“Socialist Exhibition Cultures. International Art Exhibitions in the Socialist World During the Cold War,” in Susanne Frank (ed.), Soviet literary Cosmopolis: A Project of Multinational World Literature and the Ways of its Implementation (Berlin: de Gruyter) [forthcoming]
“Literatur und Technik bei Walter Benjamin,” in B. Dotzler/Ch. v. Herrmann (eds.), Handbuch Literatur und Technik (Berlin: de Gruyter) [forthcoming]
“From ‘Big Archives’ to ‘Slow Archives’, and Back: An Interview with Sven Spieker,” Comparative Literature Studies 62.3 (2025) [forthcoming]
“Notes on Destruction in Contemporary Art,” in M. Mainetti (ed.), Monte Pietà (Venice: Prada Foundation, 2024), pp. 590-593
“Exploring the ‘Slow Archive.’ An Interview with Sven Spieker,” Archivo Papers 4 (2024).
“Returning Home.” On Petrit Halilaj’s installation ABETARE on the roof of the Metropolitan Museum in New York,” Metropolitan Museum, New York, 2024
“Gefallene Träume und wunderbare Konstellationen. Anmerkungen zur Archivmoderne,” Archive of Dreams. A Surrealist Impulse, exhibition catalogue at the Archiv der Avantgarden (05.05.24-01.09.24), Dresden: Staatliche Kunstsammlungen Dresden (Leipzig: Spector Books, 2024)
(ed.), Media Landscapes of the Historical Avantarde [in Russian], Novoe Literaturnoe Obozrenie 3 (2024), special section with introduction (pp. 92-93)
“Some Additions on Malevich’s Notes on Cinema,” in Sven Spieker (ed.), Media Landscapes of the Historical Avantarde [in Russian], Novoe Literaturnoe Obozrenie 3 (2024), pp. 94-102
„Gnostisches Wissen und Kosmisches Erbrechen in Nabokovs Roman Приглашение на казнь (Einladung zur Enthauptung) in: Explorationen. Festschrift für Bernhard Dotzler zum 60.Geburtstag (Berlin: transcript, 2022), pp. …
(ed. with Tom Holert), Didactic Arts, ARTMargins 11.1/2 (2022), special issue
“‘Destroy, She Said’: The Archive Between Archivo-philia and Archivo-phobia,” in: What Will Be Already Exists: Temporalities of Cold War Archives in East-Central Europe and Beyond, ed. E. Kürti and Zs. László (Bielefeld: transcript, 2021), pp. 35-47
“Miklos Onucsan Between Appropriation and In appropriation.” In: Mihai Pop/Madalina Brasoveana / Mircan Mihnea (eds.), Miklos Onucsan M. Brasoveanu (ed.), Miklos Onucsan. Therefore white is black worn away for good and black is white worn away for good (Berlin: Kerber, 2021), pp. 195-206 [also in Romanian]
“The “Dialectical Document” in Eastern European Art of the 1970s and ‘80s,” Apparatus, Special Issue: “Doing Peformance Art History” (2020)
“Ruth Wolf-Rehfeldt’s Typewritings Between Labor and Virtuosity,” For Ruth, The Sky in Los Angeles. Ruth Wolf-Rehfeldt and David Horwitz, exhib. cat. Albertinum, Dresden (2020), pp. 32-51 [German/English]
“Memory in the Anthropocene: Notes on Slow Archives and Melting Glaciers”. In: S. Frank/Kjetil A. Jakobsen (eds.), Arctic Archives. Ice, Memory and Entropy (Bielefeld: transcript, 2019), pp. 93-106
(ed.), Ruth Wolf-Rehfeldt: Collages and Editions, exhibition catalogue (National Gallery of Art, Tirana, 2018)
“Conditional Similarities: Parallax in Postwar Art from Eastern Europe,” in: Tomáš Pospiszyl, An Associative Art History: Comparative Studies of Neo-Avantgardes in a Bipolar World (JRP Ringier, 2018), pp. 4-11
(ed.), “Texts by Conceptual Artists from “Eastern Europe: Poland/Slovakia/Hungary” C-Map, Contemporary and Modern Art Perspectives, Museum of Modern Art, New York. (accessed 01/12/25) ( includes introductions)
“Art History and the Global Challenge: A Critical Perspective.” Artl@s Bulletin 6, no. 1 (2017): Article 2. http://docs.lib.purdue.edu/artlas/vol6/iss1/2/
(translation) Otto Neurath, Pictorial Statistics Following the Vienna Method,” ARTMargins 6.1. (2017), pp. 108-118.
“Unoriginal Pedagogies: ‘Didactic’ Art as Edification (Robert Morris, Walter Benjamin, Ilya Kabakov). In: R. Niccolosi / T. Zimmermann (eds.), Ethos und Pathos. Mediale Wirkungsästhetik im 20. Jahrhundert in Ost und West (Munich: Böhlau Verlag, 2017), pp. 413-423
“Archive and Erasure,” in: Language-Culture-Communication-An International Handbook of Linguistics as a Cultural Discipline (Berlin/Boston: de Gruyter, 2016), pp. 407-410
“Archivkunst, schnell und langsam.” In: Die Kunst des Aufbewahrens (exhib. cat; Draiflessen Museum, Mettingen, 2016), pp.
“Manifesto for a Slow Archive” ARTMargins Online, 2016 (accessed 01/12/25)
“Manifest für ein langsames Archiv” In: Peter Bexte (ed.), An den Grenzen der Archive (Berlin: Kadmos, 2016), pp. 151-157 (Revised German version)
“A Double Archival Imperative in Vadim Zakharov’s Work,” in P.S. Vadim Zakharov. A Video Archive Moscow Artists’ Exhibitions (Moscow: Garazh, 2016), pp. 8-11. [Also Russian edition]
“SubREAL During the 1990s: Ironic Monuments, Tainted Blood, and Vampiric Realism in a Time of Transition,” M. Radu (ed.), SubReal (Wien: Verlag für Moderne Kunst, 2015], pp. 53-65. See also below, Publications in ARTMargins Online.
“Obama in Berlin: Of Para-Sites and Hospitality” (2015)
“Speaking From Within the System: Hanne Darboven’s ‘Didactic’ Art” (Museo Nacional Centro de Arte Reina Sophía, Madrid, 2014, exhibition cat.), pp. 93-105
“Price or Prize: The Artist as Vertreter,” ARTMargins 4 (2014), pp. 24-47
“Roundtable on the Critical Archive” (ed., and introd.), special issue of ARTMargins 3 (2014), pp. 3-20.
“The Periphery is Far From Disappearing,” Interview with Michał Fopp. D. Sosnowska/J. Sosnowski (eds.), The Edge of It (Warsaw: Propaganda, 2014), pp. 128-133.
“Antoni Muntadas’ Administrative Modernism.” Muntadas: Entre/Between (Museo Nacional Centro de Arte Reina Sophía, Madrid, 2011), pp. 234-239 [Also in French].
“ARTMargins – A Short Conversation with Sven Spieker on publishing online and on paper,” OEI #56-57 (2012), pp. 394-401.
“Bureaucratic Poems: Curating and Storytelling in the Late 1960’s”. Manifesta Journal 9 (July 2010), pp. … / in Russian: V. Misiano/N. Petrešin-Bachelez, The Manifesta Journal Reader. Избранные статьи по кураторству . (Sankt Peterburg: Arka, 2014), pp. 131-138.
“Radical Inactivism: Gilles Deleuze on Inert Motion in Francis Bacon’s Painting (Logique de la Sensation ).” In: Sabine Flach/J. Fingerhut (eds.), Synaesthesia and Kinaesthetics (Peter Lang, 2011), pp. 87-98.
“On the Question of Archives and Entropy in Contemporary Art (Legrady, Muntadas),” In: Krzysztof Pijarski (ed.), The Archive as Project/Archiwum jako projekt (Warsaw: archeologiia fotografii, 2011), pp. 114-131 [Polish transl. pp. 132-141].
Review of Viktor Tupitsyn, The Museologial Unconscious, in Slavic Review 2 (2010), pp. 495-96
“Det stora arkivet: byråkratins konst.” OEI 42 (2009) (Swedish translation of the Introduction to The Big Archive. Art from Bureaucracy), OEI (2010), pp. 3-12
“Autonomy Degree Zero In Eastern European Art (Galeria Foksal’s ‘Introduction to a General Theory of Place’),” Umění 56 (2010), pp. 227-236.
“Hot/Cold: Jussi Kivi’s Collections,” Framework: The Finnish Art Review 10 (June 2009), pp. 52-56
“Die Bürokratie des Unbewussten. Das Archiv der Surrealisten,” H. Schramm (ed.), Spuren der Avantgarde: Theatrum Oeconomicum. Frühe Neuzeit und Moderne im Kulturvergleich (Berlin/New York: de Gruyter, 2008), pp. 445-459
“Jó hely a margó.” Interview with Sven Spieker (Hedvig Turai). Tranzit.blog.hu (2008), http://tranzit.blog.hu/2008/11/28/jo_hely_a_margo#more792513.
“Film as Drawing: The Revolution as a Problem of Perspective in Christoph Weber’s The First Minutes of October (2007),” in: Christoph Weber, The First Minutes of October, pp. 33-56.
“La Bureaucratie de l’Inconscient. Le début du surréalisme dans le bureau.“ Wolfgang Asholt / Theo Siepe [eds.], Le surréalisme et l’économie du rêve . (Paris:Octon 2007), pp. 45-59.
“‘Passer à l’Acte’: Policing (in) the Office. Notes on Industry Standards and the Grosze Polizeiausstellung of 1926. The Universal Police, and After” in Klaus Mladek, ed. Police Forces: A Cultural History of an Institution (Boston: Palgrave, 2007), pp. 54-74.
“Verspätung und F/r/iktion: Lermontovs Герой нашего времени als Roman der Post,” in: Sven Spieker (ed.), Letters in Transport: Die russische Literatur im Zeitalter der Post, in Sven Spieker [ed.], special issue of Die Welt der Slawen 1 (2007), pp. 114-124. (Revised version)
“Cellularbürokratie : Pathologie als Ordnungswissenschaft, am Beispiel Rudolf Virchow,” Christoph Hoffmann/Caroline Welsh [eds.], Umwege des Lesens. Aus dem Labor Philologischer Neugierde (Berlin: Parerga, 2006), pp. 276-290.
“The Homeless Symptom: Archive and Trauma in Boris Mikhailov,” in: Anna Brodsky, Mark Lipovetsky, Sven Spieker (eds.), in The Imprints of Terror. The Rhetoric of Violence and the Violence of Rhetoric in Modern Russian Culture, Vienna: Wiener Slawistischer Almanach, Sonderband 64, 2006, pp. 191-212.
“Сталин как медиум. О сублимации и десублимации медиа в сталинскую эпоху”[“Stalin as Medium: On the Sublimation and Desublimation of Media Technologies in Stalinist Culture“], in Hans Günther and Sabine Hänsgen (eds.), Sovetskaja vlast’ i media (Sankt-Peterburg: Akademicheskij proekt, 2006), pp. 51-58.
“Vom Umhertasten in der Kunst: El Lissitzkys Demonstrationsräume zwischen Labor und Büro.” Inge Münz-Koenen/Justus Fetscher [eds.], Pictogrammatica. Die visuelle Organisation der Sinne in den Medienavantgarden (1900-1938) (Bielefeld: Aisthesis), 2006, pp. 197-217.
“Die Poetik des Anti-Denkmals: Schriftskepsis, Registratur und graphische Methode,“ Susanne Strätling/Georg Witte [eds.], Die Sichtbarkeit der Schrift (Munich: Fink, 2006), pp. 139-152.
“L’image électronique dans l’espace: Jeffrey Shaw avec Ilya Kabakov.” Jean-Pierre Balpe/Manuela de Barros [eds.], L’art a-t-il besoin du numérique? (Paris: Lavoisier, 2006), pp. 35-55.
“Hidden in Plain View : Fotoatlas und Trauma, am Beispiel von Boris Michailow.” M. Streisand/S. Flach/Inge Münz-Koenen [eds]. Der Bilderatlas Im Wechsel der Künste und Medien (Munich: Fink, 2005), pp. 71-96.
“Das Archiv, Ein Vergnügen.“ B. Von Bismarck et al, eds. Interarchive. Archivarische Praktiken und Handlungsräume im zeitgenössischen Kunstfeld/Archival Practices and Sites in the Contemporary Art Field [Review], Texte zur Kunst (2003), pp. 211-214.
“Die Ablagekur, oder: ‘Wo Es war, soll Archiv werden’: Die historische Avantgarde im Zeitalter des Büros,” Trajekte 5 (2002), pp. 23-28.
“‘ll y a’: Kabakovs Weigerung, den Mülleimer zu leeren. Bürokratie und feedback in der Installation Der Mann, der nie etwas wegwarf.,” Schriften-Dinge-Phantasmen. Literatur und Kultur der russischen Moderne I. Wiener Slawistischer Almanach Sonderband 54 (2002), pp. 393-430.
“Living Archives”: Public Memory, Grafting, Context (Libera, Haacke, Wodiczko),” Tympanon (2001). www.tympanon.edu].
“Revolution als Wiederholung: Minimalismus und Konstruktivismus am Beispiel des Würfels”. Mirjam Goller, /Georg Witte [eds.], Minimalismus: Zwischen Leere und Exzeß , Wiener Slawistischer Almanach Sonderband (2001), pp. 305-328.
“Ekstasen der Kritik ohne Objekt: Zur verworfenen Moskauer Aktionskunst,” Kultur. Sprache. Ökonomie, Wiener Slawistischer Almanach Sonderband 54 (2001), pp. 289-310.
Publications in ARTMargins Online (accessed 01/12/2025)
“The Artist is Present: Marina Abramovic at MoMA”
“Dreams Behind Bars: Miami’s ‘Russian Show’”
“Manifesto for a Slow Archive”
“The Shifty Art of András Gálik and Bálint Havas” (Interview)
“Creating Context: Zdenka Badovinac on Eastern Europe’s Missing Histories” (Interview).
“Boris Groys on the Logic of Collecting”