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On his cathode-ray television, his VHS tapes played on repeat: \u003cem\u003eThe Exorcist\u003c\/em\u003e (1973), \u003cem\u003eFemale Trouble \u003c\/em\u003e(1974), and \u003cem\u003eThe Law of the Strongest\u003c\/em\u003e (1975). Sometimes he would turn the volume down to play his vinyl records along with the images: 'Madame Butterfly' by Malcolm McLaren (1984), the recording of Ingrid Caven at Le Pigall’s (1978), anything by Madonna. On a pine shelf, a Chanel perfume bag and the beginnings of a library: \u003cem\u003eLa Nuit juste avant les forêts\u003c\/em\u003e (1977), \u003cem\u003eDans la solitude des champs de coton\u003c\/em\u003e (1985) and \u003cem\u003eLe Retour au désert \u003c\/em\u003e(1988). Like Koltès, the author of these books, Pelassy was gay, born into a Catholic family, with a military father and a housewife mother.' 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Developed between 2006 and 2021, it centres on the 'April 7th' trial (1983–84), a landmark inquiry and legal case against members of the Italian leftist movement Autonomia Operaia. The project has unfolded through installations, sculptures, performances, reading groups, films, and printed matter, presented at (among many others): MAXXI—National Museum of 21st Century Art, 2010; dOCUMENTA(13), Kassel, 2012; e-flux, New York, 2013; Wiels, Brussels, 2014; Castello di Rivoli Museo d’Arte Contemporanea, 2024.\u003c\/p\u003e\n\u003cp\u003eThe core of the book is the English transcription of a six-hour audio piece, originally composed from hundreds of hours of the trial’s archival recordings broadcast by Radio Radicale. Edited like a theatrical script, \u003cem\u003eThe Trial \u003c\/em\u003ebecomes a polyphonic narrative that foregrounds the political voices of defendants in opposition to the structure and language of the legal machine: prosecutors, judges, lawyers. 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