The project is a critical reflection on failure, seen through the presence of badly drawn swastikas on public surfaces across Italy. The result of research conducted between 2009 and 2025, it reflects on how one of the most ancient and widely disseminated symbols—later appropriated by the Nazi regime—is repeatedly drawn incorrectly by those who attempt to reproduce it to assert ideological authority, turning the symbol into an impressive achievement in failure and revealing their makers’ incompetence, thereby undermining the very claims to rigor and control they were meant to convey.

Combining humor, political critique, and personal reflection grounded in leftist perspectives, Epic Fail 2009-2025 situates these graphic failures within a broader framework of ideological production and collapse. It considers how incompetence operates not merely as an incidental flaw but as an expression of larger political and cultural bewilderment. The project also considers these failures within a broader context of personal and collective struggle, where political defeat, absurdity, and laughter often seem to occur together.

Conceived as a long-form reflection on a practice unfolding over more than two decades, the book seeks to render the complexity of a body of work that moves across photography, collage, found imagery, drawing, and video, tracing its development from its initial articulations to the present.

For Spranzi, photography and video are, first and foremost, ways of seeing and of reimagining the world. Rather than privileging technique, her attention is directed toward the elementary gestures of the photographic act—looking, enlarging, reducing, reproducing, reassembling—understood as actions through which the image is continuously analyzed, displaced, and rewritten. These processes generate bodies of works in which fragments, objects, and memories are staged, and in which the familiar is subtly unsettled by slippages and suspensions of meaning.

The volume articulates the evolution of Spranzi’s practice while foregrounding a set of recurring motifs that persistently traverse and structure her research, such as the tension between scale and intimacy, the circulation and transformation of images, and the oscillation between reality and marvel.

The publication features original contributions by Cecilia Canziani, Ilaria Gianni, Estelle Hoy, Quinn Latimer, and Simone Menegoi, whose essays offer historically grounded readings, critical perspectives, and poetic deviations that run alongside and in resonance with Spranzi’s work.

The work of the Palestinian artist Taysir Batniji (born in Gaza in 1966, currently based in Paris) is indissolubly tied to the collective history of his homeland and his people, although refracted through the lens of his individual experience.

Through photography and video, drawing and painting, sculpture and installation, he gives life to works imbued with a sense of impermanence and fragility, which explore the boundaries between the visible and the invisible, the material and the im-material, presence and absence. Poetic reflection and a bitter irony are the means through which Batniji deals with the trauma of displacement and the representation of disappearance.

This book, whose title is drawn from a verse by Mahmoud Darwish, documents his exhibition Abitare il tempo, held at the Fondazione Ago in Modena, and presents two recent bodies of work: Out of the Blue and Remnants, the latter emerging from a painful reflection on images of the genocide in the Gaza Strip.

The publication features an original text by Karim Kattan.

This book collects photographs taken by Pietro Perotti – a worker at the Fiat Mirafiori plant in Turin – who, starting in 1985, created protest writings and drawings in the factory toilets to oppose the oppressive policies of the company and of the FIAT boss Agnelli. This widespread and personal form of protest followed years of activism in class struggles and strikes during the previous decade.

Perotti systematically photographed the drawings and writings, secretly bringing a camera into the factory and timing the shutter release with the automated toilet flushes to muffle the sound of the click.

Perotti’s story starts at a precise moment in time, at the beginning of 1985, and in a precise location, the FIAT factory at Torino Mirafiori, transporting the reader back in time. Assembled for the very first time in this volume, here is a working-class story that was first scrawled and scribbled in the large factory’s toilet cubicles, and then docu­mented on photographic paper.

Sound Chapters: Voices of Sound Experimentation in Italy is a hybrid volume dedicated to the Italian auditory arts scene. Using textuality as an intimate form of sound, the book reflects the texture of the voice in writing. Words function like ventril-oquy, imitating remote vocalities. In the chapters, short stories, essays, research papers, poems, scores and songs sound without hierarchy, emphasising plurality. By weaving together contri-butions that elude conventional modes of writing, the project amplifies a fluid and inclusive bibliography on the subject. The authors of this book are artists, researchers, curators, and cultural organizers who, over the past ten years, have played an active role in the experimental sound arts scene in Italy. The book is not only a theoretical reflection on the Italian soul scene but also a catalogue for Mezz'aria. La strana apertura della ricerca sonora, a collective project that explored sound research within the exhibition setting of the Museo del Novecento e del Contemporaneo di Palazzo Fabroni a Pistoia (20.05-15.08 2023). Artists and researchers: Marco Baldini, Elena Biserna, Luca Boffi, Andrea Borghi, Mattia Capelletti, Francesco Cavaliere, Stefano De Ponti, Nicola Di Croce, Giulia Deval, Alessandra Eramo, Paolo Gabriotti, Giulia Gonfiantini, Renato Grieco, Riccardo La Foresta, Enrico Malatesta, Chiara Pavolucci, Leandro Pisano, Diana Lola Posani, Radio Papesse, Francesco Toninelli.

Human life on Earth depends on biodiversity and its health. However, this pre-cious variety of life forms has been endangered for too long and is disappearing at an alarming rate. This awareness has gradually prompted me to reconsid. er the use of materials in my artistic practice, opting for natural, plant-based materials. This publication reflects on materiality, awareness of gesture and a sense of care in my artistic pratice. Through an exploration of the organic, of the intelligence contained in craftsmanship, I propose a collaborative and conscious art practice that seeks to connect with the natural world in a respectful and sustainable manner. Inside this publication there are the contributions by Cecilia Canziani, Ana Gonçalves Magalhães and Paola Anziché.

Inizio fine. Rotondo. Tutte le cose del mondo (Beginning, End. Round. All Things of the World) is the exhibition that artist Chiara Camoni conceived for the Piano Nobile of Palazzo Collicola on the occasion of the 67th Festival dei Due Mondi. The title, similar to a lullaby or nursey rhyme, anticipates the course of the exhibition, based on circularity, accumulation and reiteration, with the works accompanying the visitor through the rooms in a dreamy and ancestral atmosphere, populated by spirits, divinities, souls, and animals. References to the natural and plant world-a fixed presence in Camoni’s production-meet with the splendour of the rooms of Palazzo Collicola, in an unprecedented dialogue that also features a conspicuous body of works made especially for the exhibition. The Piano Nobile and the artist’s works thus form a special alliance: the relationship with the architectural space is underlined by a long snake made of different materials and media which, ‘crawling’ in all the rooms, marks the path of the exhibition.

Concerto, Roberto Fassone's first solo exhibi-tion in a public museum was created with the idea of retracing the artist's first fifteen years of activity. The exhibition hosts a selection of works-one per room-representative of his singular artistic practice. Like songs that follow one after the other during a concert, the works of Concerto traverse Fassone's entire artistic production, outlining the salient features - as well as the uniqueness-of his poetics, inviting visitors to embrace his ironic, surreal, psychedelic universe.

Popoli di Vetro is an artist's book in the form of a fantastical novella. Here, the writing generates an imaginative world in which glass is the pervasive element the protagonist must deal with.
Tan – also known as Metastasio – moves freely in an abyssal setting, searching for springs and fountains he collects as if they were treasures to be kept. His relationship with water becomes irresistible since, as a child, he accidentally swallowed glass.
In a succession of phantasmagoric visions, changes in material state, blinding mirages, and intermittent darkness, Tan encounters hybrid entities—animals/women/men/animated objects—that form the peoples of glass.
In this book, Cavaliere consolidates his writing practice as an artistic sign. The text is offered as an object for decoding both word and vision; the realm of literature overlaps with that of art, and reading becomes an act of imagination.

Ring! is an artist album by Francesco Cavaliere and Dick El Demasiado created during A Week From Monday 2023, an artistic residency organized in Umbria by Viaindustriae Publishing and Holydays Festival. The residency involves a week-long research and production phase, in which the artists divide their time between Foligno's industrial zone and the mountain village of Scopoli with the intent of exploring possible points of contact between visual and sonic artistic languages. Ring! is the result of an immersive listening experience, involving the manipulation of field recordings taken during a historically inspired jousting tournament. The artists shared the experience of listening and recording, while further manipulation and production of the tracks was carried out individually.

Francesco Cavaliere opens Il fuso del cavallo infilato nell'anello (20' 5") with a vocal reinterpretation of the Bando di Giostra—a text traditionally read aloud to announce the horse race, typically recited into a microphone by a designated actor on the day of the event, in the complete silence of a crowded stadium. He then focuses on the stark solemnity of the race itself, during which a certain kind of restless silence takes center stage, as the ear tunes in to the essential sounds of the stadium: the horse's gallop, the lances striking or missing the rings. This creates a long sequence of speaking silenceswhere, from time to time, the chatter of the crowd suddenly breaks through.

In Never Be The Saddle (15' 50"), Dick El Demasiado works with editing, repetition, layering, and delay as subtle yet decisive gestures, creating a vaguely unsettling and out-of-the-ordinary sound experience. His interventions are so discreet that one may not immediately notice them—or possibly never notice them at all. Here, the main elements are saturated sounds, such as the amplified voice of the race announcer, the cheers, drums, and trumpets, which are occasionally interrupted by the same speaking silence that we hear in Cavaliere's piece, a defining sonic element of the experience.

For two hours, the public and passersby are invited to freely join the singing improvisations directed by three choir leaders: Liévine Hubert, Tom Mannaerts and Baptiste Vaes.
In this moment of collective singing, people who do not know each other will share the same tune, creating spontaneous complicity through rehearsals. 
Circles of Songs is a performance by Raffaella Crispino, commissioned by BOZAR Center for Fine Arts Brussels, performed on the 21st of December 2022, as part of Rebirth/Third Paradise by Michelangelo Pistoletto, curated by Alberta Sessa.

Quasi-Book is an artist's book by Kolxoz Collective, the last part of the residency project of the same title curated by Mahler & LeWitt Studios and Viaindustriae in 2021. The residency took place in the spaces of Sol LeWitt's studio in Spoleto and was intended as a platform for the dissemination and contextualisation of artistic publishing practices. After iterating as an open studio, a temporary bookshop, a platform for sharing and discussing book-making practices, and a space for convivial moments, the Quasi-Book project has now become an ‘actual’ quasi-book. Its chapters are quasi-chapters, collecting materials according to the predominant characteristics and techniques employed by Kolxoz Collective. For example, their promotion of a communal ‘inter-language’ as a way to facilitate new ways of communication and collective identification (Glossary); the use of the postal service to deliver materials, artworks and drawings to collaborators (Post Bridge); the thermal printing technique used by Kolxoz as a transportable publishing desk (Other Books); and drawing-statements which merge short texts and visual information (Diagrams). These materials are accompanied by an extract from a conversation – posited as a ‘live dictionary’ – between Kolxoz Collective, Viaindustriae, and the Mahler & LeWitt Studios.