Sportification is a stunt book, a performative publication composed of euro-texts, a living inventory of 400 performances and 250 playgrounds staged between 1965 and 1999 in several European cities, during the course of the TV game show Jeux Sans Frontières. The authors have used an artistic approach to test different playing fields with ludic actions. The results of a long term research are organized in three sections: Eurovisions, Performativity and Playgrounds. This unusual comparative system sets new grounds for an inter-media definition of European performance in which performances, happenings and art based game-actions interact with televised sub-pop culture.

Lonely is a guide book to Ponte delle Torri (Towers Bridge), which is one of the favourite destinations for travellers, artists and suicides. It is a small publication of extreme explorations, on the border between travel literature, fiction and crime dossier. This is a publication along the lines of the touristic guide ‘Lonely Planet’ which deals with the concept of travelling and its historical, artistic and sociological context, in a transversal way. Several themes are included and debated: timing of fall, jump, damages, history, environment, hotels and restaurants for the last meal, art and a wide section dedicated to other places connected to suicide in Italy and across the border. In this way, instead of pushing the tourist toward the act of committing suicide, this guide tries to bore him and to ‘spoil the party’.

Michel Butor. L’univers géopoétique, rassemble les souvenirs de deux projets, Entre littérature et art, le paysage véritable et Michel Butor. L’opera giardino, à l’occasion desquels l’Auteur francais a été invité en italie en 2012 et en 2016. Les texts contenus dans ce livre composent, entre écriture et oralité, un récital à plusieurs voix qui oscille entra experimentum linguae et experimentum vocis, entre l’écriture et la lecture. Les acteurs d’un tel mécanisme de la parole sont à la fois les mots de Michel Butor, ceux de Mireille Calle-Gruber et de Paolo Fabbri avec la préface de Isabella Bordoni.

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

The volume, an annotated catalogue of all the artist’s editions and multiples from 1967 to the present day, is edited by Maurizio Nannucci and published by Viaindustriae with Colli publishing platform. Nannucci’s editions and multiples, which occupy a central and constant place in his work, are catalogued within the framework of this wide-ranging and prolific publication, involving leading museums, researchers and numerous international artists. The catalogue raisonné of Maurizio Nannucci Editions is organised into sections (multiples, photographs/prints/posters, catalogues, editions, artist’s books, audiovisuals, ephemera contributions) and contains chronological descriptions of his works from 1967 to the present day. Alongside these is an anthology of texts by Carlo Belloli, Christophe Cherix, Stefano Chiodi, Anne Moeglin-Delcroix, Gabriele Detterer, Mario Diacono, Maurizio Nannucci, Hans Ulrich Obrist, Pier Luigi Tazzi and Tommaso Trini. The corpus of more than three hundred editions, including artist’s books, multiples, discs, manifestos, prints, photos, ephemera and audiovisuals, documents various moments in Nannucci’s extraordinary oeuvre, which has few parallels in the panorama of international contemporary art. This plurality of media bears witness to his interdisciplinary artistic practice, which overcomes the separations and hierarchies existing between the various forms.

Halfway between an artist’s book and essays anthology, Del lancio is the result of research conducted by an artist and a curator. The design of the exhibition The Pitcher (2015, Colli independent art gallery, Rome), during which the book was published, required the intervention of numerous experts: these, if in some cases contributed to the material production of the works, in others they have made sure that the main theme of the exhibition could be launched far beyond the circumscribed minds of the artist and the curator. This strange hybrid, half a work of art and half scientific publication, arises, therefore, from a need for sharing: a necessity that, in practice, has translated into volume, has taken the shape of the printed paper, refusing, nevertheless, to offer itself as a catalog.

Italian photojournalist Dino Fracchia was born in Milan in 1950 and began his professional career with the newspaper ‘l’Unità’ in 1974. Around that time, counterculture newspapers such as the magazine ‘Re Nudo’ (The Naked King) were being printed. These organized two large rock music rallies (named ‘Youth Festival of the proletariat’) in Parco Lambro, Milan, modelled after the peace and love atmosphere of Woodstock (1969). Fracchia’s camera recorded these large-scale happenings in unambiguous detail, gatherings of the radical left which would eventually culminate in Bologna’s violent clashes of 1977. Countless images capture the vibe of this fleeting historical moment.

The publication contains a selection of recipes based on veal, pork and beef heart and brain. From floured heart served with potatoes and onions to brain with black butter, from risotto with heart to artichoke and brain cream, and a focus on two new recipes created by the authors, two pizzas that have heart and brain as the main ingredients. This small pocket recipe book serves you on a plate the possibility to tear apart hearts and brains, to mush them, to bite into them and to enslave them to the human will. Practical steps to have power on them.

Audrey Cottin & Géraldine Gourbe presentano “La Verifica Intuitiva”, un’edizione-cinematografica di 45 minuti dal vivo e in anteprima alla Fondazione Merz di Torino il 31 ottobre 2012, alle ore 19. Un’edizione-cinematografica è una forma collaborativa e performativa atta ad affrontare le modalità in cui le immagini in movimento – dalle lanterne magiche ai post su YouTube – ri-disegnanoin continuazione delle linee di condivisione tra coloro che sono rappresentati nelle immagini e quelli che ne esperiscono, riconfigurando in tal modo, incessantemente, differenti spazi-tempo di finzione e dal vivo.

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.

Xtrapasese is a collective artistic project. This publication is its “operational” catalog, conceived as an alternative guide to Umbria, as a contemporary “pro-site” sociological archive. The project is a database of materials, posters, menus, photos, videos, interviews, research, historical research, sound recordings, press clippings of local newspapers for the establishment of a permanent archive of a common and collective memory of Umbria.