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.

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 La sostanza agitata wishes to distinguish itself as a construction site of proposals, some of which are unpublished and made on site, a laboratory open to different perspectives: each artist is assigned a room, allowing the visitor to immerse themselves in the individual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).

Launched on the occasion of the 700th anniversary of Dante Alighieri’s death, the project is the result of a profound analysis and reflection that involved various experts and scholars as well as photography experts from the ICCD and looks at the world of the Poet in a completely new way: it focuses on the objects, landscapes and other natural elements that Dante Alighieri deals with in his major works. The luminous and photographic narrative comes to life through a meticulous reconstruction of images and optical illusions from the three Canticles, with the aid of early analogue photographic processes. The works on display have become part of the contemporary photography collections of the ICCD and are enclosed in a volume named after the exhibition, published by Viaindustriae Publishing, which is the result of extensive research into typographic printing materials and techniques. The project was supported by the National Committee for the celebrations of the 700th anniversary of Dante Alighieri’s death. The photographs of the animals were realised thanks to the collaboration of the Civic Museum of Zoology in Rome.

Global migration is one of the most pressing matters facing contemporaneity, but also a leitmotif in the work of Massimo Ricciardo. In his most recent project, the artist creates a dialogue between photographic objects from the Photothek of the Kunsthistorisches Institut in Florenz and objects of migration: things that are functional to the journey, such as passports and nautical charts, but also to identity and memory, such as family photographs, diaries, a sample of earth from the homeland. The installation generated compelling questions about these ‘talking’ objects: who do they belong to? Are they part of our cultural heritage? What are the appropriate artistic and curatorial practices if one decides to collect, archive, exhibit, transform them? The dialogues prompted by Ricciardo’s installation continue in this book and involve a polyphony of voices.

What’s your idea of a natural place? Starting from this question, addressed to a heterogeneous audience, of different ages, professions and nationalities, Claudia Losi has put together Being There. Oltre il giardino (Beyond the Garden), the last chapter of a twenty-year-long research project focusing on that interweaving of meaning, perception and memory that humans deploy when looking at the world. In conducting her investigation, Losi hybridizes sociological-scientific language with artistic language, translating the many responses to her question (about four hundred, collected through an open call and a series of seminars) into images and drawings woven on an 18-meter tapestry. The work graphically synthesizes the contributions collected during the various stages of the research, constituting a visual diary between word and drawing. This book brings together a series of traces in the form of textual contributions, drawings and photographic documentation of the journeys and works that made up the project. Texts by Giorgio Vallortigara, Mauro Sargiani, Ugo Morelli, Riccardo Komesar, Cesare Raimondi, Gioia Laura Iannilli, Alice Benessia.

Bibliothèque d’un Amateur. Richard Prince’s Publications takes a look at Richard Prince’s library and production of artist’s books published between 1980 and 2020. This book is not a proper catalogue raisonné, but rather an invitation to browse the library of an amateur’s. It allows us to consider this important aspect of Richard Prince’s work, addressing books as well as the notion of a collection and its incompleteness, revealed here by the “ghosts” of missing books. Richard Prince is an avid book designer and collector; this zeal and fervor transpire in many book works where he photographs books from his collection, transforming a publication in an infinite library. Bibliothèque d’un Amateur is also the catalogue of the exhibition “ALL BOOKS AND SOME PRINTS” at Centre de la Photographie Genève (16 March–30 May 2021). 

Pink for Flower is the first in-depth international publication about the work of Italian artist Caterina Silva. The book is a comprehensive, polyphonic canon spanning over a decade of the artist’s practice with written contributions by a selection of curators, artists, poets, writers and academics from across a range of disciplines. The 178-page book will be published and distributed across UK Europe as 500 coloured soft-cover copies by Bosse&Baum and the prestigious Italian publishing house, visual art research centre, archive and exhibition space, Viaindustriae. Caterina Silva (1983, Rome) is a visual artist based between Rome and London working with painting and performance.  She uses painting to probe at the obscure spaces of the mind, those which are impossible to explain in words. She creates open images available to the interpretation of the observer, a consequence of a process of deconstruction of her own internal superstructure carried out through the matter of painting itself and its translation into choreographic experiments and performances. The list of collaborators includes curator Laura Smith, independent writer and curator Marta Federici, choreographer and dance-maker Cristina Kristal Rizzo, artist Bea McMahon, indologist, academician, one of the major experts of tantric shaivism and Hindu aesthetics Raffaele Torella, and researcher of radical psychiatry, Hannah Proctor.  

Second edition of Yes Yes Yes Revolutionary Press in Italy from Mondo Beat to Zut, this time with a white softcover and dusk jacekt. Densely filled with reproductions of newspapers, magazines, mimeographs, news-sheets, pamphlets, and other ephemera, this book investigates the Italian scene during the turbulent years between 1966 and 1977. These revolutionary printing activities were linked to the political, ideological, and countercultural struggle of a period of protest and occupation of public spaces as areas of freedom and social creativity for a disillusioned generation. A selection of over 600 publications are catalogued in this book, output from the subversive newsrooms of the radical artistic and libertarian movements, and “ultra-political” groups, autonomists, and other collectives seeking change.

La mostra Ciak Collecting – Collezionismo Italiano Attivo, a cura di Irene Sofia Comi, è il miglior esempio di come Veronafiere attraverso ArtVerona interpreti la valorizzazione del sistema culturale. L’iniziativa punta i riflettori sul significato e il valore della figura del collezionsita e si propone di esplorare i più recenti fenomeni che caratterizzano questo ruolo nella scena artistica contemporanea. Ciak Collecting si inserisce in un più ampio lavoro di indagine sul mondo del collezionismo condotto da ArtVerona. Il progetto espositivo Ciak Collecting e la pubblicazione Collezionismo Italiano Attivo portano esempi virtuosi e positivi di come oggi sia possibile creare una narrazione nuova tra gli artisti, le gallerie e i collezionisti. Testi di: Maurizio Danese (presidente Veronafiere), Stefano Raimondi (direttore ArtVerona), Irene Sofia Comi (curatrice), Cristina Masturzo (storica e critica d’arte). Schede di indagine: Seven Gravity Collection, GRID by Eddy Merckx Curating, Fondazione Coppola, Associazione Barriera, DucatoPrize, Cascina IDEA by Nicoletta Rusconi Art Projects, Gerry Bonetti, Viaindustriae.

Between September and October 2019, the artist Irene Coppola in collaboration with the architect Vito Priolo conducted an intense period of research in the village of Armila, in Panama’s Guna Yala indigenous community. A variety of languages were used, ranging from writing to drawing, sculpture, photography and video. This publication features authorial materials about the project, whose local dimension is closely connected to global issues and urgencies, expolred in the essays by three contributors active in the field of contemporary art. The project is supported by the Italian Council (6th Edition, 2019), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.

This book is the catalog of the exhibition On the Principle of Contradiction curated by Elena Volpato at GAM Torino. “It is neither a theme nor a language that unites the five artists in this exhibition. Rather, it is the presence of a space of possibility within their works, made, almost always, by at least two elements, by two or more natures, by two or more images that cannot be fully reconciled with one another and are bound together through ambiguity which at times becomes an explicit relationship of contradiction. The emotional strength of their work, despite the considerable differences in their practice, seems to derive from the vibration of that space created between the elements which cannot fully overlap, or coincide in a univocal affirmation, but which keep sliding one upon the other and demanding attention one despite the other.”

La mostra Domani Qui Oggi è la tappa più significativa del percorso inaugurato dal Premio AccadeMibact, bandito nel 2019 dalla Direzione Generale Creatività Contemporanea del MiBACT. Si tratta di un premio per la valorizzazione delle giovani artiste e dei giovani artisti provenienti dal panorama delle Accademie di Belle Arti italiane. La mostra, curata da Ilaria Gianni e allestita nella Sala Fontana e negli spazi adiacenti di Palazzo delle Esposizioni di Roma, è il principale evento collaterale della Quadriennale d’arte 2020. Le artiste e gli artisti in mostra sono: Francesco Alberico, Alessandro Fogo, Roberta Folliero, Alessia Lastella, Lorenzo Lunghi, Jacopo Martinotti, Giulia Poppi, Luisa Turuani, Alice Visentin, Marco Vitale. Il libro raccoglie anche il dialogo tra i dieci giovani artisti italiani selezionati e dieci giovani curatrici e curatori.

Yes Yes Yes Revolutionary Press in Italy indaga la scena italiana della stampa rivoluzionaria di “organi” editoriali in foglio, giornale, rivista, ciclostilato, bollettino, fascicolo, alcuni quotidiani altri periodici, spesso irregolari, altri aperiodici di cui molti numeri unici in reiterata attesa di autorizzazione… La febbrile attività tipografica si lega alla serrata politico-ideologica, antagonista e contro-culturale di un periodo di lotta, conquista di spazi civili, aree di libertà e di creatività sociale. In questo volume si censiscono e selezionano criticamente più di 600 stampati usciti tra il 1966 e il 1977. Questa ricerca è la continuazione naturale della corposa pubblicazione, uscita nel 2014 ed edita dagli stessi editori: Yes Yes Yes, Alternative press, 66-77 from Provo to Punk, curata da Emanuele De Donno ed Amedeo Martegani. Quel primo volume esaminava il ruolo della stampa alternativa, underground e controculturale europea ed americana in un periodo fiorente: 1966-1977; questa nuova edizione si concentra sulla scena italiana, la cui ampia strategia di “connivenze” e la frastagliata geografia regionale hanno posto la necessità, per sezionare tematicamente il percorso, di dare una visione allargata dei mezzi di stampa alternativa, non solo underground, indipendenti e contro-culturali, ma anche della contro-informazione, della editoria “schierata” ultra-radicale politica quindi ideologica. Il nucleo consistente di testate censite nella prolifica rete italiana che si allarga anche alle province è stata reperita grazie ai contributi di archivi messi in rete, collezionisti, cultori, editori e attivisti da tutta Italia che costituiscono una geografia sommersa dell’editoria contro-culturale italiana ma anche di un collezionismo resistente e ragionato. Questi mezzi stampa documentano una ricerca di cultura radicale, di autori e co-autori, promotori/artisti di cultura libera ed alternativa, distribuita in formati di confine e sperimentali.

Artist’s book by Pesce Khete which is also the catalogue of his exhibition Sinossi (bon voyage) at Colli Independent, Rome. Looking at art catalogues and painting catlogues to identify how to catalogue paintings. This book is a descriptive tool of the matter of painting, where “data sheets” support images, using codes. This book is concieved to investigate the work of an artist through poetic-technical parameters, partly inspired to artistic historiography.

The exhibition Mirabilia Urbis is configured as a particular path that crosses stops located in different spaces, both commercial and institutional, between the Parione and Regola districts: a maze of streets and alleys that characterize one of the most peculiar areas of Rome. The title, borrowed from the ancient tourist guides for pilgrims created in the Middle Ages, stems from the need to trace and map a new unexpected path, offering the visitor a particular experience in approaching a totally new space. The project is created by Carlo Caloro and produced by artQ13, curated by Giuliana Benassi.

Il libro è un focus su alcune pratiche di arte nello spazio pubblico che attraversano il Mediterraneo e che sono state frutto di mostre, workshop e residenze nell’ambito del programma di azioni de La Ville Ouverte, piattaforma promossa da Arci nazionale nell’ambito del network BJCEM – Biennale dei Giovani Artisti d’Europa e del Mediterraneo. Il libro disegna una geografia del panorama artistico mediterraneo che si interroga sulla relazione tra le forme del poetico e del politico, sviluppando progetti comunitari, azioni partecipative, performance e interventi che agiscono sullo e nello spazio pubblico. Un processo continuo di decostruzione della realtà come strategia di integrazione dei traumi del paesaggio, delle mappe disegnate dell’esercizio del potere in tutto il mediterraneo. Il libro contiene anche un’appendice con una serie di progetti ed immaginari di diversi artisti ed autori che hanno partecipato alle ultime edizioni di Mediterranea. Young Artists Biennale.

Catalogue of the exhibition Ugo La Pietra. Istruzioni per abitare la città 1966-2018, CIAC, Foligno, 24th march – 30th september 2018, curated by Italo Tomassoni, Giacinto di Pietrantonio, Giancarlo Partenzi. Twelve research areas are preceded for their understanding by “Instructions” that offer the key to reading the works. The route unfolds through a hundred two-dimensional works, video pieces, three-dimensional objects and an installation. At the center there is an “Open House”, a full-scale structure with a series of furnishings created through the practice that the author defines as “design reconversion”: some elements of urban furniture are reconverted into domestic furnishing elements.

Catalogue of the exhibition Perché il cielo è di tutti e la terra no?, CIAC, Foligno, 24th march – 30th september 2018, curated by Italo Tomassoni, Giacinto di Pietrantonio, Giancarlo Partenzi. The exhibition presents the artist’s recent production with several of his works related to some key themes that has been developing for some time: the dilation and re-appropriation of his intimate time, through layered drawings, executed with the BIC pen in black, red and blue, of iconic images taken from the web and reworked into unique pieces in a process of rebellion against the dictatorship of the frenetic space-time in which we are all immersed; the reinterpretation of historical paintings in a contemporary key with the denunciation of the migratory phenomenon and the extreme poverty of large sections of the world population; the battle for global education, through maps, tourist guides and abecedarians, which invite us to reflect on current topics such as migration, water resources, wars.

Questo libro documenta il progetto di ricerca e residenza Manufatto in Situ fondato da viaindustriae (2007-2017). Inizialmente basato su una specifica ricerca-azione nel paesaggio marginale e radicale dell’area rurale-montana di Cancelli e della Valle del Menotre, Manufatto ha poi utilizzato metodi ipertestuali e progetti extra-situ per disegnare collegamenti tra i diversi siti, i tipi di intervento e i paesaggi “tematici”. Il risultato è un’ampia indagine, una mostra e un libro di arte-architettura-natura sullo spazio pubblico, le pratiche artistiche site-specific, gli interventi e studi sul paesaggio in Italia e confini. Questo progetto di archivio è costituito di 10 sezioni tematiche composte di tracce artistiche, opere e documenti relativi a 10 paesaggi umbri, collegati a loro volta a 10 siti “paralleli” extra-regionali, ambienti ed esperienze storiche radicali dagli anni ’60 fino ad oggi. Ciò introduce una supervisione non ortodossa e critica del paesaggio contemporaneo, tra arte ambientale e architettura, natura e città. Questo catalogo è il tentativo di inglobare il vasto database della mostra, concepita come un sistema integrabile di documentazione orizzontale (documentario/tavolo), inventario verticale (muro), e di “proiezioni”, artefatti provvisionali, forme complesse situate nel paesaggio (utopia/piramidi). I testi pubblicati sono estratti dal materiale generato e raccolto durante il corso dela programma di residenza e della mostra.

La Serpara is a sculpture garden founded by Paul Wiedmer in 1997 in a picturesque valley in the municipal territory of Civitella d’Agliano, right on the border between Lazio and Umbria. After twenty years of activity, in which the garden has invited about thirty artists from all over the world to make sculptures, this book celebrates the bond between art and nature, ten years after the catalog published by Kehrer Verlag. The Serpara is a collective project. Around every opening, dozens of people from all over Europe gather at each party.

FoodPassport is a 3 year program (2014-2017) of the European Community inside the frame of Erasmus+ KA2 – Cooperation for innovation and the exchange of good practice. The main subject of the project is healthy food, lifestyles, habits and preparing the partners’ traditional meals (Bulgaria, Latvia, Poland, Turchey, The Netherlands, Italy, Portugal) with the goal of gaining equal possibilities of inclusion in the society through a collective counsciousness and identity based on food.

Catalog of the exhibition Hermann Nitsch. O.M. Theater colore dal rito, at Centro Italiano Arte Contemporanea, Foligno from March 25th to July 9th, 2017. Hermann Nitsch, after an initial phase in compliance with the repertoires of the poetic body, arrives at a much more complex conception of art which articulates imagining a vision of the world that precedes and surpasses scientific knowledge and an idea of purely formal art. He practices liturgical natural mythologies and meditates on the mystery of time and death.
[…] Hermann Nitsch’s exhibition displayed at Ciac with a selection of over forty works from 1984 to 2010, grouped into nine different cycles, highlights a theoretical framework and curatorial modalities comparable to those that, in 2014, were represented in the exhibition “Arena. Werk aus dem Werk” (Arena. Work in the work) born from the collaboration between two artist’s monographic museums; those of Mistelbach in Austria, founded in 2007 in the Weinvertel, where Hermann Nitsch lives and works; and the Nitsch museum of Naples founded by the historical gallerist of body art and performance, Giuseppe Morra, in 2008. Substantially, the Foligno exhibition also aligned, in the Ciac arena, “works from the works” in the sense that it documents the planning of the actions and the materials deriving from the actions themselves which, in the exhibition set-up, acquire autonomy of works of art along analogical displacements and metaphorical suggestions.

The book I Will Work For You For One Hour, But Someone Else Should Pay For It is an artist’s catalog that documents the homonymous exhibition-artistic project that took place in a Turin apartment in conjunction with the contemporary art fair Artissima 2015.
The volume consists of four primary sections: the exchange of “instructions” among the artists to think-produce-set up the works, the essays that analyze the project but above all the general theme “labour and art” and the artist in the position of worker, the exhibition with the illustrated works and the appendix with anastatic images of historical documents of the artistic “syndicalism” (Artists Union, Art Workers’ Coalition etc). The texts, therefore, are both the original ones dedicated to the exhibition and those extracted and selected from critical “historical” writings that deepen the theme of work and the project developed in the network in international contemporary artistic practice. “I will work” deals with a subject that is not very much investigated in current publishing and constitutes both a descriptive catalog of an exhibition / artistic operation and an autonomous essay that is well illustrated on the topic