The 6th installment of The Social Life of the Book series is a section of the catalogue of publications from English artist Helen Chadwick’s personal library, reproduced by Will Holder for single mothers. The library was acquired in 2006 and is held by the Henry Moore Institute archive, Leeds, UK.

The Social Life of the Book is a collection of commissioned texts dealing with books, and how they engage with the circulation of ideas and the agency of social situations. It brings together artists, publishers, writers, designers, booksellers, etc. who consider books less as finished objects or forms but for their disruptive potential and their ability to produce new relationships, new publics and new meanings.

Designed by Will Holder.

This record brings together the three components from a major body of work by Ruth Buchanan. Here, the forms of performance, exhibition and film are compressed through and into audio; the record becoming both the documentation of the work at the same time as proposing a script for future versions. Buchanan’s texts and graphics are rendered into paired back dense sound pieces where the capacity of language as a system that is both employed by and defines the subject is emphasized. Buchanan explores the examination of subject and system by language, where language itself constitutes a contested field of interaction between the two.

Or, a building was recorded in part at the Badischer Kunstverein, Karlsruhe. Or, a screen was recorded in part at the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin.

This record is released on the occasion of the exhibition Or, a camera Or, a building Or, a screen by Ruth Buchanan at the Kunstverein Harburger Bahnhof, Hamburg, September 19 – December 13, 2015 curated by Anna Sabrina Schmid.

The exhibition and the record act as the epilogue to the body of work commissioned by the Badischer Kunstverein, Karslruhe and the Institute of Modern Art, Brisbane.

You can here an audio sample here.

Exhibition guide was produced on the occasion of Choses tuées, held at de Appel arts centre in Amsterdam, 2015.

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.

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.

Jacob Kassay’s canvases are simultaneously painting, sculpture and interactive installation. The exhibition includes a new body of work, in which Kassay continues his dialogue with the traditions of monochrome and colour field painting.

A wooden framework with a selection of canvases embedded within it, each of which is evenly painted and then silver-plated, will be located in the ICA’s lower gallery. The movement of ambient colours and changing light subtly and continuously alter the appearance of the works throughout the day. The wooden structure releases the canvases from their status as single units, combining them into a larger composite installation that functions as both architectural support and environment.

Essay by Peter Eleey and conversation between Jacob Kassay & Matt Williams.

Dean’s work is often concerned with the play of legibility through the creation of private lexicons. The relation between spoken word performance and its graphic representation, often in the form of private, personal and self-made typefaces, is one key to his work. The otherwise mute objects are inscribed, via clues, or fragments of lettering, with a personalised form of writing, which gives the opportunity of animating the artwork. Here the book operates as a form of sculpture, inscribed with both a personal and bodily form, to be read, spoken or carefully deciphered. Designed by Michael Dean, with Fraser Muggeridge.

‘NOW LEAVES describes leaving and having left. Glossolalia like, against noise, about the bones of a writing, written in tongue graphics legible by reason of the trees with as many words as there are leaves. The percussion of these leaves is f***ing news. The percussion of these leaves is not his news. The percussion of these leaves is not her news. The percussion of these leaves is definitely not their news.’—Michael Dean