Eternity, her responsive body and other stories, solo show by Petra Feriancová, hosted in the Noble Floor of Palazzo Collicola, already suggests the narrative nature of the project, because of its title. Here, the artist reinterpreting the spaces and the features of this old dwelling, through a series of interventions characterized by an almost mimetic quality, conceived for this occasion. The exhibition design includes a technically heterogeneous selection of works, embracing sculptures, installations and sound works, in order to make them dialogue, in contrast or in harmony, with the rooms composing the noble residence and the historical artefacts preserved there. According to this approach, works belonging to different periods and languages, not caring about chronological or stylistic hierarchies, coexist together, giving rise to new associations of contents and directions of meaning, perceptible just in backlight, emerging thanks to the contribution given by the artist. The result is a unified narrative, dealing, timed along the rooms of the flat, with topics such as metamorphosis, the notion of memory, time, the concept of interpretation and that one of archive, always been the focus of the artistic practice by Feriancová.

The collection on mutual aid societies and workers' associations created by Giovanna Moro (1920-2012) testifies to the fight for decent work and the right to education for all. The birth of these societies was an important milestone in the history of labor movements and a sign of awareness of the power of collective action. The collector's decision to donate the collection to a public institution that ensures its wide accessibility has enriched the existing documentation at the Library of Modern and Contemporary History in Rome.

TERRENO. Tracce del disponibile quotidiano is a multidisciplinary exhibition that relates materiality and memory, bringing together cultural traditions, historical documents and everyday artistic practices, generating new collective imaginaries. The volume brings together a range of images, essays and reprints, offering a unique dialogue between artistic, scientific, and social disciplines. Inspired by Gianni Celati “accessible everyday”, the exhibition takes the visitor on a journey dedicated to the scenes, landscapes, and gestures from the everyday world that often go unnoticed and are rediscovered, grasping their value and revealing new and possible meanings. The rooms of the museum are filled with works of art from the MAXXI Collections, artefacts and photographic documents from the Museum of Civilisations in Rome, editorial materials, design and architectural projects, and a new sound production. This is how fluid and changeable stories and tales are born, joining ordinariness and tradition, historical documentation and invention, in a strong bond with the territory and its artistic and creative community. With: Arjun Appadurai, Franco Assetto, Amedeo Aureli, Yto Barrada, Gianfranco Baruchello and Henry Martin, David Blamey, Diego Carpitella, Luciano Caruso and Giuliano Longone, Cavart, Giorgio Ceretti, Pietro Derossi e Riccardo Rosso, Continuum, Mario Cresci, Enrico Crispolti, Clémentine Deliss, Georges Didi-Huberman, Claudia Durastanti, Francesco De Melis, Formafantasma, Francesco Garnier Valletti, Luigi Ghirri, Ezio Gribaudo, Illustrazione Abruzzese, Tim Ingold, Enzo Mari, Ana Mendieta, Bruno Munari, Ramona Ponzini, Quarto di Santa Giusta Centro Multimediale, Moira Ricci, Annabella Rossi, Bernard Rudofsky, Marco Schiavone, Shimabuku, Alessandra Spranzi, Susan Sontag, Superstudio, Luca Trevisani, Nico Vascellari, Andrea Viliani, Luca Vitone and all the creators of artefacts belonging to the Collections of Popular Arts and Traditions of the Museum of Civilisations. 

HE FAILED TO SAVE THE ONE HE LOVED MOST is not just the title of an exhibition that opened in the spring of 2021 at the Albumarte space in Rome. Rather, it adds another dimension, bringing greater depth to the original idea of the exhibition itself and Iulia Ghiță's artistic journey as a whole. Through the artist's works and the valuable contributions of the authors invited to write, the publication becomes a reflection on complex themes and archetypal concepts such as sacrifice, humiliation and death, exploring their ambiguous nature and creating a reflection on contrasting aspects of the human experience.

Human life on Earth depends on biodiversity and its health. However, this pre-cious variety of life forms has been endangered for too long and is disappearing at an alarming rate. This awareness has gradually prompted me to reconsid. er the use of materials in my artistic practice, opting for natural, plant-based materials. This publication reflects on materiality, awareness of gesture and a sense of care in my artistic pratice. Through an exploration of the organic, of the intelligence contained in craftsmanship, I propose a collaborative and conscious art practice that seeks to connect with the natural world in a respectful and sustainable manner. Inside this publication there are the contributions by Cecilia Canziani, Ana Gonçalves Magalhães and Paola Anziché.

BARRIERA UNINSTITUTE is the aftershow, a critical inventory of materials documenting the seventeen years of activity at BARRIERA, a contemporary art space founded in 2007 in Turin. This publication seeks to engage with the broader debate surrounding the creation of 'institutional' archives within the fluid practices of contemporary art. How can we envision the future by reflecting on the past? And what role do the archive and the act of archiving play for an institution in this process?
The prefix UN in BARRIERA UNINSTITUTE signifies a re-examination of the status of an entity and a space, evoking the concept of a 'para-institution,' 'quasi-institution,' or 'non-institution.' Its purpose is to encourage the organization to continually recalibrate itself around new projects and programming choices, always moving toward more experimental and dialogical forms.
Rather than emphasizing the artwork, the exhibition as a product, or the collection as heritage, the book focuses on so-called 'printed matter'-ephem-eral, carefully crafted materials that have promoted and supported both exhibition and workshop projects. These include exhibition catalogs, invitations, gallery texts, postcards, leaflets, and booklets. Following this predominantly visual, asynchronous, and 'eccentric' documentary section, the book organizes an index with the events, exhibitions, catalogues, and artists who have passed through BARRIERA's space.

Inizio fine. Rotondo. Tutte le cose del mondo (Beginning, End. Round. All Things of the World) is the exhibition that artist Chiara Camoni conceived for the Piano Nobile of Palazzo Collicola on the occasion of the 67th Festival dei Due Mondi. The title, similar to a lullaby or nursey rhyme, anticipates the course of the exhibition, based on circularity, accumulation and reiteration, with the works accompanying the visitor through the rooms in a dreamy and ancestral atmosphere, populated by spirits, divinities, souls, and animals. References to the natural and plant world-a fixed presence in Camoni’s production-meet with the splendour of the rooms of Palazzo Collicola, in an unprecedented dialogue that also features a conspicuous body of works made especially for the exhibition. The Piano Nobile and the artist’s works thus form a special alliance: the relationship with the architectural space is underlined by a long snake made of different materials and media which, ‘crawling’ in all the rooms, marks the path of the exhibition.

This volume on the publications of Ugo La Pietra begins with a long correspondence between the artist and his associates - (Vico Magistretti, Adolfo Natalini, Franco Vaccari, Enzo Mari...) - and aims at making ideas and thoughts circulate by sharing his books. This collection of books constitutes an infinite shelf that goes from 1965 to the present day. From the catan logues of the early radical exhibitions to the 1970s art and design research and experimentation into 'degrees of freedom', 'design reconversions', 'Interior/Exterior' to which we can add 'Tissural Structures'; physical and telematic journeys into the new territories of living. Then there are the volumes that delve into various themes by gathering experiences as well as specific works based on inhabiting places by using random and disruptive actions. A book is in fact not only the best medium for transcribing design and meta-project proposals, but also the starting point for Ugo La Pietra's radical theories and artistic research. The book concludes with his involvement in magazines, perhaps the most experimental and radical aspect of his work that allowed for the development of collaborations, co-designs and the diffusive distribution of counter-projectual and political thought.

Concerto, Roberto Fassone's first solo exhibi-tion in a public museum was created with the idea of retracing the artist's first fifteen years of activity. The exhibition hosts a selection of works-one per room-representative of his singular artistic practice. Like songs that follow one after the other during a concert, the works of Concerto traverse Fassone's entire artistic production, outlining the salient features - as well as the uniqueness-of his poetics, inviting visitors to embrace his ironic, surreal, psychedelic universe.

Popoli di Vetro is an artist's book in the form of a fantastical novella. Here, the writing generates an imaginative world in which glass is the pervasive element the protagonist must deal with.
Tan – also known as Metastasio – moves freely in an abyssal setting, searching for springs and fountains he collects as if they were treasures to be kept. His relationship with water becomes irresistible since, as a child, he accidentally swallowed glass.
In a succession of phantasmagoric visions, changes in material state, blinding mirages, and intermittent darkness, Tan encounters hybrid entities—animals/women/men/animated objects—that form the peoples of glass.
In this book, Cavaliere consolidates his writing practice as an artistic sign. The text is offered as an object for decoding both word and vision; the realm of literature overlaps with that of art, and reading becomes an act of imagination.

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.