Centre Photographie Genève-Open March 10, 2021

All Books and some Prints
Richard Prince

At the end of the 1970s in New York City, a generation of artists, later known as « The Pictures Generation» – according to Douglas Crimp – including Richard Prince, along with Cindy Sherman (shown at CPG in 2012) or Sherrie Levine, use mixed media, such as photography and film, for purposes of criticism of mass-media images. Artists like Richard Prince and Sherrie Levine insist on reproducibility infinity of photography and question, at the same time, the effects of media images in the art market.

If Sherrie Levine with her series entitled After Walker Evans also questions the notion of authorship and gender by re-photographing emblematic photographs of modernity, the reproducibility of photography as put forward by Richard Prince, is associated with a bitter outlook directed at American pop-culture, going from commercials such as the Marlboro Cowboys, to underground fanzines and even pulp fiction covers, not to mention the Jokes and Cartoons series that he extracts from their contexts of magazines such as “The New Yorker” and “Playboy”.

Having profoundly influenced the thinking of contemporary photography, Richard Prince is also an obsessive collector of all kinds of consumer products mass, like Walker Evans and his taste for the vernacular. It is a great honor for the Centre de la photographie Genève, to present in a single exhibition all (more than 120) publications that the artist has been able to edit during his 50 years of artistic practice.

In addition to almost all of this editorial work, the CPG will also show 17 photographic works – including a « Cowboy » – that propelled the artist to the forefront in 1982 at Documenta in Cassel.

Having already released the first catalogue of Richard Prince’s publications (1981-2014), Christophe Daviet-Thery – co-curator for the exhibition All Books and Some Prints that the CPG will present from March 10th to May 2nd, 2021 – will also direct the second volume of the catalogue of publications, which will be edited by Editions Centre de la photographie Genève.

The Centre de la photographie Genève is very thankful to Ellen + Michael Ringier, Switzerland, for their generous support and the loan of Richard Prince’s photographic works, as well as Blondeau & Cie, Switzerland.

Fore more information: daviet-thery@wanadoo.fr/ instagram : bookadviser

www. centrephotogeneve

Art-o-Rama – Marseille- August 28-September 13.2020

Art-o-Rama – 28 Aug- 13 september 2020



Peter Downsbrough, Stefan Brüggeman

What is an artwork ?

It is an idea,its pronouncement or its fulfillment ?

In favor of this virtual edition of Art-o-Rama, the artwork’s materiality is questionned, as well as its accessibility and the viewer’s participtation.

Therefor, the selection articulates around a piece consisting in an instruction that restarts endlessy.

Materiality is simply displaced.




Stefan Brüggeman

(show title #0144 by Stefan Brüggeman)*

* Showtitles is an ongoing work by Stefan Brüggemann of titles for exhibitions. They may be used freely by others. There is no need for any authorization, but their use must be credited to Stefan Brüggemann (show title, #XXXX by Stefan Brüggemann) on the back of the invitation. Please send a copy of the invitation card and any printed material to the address specified on the website www.showtitles.com


Peter Downsbrough

Two Lines, a Piece for Tape (1994)

Box with printed instructions and black tape.

Limited edition of 20 numbered and signed copies.

Published by Les Entrepôts Laydet, Paris

Two Lines: each line is one meter long. They are to be placed on a wall in a vertical position, parallel to each other and aligned top and bottom. The space between the two lines is 8 cm.


For more information: daviet-thery@wanadoo.fr – instagram : bookadviser

Arco Madrid -February 26 -March 1st .2020

ARCO MADRID 2020, Section It’s Just a Matter of Time
February 26 – March 1
Hall 7 – Booth 7G05
On the occasion of the 39th edition of ARCO Madrid and in relation with the reading of artistic practices based on the work of Félix González-Torres, Christophe Daviet-Thery, invited by Alejandro Cesarco,  will show a selection of books and ephemeras by Julie Ault, Alighiero Boetti, stanley brouwn, Roni Horn, François Mangeol, Henrik Olessen, General Idea, Group Material  or Wolfgang Tillmans among others. 
Ault Julie, Rosen, Andrea, Time Frames: A Conversation, 2011. 2 Ault Julie, Tell it to My Heart. Collected by Julie Ault, 2013. Barry Robert, Autobiography, 2006. Alighiero Boetti, Cieli ad alta quota » N° 1, 1993. brouwn stanley, selection of announcement cards. 6 Büttner Andrea, Beggars, 2018. 7 Büttner Andrea, Liber Vagatorum, 2019. Eicchorn Maria, Miller, John, Between Artists. Maria Eicchorn, John Miller, 2008.  9 Eichhorn Maria, Maria Eichhorn. Catalogue Raisonné, 2017. 10 General Idea, Insert General Idea for Parkett 15 (AIDS, Stamps), 1988. 11 Gomes Fernanda, untitled, 2019. 12 Gonzalez -Torres Felix, Untitled (Passport), 1993. 13 Gonzalez -Torres Felix, Gonzalez -Torres Felix: Catalogue raisonné, 1997. 14 Gonzalez-Torres Felix , Snapshots, 2010. 15 Gonzalez-Torres Felix,  Felix Gonzalez-Torres,  2014. 16 Gonzalez-Torres Felix, Felix Gonzalez-Torres, 2016. 17 Guilleminot Marie-Ange, Danser ou mourir II, 2000. 18 Horn Roni, To place : Haraldsdottir – Part I, 1996. 19 Horn Roni, To place : Haraldsdottir – Part II, 2011. 20 Horn Roni, The Selected Gifts. 1974-2015, 2016. 21 Horn Roni,  Remembered Words, A Specimen Concordance, 2019. 22 Huebler Douglas, Variable Piece 4. Secrets, 1973. 23 Kawara On, One million years – Past – For all those who have lived and died – Future – For the last one, 1999. 24 Kawara On , On Kawara. Pure Consciousness 1988-2013, 2017. 25 Ligon Glenn, A People on the Cover, 2015. 26 Mangeol François, Visa, 2019. 27 Olesen Hendrik, What is Authority ?, 2002. 28 Olesen Hendrik, untitled, 2003. 29 Olesen Hendrik , Hendrik Olesen (Kunstverein Braunschweig), 2003. 30 Olesen Henrik, Anthologie de l’amour sublime, 2003. 31 Olesen Hendrik, mr. knife & mrs. fork, 2012. 32 Pierson Jack, Jack Pierson: I Thought I Knew, 1992. 33 Pierson Jack, Tomorrow’s Man 2, 2014. 34 Pierson Jack, Tomorrow’s Man 3, 2015. 35 Pierson Jack, Tomorrow’s Man 4, 2017. 36 Raetz Markus, 1000 points, 1969. 37 Rainer Yvonne, The Films of Yvonne Rainer (Theories of Representation and Difference), 1989. 38 Renner Volker, De/Reconstructing Jackson Pollock, 2018. 39 Tillmans, Wolfgang, Wolfgang  Tillmans (Moderna Museet), 2012. 40 Tiravanija Rirkrit, A Retrospective (Tomorrow is Another Fine Day), 2007. 41 Truitt Anne, Miguel de Baca, Anne Truitt and Sculpture, 2015. 42 James Meyer, Minimalism – Art and Polemics in the Sixties, 2004 .
Felix Gonzales-Torres, Gonzales-Torres Felix : catalogue raisonné, 1997
Glenn Ligon, A people on the Cover, 2015
stanley brown, association nouveau Sud, Marseille, 1993 ( Private collection, Paris)
For more information: daviet-thery@wanadoo.fr – instagram: bookadviser


Le Book Club – Oslo – January 22 – 26. 2019

Le Book Club – Chapter 2

Fotogalleriet, in collaboration with Norwegian artist Nina Strand and Paris-based duo Anna Planas and Pierre Hourquet, is proud to presents Le Book Club,. An exhibition dedicated to the photobook as an exhibition space of its own, divided into different, weekly chapters.

January 22 – January 26

January 22, 18:00-20:00:
Opening of Wolfgang Tillmans’ book collection with Christophe Daviet-Théry and Dr. Sara R. Yazdani

For the second chapter of the exhibition, we have invited the Parisian collector Christophe Daviet-Théry to make a large selection of his publications by Wolfgang Tillmans available at Fotogalleriet. Apart from books by Tillmans, Daviet-Théry holds a selection of magazines, showing the importance of the book in Tillmans’ work, and how he works with images related to books, magazines and posters.

For the opening of this chapter, Daviet-Théry will engage in an ‘open table’ conversation with Dr. Sara R. Yazdani on Tillmans’ oeuvre. In her doctoral dissertation on the work of Tillmans, Yazdani writes that he activates an image ecological thinking, asserting within his complex image constellations – shown in museums, galleries, and artists’ books – beings become meaningful and autonomous through dynamic interactions with things, natural objects, machines and human bodies.


Christophe Daviet-Théry is a publisher and bookseller based in Paris. As he writes: “To be a bookseller is to chose and recommend, to assert one’s subjectivity, whilst excluding an exhaustive approach. To be a publisher is to conceive the most accurate and meaningful form. To be a curator is to confront and rethink content as a form; three professions that share books and bookshelves.”

Sara R. Yazdani holds a PhD in Art History and Media Studies from the University of Oslo. Her fields of research are modern and contemporary art with a particular focus on the relationships between art, media, technologies, theory of the Anthropocene, media ecologies and process philosophy. Yazdani is also an art critic and her work has been published in Artforum International, Mousse Magazine, Objektiv, Art & Education, and Kunstkritikk, and over the past years she has curated various art projects and exhibitions. In September 2019 she defended her PhD dissertation Self-Sufficient Images: Art, Media, and Ecologies in the Works of Wolfgang Tillmans.


Fotogalleriet’s principal funding comes from The Arts Council Norway. Additional funding is provided by the Norwegian Photographic Fund (Nofofo). Partial funding comes from the Royal Ministry of Culture through their exhibition’s honorarium programme and Oslo Municipality. The exhibition Le Book Clubhas been made possible by the generous support of the Fritt Ord Foundation, Acción Cultural Española and Pro Helvetia. Fotogalleriet also wants to extend thanks for the kind collaboration with Forbundet Frie Fotografer (FFF).

For more information: daviet-thery@wanadoo.fr

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Pickpocket / Kunst Raum Riehen – Basel – September 2019



An exhibition curated by Katharina Dunst and Boris Rebetez

With work by Sven Augustijnen, Donatella Bernardi, Marcel Broodthaers, Peter Bosshart, Ian Hamilton Finlay, Philippe Queloz, Karlheinz Scherer, Axelle Stiefel, Cassidy Toner u.a.m.

September 14 November 3, 2019

Kunst Raum Riehen

Im Berowergut, Baselstrasse 71, 4125 Riehen

Basel-Stadt, Switzerland 

On the occasion of this exhibition, we will launch the eighth version of the project Je déballe ma bibliothèque.

Inspired by the work of Walter Benjamin, this project explores the library as a meeting space, a place of dialogue and confrontation of all kinds of knowledge, which led Jorge Luis Borges to say: « I have always imagined that Paradise will be a kind of library. »

This project is in many ways focused on the library, and is quite literary in its references, starting with its title, which is borrowed from Walter Benjamin.

It is an itinerant exhibition, reminiscent of Professor Peter Kien in Elias Canetti’s Auto-da-fé, who always takes part of his library along with him.

The nature of the exhibition invariably brings to mind Jorge Luis Borges.

As the library is mobile, its content varies and is added to as it travels, depending on the context in which the library appears.  In this version of the project, the exhibition Pickpocket is curated by Katharina Dunst and Boris Rebetez at Kunst Raum Riehen.

This literary selection relates to the theme of the exhibition, which questions the definition of theft.

Is it legal when theft is a creative gesture?

Is theft a way to oppose the system?

Does theft call into question the notion of authorship?

For more information : daviet-thery@wanadoo.fr

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GRID – Lisbon – July 2019

The guest curator of this sixth meeting of GRID is Christophe Daviet-Thery who will present a project called ABOUT COLORS.


GRID was created to investigate many facets underlying the choices and passions of the involved actors, organizing on the limited space of a library 
shelf, minimum unit of a complex structure, an exhibition able to tell stories of encounters, loves and experiences. The library, conceived also as a cultural and experiential grid, then will hosting one of its cells a guest, different each time, which will be responsible for treating the contents fishing in its collection of books, objects or works of art.
The GRID project is curated by Eddy Merckx, a working platform built on collaboration between the figure of the critic and that of the collector.
Eddy Merckx wants to be an experimental laboratory on the potential unexpressed about the figure of the collector in today’s art world, which is accompanied by the problematising vision of the art critic, in an original curatorial partnership.
Numerous artists have been so fascinated by colour, or have reflected so profoundly on it, that their names have become associated with certain ones, such as Yves Klein with blue, and Ad Reinhardt with black. Colour is a central element of the history of art, and such an essential component of many artists’ work that movements have been characterised by them: Der Blau Reiter, Fauvisme…

And yet colour, which is by definition visual, is absent here, or virtually so.

It is not a question of being interested in its retinal nature, its function, or the symbolism underlying it, but rather in its representation via a conceptual approach.

Roland Barthes wrote, “When I buy colours, it is by the mere sight of their name.”

(Roland Barthes by Roland Barthes, translation by Richard Howard, Hill and Wang, 2010)

We name it in order to represent it.

Fore more information: daviet-thery@wanadoo.fr

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Temple Arles Books – July 2019

Vis-à-Vis 7

Vis-à-vis, nom masculin, personne ou chose située en face d’une autre.
Grande est la tentation de ne réduire la présentation de vis-à-vis qu’à cette seule définition.
En effet, né, d’une réflexion sur la forme de l’exposition et sur la réduction d’une pensée à la seule confrontation de deux oeuvres, la forme même du vis-à-vis est minimale et silencieuse, renforçant ainsi la notion d’espace, voir de vide, qui sépare les deux oeuvres, espace occupé par le visiteur qui devient ainsi le pivot, le trait d’union de la confrontation.
Initiés dans le contexte d’une librairie, ces vis-à-vis s’apparentent par leur contenu à une bibliothèque comme lieu de rencontre, de confrontation et de mise en dialogue de tous les savoirs dont la transversalité s’exprime par la possibilité de faire se rencontrer différents médiums, qu’il s’agisse d’un livre, d’un film, d’un son, voire d’un objet usuel.
Ils sont aussi autant d’étagères imaginaires, sur lesquelles une main invisible vient placer, côte à côte, deux livres. Par quel cheminement passe cette rencontre et pourquoi ? La volonté de les réunir par thèmes, par provocation, par hasard, par négligence, par sentimentalisme ou en rapport avec le contexte d’apparition ? Probablement tout cela à la fois et peut-être avant tout pour voir ce qui se passe.
Vis-à-vis, nom masculin, personne ou chose située en face d’une autre.
Prenant pour contexte les Rencontres d’Arles, ce nouveau vis-à-vis s’intéresse à la fonction assignée à l’image et à son pouvoir en confrontant Proof de François Havegeer, et Sacha Léopold et A Second History de Zhang Dali. À une époque de réalité virtuelle, donc possiblement manipulée, voire orientée, et de théories du complot, la nécessité de la preuve par l’image s’impose avec d’autant plus d’acuité.
1- Havegeer (François), Léopold (Sacha) Proof. Paris, Empire, 2018
Une archive visuelle des destructions d’objets d’art par l’État Islamique.
Depuis 2014 les unités nommées Kata’ib Taswiya mènent pour le compte de l’organisation État Islamique une action de destruction du patrimoine culturel des zones occupées. Suivant une idéologie qui refuse toutes formes d’art ce sont ainsi sculptures, livres et donc histoire qui disparaissent. L’ouvrage Proof se pose comme une archive imprimée, un livre de l’art dans ses dernier instants à travers une sélection de captures d’images issues des vidéos de propagande diffusées sur les médias d’informations numériques.
2 – Dali (Zhang) Lynn Valley 7. A second History. Port Colborne, Ontario, Bywater Bros. Editions, 2012
Avec A Second History , Zhang Dali examine la pratique généralisée des manipulations photographiques effectuées par le gouvernement chinois sous le régime de Mao Tse-Toung (1949-1976). 
Fonctionnant sur un système de comparaison, ce livre d’artiste présente en regard et de façon chronologique les images originales non modifiées et leur version manipulée aux fins de propagande. On prend la mesure des modifications effectuées par la censure. Dans certaines images, des personnages clés ont été effacés alors que dans d’autres, des personnes ont été ajoutées. Les fonds ont été modifiés tout comme certains slogans sur des bannières. 
Par sa pratique,  Zhang Dali pose la question de la réalité de la photographie et de son objectivité.


Vis-à-Vis 7
Vis-à-vis, masculine noun, person or thing facing another.
It is extremely tempting to reduce the way vis-à-vis is presented just to this definition.
The very form of the vis-à-vis, which in fact stems from a way of thinking about the form of the exhibition and reducing a thought merely to the confrontation of two works, is minimal and silent, thus heightening the notion of space, and even void, which separates the two works—space occupied by the visitor who thus becomes the pivot or hyphen in the confrontation.
These vis-à-vis, begun in the context of a bookshop, are akin through their content to a library as a meeting-place, where there is confrontation and dialogue covering all knowledge, whose transversality is expressed by the possibility of getting different media to meet, be it a book, a film, a sound, or even an ordinary object.
They are also so many imaginary shelves, on which an invisible hand places two books, side by side. By what path does this encounter pass, and why? The desire to put them together by theme, out of provocation, haphazardly, out of negligence, or sentimentality, in relation to the context of appearance? Probably all of the above, and perhaps, above all, in order to see what happens.
Vis-à-vis, masculine noun, person or thing facing another.
In the context of the Temple Arles Books during Les Rencontres d’Arles 2019 , this new participant explores the function assigned to an image and its power,  by placing Proof by François Havegger and Sacha Lépold face to face with A Second History by Zhang Dali. In our age of virtual reality, one that is heightened and possibly manipulated or oriented, and when conspiracy theories abound, providing proof via an image becomes more and more necessary.
1- Havegeer (François), Léopold (Sacha) Proof. Paris, Empire, 2018
A visual archive of the Islamic State’s destruction of artifacts.
Proof is a printed visual archive composed of video screenshots from ISIS propaganda films, captured directly from the Internet. It shows how, since 2014, cultural history was physically destroyed by special units “Kata’ib Taswiya”.
Proof is a documentation of the last moments of those sculptures and monuments, during and just.
2 – Dali (Zhang) Lynn Valley 7. A second History. Port Colborne, Ontario, Bywater Bros. Editions, 2012
In his book  A Second History, Beijing-based artist, Zhang Dali, examines the widespread use of photographic manipulation carried out by the Chinese government during the regime of Mao Tse-tung (1949-76). Using a compare and contrast format this artist book presents a chronological sequence of original, unmodified images together with their doctored doppelgängers which were manipulated in party-run, photo labs in the 50s, 60s and 70s for the Chinese propaganda market.
Altered histories are all around us, embedded in our lives to such an extent that it’s become difficult to imagine what reality really is. In today’s era of 24 hour news coverage and its associated « spin » the idea of getting to the « truth » of something seem almost futile, however with projects like A Second History it is now possible to see a small glimpse of historical media manipulation laid bare.


Scanning the spreads one can see the modifications made by the Chinese censors: In some images key people have been erased, while in others people have been added. Backgrounds have been modified and written slogans on flags have been altered. In other parings the edits appear almost unnoticeable as seen in the spread entitled The Sun Comes to the Kucong People, which features images of women workers harvesting hay in a field. The undoctored image, struck from the original negative, shows a young child peeking out from behind a cluster of busy workers… a detail the censors felt a need to remove. The image of a hapless youngster among robust agrarian workers was obviously at odds with the official party line at the time so the child ended up on the cutting room floor.


Unlike his Chinese forbearers who used photography as a tool for indoctrination, Zhang’s use of the medium is more subjective… the core of his presentation is the manipulation itself, with all its associated political, social and artistic implications.

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Je déballe ma bibliothèque à la Biennale 1.618

Je déballe ma bibliothèque est un projet nomade et modeste dans son format qui consiste à activer une bibliothèque en résonance avec son contexte et/ou un propos. Elle est un lieu de rencontre, de dialogue et de partage, une expérience.

Activée l’occasion de la Biennale1.618 au sein d’Emotion Square sous le commissariat de Sibylle Grandchamp, elle s’articulera autour d’une sélection de livres de l’artiste du Land Art, Hamish Fulton, qui place l’expérience de la marche au coeur de sa pratique.



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At Albert Baronian Gallery April 2017

Map they could all understand (The Hunting of the Snark, Lewis Carroll, 1876)
A project by Christophe Daviet-Thery for Albert Baronian Gallery with:
Fiona Banner, Robert Barry , Daniel Gustav Cramer, Max Ernst and herman de vries.

In 1876, Lewis Caroll wrote The Hunting of the Snark, which Henry Holiday (1839-1927) illustrated with nine engravings including a map. One should observe it closely, as there is nothing to see. However (…) “this was a map they could all understand (…) a perfect and absolute blank.” In 1950, Max Ernst takes over the illustrations. The map is still present, displayed, spreading its glaring blank. If there is nothing to see, there is something to read: the Ocean. Naming to represent. Two maps as a starting point, to question the notion of representation, of its form and to reveal its diversity. And furthermore, questioning the relationship between images and language.

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