This thesis discusses the document/book as an act of recording that can serve as a form for curatorial creativity. Firstly, it explores the document as a space in a hybrid analog and digital era. Then, it introduces concrete examples of how curating the gallery and the book has changed in the 20th and 21st centuries. It follows a critical analysis of society as one big accumulation of documents. It proposes the invention of writing as the base of our current digital spaces and the space of the book as architecture. In respect to the curatorial discourse, it focuses on Springer's proposition of engaging with the library in order to develop new ways of organizing, collecting, and reassembling information.
The first chapter introduces Benjamin Bratton's diagram of "The Stack", which serves to explore the physical spaces of information, describing how the infrastructure of books has come to expand significantly from clay to paper, and now to the Cloud. It proposes the codex-book, a stack of paper sheets as an analogy of the stack through the example of artist Irfan Hendrian "Some Other Matter" exhibition. It also proposes the page—a place of inventory and invention— as the first virtual space of humanity.
The second chapter discusses the library's primary functions of storage and retrievability —proposing the Library of Alexandria as the first information organization. Then comes back to an example of how the old model of the library can be used for creating a new display for the gallery as well as giving value to its collection through physical activation. Finally, it explores some of the invisible systems (covers, algorithms, tags) that are now building our digital libraries.
The third chapter focuses on copy and print as essential tools for recording, preservation, and building collections. It introduces the history of mass digitization and the changes it has brought to analog documents. It also explores the space of digital and print through Kenneth Goldsmith's curatorial project that called out to print out all the internet. This example leads us to discuss the history of the A4-size paper sheet as the first completely standardize product.
The fourth chapter presents the "neutral" containers —starting from the concept of the "gallery-book" proposed by Bernard Teyssendier as a place of movement, pleasure, and learning. It also explores architecture and design as curatorial infrastructure for exhibitions happening both in a gallery space and on a blank document. Finally, it creates a parallel between the white paper page and the white gallery wall as places of artistic intervention, which far from being invisible follow specific predefined structures.
The fifth chapter focuses on presenting projects that propose new curated writing and reading contexts between the print and digital. Here, Brian O'Doherty's issue for "Aspen" magazine is proposed as proto-hypertext or as a premonition of the website. Then, the website-as-gallery concept is explored through the example of Kadist's "One Sentence Exhibition" project. This example leads to exploring the fragility and impermanence of the hyperlink, in contrast to its printed counterparts.
The final chapter presents three projects that use the infrastructure of the book and the library as a curatorial agency —proposing new methods for curating information through collection, organization, and research. "Intercalations", a paginated exhibition series by Anna-Sophie Springer and Etienne Turpin; "MAP", a folded encyclopedia by the David A. Garcia architecture studio; and "Carte(s) Mémoire(s)" by ExposerPublier that proposes the exhibition as a moment of activation
