The editorial project Master in Photography / Viaggio in Italia–composed of four photographic zines and two posters–gathers the outcomes of the 2021, 2022, and 2023 activities of the Master in Photography at the IUAV University in Venice. Presented in its itinerant and experimental form, the project involved a series of residencies across Italy dedicated to photography, designed and structured in collaboration with guest lecturers to strengthen the relationship with the context and with Italy's social and natural landscape. The Master in Photography proposed a geographical exploration that also became metaphorical, crossing different grounds and distant territories. The group, composed of participants, lecturers and the people they met along the way, forms a context of permanent discussion and growth. The editorial project is a co-edition by Viaindustriae, ICCD, a+mbookstore, lUAV University in Venezia and Master in Photography cultural association. Over the past five years, the ICCD has become a valuable partner for all those involved, by offering access to its photographic archive and, through these publications, identifying a form of permanence – conceptual and concrete – of the experiences. The four published issues are dedicated to four different workshops; in each residency, the instructors presented an initial research theme from which the students developed a personal project. All of the residencies took place through a multi-vocal conversation in collaboration with institutions and realities spread throughout the territory. The four published issues are dedicated to four different workshops; in each residency, the instructors presented an initial research theme from which the students developed a personal project. All of the residencies took place through a multi-vocal conversation in collaboration with institutions and realities spread throughout the territory .Stefano Graziani and Emanuele De Donno curated the residency Roma subalterna, with the aim of investigating the utopia of drafting a guide to the city, drawing on unpublished bibliographies, exo-editorial models, neighbourhood guides of the capital, and adventure diaries. Spettri, the publication dedicated to Villa Manin, with Jacopo Benassi and curated by Saul Marcadent, envisaged a polyphonic collective journey where photography is to be understood as a permeable language in dialogue with performance, sound, and publishing. Filippo Romano’s Paradigma naturale places nature at the centre of the narrative, articulating a taxonomy of stories in images, collected in the freest manner. In the same issue, José Pedro Cortes’ workshop A Future Ruin perhaps most explicitly presents a reflection on time: everything in the images immediately becomes a ruin, a (non-decisive) instant to which one never returns. Senza preavviso, the fanzine dedicated to Gibellina hosts the visual research of Alessandra Spranzi, who has paused to observe, with her delicate gaze, some ordinary aspects of life in an attempt to find her own possible point of observation.

SUPERIMPOSITION is an artistic project by Polisonum that investigates the theme of listening and sonic control. The project is realised through the encounter of multiple disciplinary fields including sound, data analysis, fashion, and visual arts.

SUPERIMPOSITION explores the concept of earworms – those sonic agents that coercively graft themselves onto the brain until they become parasites and provoke mechanisms of cognitive control. Already known at the end of the 19th century, the phenomena were later defined as brainworms by Oliver Sacks. Sound worms are linked to mass culture such as pop music, advertisements, video games and TV theme songs. They also inhabit airports, bars, shops, gyms and shopping centres, and are characterised by sequences of redundant melodies that are difficult to escape. Recognising these mechanisms is complex, due to a weak, if not absent, general education in listening. Based on this research, SUPERIMPOSITION launched a data analysis of more than 10.000 music tracks featured in the popular international charts from 2000 to 2022. This analysis - which is based on the quantity and repetitiveness of the music – has been automated with a specially developed software. Algorithms and data analysis techniques were used to select the most characteristic lyrics. Their mathematically generated superimposition composes the work

SUPERIMPOSITION - a composition in which no melody is recognisable. The work is conceived as a performative act, a fashion show that recalls ancient rituals in which the performers and the audience become a single body on stage. The garments made of sound-absorbing fabrics, which look like sculptural dresses, have been presented in a fashion-show-like choreography. The textile materials, identified with the technical-scientific support of the Politecnico di Torino, are capable of refracting and absorbing sound pressure. These armour suits are designed as empirical protections for the ear and the body. The fashion design of the garments has been developed with the MARIOS brand through shared experimentation and a creative contamination that intends to look from the avant-garde supremacist models to the oriental tradition. The scenic and sound dramaturgy of the performance, which was presented in the Great Hall of the historic Cercle Cit in Luxembourg at the end of April, has also been interpreted in the video work realised through is multi-point direction.

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.

It's spelled 'San Sisto', but pronounced 'Sansisto', with its original name being 'Sansoste'. This serves as the acoustic title for a book-diary that collects 'living documents' gathered during research that began by observing the neighbourhood's soundscape, which then expanded into a broader investigation of the area-mapping the local human geography through thirty video interviews with citizens. The outcome is both a documentary film and this publication, where the voices and memories of the residents alternate with texts ranging from fieldwork methodology, to urban identity of public spaces, including the history of the social community, and their sound impressions. Despite its complex challenges, San Sisto feels more like a city within a city, thanks to its library and theatre. However, the neighbourhood aspires to design a new central square, a place where people can gather and move forward together. Given this context, what is the future for a working-class neighbourhood that no longer sees itself as merely a periphery, but envisions itself as a 'neovillage'?

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.

This book gather Dino Ignani's Dark Portraits collection, a selection of approximately 200 photographs that are part of a much larger series of shots, mostly portraits, taken over the course of five years, and effectively evoke the spirit of the 1989s in the dynamic city of Rome. Ignani's research is a window on the look of the young adults who animated the clubs of the so-called Dark scene in Rome, a scene that was in fact diverse and multifaceted, presenting a range of unprecedented aesthetic and individual declinations that flowed into other moods and styles of the time.

In late 2022, Helena Hladilová was invited to a research-based residency promoted by Pinacoteca G.A. Lev is and curated by ARTECO and CRIPTA 747, to realise a project that dialogues with the territory of the Susa Valley. Interested in the world of handicrafts, from weaving techniques to stone cutting, Hladilová has approached the traditions of popular folklore and the intangible narratives - through history - hand down legends and mythologies.

Hesitation is a central concept in Bertolo’s work. L'hésitation (15 June – 8 September 2024) is an anthology exhibition of the work of one of the most influential painters of his generation in Italy in two venues, Atelier Maisenthal and CEAAC di Strasbuourg. The exhibition gives an overview of Bertolo's practice through a vast corpus of works from his main series of paintings of the past two decades. The catalogue, with the same title, includes a number of exhibition views, contains an interview and two essays that shed valuable light on the artist's approach to art and on a major work.
On display at CEAAC Strasbuourg and Atelier Meisenthal, the exhibiton has been concieved by GAM Torno and curated by Elena Volpato and Alice Motarduna, director of CEAAC. The project is supported by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture under the Italian Council program (12th edition, 2023).

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.

Jonathan Monk's first show with Yvon Lambert’s Paris gallery was in 1997 and the artist continued working with him until he closed in 2014. At some point in the early 2000’s Yvon gave Monk a ruler, stamped into the top are the initials SL and he was told that twenty years earlier Sol LeWitt left it behind after installing a show. This 30cm ruler was the starting point for the publication and the edition of 100 ceramic rulers it documents. Jonathan Monk’s rulers aren’t straight, they don’t have any numbers nor lines on them and each one is slightly different to the next. The process used is the one of extrusion, pushing manually the clay through a metal profile made exactly as the original ruler given to the art­ist by Yvon Lambert. Sol LeWitt Rules was produced at the historical ceramic workshop La Gioconda in Deruta, which in the 1980s worked closely with Sol LeWitt for his production of ceramic plates and tiles. This book includes 100 photographs of the 100 rulers made on the occasion of Jonathan Monk’s exhibition SL at the Torre Bonomo in Spoleto. The quicker you flick through it, the faster it moves. 

You can now purchase the Sol LeWitt Rules project bundle, which includes the artist's edition and Jonathan Monk's artist's book.

A new series of sculptures by Jonathan Monk titled Sol LeWitt Rules (ceramic, approx. 30 x 3 x 1.5 cm, 2024), produced by Fabio Veschini at the ceramic workshop La Gioconda in Deruta which worked closely with Sol LeWitt on the production of ceramic plates and tiles. Monk created the edition as part of his residency at the Mahler & LeWitt Studios and subsequent exhibition ‘SL’ in the Torre Bonomo for the Spoleto Festival dei Due Mondi 67, curated by Vittoria Bonifati. The exhibition explored the direct and indirect connections between the work of Monk and LeWitt (see installation photographs of the rulers in ‘SL’ below and the related exhibition page here).

Together with the rulers' edition, the artist has produced an artist's book of the same title, published by Viaindustriae, which can also be purchased individually at the following link: https://viaindustriae.it/books/sol-lewitt-rules

If interested in the artist's edition only, please contact: info@mahler-lewitt.org. Sol LeWitt Rules is an edition of 100 and has been generously donated to the Mahler & LeWitt Studios by the artist. All proceeds support our programs. Each ruler is available for a donation of 120euros, plus postage and packaging. To donate and receive an edition, please email info@mahler-lewitt.org with your postal address and you will be sent a unique donation link.

We tend to consider childhood as a golden age, a period of life that we should look back on with nostalgia, as a carefree and joyful time. Infinita infanzia (Infinite childhood) offers a reading that goes beyond this cliché. underlining the complexity of childhood, and its confusion of discovery and trauma, play and disobedience, lightness of heart and anxiety. Through a succession of rooms, the works of twenty-three artists address some of the key aspects of childhood: these different voices are held together by a theme that does not refer to any historical time, but that crosses all eras and sensitivities.

Back in 2017, the research team composed of Luca Trevisani, Mario Ciaramitaro and Giulia Morucchio exposed themselves to hundreds of artworks in search of examples of works capable of creating tension, a centrifugal force for anyone who might encounter them without any introduction or notice. Works that reach out to someone, seek attention, set a trap for someone. This approach, conceived by Luca Trevisani, became a collective studio practice of learning and teaching, open to wild and unexpected suggestions and ideas revolving around the possibility of finding these tensions, this gravitational field. Luca Trevisani and Mario Ciaramitaro printed, composed, and photographed this illustrated itinerary on the wall, unfolding the cartography of these remote and powerful encounters on the perimeter of our Iuav classrooms. All that remained was to photograph this map, reprint it, lay it out, and then offer this flow of lively and rebellious images. The process originated from the images that have been collectively sought for several months. While Mario and the students engaged in their role-playing as iconauts, with Giulia Morucchio, persisted in collecting and reworking texts, captions, and overheard legends, always mindful that every beautiful story holds an element of truth. What you read below are the traces, the details, and some of the clues that comprise our collection of fresh fossils and the salad we crafted from them.

Caretto/Spagna are precursors of ecologically engaged artistic practices. They see art as a radical experience of openness, undisciplinated research and involvement with the “things” of the world: the earth, seeds, people, stones, the museum, the river, the quarry, the tree, micro-organisms. Bright Ecologies traces and documents twenty years of their work, structured in research involving care, the transformation of matter, and experiments with form, through practices based on encounter, process, parcticipation and co-authorship.

Costruzione dell'Universo: Artists’ Magazines and Publications after Marcel Duchamp is a research project that gathers artists’ magazines and publications by various artists who were active in the realm of “periodical and irregular” printed matter from the 1950s to the present day, beginning with of the work of the visionary artist Marcel Duchamp. This significant and hitherto overlooked sector of artistic production explores the dimension of the newspaper and magazine as an artistic medium. The selection includes extremely rare, a-periodic, and extraordinary printed items, “sensitive” publications in which the artist first handedly draws and designs the cover, the inner pages, the image sequence, or conceives the overall form of the object as a unique, yet replicable work. The publication in this context is sometimes transformed into an open and collective container, capable of engaging and coordinating multiple artists in the same layout or across different issues. The title “Construction of the Universe” points out to the fundamental and pioneering role of the early 20th-century avant-garde movement, referencing the 1915 Manifesto “Futurist Reconstruction of the Universe”, the notorious artistic manifesto that was initially released as a flyer and resembled newspaper layout. The 1950s (when our research for this book began) saw a significant rise of a utopian perspective in which artists, finally liberated from the existential weight of world conflicts, often envisioned the creation of a new society, free of relics and debris, made of travelling architectures and wide open spaces, new languages, and characterized by a deep longing for emptiness, a thrust toward the brightness of the future and the cosmos.

This revised edition of I Am Gonzo includes three new erotic stories and supplementary matter tobring it up to date as a new issue of the series. A porn addict amateur who collects dirty Italian comics inan “animalistic” way, Gonzo applies a conservative technique whereby he hides these questionablyviewable images within scientific libraries. This book addresses a widespread form of collecting thatavoids the subject of the “arty” comic strip and instead dives headlong into obscene material and theviewer’s experience of it. This mega-collection of pornographic Italian comics faithfully presents the genrefrom its sensual, sexual-phobic beginnings (1960-1970) to its porno-violent shift, between the years 1985and 2000. Voyeuristic and chock-full of thematic variants, from transgenderism and homoeroticism to fairytale, zombie, and cyber porn.

Alessandro Saturno lives the landscape through the body, his memory and his experience, transposing trhough painting the concept of paesagire (landscape-action) that Andrea Zanzotto introduced in his poetry. The poet’s harsh struggle against a progresso scorsoio (‘sliding progress’) shows us the landscape as an essential condition for life and art. The poet described the landscape of his childhood, which reflected his relationship with his father and was a crucial influence in his developement as a man. The same goes for Saturno, with Naples and its sea becoming the ‘threshold’ of his works: a passage to a world that is real and ideal at the same time; a world that serves as both culture and dream; a wordl of the sould after also having been a world of experience; a place you know but do not know what to call. A nameless place.

Da Monterrey a Monteluco, a solo exhibition by Calixto Ramírez, is the result of the Mexican artist’s residency in Spoleto and around monteluco, a hill covered with dense forest that rises to the south-east of the city. During his stay, the artist created a series of works deriving from his direct contact with the natural landscape in this location. The exhibition is a tribute to Monteluco itself: to the strenght of nature – sometimes enveloping or overwhelming, sometimes more calm and measured – and to the relationship between the elements of the landscape and the artist’s ability to interpret it, as he interacts with the natural setting in a visceral way, which is always poetic and at times playful.

Ogni anno, al Carnevale di Sant’Eraclio (Foligno, PG), sfilano carri allegorici. Vengono fatti in cartapesta usando tre tipi di giornale: bianco (La Nazione), giallo (Il Sole 24 Ore), rosa (La Gazzetta dello Sport). Quattro prova ad aggiungere un quarto colore. Quattro può essere acquistato con o senza multiplo in edizione limitata.

Every year, during the Sant’Eraclio Carnival, there is a parade of papier collé floats. Three types of newspapers are used to build the floats: white (La Nazione), yellow (Il Sole 24 Ore), pink (La Gazzetta dello Sport). Quattro attempts to add a fouth colour to the floats. This version of Quattro comes with limited-edition multiple, a small float with which the book can be transported.

Contenuto Rimosso is an "experiment in psychoanalysis applied to the environment." A work on collective memory, it addresses the issue of depopulation of mountain areas, experimenting with a community art where community forms of life that have a centuries-old tradition survive, in alpine communities. In particular, Contenuto Rimosso ved refers to the paradoxical nature of a process of reconstruction that was at the same time a process of collective removal, the Rifabbrico in Cadore. On the evening of July 30, 1855, a fire destroyed the historic center of Lorenzago. The settlement was rebuilt, giving rise to Quadrato, a neighborhood that is now mostly uninhabited. Since 2012, the Contenuto Rimosso project has included the discontinuation of public lighting along the streets of the neighborhood and an installation of fires, flashlights and candles on the anniversary of the fire. Over the years, the action has become a new tradition, the village's main celebration. Contenuto Rimosso is not a "commemorative" event proper, because it does not celebrate or perpetuate the memory of anything. The reactualization of the memory of the fire is thought of as a trigger for a "counter-image" to emerge, for the local community to reclaim its past by using public space as a place for the elaboration of a self-image inverse to the stereotypical one. By ritualizing a recurrence and building a narrative around it, Contenuto Rimosso contributes.

This first monograph dedicated to the work of Cleo Fariselli recounts the poetic and formal processes behind the moving image project Your Storm Our Dew (2023), which explores the contemporary collective unconscious at a time when states of emergency have become normalized. The artist transforms everyday items such as thermal blankets, protective suits, high-visibility vests, safety cones, and megaphones into creature that belong in the world of YSOD. These beings are both playful and unsettling, as seen in the large puppets that, illuminated by sudden flashes of light, emerge from the darkness of their habitat only to disappear again shortly afterwards to the amazement of those watching. Expanding upon the film, the contributions by Lucia Aspesi, Cleo Fariselli, Chus Martinez, and Guido Santandrea shed new light on the artist’s multidisciplinary practice. At the same time, they explore the shadows of anthropocentric thinking at the intersection of art and science, ultimately asking how the  past and the present inform the futures of our imagination. Exploring the imaginative power of the object elements typical of states of emergency, the artist gives life to a world of its own, illuminated by the incessant flashing of sirens, creating a new emotional, narrative and aesthetic environment.

La sostanza agitata exhibits the work of eleven artists under age 35 who share an interest in installational and plastic aspects, as well as the interaction between the work and the context in which it is displayed. The title refers to the experimental and hardly classifiable nature of the works on display, the diversity of the materials used, and an approach that declares an explicitly sculptural derivation between lightness and monumentality, irony, and issues that reflect the social changes in place. La sostanza agitata wishes to distinguish itself as a construction site of proposals, some of which are unpublished and made on site, a laboratory open to different perspectives: each artist is assigned a room, allowing the visitor to immerse themselves in the individual poetic, between organic and industrial materials, verticality and horizontality, movement and stillness, works formed from unique pieces and others that tend to spread up to a real multiplication. Catalog of the exhibition La sostanza agitata, a curated by Saverio Verini, artists: Francesco Bendini, Paolo Bufalini, Lucia Cantò, Giovanni de Cataldo, Binta Diaw, Bekhbaatar Enkhtur, Roberta Folliero, Jacopo Martinotti, Lulù Nuti, Giulia Poppi, Davide Sgambaro, 24 June – 16 October2023, Palazzo Collicola, Spoleto (PG).

Turbomondi (Stratigrafia) encompasses the project artist Andrea Martinucci developed between 2020 and 2023, dedicated to a research of suspended worlds populated by creatures investigating their integrity in a continuous evolution among themselves. Turbomondi is a collection of film treatments by the artist and screenwriter Laura Sinceri. It took the form of a unique screenplay that, from 2021, was entrusted to twelve people who interpreted it in a specific time frame, allowing them to write comments, make observations, remove pages, draw or even destroy parts of it. The layering of different voices and impressions that virtually redefines the meaning of the original text is transformed into a personal archive and a publication that traces the evolution and the plural transformation of its contents. Project contributions by Alice, Lisa Andreani, Maria Vittoria Di Sabatino, Aurelio Di Virgilio, Francesca Ferrari, Giulia Geromel, Marialaura Grandolfo, Pietro Librizzi, Zeno Piovesan, Cecilia Saita, Carla Subrizi, Cosimo Rizzo.