continue to reverberate across our bodies and souls. The presentation is built around two sections. Animation Films follows Lassnig ’s decision, on arriving in New York, to ‘paint sensuality, but this time with the camera’: at fifty-one she enrolled on a 1971 animation course at the School of Visual Arts, and, with the commercial studios closed to her — ‘they only hired nephews and nieces’ — she worked with second-hand cameras and a telephone-cable spool for a work table, making personal experimental films on her own terms. The Future is Invented with Fragments from the Past & Greek Mythology returns to the 2017 exhibition at the Municipal Gallery of Athens, conceived in dialogue with documenta 14’s ‘Learning from Athens’ and curated by Obrist with Peter Pakesch and Denys Zacharopoulos : nearly forty works from the 1960s to the 2010s, among them twenty-two works on paper. A frequent visitor to Greece in the 1980s and 1990s, Lassnig drew on the Aegean and on myth in paintings such as Aeolus erzürnt (1982), Die Weissagerin (1983) and Meeresnymphe (1985). Acknowledgements Hans Ulrich Obrist and Arthur Fouray wish to thank Maja Hoffmann for her vision and passion for archives, and extend their gratitude to Vassilis Oikonomopoulos , Anna von Brühl , Friedrich von Brühl , Mustapha Bouhayati , Christophe Danzin , Matthieu Humery , and the LUMA Dream Team. First and foremost, a heartfelt thank you goes to Peter Pakesch , Chairman of the Board of the Maria Lassnig Foundation, as well as to the board members: Georg Geyer , Matthias Mühling , Katrin Plavčak and Nina Zimmer ; to the Foundation team: Johanna Ortner , Elisabeth Kampfhofer , Marlene Himmer , Hoai Huong Le , and Michael Dobnig ; as well as the artists who participated in the exhibition: Apogee Graphics ( Laura Owens and Asha Schechter ), Herbert Brandl , Alice Dos Reis , Sheela Gowda , Camille Henrot , Dozie Kanu , Liz Larner , Renée Levi , Matthew Lutz-Kinoy , Mark Manders , Paul McCarthy , Alois Mosbacher , Jill Mulleady , Precious Okoyomon , Hans Werner Poschauko , Pol Taburet , Philipp Timischl , Amy Sillman , and Maja Vukoje . Our special thanks go to Vincent Teuscher , Pascal Häusermann , and to the LUMA Westbau team, Nico Canzoniere , Michael Lydorf , Petra Palm , Ilaria Dousse . Many thanks also to Max Shackleton , Producer, and Lorraine Two Testro , Head of Operations and Planning for Hans Ulrich Obrist ; to Sintagma, and in particular Ana Beatriz Gonçalves , Rosário Valadas Vieira and Renato Barcelos , for the subtitling of archival videos; to Jesus Plaëttner , for the mastering and audio restoration of archival videos; videocompany, for the audiovisual set-up; Kreativ WerbeTechnik GmbH for the prints, signage and label elements; and finally, to all those who have participated in the development of the exhibition, including Claire Charrier , Barbara Blanc , Julie Boukobza , Elif Külozü . Index Exhibition Making LUMA Arles Hans Ulrich Obrist Archives Chapter 6 Zaha Hadid Hans Ulrich Obrist Archives Chapter 6: Zaha Hadid I Think There Should Be No End to Experimentation Iwan Baan Hélène Binet Stefano Boeri Peter Cook Michael Craig-Martin Simone Fattal Lina Ghotmeh Zaha Hadid Susan Hefuna Koo Jeong A Mehdi Moutashar Hashim Sarkis Rirkrit Tiravanija Sumayya Vally Francesco Vezzoli Madelon Vriesendorp & Shumon Basar 01.05.2026—31.03.2027 Artistic direction by Vassilis Oikonomopoulos (Artistic Director, LUMA Arles) Co-curated by Hans Ulrich Obrist (Senior Advisor), Arthur Fouray (Curator and Archivist) in close collaboration with the Zaha Hadid Foundation With the assistance of Lucas Jacques-Witz (Assistant Curator & Archivist) LUMA Arles Living Archives Programme Arles, France https://luma.org/en/arles/whats-on/archives-zaha-hadid Photographs: Victor & Simon , Grégoire d’Ablon ‘I think there should be no end to experimentation’ Zaha Hadid , 2013 The sixth chapter of the Hans Ulrich Obrist Archives marks the tenth anniversary of Dame Zaha Hadid ’s passing (b. 31.10.1950, Baghdad, Iraq – d. 31.03.2016, Miami, Florida). It honours a visionary architect who alters the horizon of contemporary architecture by using abstract painting as a method of spatial invention. Born into a liberal, secular Iraqi family, Hadid studies mathematics at the American University of Beirut before relocating to London to attend the Architectural Association (AA) in 1972. There, in the orbit of Rem Koolhaas and Elia Zenghelis , she explores the aborted, unrealised, or insufficiently tested experiments of Modernism and the Russian avant-garde, adopting drawing and abstract painting as investigative structures. Through axonometric projection, multi-perspectival viewpoints, calligraphic line, and acrylic layering, she pushes architecture beyond the inertia of Euclidean geometry long before advanced software can help coordinate such complexity. This exhibition revisits the long conversation between the curator and the legendary architect, which begins in the late 1990s when Obrist invites Hadid to realise Meshworks within the cycle La Ville, le Jardin, la Mémoire [ The City, the Garden, the Memory ] at the Villa Medici in 2000. Across encounters in London, Basel, Munich, and Paris in the early 2000s, that exchange becomes a sustained inquiry into the city, the museum, and the unfinished horizon of twenty-first-century urbanism. Hadid serves as a trustee of the Serpentine from 1996, and she designs its inaugural Pavilion in 2000 upon the invitation of Julia Peyton-Jones . Following Obrist ’s appointment at the Serpentine in 2006, she participates in several of its Marathons, returns with her Lilas installation, inaugurated during the 2007 Summer Party, and later completes the Serpentine North Gallery and The Magazine, its restaurant (2009–2013). After nearly two decades at the AA, Hadid finds in the Serpentine a new platform for public experimentation. This long engagement is central to understanding her public life, since it is one of the places where architecture, exhibition-making, and theoretical discourse most clearly converge in her practice. Among the many awards and honours she receives for expanding the disciplinary language of architecture, from becoming the first woman to win the Pritzker Architecture Prize in 2004 to the Stirling Prize in 2010 and 2011, being made a Dame Commander of the Order of the British Empire in 2012, and the RIBA Royal Gold Medal in 2016, Hadid ’s double consecration across the architectural and museum worlds is equally striking. Her projects, installations, paintings, and drawings are the subject of major retrospectives during her lifetime at institutions such as SFMOMA in San Francisco in 1998, MAK in Vienna in 2003, the Solomon R. Guggenheim Museum in New York in 2006, and the State Hermitage Museum in St Petersburg in 2015. Long before these honours and retrospectives, Hadid spends much of her early career earning a reputation as a paper architect, using the canvas as a laboratory in which architecture tests forms, movements, and worlds it does not yet know how to construct. For the first time since the Serpentine’s posthumous exhibition Zaha Hadid: Early Paintings and Drawings in 2016, this landmark LUMA Arles exhibition brings together her early calligraphic paintings and notebooks – exercises in Suprematist geometry that inform her built projects, from her first completed building, the Vitra Fire Station in Weil am Rhein (1988–1993) to the CMA CGM Tower (2004–2011) in Marseille and Pierresvives (2002–2012) in Montpellier. Presented in The Tower in the Parc des Ateliers, designed by the late Frank Gehry , a close friend of Hadid ’s, the show spans three interconnected chapters of her career as an architect: from Constructivism to her early projects and reception in the French context, to her longstanding relationship with Obrist . Through paintings, drawings, archival material, hours of previously unseen video interviews from 2001 to 2013, and posters realised by her peers and admirers, the exhibition reveals the full scale of a practice that moved with equal intensity between architecture, art, publication, and discourse, presenting Hadid not just as a builder of monuments, but as a restless philosopher of space. From the postcards of his childhood to the artists’ editions of the World Soup [ The Kitchen Show ] catalogue, and the artists’ postcards of Hotel Carlton Palace: Chambre 763 in 1993, to the projects do it (1993–), Take Me (I’m Yours) (1995–), to the artists’ posters of Utopia Station in 2003 and the artists’ posters of the IT’S URGENT project, conceived with Maja Hoffmann and produced by LUMA between 2019 and 2020, Hans Ulrich Obrist has consistently sought to invite artists to express themselves through media dedicated to sharing. Following the previous tributes from artists and thinkers to Édouard Glissant , Agnès Varda , Gustav Metzger and Maria Lassnig included in the exhibitions of Hans Ulrich Obrist Archives at LUMA Arles since 2021 and LUMA Westbau since 2023, the sixth chapter dedicated to Hadid presents homages from contemporary artists and architects. Acknowledgements Hans Ulrich Obrist and Arthur Fouray wish to thank Maja Hoffmann for her vision and passion for archives; and extend their gratitude to Vassilis Oikonomopoulos , Mustapha Bouhayati , Matthieu Humery , Christophe Danzin , Anna von Brühl , Friedrich von Brühl and the LUMA Dream Team. First and foremost, a heartfelt thank you goes to the Zaha Hadid Foundation ; its Board of Trustees: Rana Hadid , Tala Hadid and Hanif Mohamed Kara OBE ; to Aric Chen and the entire Zaha Hadid Foundation team, Helen Merrett , Jihane Dyer , Lydia Powell , Serena Lawrance , Phil Sofer , Olga Tenisheva , Ajeng Hendriati , Jen Hicks , Catherine Howe , Francesco Fiammenghi and Charlotte Allan . We also extend our gratitude to the artists who created posters for the exhibition: Iwan Baan , Shumon Basar and Madelon Vriesendorp , Hélène Binet , Stefano Boeri , Peter Cook , Michael Craig-Martin , Simone Fattal , Lina Ghotmeh , Susan Hefuna , Koo Jeong A , Mehdi Moutashar , Hashim Sarkis , Rirkrit Tiravanija , Sumayya Vally and Francesco Vezzoli . Our special thanks go to Luz Gyalui and the LUMA Arles production team, especially Giulia Facchini , Laura Majan , Camille Lim Koun , Jihye Kim , Laure Breton , François Mallinjod , Milo Penel and Éric Pourcel ; to Lucas Jacques-Witz ; to Amélie Busi and the LUMA Arles communication team, including Christine Denamur and Maria Luisa Rojano , for the realisation of the exhibition poster and the signage; to Luana Terrasse for coordination; to Aude Ramanana-Rahary for the printing supervision; and to Eva Moudar for the press relations; finally to Guillaume Ducongé and the visitor services teams, the reception with Ornella Bagarelli , Vincent Barthelemy , Mathilde Carayon , Audrey Godart , Zaccharie Martin and Maria Russo ; the ticketing with Asmae Boujaada and Chloé Genre-Grandpierre ; and the mediation with Louise Rolland , Dominique Nicolazo de Barmon , Louna Goupil , Clara Yatim , Taïna Diaz and Tsoliné Sukiasyan . Many thanks also to Max Shackleton , Producer, and Lorraine Two Testro , Head of Operations and Planning for Hans Ulrich Obrist ; to the Serpentine Galleries team, and in particular to Jamie Kodera and Rhiannon Stanford ; to the HENI team, the DLD team, to Pendragon Frames for framing; to Constantine Limited and André Chenue for the transport; to Sintagma, and in particular Ana Beatriz Gonçalves , Rosário Valadas Vieira , Margarida Veiga and Rita Freitas , for the subtitling of archival videos; to Jesus Plaëttner for the mastering and audio restoration of archival videos; to Thibault Verdon and the iDzia team for the audiovisual setup; to Gilles Pennegaggi , Jérôme Greboval and all the exhibition installation teams and particularly to Quentin Carrierre and Lexane Laplace ; to Florence Cuschieri and Laurie Dall’Ava for the condition reports; to Séries for the painting, to Amplitude Graphique for the wallpaper installation; to Acoplast for the signage and label elements; and, finally, to all those who have participated in the development of the exhibition, including Claire Charrier , Barbara Blanc , Julie Boukobza , Guillaume Ducongé , Louna Goupil , Elif Külozü , Florence Le Mouel , Sarah Lustman , Caroline Monti , Dominique Nicolazo de Barmon , Roxane Perineau , Louise Poisson , Louise Rolland and Clara Yatim . Press Hans Ulrich Obrist , 2026 — HENI News, News profile, updated 15 June 2026 — heni.com · PDF Sofia Lekka Angelopoulou, Major exhibition of rare paintings and archives honors Zaha Hadid ten years after her passing , 2026 — designboom, Article, 25 May 2026 — designboom.com · PDF Mara Ellison, Zaha Hadid Exhibition at LUMA Arles Celebrates Her Early Artistic Process , 2026 — Paionia7, Article, 25 May 2026 — paionia7.com · PDF FORMA Editorial, Zaha Hadid Paintings at LUMA Arles 2026 , 2026 — FORMA, Article, 14 May 2026 — formamagazine.today · PDF Giuseppe Fantasia, Zaha Hadid without the rhetoric of the global superstar , 2026 — Il Sole 24 Ore, Review, 19 May 2026 — en.ilsole24ore.com · PDF Ilaria Bonvicini, There is a major exhibition dedicated to Zaha Hadid, but it’s not the one you’re thinking of , 2026 — Domus, Review, 12 May 2026 — domusweb.it · PDF Italian edition: C’è una grande mostra dedicata a Zaha Hadid, ma non è quella che immagini — domusweb.it · PDF Index Exhibition Making LUMA Westbau Hans Ulrich Obrist Archives Chapter 4 Gustav Metzger Hans Ulrich Obrist Archives: Gustav Metzger All of Us Together Marina Abramović Maria Thereza Alves John Armleder Bianca Bondi Judy Chicago Abraham Cruzvillegas Minerva Cuevas Mimosa Echard Cerith Wyn Evans Liam Gillick The Institute of Queer Ecology Joan Jonas Koo Jeong A Jean-Jacques Lebel London Fieldworks ( Bruce Gilchrist & Jo Joelson ) Paul McCarthy Gustav Metzger Yoko Ono Cornelia Parker Benoît Piéron Pedro Reyes IX Shells Martine Syms Diana Thater Rirkrit Tiravanija Natsuko Uchino 13.06—07.09.2025 Co-curated by Hans Ulrich Obrist and Arthur Fouray , in close collaboration with the Gustav Metzger Foundation LUMA Westbau Schwarzescafé Zurich, Switzerland https://westbau.com/en/program/hans-ulrich-obrist-archive-gustav-metzger Photographs: Gina Folly ‘All of Us Together’ Gustav Metzger , October 2014 LUMA Westbau presents the fourth chapter of the Hans Ulrich Obrist Archives, an exploration of the work of Gustav Metzger (born 10 April 1926 in Nuremberg, passed away on 1 March 2017 in London), an essential figure for ecology and activism in the arts, and his first institutional exhibition in Switzerland in two decades. Drawing upon a two-decade-long friendship between Metzger and Obrist , the exhibition unfolds over two levels, providing both an immersion into never-before-seen archives and a panorama of the artist’s most iconic works, the pertinence of which is ever more urgent. During their first studio visit in 1991 in Glasgow, Douglas Gordon drew Hans Ulrich Obrist ’s attention to the works of Gustav Metzger and John Latham , both pioneers and indispensable inspirations for a then-emerging generation of artists in the United Kingdom. After consulting Norman Rosenthal ’s catalogue of Art Into Society – Society Into Art (1974), which featured his contribution, a statement calling for Years without Art (1977–1980), Obrist attempted to reach Metzger by all available means. He would find himself waiting until Metzger , one day, came to the Serpentine Gallery to see him and Julia Peyton-Jones during the first iteration of the exhibition Take Me (I’m Yours) in 1995. After Metzger ’s Historic Photographs were featured in Damaged Nature: Two New Works and Documents in 1995 at the independent space workfortheeyetodo in London, Suzanne Pagé , Laurence Bossé and Hans Ulrich Obrist added these works to life/live: la scène artistique au Royaume-Uni en 1996, de nouvelles aventures [ life/live: the artistic scene in the United Kingdom in 1996, new adventures , 1996], at the ARC – Musée d’Art Moderne de la Ville de Paris. Their first recorded conversation took place in 1997 at the legendary Café Cosmo, a sanctuary for political exiles during the conflicts of the 20th century in London. Their dialogue continuously unveiled Metzger ’s commitment and activist principles. In 1999, Barbara Vanderlinden and Obrist involved him in the project inspired by Bruno Latour , Laboratorium , integrating scientists and artists at the Provinciaal Fotografie Museum in Antwerp. There, Metzger reactivated the work Drop on Hotplate (1968/2024), a basic everyday hotplate elevated to chest height on a metal base, onto which a drop of water is slowly released, causing a spontaneous and random reaction in response to the heat. Their bond intensified when Hans Ulrich Obrist settled in London. Metzger was a key participant in the Serpentine’s first marathon, the Interview Marathon (2006), conceived with Rem Koolhaas . Cultivating mystery, Metzger used red telephone boxes as his means of communication. Consequently, the Serpentine somewhat became his post office box during his retrospective Decades: 1959–2009 in 2009. He later co-curated there the Extinction Marathon: Visions for the Future in 2014. The sentence ‘All of us together’, the title of this exhibition, was composed in 2014 for Hans Ulrich Obrist ’s Handwriting Project. It is part of a collection of notes titled Extinction Handwritings by Metzger . The exhibition compiles the questions Metzger provoked during his life and career, manifested in the presentation of archival material through around ten hours of interviews, handwritten and printed documents, alongside personal notes and other ephemera. The archival presentation complements an in-depth exhibition that brings together works such as Liquid Crystal Environment (1965/2025), Drop on Hotplate (1968/2024) and key pieces from the Historic Photographs series. Posters created in tribute to Metzger highlight the significance of his work and its importance in confronting the crises of today and tomorrow. From the postcards of his childhood to the artists’ editions of the World Soup [ The Kitchen Show ] catalogue, the artists’ postcards of Hotel Carlton Palace: Chambre 763 in 1993, the Do It project (1993–), Take Me (I’m Yours) (1995–), to the artists’ posters of Utopia Station in 2003 and the artists’ posters of the IT’S URGENT project produced by LUMA between 2019 and 2020. Following the previous tributes from artists to Édouard Glissant and Agnès Varda included in the exhibitions of Hans Ulrich Obrist Archives at LUMA Arles and LUMA Westbau (2021–2024), the fourth chapter dedicated to Metzger presents homages by Marina Abramović , Maria Thereza Alves , John Armleder , Bianca Bondi , Judy Chicago , Abraham Cruzvillegas , Minerva Cuevas , Mimosa Echard , Cerith Wyn Evans , Liam Gillick , Joan Jonas , Koo Jeong A , Jean-Jacques Lebel , London Fieldworks ( Bruce Gilchrist and Jo Joelson ), Paul McCarthy , Yoko Ono , Cornelia Parker , Benoît Piéron , Pedro Reyes , IX Shells , Martine Syms , Diana Thater , Rirkrit Tiravanija , The Institute of Queer Ecology , and Natsuko Uchino . Index Exhibition Making LUMA Arles Hans Ulrich Obrist Archives Chapter 5 Maria Lassnig Hans Ulrich Obrist Archives Chapter 5: Maria Lassnig Living with art stops one wilting! Apogee Graphics ( Laura Owens & Asha Schechter ) Herbert Brandl Alice Dos Reis Sheela Gowda Camille Henrot Dozie Kanu Liz Larner Maria Lassnig Renée Levi Matthew Lutz-Kinoy Mark Manders Paul McCarthy Alois Mosbacher Jill Mulleady Precious Okoyomon Hans Werner Poschauko Amy Sillman Pol Taburet Philipp Timischl Maja Vukoje 01.05.2025—05.04.2026 Co-curated by Hans Ulrich Obrist (Senior Advisor), Arthur Fouray (Curator and Archivist) in close collaboration with the Maria Lassnig Foundation With the assistance of Lucas Jacques-Witz (Archivist Assistant) LUMA Arles Living Archives Programme Arles, France https://luma.org/en/arles/whats-on/maria-lassnig Photographs: Victor & Simon , Grégoire d’Ablon ‘Living with art stops one wilting!’ Maria Lassnig , January 2014 For the fifth chapter of the Hans Ulrich Obrist Archives, LUMA Arles presents the first major exhibition in over twenty-five years in France devoted to Maria Lassnig (1919–2014). Born in rural Southern Austria in 1919, Lassnig pursued a 70-year career in the fields of painting, drawing and (animated) film. Building on the profound connection shared by Lassnig and curator Hans Ulrich Obrist , this presentation renews French audiences’ engagement with the artist’s groundbreaking oeuvre, which has shaped the history of modern and contemporary art through the concept of ‘Body Awareness’ and its feminist engagement. Her last solo exhibition in France was in 1999 in Nantes, held at the Musée des Beaux-Arts de Nantes and the Fonds Régional d’Art Contemporain des Pays de la Loire. In Lassnig ’s earlier work, expressionist and Surrealist influences were strongest, followed by Art Informel and Nouvelle Figuration, developments that shaped Lassnig ’s approach rooted in drawings and paintings driven by sensations from inside the body rather than outward appearance. Her colours vibrate, and figures seem to spring from an understanding of ‘the micro-world of the millions of neurons’, where no camera can penetrate. Celebrated as one of Austria’s most significant painters since Egon Schiele and Oskar Kokoschka , Lassnig has been the subject of over one hundred books, and, among others, she inspired a critically acclaimed biographical film, Sleeping with a Tiger , premiered at the Berlinale in 2024, and a theatre play, Alte Meisterin. Lassnig/Beresin/Bitzan (2024). A towering figure of post-war art, she remains a vital reference for the evolution of European painting. Obrist discovered Lassnig ’s work as a child, when he acquired a postcard of one of her paintings and tucked it into his home-made ‘shoebox museum’. In 1986, at seventeen, he boarded a night train to Austria, where he first encountered Lassnig at her Maxingstrasse studio in Vienna. At the time, she taught painting and animated film at the University of Applied Arts. Lassnig introduced Obrist to the work of Austrian poet Friederike Mayröcker , prompting his exploration of Mayröcker ’s writing. Years later, concerned that Obrist might be left adrift whenever he returned to Vienna in her absence, Lassnig connected him directly with Mayröcker , who became a close friend until her passing in 2021. From 1993 until 2014, Lassnig and Obrist maintained a steady exchange of letters and frequently met in her Vienna studio. In 1993, when Kasper König invited Obrist to co-organise The Broken Mirror exhibition for the Wiener Festwochen [Vienna Festival], Lassnig ’s paintings and the film The Ballad of Maria Lassnig (1992), at the opening, emerged as a central element of that landmark painting survey. In 2000, Obrist helped Lassnig publish diaries spanning from the 1940s to 1997, revealing the depths of her artistic doubts and the evolution of her distinct Body Awareness practice. Although Lassnig was famously reluctant about formal interviews, she granted Obrist permission to film her in 1999, initiating numerous recorded conversations until 2012. Subsequently, in 2005, he collaborated with Daniel Birnbaum and Akiko Miyake on selecting Lassnig for the Safety Curtain project by museum in progress at the Vienna State Opera, a reproduction of her oil painting Frühstück mit Ohr , 1967. When Obrist joined the Serpentine in London, he mounted with Julia Peyton-Jones an ambitious show of Lassnig in 2008 at the Serpentine Gallery, supported by Maja Hoffmann . A decade later, in 2017, Obrist finalised in Athens a posthumous exhibition conceived with Maria Lassnig , centred on her passion for Greek mythology and guided by a poetic title from Friederike Mayröcker : The Future Is Invented with Fragments from the Past . Since her death, Obrist has remained close to the Maria Lassnig Foundation, serving briefly on its advisory board (since 2016) and participating in the jury of the Maria Lassnig Prize, envisioned by Lassnig before her passing to encourage artists not yet familiar to the public. For the first time in one setting, this exhibition at LUMA Arles brings together the complete video interviews between Lassnig and Obrist , accompanied by their extensive correspondence in chronological order. Among the featured works are selected paintings from The Broken Mirror and the Serpentine Gallery shows, the Vienna State Opera project, as well as paintings and watercolours presented in Athens. Alongside the biographical Ballad of Maria Lassnig , the film Selfportrait (1971) reveals her pioneering experiments in animation in the 1970s New York feminist art scene. Notably, two paintings by Lassnig were last shown in France in the 2023 exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940–1970 at Fondation Vincent van Gogh Arles, a nod to her own admiration for Van Gogh , whom she once described as an ‘expressionist god’ in a 2008 interview with Obrist . Echoing ‘Living with art stops one wilting!’, a sentence she wrote to Hans Ulrich Obrist in her last and unfinished letter on 11 January 2014, this show honours the vibrant legacy of a painter whose interior visions continue to reverberate across our bodies and souls. From the postcards of his childhood to the artists’ editions of the World Soup [ The Kitchen Show ] catalogue, and the artists’ postcards of Hotel Carlton Palace: Chambre 763 in 1993, to the projects Do It (1993–), Take Me (I’m Yours) (1995–), to the artists’ posters of Utopia Station in 2003 and the artists’ posters of the IT’S URGENT project conceived with Maja Hoffmann and produced by LUMA between 2019 and 2020, Hans Ulrich Obrist has consistently sought to invite artists to express themselves through mediums dedicated to sharing. Following the previous tributes from artists to Édouard Glissant , Agnès Varda and Gustav Metzger included in the exhibitions of Hans Ulrich Obrist Archives at LUMA Arles and LUMA Westbau (2021–2024), the fifth chapter dedicated to Lassnig presents homages from contemporary artists and designers. Acknowledgements Hans Ulrich Obrist and Arthur Fouray wish to thank Maja Hoffmann for her vision and passion for archives; and extend their gratitude to Vassilis Oikonomopoulos , Mustapha Bouhayati , Matthieu Humery , Christophe Danzin , Simon Castets , Anna von Brühl , Friedrich von Brühl and the LUMA Dream Team. First and foremost, a heartfelt thank you goes to Peter Pakesch , Chairman of the Board of the Maria Lassnig Foundation, as well as to the board members: Hans Werner Poschauko , Georg Geyer , Matthias Mühling , and Nina Zimmer ; to the Foundation team: Johanna Ortner , Elisabeth Kampfhofer , Marlene Himmer , Hoai Huong Le , and Michael Dobnig ; as well as the artists who participated in the exhibition: Apogee Graphics ( Laura Owens and Asha Schechter ), Herbert Brandl , Alice Dos Reis , Sheela Gowda , Camille Henrot , Dozie Kanu , Liz Larner , Renée Levi , Matthew Lutz-Kinoy , Mark Manders , Paul McCarthy , Alois Mosbacher , Jill Mulleady , Precious Okoyomon , Hans Werner Poschauko , Pol Taburet , Philipp Timischl , Amy Sillman , and Maja Vukoje . Our special thanks go to Lucas Jacques-Witz ; to Luz Gyalui and the LUMA Arles production team, especially Laure Breton , Juliette Kernin , Jihye Kim , Camille Lim Koun , Laura Majan , François Mallinjod and Nicolas Pène ; to Amélie Busi and the LUMA Arles communication team, Christine Denamur and Maria Luisa Rojano , for the realisation of the exhibition poster and the signage; to Luana Terrasse for coordination and Aude Ramanana-Rahary for the printing supervision. Many thanks also to Max Shackleton , Producer, and Lorraine Two Testro , Head of Operations and Planning for Hans Ulrich Obrist ; to the Serpentine team; to Melanie Nief and Atelier Walde (conservators for the Maria Lassnig Foundation), to Josef Mitter (framemaker), to hs art service austria (transport); to sixpackfilms and their team, to Jacqueline Kaess-Farquet and Olivier Martinaud ; to Sintagma, and in particular Ana Beatriz Gonçalves , Rosário Valadas Vieira , Margarida Veiga and Rita Freitas , for the subtitling of archival videos; to Jesus Plaëttner , for the mastering and audio restoration of archival videos; to Thibault Verdon and the IDzia team for the audiovisual set-up; Gilles Pennegaggi and all the exhibition installation teams; Florence Cuschieri and Laurie Dall’Ava for the condition reports; to Œil de Lynx for the wallpaper installation; Atelier SHL for the facsimile and framing, Acoplast for the signage and label elements; and finally, to all those who have participated in the development of the exhibition, including Claire Charrier , Barbara Blanc , Elif Külozü , Koo Jeong A , Adèle Koechlin , Manuella Vaney and Josh Willdigg . Press Johan-Frédérik Hel Guedj, À LUMA Arles, les pionniers de l’art et de l’innovation réunis , 2025 — L’Écho, Review, 10 June 2025 (print edition, p. 10) — lecho.be · PDF Johan-Frédérik Hel Guedj, Maria Lassnig, briser les tabous , 2025 — Le Quotidien de l’Art, Review, 10 June 2025; print edition no. 3067, 11 June 2025, p. 4 — lequotidiendelart.com · PDF Philippe Dagen, A Arles, Maria Lassnig, peintre de la liberté ironique , 2025 — Le Monde, Review, 11 September 2025, p. 23; online as “A LUMA Arles, (re)découvrir Maria Lassnig, peintre de la liberté ironique”, 13 September 2025 — lemonde.fr · PDF Hans Ulrich Obrist Archives Chapter 5: Maria Lassnig ‘Living with art stops one wilting!’ opens in Arles , 2025 — Artdaily, Announcement, 13 July 2025 — artdaily.com · PDF Stéphane Renault, Carrie Yamaoka lauréate du Prix Maria Lassnig 2025 , 2025 — The Art Newspaper (édition française), News, 23 June 2025 — artnewspaper.fr · PDF Stefan Trinks, Die Antike, animalisch wild , 2025 — Frankfurter Allgemeine Zeitung, Review, 22 June 2025 — faz.net · PDF LUMA : passé, présent, futur , 2025 — Arles Info, Print feature, Summer 2025, pp. 59–61 — PDF Et aussi… , 2025 — L’Œil, Print listing, “L’Œil des expositions — Régions”, June 2025, pp. 106–107 — PDF Michael Delgado, The avant-gardists who dragged art into the future , 2025 — Apollo Magazine, Season review, 16 May 2025 — apollo-magazine.com · PDF Amy Serafin, Technology, art and sculptures of fog: LUMA Arles kicks off the 2025/26 season , 2025 — Wallpaper*, Review, 10 May 2025 — wallpaper.com · PDF LUMA Arles / Exposition : Archives Hans Ulrich Obrist - Chapitre 5 : Maria Lassnig « Vivre avec l’art empêche de se faner ! » , 2025 — JDS, Listing (supplied by the Office de Tourisme d’Arles), online by 7 May 2025 — jds.fr · PDF Maria Lassnig : Vivre avec l’art empêche de se faner ! , 2025 — actu.art, Listing, online by 1 May 2025 — actu.art · PDF Maria Lassnig : Vivre avec l’art empêche de se faner ! , 2025 — Le Journal des Arts, Listing, online by 1 May 2025 — lejournaldesarts.fr · PDF LUMA Arles / Exposition Archives Hans Ulrich Obrist Chapitre 5 Maria Lassnig Vivre avec l’art empêche de se faner ! , 2025 — Unidivers, Listing, online by 30 April 2025 (page since removed) — PDF Luana De Micco, Al Luma Arles si balla con i demoni , 2025 — Il Giornale dell’Arte, Season review, 25 April 2025 — ilgiornaledellarte.com · PDF Pierre Aimar, Arles, Luma. Expos en mai 2025 , 2025 — Arts & Spectacles, Listing, 10 April 2025 — arts-spectacles.com · PDF ARLES De nouvelles expositions à la LUMA : les réalités réinventées , 2025 — Objectif Gard (now Objectif Sud), Season review, updated 25 March 2025 — objectifsud.fr · PDF Archives Hans Ulrich Obrist – Chapitre 5 : Maria Lassnig – Vivre avec l’art empêche de se faner ! , 2025 — Beaux Arts Magazine, Listing, undated (2025) — beauxarts.com · PDF Index Exhibition Making LUMA Arles Hans Ulrich Obrist Archives Chapter 4 Gustav Metzger Hans Ulrich Obrist Archives Chapter 4: Gustav Metzger All of Us Together Marina Abramović Maria Thereza Alves John Armleder Bianca Bondi Judy Chicago Abraham Cruzvillegas Minerva Cuevas Mimosa Echard Cerith Wyn Evans Liam Gillick The Institute of Queer Ecology Joan Jonas Koo Jeong A Jean-Jacques Lebel London Fieldworks ( Bruce Gilchrist &#x ## Images ![Making and Organising Exhibitions for Others is Essential in the Lives of Artists. - rt4a Exhibition Making Logo 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Fouray](https://freight.cargo.site/w/700/q/75/i/T1381512456192790792820418938283/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-087.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/R1381512456211237536894128489899/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-088.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/Q1381512456229684280967838041515/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-089.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/U1381512456248131025041547593131/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-090.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur 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Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/K1381512455823855911346227905963/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-067.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/Y1381512455842302655419937457579/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-068.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/K1381512455860749399493647009195/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-069.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/D1381512455879196143567356560811/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-070.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/X1381512454846178475439621670315/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-014.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/Z1381512455491814518019455976875/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-049.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/J1381512455510261262093165528491/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-050.png) ![Agnès Varda, Hans Ulrich Obrist Archives, LUMA Arles, Arthur Fouray](https://freight.cargo.site/w/700/q/75/i/S1381512455528708006166875080107/2023-Luma-Arles-Agnes-Varda-Hans-Ulrich-Obrist-Archive-Chapter-3-Copyright-Arthur-Fouray-png-web-051.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/2997/h/2000/q/75/i/J1381506187860027337798812960171/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-39.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/2997/h/2000/q/75/i/C1381506188026048034462198924715/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-48.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/F1381506187214391295218978653611/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-04.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/R1381506187232838039292688205227/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-05.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/F1381506187251284783366397756843/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-06.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/W1381506187269731527440107308459/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-07.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/T1381506187288178271513816860075/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-08.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/G1381506187325071759661235963307/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-10.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/I1381506187343518503734945514923/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-11.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/A1381506187361965247808655066539/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-12.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/L1381506187380411991882364618155/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-13.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/900/q/75/i/P1381506187417305480029783721387/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-15.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/800/q/75/i/P1381506187435752224103493273003/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-16.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/800/q/75/i/H1381506187454198968177202824619/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-17.png) ![Luma Westbau Edouard Glissant Hans Ulrich Obrist Archive Chapter Copyright Nelly Rodriguez Png Web](https://freight.cargo.site/w/800/q/75/i/X1381506187472645712250912376235/2023-Luma-Westbau-Edouard-Glissant-Hans-Ulrich-Obrist-Archive-Chapter-1-Copyright-Nelly-Rodriguez-png-web-18.png) ## Related pages - [Hans Ulrich Obrist Archives: Maria Lassnig Living with art stops one wilting!](https://arthurfouray.systems/exhibition-making-luma-westbau-hans-ulrich-obrist-archives-chapter-5-maria-lassnig) - [Hans Ulrich Obrist Archives Chapter 6: Zaha Hadid I Think There Should Be No End to Experimentation](https://arthurfouray.systems/exhibition-making-luma-arles-hans-ulrich-obrist-archives-chapter-6-zaha-hadid) - [Hans Ulrich Obrist Archives: Gustav Metzger All of Us Together](https://arthurfouray.systems/exhibition-making-luma-westbau-hans-ulrich-obrist-archives-chapter-4-gustav-metzger) - [Hans Ulrich Obrist Archives Chapter 5: Maria Lassnig Living with art stops one wilting!](https://arthurfouray.systems/exhibition-making-luma-arles-hans-ulrich-obrist-archives-chapter-5-maria-lassnig) - [Hans Ulrich Obrist Archives: Agnès Varda A day without seeing a tree is a waste of a day](https://arthurfouray.systems/exhibition-making-luma-arles-hans-ulrich-obrist-archives-chapter-3-agnes-varda) - [Hans Ulrich Obrist Archives Chapter 4: Gustav Metzger All of Us Together](https://arthurfouray.systems/exhibition-making-luma-arles-hans-ulrich-obrist-archives-chapter-4-gustav-metzger) - [Hans Ulrich Obrist Archives: Édouard Glissant Where all the world’s imaginations can meet and hear one another](https://arthurfouray.systems/exhibition-making-luma-westbau-hans-ulrich-obrist-archives-chapter-1-edouard-glissant) - [Hans Ulrich Obrist Archives Chapter 2: Etel Adnan The world needs togetherness, not separation. Love, not suspicion. A common future, not isolation.](https://arthurfouray.systems/exhibition-making-luma-arles-hans-ulrich-obrist-archives-chapter-2-etel-adnan) - [Hans Ulrich Obrist Archives Chapter 1: Édouard Glissant Where all the world’s imaginations can meet and hear one another](https://arthurfouray.systems/exhibition-making-luma-arles-hans-ulrich-obrist-archives-chapter-1-edouard-glissant) - [DEMANDS & SUPPLIES](https://arthurfouray.systems/exhibition-making-silicon-malley-matthieu-laurette-demands-supplies) - [On Italian Museography...](https://arthurfouray.systems/exhibition-making-silicon-malley-on-italian-museography) - [Fondation Vincent van Gogh Arles](https://arthurfouray.systems/exhibition-making-doc-pierre-joseph-fondation-vincent-van-gogh-arles) - [Ending Explained](https://arthurfouray.systems/exhibition-making-doc-ecal-ending-explained) - [Tournures](https://arthurfouray.systems/exhibition-making-doc-grichka-commaret-kim-farkas-tournures) - [Road Rage](https://arthurfouray.systems/exhibition-making-doc-christophe-lemaitre-road-rage) - [La Nuit juste avant les forêts](https://arthurfouray.systems/exhibition-making-doc-la-nuit-juste-avant-les-forets) - [BREAK (FEAST)](https://arthurfouray.systems/exhibition-making-silicon-malley-lauren-coullard-breakfeast) - [So Leggere](https://arthurfouray.systems/exhibition-making-doc-francesco-cagnin-so-leggere) - [free time](https://arthurfouray.systems/exhibition-making-silicon-malley-demelza-watts-free-time) - [Guitars](https://arthurfouray.systems/exhibition-making-doc-francis-baudevin-guitars) - [Cluster](https://arthurfouray.systems/exhibition-making-silicon-malley-cesar-chevalier-noemie-vulpian-cluster) - [Rob a Robe](https://arthurfouray.systems/exhibition-making-doc-rob-a-robe) - [Suite](https://arthurfouray.systems/exhibition-making-silicon-malley-nicolas-degrange-suite) - [1](https://arthurfouray.systems/exhibition-making-silicon-malley-robin-lebey-1) - [Guitare, Tanpura & Tabla électronique](https://arthurfouray.systems/exhibition-making-silicon-malley-myriam-stamoulis-guitare-tanpura-et-tabla-electronique) - [CCI](https://arthurfouray.systems/exhibition-making-silicon-malley-cci) - [Index](https://arthurfouray.systems/exhibition-making-index) - [Exhibition Making Overlay](https://arthurfouray.systems/exhibition-making-overlay) - [Exhibition Making DOC Lauren Coullard They Hover over Me](https://arthurfouray.systems/exhibition-making-doc-lauren-coullard-they-hover-over-me) ## Structured data ```json { "@context": "https://schema.org", "@graph": [ { "@type": "BreadcrumbList", "@id": "https://arthurfouray.systems/exhibition-making#breadcrumb", "itemListElement": [ { "@type": "ListItem", "position": 1, "name": "Arthur Fouray Systems", "item": "https://arthurfouray.systems/" }, { "@type": "ListItem", "position": 2, "name": "Exhibition Making", "item": "https://arthurfouray.systems/exhibition-making" } ] }, { "@type": "CollectionPage", "@id": "https://arthurfouray.systems/exhibition-making#webpage", "url": "https://arthurfouray.systems/exhibition-making", "name": "Exhibition Making", "description": "Exhibition Making, 2015–2026: shows Arthur Fouray organised and curated with the teams of Silicon Malley in Prilly, DOC! in Paris and LUMA Arles.", "inLanguage": "en", "isPartOf": { "@id": "https://arthurfouray.systems/#website" }, "breadcrumb": { "@id": "https://arthurfouray.systems/exhibition-making#breadcrumb" }, "primaryImageOfPage": { "@id": "https://arthurfouray.systems/exhibition-making#image" } }, { "@type": "ImageObject", "@id": "https://arthurfouray.systems/exhibition-making#image", "contentUrl": "https://freight.cargo.site/w/100/q/75/i/V1378492361635616514533352277419/rt4a-Exhibition-Making-2023-logo-bk.svg", "url": "https://freight.cargo.site/w/100/q/75/i/V1378492361635616514533352277419/rt4a-Exhibition-Making-2023-logo-bk.svg" } ] } ```