Rossella Biscotti’s 10 × 10 interrelates three histories- the use of punch cards to program both early data processing machines and automated looms (jacquard) respectively, how demographic records have been modeled through census taking, and the legacy of the Haus Esters (1927–1930), a single family villa built by a textile baron- so as to question how statistics and quantitative analysis not only represent a given reality, but how such illustrations may also hide cognitive basis hidden in contemporary profiling methods and other displays.

Produced on the occasion of the travelling exhibition of visual and sound poetry organized by the Stedelijk Museum, Amsterdam in 1971. Including artists such as; Öyvind Fahlström, Eugen Gomringer, Emmett Williams, Ferdinand Kriwet, Henri Chopin, Kitasono Katue, Bob Cobbing, Ian Hamilton Finlay, Dom Sylvester Houédard, Ugo Carrega, Maurizio Nannucci, Jiří Kolář, Herman de Vries, Aram Saroyan, Mary Ellen Solt.

Designed by Wim Crouwel and Jolijn van der Wouw.

SM Cat. No 492.

SSS: How to imitate the sound of the shore using two hands and a carpet is, at first glance, exactly what it claims to be: an in-depth manual for staging a private (or public) performance, in which one uses both hands and a carpet to imitate the sounds of water making contact with land. Istanbul-based artist Cevdet Erek’s book includes diagrams and photographs, which illustrate possible methods for producing this effect, while also addressing theoretical and methodological issues related to the representation of nature.

SSS is the second book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional. Design by Julie Peeters

Copublished with Kunsthalle Wien on the occasion of Isa Genzken’s exhibition I’m Isa Genzken, the Only Female Fool, 28 May–7 September, 2014.

“The Only Female Fool” is how Isa Genzken describes herself in the self-chosen title of her exhibition at the Kunsthalle Wien. This statement is typical of the fluid boundaries between deep seriousness and the exuberant, eccentric spirit that pervades her work. Genzken’s artistic practice is characterized by a wide spectrum of media and forms, although her roots in sculpture always remain visible. The exhibition and catalogue focus on specific aspects of her oeuvre, including the mirror motif, the examination of architecture, and space as a social sphere; where early works are juxtaposed with series from later creative periods. Genzken’s collaboration with other artists and her admiration for certain artistic positions is also brought into focus, and selected works by Dan Graham, Gordon Matta-Clark, Jasper Johns, Gerhard Richter, Wolfgang Tillmans, and Lawrence Weiner are presented in dialogue with Genzken’s multilayered work.

Design by Kummer & Herrman.

Ei-Q (28 April, 1911–10 March, 1960) was a Japanese artist who worked in a variety of media, including photography and engraving.

He was influenced by the Surrealist aesthetic and also published essays promoting photography as an art form independent of painting. This did not imply a rejection of painting, and he worked toward what in 1935 he termed photo-dessins, a fusion of photograms and paintings.

Produced on the occasion of West Coast Ceramics, Keramisch Beeldhouwwerk Uit De Verenigde Staten, September 1979. Including the work of Robert Arneson, Robert Brandy, David Gilhooly, Ron Nagle, Richard Notkin, Ken Price, Richard Shaw and Peter Voulkos.

Designed by Wim Crouwel, Arlette Brouwers, Total Design.