A both intimate and political account of the links between artistic practices and activism during the AIDS epidemic of the 1980s and 1990s in France and the United States—featuring monographic texts, interviews, and thematic essays.

This essay, written in the first person, is built around a series of monographic texts, interviews, and thematic essays, which constitutes an elective cosmology of a period of artistic and activist creativity in both France and the United States. Historian and art critic Elisabeth Lebovici discusses a variety of artists, protest organizations, artworks, and direct actions: ACT UP, “phone trees”, Richard Baquié, Gregg Bordowitz, Alain Buffard, Douglas Crimp, “political burials”, General Idea, Nan Goldin, Félix González-Torres, Gran Fury, L’Hiver de l’amour, Roni Horn, G. B. Jones, Eve Kosofsky Sedgwick, Zoe Leonard, Mark Morrisroe, William Ollander, “The Patchwork of Names”, The Real Estate Show, Lionel Soukaz, Philippe Thomas, Georges Tony Stoll, Paul Vecchiali, David Wojnarowicz, Dana Wyse, zaps…

Illustrated with numerous archives and ephemera that emphasize the importance of graphic works in the fight against AIDS, Ce que le sida m’a fait (What AIDS has done to me) is a necessary work to understand the “AIDS years”.

An anthology that examines the poetics and politics of interior experience within the frame of contemporary art. Through diverse discursive modes—commissioned essays, conversations and talks, historical writings, and artistic projects—this anthology, the first CCS Readers volume, examines the poetics and politics of interior experience within the frame of contemporary art.

Texts by Anni Albers, Doug Ashford, Gaston Bachelard, Angelo Bellfatto, Nova Benway, Gregg Bordowitz, Johanna Burton, Theresa Choi, Beatriz Colomina, Lynne Cooke, Moyra Davey, Tom Eccles, Diana Fuss, Jennifer Gross, Elizabeth Grosz, Roni Horn, Jenny Jaskey, Susanne Küper, Elisabeth Lebovici, Nathan Lee, Zoe Leonard, Dorit Margreiter, Josiah McElheny, Helen Molesworth, Georges Perec, Juliane Rebentisch, David Reed, Lisa Robertson, Joel Sanders, Virginia Woolf, Amy Zion.

This publication brings together photographs taken by Marion Scemama during a trip through the American desert with David Wojnarowicz, shortly before his death. It features documents from Scemama’s personal archives and notes from Wojnarowicz’s diary, along with texts by Thibault Boulvain and Elisabeth Lebovici.

Produced on the occasion of Haim Steinbach’s exhibition appear to use at Tanya Bonakdar, Los Angeles, 16 March–18 May, 2019. With texts by Bruce Hainley, Akiva Lasry, John Miller, Elizabeth Lebovici and Haim Steinbach.

In the artistic activities of Philippe Thomas (1951–1995), there was a determination to disappear: it was his procedure to transfer his title of author onto his collectors. This was the case when selling an artwork, or whenever the author’s credit was needed for a commissioned text, and in the institutional co-operations that Thomas was a participant of. With this strategy Thomas worked against his own historicization, erasing his name from the reigning European and North American art fields and with prescience Thomas “put up obstacles to block his future ‘googleability’” (Hanna Magauer). In recent years, the works and writings of the artist, who also acted on behalf of the semi-fictional agency readymades belong to everyone®, again gained greater visibility and as of current are being assigned a place in art history.

With this book, Élisabeth Lebovici elaborates on Thomas’s strategy to cede and fictionalize authorship and suggests a reading of his work that incorporates questions of gender and reproduction, the multiplicity of the subjects involved, and the unbearable disappearance of Thomas (who died of AIDS-related complications), into the process of enunciation. It is Lebovici’s suggestion that the performativity of Thomas’s work requires two versions at once: “the one where one enters into the fiction and the one where one observes the beauty of the arrangement and the plot at work. The one where one is inside and the one where one contemplates it.”

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