Regine Ehleiter is a curator and writer based in Berlin, and a part-time lecturer in the Art History Department of the University of Hildesheim.

She studied Cultural Studies, Art History and Journalism in Leipzig and London. In 2011, Regine joined the curatorial team of Kunsthalle Baden-Baden where she initiated a platform for changing displays of books by independent publishers (Publishers’ Corner), organised solo exhibitions by Böhler & Orendt, Rachel Sussman and Triin Tamm, and co-curated a major exhibition on contemporary wall works (Auf Zeit, 2013). Following that, she worked for the 6th f/stop Festival for Contemporary Photography in Leipzig. In 2016, she was awarded a Curatorial Fellowship of the state of Rhineland Palatinate as part of which she organised the exhibition What’s Unfolding (2017) at Arp Museum Bahnhof Rolandseck.

Parallel to her curatorial work, Regine is pursuing a PhD on practices of exhibiting in publications in the 1960s and 1970s, supervised by Beatrice von Bismarck at the Academy of Visual Arts in Leipzig. In 2015, she was awarded a doctoral grant by the German Academic Exchange Service (DAAD), which allowed her to do extensive archival research in New York City and Washington, D.C. From March to May 2016, she was a guest researcher at the Getty Research Institute in Los Angeles, and from until September 2019, a Predoctoral Visiting Scholar at the Courtauld Institute of Art in London.

Regine regularly contributes to art magazines and has lectured at various universities and art institutions in Germany and abroad. In 2014/15, she taught a seminar on ‘Curating in the Expanded Field’ at Universität Leipzig. Most recently, she was a visiting lecturer in Curatorial Studies Department at Goethe Universität Frankfurt (2017/18).



  • "in 1994 trevor fairbrother curated an exhibition at the boston museum of fine art called 'the label show: contemporary art and the museum.' it was an engaging show; works that normally had one label had two or more, and the labels were also signed by the individuals who wrote them – a very important contrast to the ways museums typically aspire to present themselves as disinterested authorities." (joseph grigely, "exhibition prosthetics", london: bedford press, 2010, p. 16)
  • website of the imaginary "museum für moderne kunst münchen", art project by hans-peter porzner
  • in 1960 stanley brouwn declared all of the shoe shops in amsterdam as one of his exhibitions.
  • Karoline Swiezynski on Instagram: “The book is a choreography that is activated by one performer for a single audience or a group of people. 📖 🎤 📚  Our new work in its…”
  • Marina Ryfer on Instagram: “Amarras concretas. #marinaryfer #art #contemporaryart #arte #artecontemporanea #sculpture #escultura #brazilianartist”
  • Luciano Perna on Instagram: “Raymond Pettibon, “I believe everything in it, because it is a book.” Ink on paper. 1987 #raymondpettibon #raymondpettibonart…”
  • "display. mediating landscape" (bari, 2014), a group exhibition. curated around a formal mediator: the display landscape. (Kitty Anderson. Laura Barreca. Jennifer Bailey. Riccardo Benassi. Andrew Berardini. Xenia Benivolski. Lupo Borgonovo. Paul Branca. Willie Brisco. Simon Buckley. Carson Chan. Paolo Chiasera. James Clarkson. Michael Dean. Federico Del Vecchio. Giulio Delve. Sonia Dermience.  Aideen Doran. Olivia Dunbar. Sarah Forrest. Maria Fusco. Alberto Garcia del Castillo.…)
  • 'black phoenix' no 3 (spring 1979), ed. by rasheed araeen and mahmood jamal
  • An ICA Reading Room exhibition exploring collaborative and socially-engaged work of Peter Dunn and Loraine between 1977-80, which focused on health issues of the time.
  • J.M.Whistler and the Book, The Gentle Art of Making Enemies