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

Published on the occasion of Rossella Biscotti, L’avvenire non può che appartenere ai fantasmi at the Museion Bolzano, Bozen, 31 January–25 May 2015. The solo show, the artist’s first in an Italian museum, traced some of the key stages in her career, without being a retrospective. Biscotti responded to Museion’s invitation by creating new works and presenting traces of existing pieces – the exhibition includes casts of the 2009 project Le Teste in Oggetto, five bronze heads of King Vittorio Emanuele III and Benito Mussolini produced in 1942 for the Universal Expo in Rome, subsequently cancelled, and The Prison of Santo Stefano (2011–13), tracings of parts of the floor and cells of the prison in Italy’s Pontine Island.

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.