Bureau of
Art & Editions
Independent Curatorial Project & Editions Platform
Operating at the intersection of material weight and digital transformation, the Bureau for Art & Editions functions as a conceptual laboratory and curated project space. Rooted in a tradition of technical precision and archival rigor, we bridge the gap between monumental print anthropology and radical contemporary art positions.
Our curatorial focus lies on the friction between virtual environments and tactile resistance, challenging hyper-commodification through high-fidelity limited editions and site-specific interventions. Rather than operating as a static gallery, the platform serves as an agile, collaborative space ensuring a deep conceptual dialogue between our physical publications (Editions) and our curated exhibitions (Projects), presenting a focused program of five selected positions.
TOM MOSER
«Giorgio Armani» Men’s jumper
Wound into balls of wool
Ø 15 cm, 1999/2026
Curated Positions
Current Rostera
Tom Moser deconstructs the legacy of his alter ego Erich Beck by physically intervening on historical archives. By obscuring institutional leaders with tectonic structures, he strips bureaucratic authority of its power, creating a subversive response to petrified power structures.
Sofie Anker explores geopolitical conflict through material transformation. In her series Deconstructed and united, she dismantles and reassembles national flags into hybrid textiles, transforming rigid borders into fragile topographies of dissent that strip national symbols of authority.
Chris Wittwer deconstructs global financial power by fusing scientific precision with photographic destabilization. His works transform centers of authority into ephemeral visions, revealing the fragility inherent in our contemporary institutions.
Marc Keller confronts late 1990s commercial images through physical erasure. By obscuring fashion icons with layers of oil and pigment, he negates persona marketability and reclaims the raw humanity hidden beneath corporate gloss.
Melanie Borer deconstructs classical iconography through raw canvas-scarring and industrial pigments. By fusing primal botanical motifs with aggressive material interventions, she strips traditional nature representations of their romanticized facade.
