The project Il Processo (The Trial, 2010–12) focused on the “April 7 trial” (1983–84), against the members of the leftist revolutionary movement Autonomia Operaia, which was held in the Aula Bunker in Rome—the high-security courthouse in Foro Italico. Biscotti’s research started in 2006—shortly before the building underwent a major transformation from a court to a sports museum. The installation consists of concrete sculptures made from casts of the architectural features of the courtroom, taken before their demolition. These are accompanied by a six-hour audio edited recording of the “April 7 trial”. Defendants in the court case included the philosophers Antonio Negri and Paolo Virno, and other intellectuals accused of being ideologically and morally responsible for Italian terrorism developed in the late 1970s.

Between 2010 and 2012, there were a series of performances, in different countries, where the audio is simultaneously live-interpreted by a professional translator, so that the historical testimony becomes reactivated through a contemporary voice and body. During the presentation at dOCUMENTA 13 in 2012 the installation and the performance were simultaneously shown. This publication is an English transcript of the audio translation.

This bibliography catalogues and illustrates, with a wide selection of images, Allan Kaprow’s entire body of published work: from his first artist’s book in 1962, to his last anthological projects in the 1990s. This lesser-known side of his oeuvre unfolds through 32 books, booklets, and pamphlets produced over a period of 40 years. Kaprow’s work moved along two parallel tracks: Happenings—of which he was an unchallenged pioneer, starting in the 1950s—and “Activity Booklets,” which functioned as a tool to help people understand and experience these performances.

The layout of his books, the originality of their structure, the literary stature of their texts, and their aesthetic quality as objects shifted his exploration of print into a higher realm, where the book became a fully-fledged work of art.

Produced on the occasion of the exhibition Jef Geys: KOME, Koninklijke Musea voor Schone Kunsten van België and Musées royaux des Beaux-Arts de Belgique in 2012. Design by Luc Derycke.

In 1980 Rollins began teaching art for middle school students in a South Bronx public school. In 1982, he launched the “Art and Knowledge Workshop” in the Bronx together with a group of at-risk students who called themselves K.O.S. (Kids of Survival). You can read more in Julia Ault’s great dedication here.

Tim Rollins and K.O.S. (Kids of Survival) have been collaboratively drawing and painting on book pages since 1982. The publication has been conceived as a guide to this work, analyzing the group’s artistic method from its inception through to today. The aim is to set up an index that gathers together all the books on which the group has worked: each one is discussed based on the reasons for its selection, alongside images of the work itself.

The current members of K.O.S., at the time of Rollins’ death at age 62 in December 2017, included Angel Abreu (b. 1974), Jorge Abreu (b. 1979), Robert Branch (b. 1977), Ala Ebtekar (b. 1978), Ricardo Nelson Savinon (b. 1971), Noe Sosa (b. 1992), and Logan Swedick (b. 1995).

Michael Dickman was born and raised in Portland, Oregon. His poems regularly appear in The New Yorker, The American Poetry Review, Field, and elsewhere. He is the author of two books of poems, The End of the West, and Flies, which won the James Laughlin Award.

Published by Fivehundred places, founded in 2012 by Jason Dodge. On the cover of each book is a dead scissor by Paul Elliman.

Matthew Dickman was born in Portland, Oregon in 1975. His first book, All-American Poem, was winner of the 2008 American Poetry Review / Honickman First Book Prize in Poetry, published by American Poetry Review.His second full collection of poetry, Mayakovsky's Revolver, was published by Norton, 2012. Published by Fivehundred places, founded in 2012 by Jason Dodge. On the cover of each book is a dead scissor by Paul Elliman.