“La carta sonora degli Orti di San Pietro” was produced during UmbriaLibri 2015 and 2016, during the ninth and tenth edition of Manufatto in Situ, art and landscape workshop curated by Viaindustriae applied in the Medieval Garden and in the and Didactic-Social Garden of San Pietro, in collaboration with Fonoteca Regionale Trotta, the University Center for the Scientific Museums – University of Perugia and with the Department of Agricultural, Food and Environmental Sciences. The workshop hosted 18 young visual and sound artists and 5 visiting artists, from different backgrounds, who recorded and mapped, documented and reinvented the places of the three gardens and their social relations. The outcome was a site-specific live set, “Campestre, mimetica“. From this experience, viaindustriae published the first “Quaderno di Campo” together with an audio CD, as a prototype of an editorial series in collaboration with the Fonoteca Trotta. This mapping configures and proposes a more systematic regional intervention starting from the Carta Sonora model to outline geography of interesting “acoustic places” in terms of soundscape/soundscape/listening. On the cover of the editorial research, Eugenio Faina, founder of the Istituto Superiore Agrario di San Pietro, created from the beginning (1894) as a space for pedagogical “experimentation”.

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.

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

Kiwi is a book-workshop activated by 2 cultural associations (A di Città and Viaindustriae) that have met the needs of a territory. It is a city guide, a social tale of Rosarno, a small town in southern Italy, in Calabria. Kiwi is a book-community activated through an editorial workshop held in Rosarno from 3 to 9 October 2014 and then prolonged for two years of participatory editorial activity. Sharing the process with the inhabitants of Rosarno led to a natural exchange between the authors, editors and the everyday life, the daily events of the city and its inhabitants.

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.

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.

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.

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.

Fortuna is a sound art project in 2 CD, 2 booklets on a cardboard box and dust jacket. The result is the recording of a process and path of soundworks, radio stations, poetic visions and actions between the public and the private. “Sequences in 6×6, the tragic childhood space” in itself is volume, threshold, transition from a private age to a public one related to the school period. “Sequences in 6×6” is the remembrance of the mechanism by which the girl and the woman meet each other in the text. Written in 2004 between Rimini and Bremen, “Sequences in 6×6” is a biographical poetic text in a game between mothers and daughters – they swapped positions in a genealogical complexity and ambiguity. “Sequences in 6×6” unfolds like cinema/photographic paintings, sinks in childhood/motherhood.

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.

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.

We can create a baroque book of tales by werwiting traditional folk/fairy tales, fables changing the context, reconsidering the iconography, updating the contents. It is a matter of dislocating the centre of quiescent gravity, straying from the usual writing strcture and choosing to focus on single details, fragments out of chaos. These fragments are not a bits with whoch you can reconstructe a whole: they are particles that create new worlds, new insights, new scenarios within hazy outlines. Roland Barthes investigated fragments from a lover’s discourse…

The members of UltraUltraRed, occupying simultaneous positions as sound artists, researchers, organizers and citizens, submit the following 10 hypotheses toward what we have studied and elaborated: the manifesto Militant Sound Investigation by Ultra-red.In the booklet, the english source-text is translated in italian language by 10 researchers, in the CD there are 10 sound hypotheses based on the 10 MSI theses by 10 sound artists. In order to practice a new approach to the social soundscape, UltraUltraRed hope to put into circulation a lexicon of analytical concepts that seek to rethink a new pedagogy of the ear and invoke the procerures of thematic sound investigation developed by Ultra-red for testing in the crucible of practice and reflection, for exploring acoustic space as enunciative of social relations.

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

The catalogue to an exhibition curated by Giorgio Maffei at the Biblioteca Universitaria, Bologna, during Artelibro 2013 explores diverse artistic experiences using sound and audio storage media since its beginnings around 1960. Central to the interdisciplinary context of dematerialisation of the work of art, visual, literary, performance and other artists have increasingly experimented with the record and sound as a vehicle for investigating the possibilities of verbal and non-verbal expression, considerations of the body and avant-garde tendencies. Hundreds of examples are presented in this impressively researched and carefully documented and illustrated book.

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.