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

Catalogue of the exhibition The Artist’s PC: technology and public computing, Le Botanique Centre Culturel, Brussels, 2014. Many artists from all over the world (wide web) will online and offline save and share their artistic and diverging approach to the ICT media tools: web art projects, video projections, art-work-stations, digital publications, still-screenshots. From “Public Computing” to “Social Computing”, this research led to a focus on the social sphere both as online network and offline context. Between social behaviour and computing system is where artists place themselves and where the artistic work has developed considering the multiple uses of the sociall-media networking. This publication gathers projects critically dealing with the way social sphere exchange datas, realities, intentions towards a collective use of digital tools. Treating various aspects from Net art to public online archive, from social network behaviours to real-life followers, this book can be read as a tool of sharing inter/off-media materials and as a detoxing manual for users who want to regain a social dimension of the digital online activity.

Catalogue of the exhibition Per dipingere i venti, per disegnare dal vero by Roberto De Simone, curated by Myriam Laplante at COLLI independent art gallery, Rome. “Capture a fleeting moment and transform it into infinity” could be the key to decipher the multifaceted work of Roberto De Simone. His work is poetic: sublime but rational, audacious, ironic and dazzling. Since the early eighties he worked in an array of media: objects, drawings, explosives, lights, natural phenomena, technical devices, video, audio, photographs and installations. From space launches to canned objects that could possibly generate real events, his visions came to life: images not only intrinsically linked to words, but also the result of accurate scientific research. The exhibition, curated by Myriam Laplante, presents emblematic works of his poetics of infinity. The installations are devices designed not only as mere works but conceived to produce and multiply the sign, to paint the winds, to draw from reality.

Vetrinetta is a social photography project by Paolo Riolzi edited by Matteo Balduzzi. The book collects images of  “family” showcases in the city of Cinisello Balsamo through photography and a sociological interview conducted by Paolo Volontè. The volume is divided into sections: archive / process, authors’ research texts, sociological stories / interviews and author’s photographs.Vetrinetta is also the catalog of the exhibition with the same title held at the Museum of Contemporary Photography of Cinisello Balsamo.

Catalog of LuciSorgenti, contemporary art project started in 2009 by Studio A’87 / Franco Troiani, in the Valnerina territories. The annual exhibition is mainly dedicated to Italians and International artists. Among the objectives, it aims to create living opportunities for comparison and collaboration between artists from different generations, backgrounds and provenances.

YES YES YES  is a visual essay, a book of images that examines the role of the alternative, underground and countercultural press in a flourishing period: 1966-1977. Publishers, authors, radical practitioners of that scene, interviewed in this book, rethink those actions and publications that addressed the social urgency of change.
YYY deals above all with the visual culture of “poor” magazines printed off-set, their amazing graphics and their aesthetics liberated in integration with the system of activism and political interventions. In this way the pages of newspapers deal with facts and news, but also support the subversive style and that fervent environment that formed a social network of printers, creative autonomy and trade unions for distribution. In this systemic innovation, the democratization of the press stimulated the experimentation of graphic design on the one hand and the growth of the editorial practice in a culture extended to the community on the other.
The magazines have been cataloged according to themes and, even if placed in an incomplete geography, testify an international cultural scenario between Europe and America. YYY is a collection of countless documents on civil rights and liberation movements, which aims not only to preserve, but also to browse the living pages spreading radical contents and creative layouts.

Il collettivo si è costituito nell’aspettativa della mostra personale IM/PERFETTO EQUILIBRIO di Franco Troiani a Spoleto, Palazzo Coligola Arti Visive, aperta il 12 aprile 2014. Il gruppo, formato da artisti, curatori, operatori dell’arte, ha usato la pratica collaborativa epistolare “non firmata”. L’obbiettivo comune è la produzione di un catalogo di mostra fuori-formato, anti-accademico e controproducente. I coautori propongono domande e interrogativi sul campo artistico umbro e confini a cui Troiani dev rispondere personalmente…Collettivo anti-catalogo Troiani

This book is not a catalogue raisonné, it instead takes a look at the library of an amateur, an excuse to apprehend this aspect of Richard Prince’s work which encompasses books and the question of the collection and its incompleteness, revealed here by the ‘ghosts’ of the missing books. Richard Prince is an avid collector of books, an obsessive one.
This fervor is visible in The Good Life or American/English, where he photographs covers of books from his collection, reducing the book to an image, a simple surface.

Catalog of the exhibition Le Bosquet du Labyrinthe with works by Ayumi Makita, inside XXXIII Segni Barocchi Festival, Foligno, 2011. The labyrinth in the garden of Versailles is a fairytale by Charles Perrault who in 1669, inspired by the 39 Aesop’s fables, invented with 39 “station” hydraulic sculpture composed of 333 figurines of animals in painted metal build in a park, to educate Louis the Grand Dauphin, six years old son of the King Louis XIV. What still remains of it is a drawing and a literary testimony wich is given to us from Perrault in his book Labyrinte de Versailles, conceived at that time as a tour guide for the visitors-guests of the palace, with tales a descriptions of the fountains: a poetical map that will be become later the only document of the disappeared labyrinth of Versailles. In fact in 1778 “le bosquet du labryrinthe” ha been laid down and replaced with an arboretum of exotic plants and English garden. To go through that imaginary and literary space means to lost itself in the memory of a physical landscape made of sliding walls, 5-meters-high hedges, meanders and figures which mark time, between plateau and vertigo, between contemplation and disorientation.

Book-catalogue of a private collection of modern and contemporary Italian art, published on the occasion of three exhibitions held at the Palazzo Clemente, Borgo Medievale di Castelbasso, Italy, Mar. 12-May 8 and Mar. 17-May 6, 2011, and at Centro Italiano Arte Contemporanea, Foligno, Italy, Mar. 10-May 6, 2011. Includes bibliographical references.

Divided into four sections, books, scores, records and documents, “Sound Pages. John Cage’s Publications“, (catalogue of the exhibition with the same title at the International Museum of Music, Bologna) systematizes an important part of John Cage’s work addressing the theme of the various productions which the American composer produced, often upsetting the traditional components and structures of composition. Cage has posed the problem of making the sound an object which is sensitive to the visible: texts, books, scores become visual entities in all respects in which the artist tries to juxtapose syntactic connections to a new dislocation of the characters on the surface sheet according to canons and criteria that are purely visual. Edited by Giorgio Maffei and Fabio Carboni, Sound Pages is an editorial project that shows how the complexity of John Cage’s thought, but also his disarming simplicity, have added “beauty” to the printed page so as not to allow the sound space to dissipate in the moment of the interruption of the sound and fix in time its translation in visual space.

Catalog of the exhibition Fate le Fate with works by Barbara Lachi, inside XXXII Segni Barocchi Festival, Foligno, 2011. An illustrated book inspired by Les Contes des Fées and Le Fées à la Modeby Madame d’Aulony. Threads. Textures. Weaving as well as writing, the page of a book as well as the fabric of a dress, both say something, the fabric as well as the story, it unfolds, unfolds, stretches… Fairies in fashion is the title of the fairy tales collection written by Madame d’Aulnoy, fairy tales in which princesses, ladies, but above all fairies move in their rich rustling clothes.What emerges from the pages is not only their stories, their gestures but also the patter of their heels on the pavement, the rubbing of sumptuous and heavy fabrics, almost a mysterious and sensual whisper of lace and velvet.

INbookOUTbookIFbook is a longitudinal and transverse study, which has been divided into three steps to explore the artist publishing researches. It is a dialogue ground for operators of contemporary artist’s books, which is conceived as a functional, technical medium, an “experimental room”, an anteroom, a neutral ground.
The first INbook step is an introspective process on the book, in which the archive/library metaphor acts as an impulse. The book indexes itself with recurring titles (The book of, index book, the project book project), whilst the highlighting of a title, the underscores, the anastatic methods and the autistic attitude of the artist-bureaucrat-bibliophile questions its status. The OUT book section is described through the exteriorization processes of the artist’s book starting from a historical-formal path and identifies the rarefaction, the dispersion, and the multiplication as its trail. It is better to speak of publication rather than a book because the first term is semantically wider and more suitable to interpret the present operational-procedural dynamics of the investigating publishing activity, in which the co-generative technological experiences destabilize the authoriality. One question: what if the book…? The third section IF book poses many questions, activating researches on the present scenario, using site-book-specific interventions, contributions, didactics and publishing coproductions. Many methods, possibilities, and potentialities were used to set the book free from genre and format by means of transverse productivity practices and cross-medial infusions, in which the investigating an artist’s publishing activity represents a creative resource.

From the story of Umbrian fashion companies to styles, to cloth activism, to anti-fashion aspects, this book explores a thirty-years happy period from the 60s to the late 80s. It examines 30 years of enthusiasm, materials, design and style innovation. The euphoric mood often influences the design: sinuous dresses, colored fabrics, extravagant models. Happy Fashion considers how that creative and consumeristic society period shaped a new lifestyle, a new way of understanding the work of fashion, a new vision of clothing. This dossier is enriched with images of models and dresses, with the stories of the companies and fashion designers; it is published to document a workshop and an exhibition with contemporary artists and it describes the cultural impact of a happy stage of Italian history before the economic crisis.