Publishing and information technology

As production is at the heart of its activities, Lafayette Anticipations conceives its editorial line as a tool for expression and transmission, at the service of artists. From explanatory brochures to artists’ books, from "catalogues" to architecture books, each Fondation publication aims to highlight its unique approach to accompanying artists. In addition to collaborations with internationally renowned graphic designers and with printers specializing in fine art printing, the editorial team is developing a production unit in the 9 rue du Plâtre building that allows the in situ creation of a certain number of projects, in the spirit of a 21st century printing-bookshop workshop: risography, manual and mechanical processing, sewing and even laser cutting...

Lafayette Anticipations publications are diffused by Flammarion (except for the Anticipations book, diffused by the Les Presses du Réel)

Supported by its editorial mission, the information system of Lafayette Anticipations - beyond its traditional goal of placing an online infrastructure at the service of its users - addresses a novel ambition: to document in real time all the processes leading to the creation of works of art and to conserve these in a sustainable fashion as structured data.


Document and display artistic practices 

Application channel conceived along the principles of web data, ReSource is at the heart of the Lafayette Anticipations digital infrastructure. At once software for project management, documentation, living archive and communication, ReSource is based upon an ontology conceived by Mnemotix, a worker cooperative, using a reflexion and concertation process orchestrated by philosopher Alexandre Monnin, in collaboration with sociologist Jérôme Denis, that prioritizes participation, a distinguishing trait not only of 21st century art but also of the evolution of digital technology use in society. ReSource also takes its inspiration in the foundational work by Howard Becker, Art Worlds, highlighting the community of stakeholders and of skills that contribute to the creation of works of art. Most of the contents on this site are generated by ReSource and synchronized via an API. 

In 2017, the Fondation decided to diffuse ReSource as free software and to constitute a community of users, artists and institutions. The Villa Arson was the first to come on board, as part of the Ministry of Culture’s innovative digital project RFP.

ReSource is developed by Mnemotix, a worker cooperative.


Le centre ne peut tenir

Lafayette Anticipations
– Fondation d'entreprise Galeries Lafayette

Editorial directors:
Guillaume Houzé and François Quintin

Editorial coordinator:
Matthieu Bonicel

Graphic design:
Marie Proyart and Jean-Marie Courant, assisted by Maëlle Brientini for the layout

Risography workshop set up in <i>The Transvector</i>, conceived by Andrés Jaque / Office for Political Innovation for Lafayette Anticipations’ Agora © Lafayette Anticipations
Risography workshop set up in The Transvector, conceived by Andrés Jaque / Office for Political Innovation for Lafayette Anticipations’ Agora © Lafayette Anticipations
Interview with Matthieu Bonicel, 2018
Video produced for ReBond, the application that offers a digital visit of Lafayette Anticipations
© Lafayette Anticipations

Throughout the exhibition period, a temporary printing workshop was installed in the Agora, on the ground floor of Lafayette Anticipations. In this space was printed the exhibition’s catalogue, using a risography technique. Serving as both a catalogue and an account of the group show’s evolution, the texts was published in September 2018, fully conceived, printed and bound at the 9 rue du Plâtre. It evolved with the passing weeks, piling up its pages in the exhibition spaces; the public was invited to attend printing sessions held every Friday or to learn about this machine’s unique functioning during the "Riso Afternoons".

Marie Proyart and Jean-Marie Courant create the graphic design, assisted by Maëlle Brientini for the layout. Vincent Longhi (Studio Fidèle) and Oscar Ginter (Quintal Éditions), 2 risographists from a comic book and illustration background, contribute their expertise on this specific printing technique prized by artists for its particular rendering and its random “defects” with which one has to play, similarly to a “mechanical” serigraphy.

The book contains a foreword section presenting the curatorial challenges of the exhibition, a portfolio by the photographer Pierre Antoine and a chapter dedicated to each artist where different elements allow to better consider their work and its production's steps.

9 Plâtre

Lafayette Anticipations
– Fondation d'entreprise Galeries Lafayette

Editorial directors:
Guillaume Houzé and François Quintin

Graphic design:
Mevis & Van Deursen, assisted by Virginie Gauthier

Book 9 Plâtre, 2018 © Mevis & Van Deursen

More than a century separates the action of Dutch architect Rem Koolhaas and that of frenchman Samuel Menjot de Dammartin who, in 1891, erected the 9 rue du Plâtre building in Paris. The offering of Rem Koolhaas, cofounder of the OMA agency and 2000 Pritzker Prize laureate, is nestled inside this building born during the industrial revolution. It reinvents the former warehouse in the Marais, initially built to accommodate the needs of the nearby Bazar de l’Hôtel de Ville, as a production and exhibition machine for the Fondation d’entreprise Galeries Lafayette.

From initial exchanges with the OMA agency and its think tank AMO in 2012, to final visits of the construction site in the fall of 2017, the book 9 Plâtre retraces the steps of the creation of a building-tool designed to accompany, produce and present the artwork of its time. In an interview, Rem Koolhaas evokes the conceptual, artistic, social and political stakes that determined the architecture of his first Parisian building, while the pictorial works of Bas Princen present a sensitive view of the successive transformations of the space.

9 Plâtre is a testimonial showing the groundwork of an art space open onto the city and to all publics. It constitutes the beginning of an artistic programmation dedicated to the meeting of practices and minds.



Arranging the Measures of One’s Space
Rem Koolhaas in conversation with Guillaume Houzé, President of Lafayette Anticipations, and François Quintin, Managing Director of Lafayette Anticipations

GH: In the early discussions, I made that special request to you, to design an art space that wouldn’t be devoted to housing a collection or even existing works, but would be dedicated to production. We’ve shaped this space to broaden the field of possibilities.

RK: All of those requests turned out to be surprisingly compatible with our interests. W e found your proposal very stimulating. Thanks to the conversations with the Lafayette Anticipations team, we understood that we had to keep considering all possibilities, even though architecture unfortunately tends to gradually eliminate them. And since you were not entirely familiar with all of OMA’s creations, this gave the commission a certain freshness. When the client has overly specific expectations based on our previous creations, it’s hard for us to get away from our own references.

FQ: There were several plans before this one.

RK: Yes, but those earlier plans don’t only show a progression. W e got beyond the administrative and political constraints, which turned out to be godsends. The architect from Bâtiments de France was an invisible but important partner of this project. The F ondation Galeries Lafayette’s building is in the Marais district. It falls within the boundaries of the protection map, the contours of which were drawn by Malraux. Those haven’t changed, but the heritage protection rules have evolved. Whereas before they only protected buildings dating back to the seventeenth century, they were extended to include buildings from the nineteenth centur y, and this happened when the first plan for the Lafayette Anticipations building was being presented in 20 13. What seemed like a problem at first glance turned out to be an opportunity . The opinion of the heritage protection department had a decisive influence on the plan. W e created several plans. In the end, although we had to work on a reduced surface area, we regained freedom in that vertical manipulation of 9 rue du Plâtre. Our ideas rebounded off various obstacles.


Lafayette Anticipations
– Fondation d'entreprise Galeries Lafayette / JRP|Ringier 

Editorial directors:
Guillaume Houzé and François Quintin

Graphic design:
Yorgo & Co

Book’s cover conceived by Raphael Hefti

The book Anticipations presented on the occasion of the exhibition Joining Forces with the Unknown, 2016 © Isabelle Giovacchini
The book Anticipations presented on the occasion of the exhibition Joining Forces with the Unknown, 2016 © Isabelle Giovacchini

Anticipations brings together essays and interviews with thinkers and art professionals, as well as providing a valuable resource relative to the various projects organized and welcomed by Lafayette Anticipations since the start of its pre-launch programme in October 2013, and the event entitled Faisons de l’inconnu un allié, organized in October 2016. The publication offers a retrospective overview of the first three years of activity of this new cultural institution, designed to act as a laboratory open to the public, offering up a multiplicity of perspectives and viewpoints, including the challenges of production.

The production notes are devoted to artists and creators such as Anja Aronowsky Cronberg, Ulla von Brandenburg, Compagnie Mùa/Emmanuelle Huynh, Paul Kneale & Raphael Hefti, Simon Fujiwara, Olaf Nicolai, Rotor, Jerszy Seymour, Gabriel Sierra, Editathon Art+Feminism/Flora Katz, and Anicka Yi.

Previously unpublished essays and interviews with thinkers and professionals from the art world accompany these notes: Howard S. Becker, Neil Cummings, Valérie Da Costa, Chris Dercon, Lidewij Edelkoort, RoseLee Goldberg, Rem Koolhaas, Franck Leibovici, François Quintin, Judith Wielander & Matteo Lucchetti.

The cover of the book was commissioned from artist Raphael Hefti.



A Laboratory of Anticipations
François Quintin, Managing director of Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette


There really is no such thing as Art. There are only artists. With these few opening words at the beginning of his very famous Story of Art, Ernst Gombrich immediately states his scepticism with regard to belief in essences, placing practice at the center of the age-old concerns of creativity. Furthermore, during the Renaissance, the word arte meant craft, technical skill. It was not until the 17th century that contemplation became analogous to prayer. A work of art was then considered the medium of an elevation of the soul—a totemic conception whose secondary effects we are still experiencing.

In the constitution of its fundamental values, Lafayette Anticipations offers a simple expression to articulate its vision: the artist advances society. A researcher, politician or humanitarian volunteer could legitimately say the same about his or her social function. But the phrase is not offered as a truth or axiom. It expresses the desire to situate artists differently, not on the margins, but in a central place that unites the political and the poetic. The artist offers the world the symbolic territory of a social ecology. A work of art makes it possible for everyone to give voice to their power in solidarity with their surroundings. 10 This is not a matter of deifying artists or praising some sort of power they possess, but is rather about questioning the figure they embody in society.