The choreographic turn in the visual arts from 1958 to 1965 can be identified by the sudden emergence of works created by different visual artists around the world. Dedicated to the renewed encounter between dance and performance and the institutions of global contemporary art, this publication proposes that a “new performance turn” has emerged in the second decade of the century.

A 13-volume set of Marcel Proust’s collected works was published in Yugoslavia in 1967. During the Bosnian civil war, these Proust sets fetched up to the equivalent of a full year’s salary in the Belgrade black markets. The set exhibited in Irena Haiduk’s “Seductive Exacting Realism” was seized by local police from Belgrade Kalenć Market in 1995. It was acquired at a public auction in 2014. It is missing volume number 12.

Organized by curator Pierre Bal-Blanc, the experimental architectural program “Project Phalanstère” consisted of a series of site-specific artworks in the Parisian suburbs.  This book extends the recollection and mental reconstruction of the artworks and reconstitutes the project’s political aims.

The Tamam Shud narrative emerged through a series of episodic performances and an exhibition by Alex Cecchetti at the Ujazdowski Castle Centre for Contemporary Art, Warsaw. For two years the writing process and the artistic process were interwoven, feeding each other as they evolved. The art project and the artist’s novel are linked together as much as the life of the victim is connected to the piece of paper found in his pocket.

Gelatin’s exhibition “Loch,” and the week-long performance that preceded it, form the basis for this book. The catalogue comprehensively documents the Austrian art collective’s elaborate site-specific performance at the 21er Haus in Vienna (June 5–September 29, 2013).