The collective artist gerlach en koop renders things visible by repetition, copying or reuse, by displacement and misplacement, by omissions, erring and making mistakes. The smaller the distance between two identical things—differences that sometimes can only be conceived of—the more interesting.

This book is the second volumes in a series, produced on the occasion of the eponymous exhibition, held at Temporary Gallery, Cologne, February-March 2016. Photographs by Kristien Daem and Hartwig Schwarz. With text contributions by Regina Barunke, Valentina Desideri, Nickel van Duijvenboden, Maxine Kopsa, Candice Lin and Raimundas Malasauaskas. Designed by Louis Lüthi.

The collective artist gerlach en koop renders things visible by repetition, copying or reuse, by displacement and misplacement, by omissions, erring and making mistakes. The smaller the distance between two identical things—differences that sometimes can only be conceived of—the more interesting.

This book is the first volumes in a series, produced on the occasion of Choses tuées, held at De Appel arts centre in Amsterdam. With photographs by Kristien Daem and text contributions by Lorenzo Benedetti, Valentina Desideri, Nickel van Duijvenboden, Maxine Kopsa, Candice Lin, Raimundas Malašauskas. Designed by Louis Lüthi.

This publication follows the exhibition : by collective artist gerlach en koop with the collection of the Bonnefantenmuseum Maastricht in 2016, at the invitation of curator Paula van den Bosch. This publication also follows the catalogue cubics by architects and designers Slothouber and Graatsma from 1970, such that it served as support for the artworks in print, just like their cubic system of blocks supported the artworks in the exhibition. All exhibited artworks are included in this publication, works by Francis Alÿs, Joseph Beuys, Marcel Broodthaers, Bethan Huws, Agnes Martin, Willem de Rooij, Lily van der Stokker, Joëlle Tuerlinckx, Franz West and many others, plus several anonymous objects of different provenances and different times. The publication contains a long interview with the artists by a ghosted ghostwriter, in Dutch and English. Designed by Charles Mazé and Coline Sunier in collaboration with gerlach en koop.

Contributions by Nick Aikens, Sonia Boyce, Laura Castagnini, Deborah Cherry, Alice Correia, Chandra Frank, June Givanni, Sunil Gupta, Evan Ifekoya, Claudette Johnson, Raisa Kabir, Gail Lewis, Amna Malik, Samia Malik, Priyesh Mistry, Dorothy Price, susan pui san lok, Raju Rage, Elizabeth Robles, Ashwani Sharma, Marlene Smith, Leon Wainwright, Michelle Williams Gamaker, Rehana Zaman.

The publication developed from the exhibition and research project The Place Is Here (2016–19), which traced the urgent and wide-ranging conversations taking place between black artists, writers, and thinkers in Britain during the 1980s. Within the context of Thatcherism and a racist art establishment, a new generation of black artists and intellectuals produced some of the most compelling ideas and images in recent British cultural history. Across four exhibitions, The Place Is Here brought together over one hundred works by forty artists and collectives, spanning painting, sculpture, installation, photography, video, and expanded archival displays. Richly illustrated, the book includes thematic essays, close readings of works, and a series of panel discussions bringing together key scholarly, critical, and artistic voices foundational to art in Britain in the 1980s. The result is an intergenerational dialogue around pressing intellectual, political, and aesthetic debates, highlighting the significance of the work of these artists for the present.

Jill Johnston—cultural critic, auto/biographer, and lesbian icon—was renowned as a writer on dance, especially on the developments around Judson Dance and the 1960s downtown New York City scene, and later as the author of the radical-feminist classic Lesbian Nation (1973). This book collects thirty texts by Jill Johnston that were initially published in her weekly column for The Village Voice between 1960 and 1974. The column provided a format in which Johnston could dissolve distinctions between the personal, the critical, and the political. Her writing took turns and loops, reflecting its times and contexts, and set a stage for the emergence of Johnston as a public figure and self-proclaimed radical lesbian that defied any prescribed position.

Johnston’s original texts are accompanied by three new contributions by Ingrid Nyeboe, Bruce Hainley, and Jennifer Krasinski, as well as an appendix with archival material related to a panel Johnston organized in 1969, titled The Disintegration of a Critic: An Analysis of Jill Johnston. Edited by Fiona McGovern, Megan Francis Sullivan, Axel Wieder. Designed by HIT.

You can read more on Jill Johnston in Jennifer Krasinski’s Art in America article here.

Produced on the occasion of Phillip Lai’s exhibtion at The Showroom, London, 26 February–30 March, 1997. With an essay by Francis McKee and an interview by Karina Daskalov.

Phillip Lai’s work at The Showroom involved the construction of objects and images which addressed ‘fluid’ states; the transformation via a soy-sauce fermentation unit, of solids to liquid and the absurd fusion, through biro drawn directly onto the gallery wall, of automatic drawing and the ‘letting’, or exhumation, of a consciousness.

More information on the exhibition can be found here.