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  • Issue 31 - Ken Kagami

    Issue 31 - Ken Kagami

  • Issue 32 - Experimental Jetset

    Issue 32 - Experimental Jetset

  • Issue 33 - Amanda Ross-Ho

    Issue 33 - Amanda Ross-Ho

  • Issue 34 - Dave Muller

    Issue 34 - Dave Muller

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Quick Overview


After 10 great years, THE THING Quarterly released its final issue (#34!) in June 2017. While the subscription is no longer on offer, available back issues and projects can be purchased individually through our SHOP. Thanks to everyone who helped make all THINGS possible! Stay tuned for future projects...

Experimental Jetset is an Amsterdam-based graphic design studio founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, Experimental Jetset have worked on projects for a wide variety of institutes, including Stedelijk Museum Amsterdam, Centre Pompidou, Dutch Post Group and Whitney Museum of American Art.

Their work has been featured in group exhibitions such as 'Graphic Design: Now in Production' (Walker Art Center, 2011) and 'Ecstatic Alphabets / Heaps of Language' (MoMA, 2012). Solo exhibitions include 'Kelly 1:1' (Casco Projects, 2002) and 'Two or Three Things I Know About Provo' (W139, 2011 / Moravian Gallery, 2012).

In 2007, a large selection of printed matter by Experimental Jetset was acquired by the Museum of Modern Art (New York). Other institutes that have collected work by Experimental Jetset include Stedelijk Museum (Amsterdam), SFMOMA (San Francisco), Art Institute of Chicago (Chicago), Museum für Gestaltung (Zürich), Centre National des Arts Plastiques (Paris), and Cooper Hewitt (New York).
In 2015, Roma Publications (Amsterdam) released a monograph titled 'Statement and Counter-Statement: Notes on Experimental Jetset', featuring essays by Linda van Deursen, Mark Owens, Ian Svenonius and Jon Sueda.

Between 2000 and 2013, Experimental Jetset have been teaching at the Gerrit Rietveld Academie. They are currently teaching at the Werkplaats Typografie and Artez (Arnhem).

More information on Experimental Jetset can be found here.  



Amanda Ross-Ho lives and works in Los Angeles. Her work draws from a broad hierarchy of structures, mapping connectivity within the overlapping ecologies of personal and universal phenomena. Her evolving personal language combines forensic and theatrical gestures, diagramming the reflexive relationships between production, presentation, and the social contracts of viewership. Her sculpture, painting, photography, installation, and most recently, public works have been exhibited widely, nationally and internationally. 

More info on Amanda Ross-Ho can be found here.

Ken Kagami was born (1974) and presently lives and works in Tokyo. Kagami's selected past exhibitions include "Lionel Messi",Bahamas Biennale,Detroit (2016 Group Exhibition), "dog",MISAKO & ROSEN, Tokyo (2016 Solo exhibition), "comedie concrète", MISAKO & ROSEN, Tokyo (2015 Group exhibition), "Green", What Pipeline (organized by Puppies Puppies), Detroit (2015 Group exhibition), "Bronze works 2013-2014", MISAKO & ROSEN, Tokyo (2014 Solo exhibition), "The Future is Stupid", The Green Gallery, Milwaukee (2013), a two person exhibition together with Detroit based artist Scott Reeder, the solo exhibition "SPICY!!!" presented by Nadiff Gallery, Tokyo (2013) and "HELLOWIEN" Krinzinger Projekte, Vienna (2006). In 2015 Kagami presented a performance as part of the Live section of Frieze London; the performance drew an audience of more than 2000 visitors over the course of 4 days.


Dave Muller was born in 1964 in San Francisco, California. He received a BAS in chemistry and art from the University of California at Davis in 1989 and briefly studied at the School of Visual Arts in New York from 1990 to 1991 before earning an MFA from the California Institute of the Arts in Valencia in 1993. In 1994 Muller became known for nomadic social art events, known as Three Day Weekends. During that time, he also made watercolor announcements for exhibitions of his contemporaries as well as artists of earlier generations such as Jackson Pollock and Andy Warhol. As DJ, curator, and artist, Muller examines with wit and irony the formation of an individual's identity through the amassing of cultural references. For his series Top Tens (2004), Muller created symbolic portraits in the form of delicately rendered acrylic paintings of album sleeve spines; the artist has since extended this practice to include books, cassettes, and CDs. Since 2004 Muller has also poked fun at identity-definition and categorization in his acrylic star paintings of genre headings as they appear in magazines like The New Yorker, Time Out, and New York Times. Muller has also created several versions of auditory self-portraits in the form of extensive playlists broadcasted into the gallery. In 2008 Muller installed a mural of a massive timeline chronicling the evolution of rock n' roll since 1955 entitled As Below, So Above in the lobby of the Institute of Contemporary Art in Boston; the mural is one of several works Muller has created since 2003 based on this timeline. Parallel to his works directly related to music, since 1999 Muller has engaged with pictorial renderings of landscapes (both urban and natural) and the sky (both day and night). 

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