Created by French artist Philippe Thomas, the communication agency called readymades belong to everyone®, for its American version inaugurated in 1987 in New York, and les ready-made appartiennent à tout le monde®, for its French version, is a company behind which the artist disappeared. MAMCO owns the whole agency, which closed in 1995. This book is the first comprehensive study of this work which challenged the traditional role and function of the artist. With readymades belong to eveyone®, the collector or the institution themselves sign the works and become the authors of the works. The book proposes also the last (and unpublished) interview by Philippe Thomas which enables to understand the deep coherence of his entire work. Textes de Paul Bernard, Émeline Jaret, Philippe Thomas, Stéphane Wargnier.

Retour d’y voir is the art history review published by the Mamco, Geneva. The 5th issue is entirely dedicated to Philippe Thomas: analysis (Michel Gauthier, Jean-Philippe Antoine, Robert Storr, Stéphane Sauzedde, Christophe Kihm, Érik Verhagen, Guillaume Leingre, Claire Fontaine, Judith Ickowicz, Émeline Jaret) and testimonies (Claire Burrus & Émeline Jaret, Sylvie Breton & Dominique Païni, Daniel Bosser, Jacques Salomon, Bernard Blistène, Daniel Soutif, Ghislain Mollet-Viéville).

This is the first authorised translation of Daniel Bosser, Philippe Thomas décline son identité, a book about modernism and modalities of display first published by Galerie Claire Burrus, Paris, in 1987. The book was part of a performative talk given by the French conceptual artist Philippe Thomas (1951–1995) at the Centre Georges Pompidou in Paris on 23 March 1987, and repeated a year later at the Musée de Grenoble. What audience members only realised upon leaving the auditorium was that the talk they had just witnessed was minutely scripted—down to Thomas’ smallest gestures and pauses—in the book itself. Thomas thus blurs definitions of ‘artist’s talk’, ‘performance’, ‘transcript’ and ‘book’, producing instead a play on words, and speech acts. Consistent with Thomas’ desire to separate the author’s name from actual authorship, the book is attributed to Daniel Bosser, the collector who acquired the piece.

Consistent with Thomas’ practice to distinguish his name from authorship, this book is attributed to Daniel Bosser, the collector who acquired the piece.

Translated by Antony Hudek, with a specially commissioned essay by Émeline Jaret.