Anne Dressen is a curator at ARC, the contemporary department of the Musée d’Art Moderne de Paris. Her curatorial projects and writings investigate unofficial or peripheral artistic practices that go beyond the traditional definitions and category of "fine arts" – particularly around sound and video, copy and reproduction, crafts and the decorative arts, the feminism and the proto-queer. All of her projects explore problematics of the minor, the minorized and the minority, embedded in cultural, post-colonial, and gender studies, rejecting any binary and linear views and readings.
Among her exhibitions : Playback, artists’ music videos (2007); Sturtevant. The Razzle Dazzle of Thinking (2010); Second Hand (2010) with look-alike works in the MAM permanent collection; La Demeure joyeuse (2012) at Francesca Pia, Zurich; The Passion according to Carol Rama, co-organized with MACBA in Barcelona (2015); Trans (2019) at Frac Aquitaine in Bordeaux. In the last 10 years, she curated a trilogy of transhistorical exhibitions addressing the overlooked relations between arts and crafts, associating works and objects from various typologies and uses: Decorum. Carpets and tapestries by artists
(2013), with a scenography by Marc Camille Chaimowicz, that toured at the Power Station of art in Shanghai (2014); Medusa - Jewellery and Taboos (2017), on jewellery as ornament, body sculpture and identity markers. Her latest project, The Flames, the Age of Ceramics, explored ceramics from a technical, relational and political point of view.
She teaches regularly (at the ECAL, Lausanne, HEAD, Geneva and ArtCenter College of Design, Pasadena) and contributes to institutional catalogues (The Studio Museum in Harlem, NY; MoMA PS1, NY; CEC Geneva), as well as artists books and art magazines (Artforum, Cura, Frog, Petunia, Frieze, Ceramic Review, May Revue among others). In 2014, she was nominated for the Gerrit Lansing Independent Vision Award / Independent Curators International / ICI. She is member of the acquisition committee for contemporary art at MAM, Paris, and part of the scientific committees of Les Gobelins - Paris and Le Musée des Tissus in Lyon, France.
Anne Dressen co-edited the second issue of The Vessel, Re-Acting Fibres.