While Eva Eisenlohr’s (1891–1977) memory travels to the Kunstverein Nürnberg as part of Maximiliane Baumgartner’s latest exhibition Das Lokale ist nicht lokal (The Local Is Not Local), we delve back into an early hommage by Baumgartner to the Freiburg artist during the Biennale für Freiburg 2. In this contribution, our editor Isabelle Tondre retraces Baumgartner's reenactment of Eisenlohr’s iconic wheelbarrow procession from 1957. Step by step, the multilayered gesture unfolds, shedding light on an overlooked practice and a biennale that reconsiders the past through participative modes of storytelling.

In the late 1970s, Ghislain Mollet-Viéville (*1945, Boulogne-Billancourt) began to define himself as an 'agent d’art'. Not an agent solely representing artists, but an active player in the relations between art and society. His former apartment at 26 rue Beaubourg in Paris, where he lived from 1975 to 1991, was the stage of radical discussions on art’s (im)material value for the then thriving minimal and conceptual art scene. Housing the works of emblematic artists from Sol LeWitt to On Kawara or Tania Mouraud and sparking collaborations with many more including André Cadere or Philippe Thomas, the sophisticated home and secret hotspot was reconstructed as an exact copy within the collection of the Musée d’art moderne et contemporain (MAMCO) in Geneva. This summer, the man of many hats sat down with PASSE-AVANT editor Isabelle Tondre to talk about his hybrid position in the arts, the transition of his apartment into a ‘museum object’ and his profound belief in art as a social currency.

On the occasion of this year's Fuck-Patriarchy-Day, we dedicate today's post to all the inspiring women whose work and agenda we admire.

We invited some of them to write about the women who significantly influenced their lives, work and thinking.

With contributions from Mire Lee, Annegret Liepold, Charlotte Rohde and Isabelle Tondre. I'm with her.