Acque Plurali is the publication documenting the development of the eponymous artistic residency project curated by Viaindustriae in collaboration with the Università Agraria di Bagnara and Viaggiatori sulla Flaminia, developed between March and September 2026.

The project invited five artists – Chiara Antonelli, Cecilia Ceccherini, Francesco Maggiora, Milo Maricelli and Oliwia Spiralska – to engage with the territory of Bagnara and Upper Umbria, exploring water as a common good and collective domains as forms of shared management and belonging to a place. The outcomes of the residency were presented during the final event on 12 September, together with interventions by Stefano Bonacci, Giulia Filippi, Myriam Laplante, Franco Troiani and Luca Pucci / Collettivo Deas Club 3, invited to take part in the 13th edition of Viaggiatori sulla Flaminia.

The publication brings together materials related to the artworks and the residency process, alongside content exploring the history, characteristics and collective practices of the territory of Bagnara. Texts, images, archival documents and project materials create a narrative that connects artistic research with local memories and with forms of collective care and management of common resources.

The publication thus documents not only the outcomes of the residency, but also the process of encountering a territory and the people who inhabit and care for it, proposing art as a way of listening, exploring and activating new relationships with places.

How does a city's history change when we look at it through its environment? Reading Naples means tracing the relationships that connect volcanic basins, the sea, caves, hills, and exposed tuff to the forms the city has taken over time. An evolution shaped by small and large projects, architectures, actions, and imaginaries that stratify and constantly negotiate with Naples' porous nature, revealing how the environment has contributed to shaping the city's cultural and urban history while continuing to generate new practices of belonging and resistance.

It soothes, kneads, heals, creates, shapes, remembers and, like an underground river, flows unseen before resurfacing as a creative gesture. Ultimately, it cares. This is how water takes shape in the works of Indiara Di Benedetto, Carola Gatto and Luca Gori, curated by Szonja Szurop and developed through the FMSchool artistic residencies. A creative universe that flows and brushes against lands yet to be discovered, sailing towards a panpsychic fusion with the blue planet, where water reveals itself as matter, memory, landscape and possibility.
This publication is not for sale. It was distributed free of charge on the occasion of the exhibition opening and is available as a complimentary copy with the purchase of another Viaindustriae book.

It digs, produces, gushes, smooths, moves, builds and sets the rhythm for the unfolding of lives, festivities and celebrations. Ultimately, it works. This is how water takes shape in the works of Francesca Baglieri, Filippo Contatore, Luca Pagin and Alicya Ricciuto, curated by Bianca Marsella and developed through the FMSchool artistic residency. A productive landscape shaped entirely by human activity, following the forceful course of a natural element that brings nature, technology and community into relation. This publication is not for sale. It was distributed free of charge on the occasion of the exhibition opening and is available as a complimentary copy with the purchase of another Viaindustriae book.

Sensing Interdependence is a book and an exhibition (de Appel, Amsterdam, 27.06–10.08.2025) on the work of the Italian art collective A4C-artsforthecommons, founded in 2016 by Ecuadorian artist Rosa Jijón and Italian activist and researcher Francesco Martone.

A4C-artsforthecommons serves as a platform for artists and activists engaged in exploring the intersections between visual production and the struggle to reclaim the commons.

A4C addresses urgent issues related to human mobility, borders, social and environmental justice, and the Rights of Nature. By fostering exchange, mutual action, and collective creation, A4C operates as a space for collaboration that seeks to enable a new commons—one that synthesizes contemporary art and political engagement.

A4C explores the interstitial spaces between power and communities, the traditional art system and society, and between states and territories. Its practice embraces documentation and archival critique as integral forms of artistic inquiry.

Holding Place is the final outcome of the project Caravan: Thinking with Alexandria. This itinerant residency programme explored the European cities of Athens, Brussels, Marseille, and Nicosia through the lens of Alexandria and its contested urban imaginaries.

Participants travelled across the geographies connected to the project, revisiting these places through various artistic productions. These are documented in one of the booklets that compose this publication, conceived as a constellation of editorial materials.

Alongside the production path defined by the institutions leading the initiative, and in order to address the dissonances inherent in a project that seeks to interpret the urban universe of Alexandria— a North African, Egyptian, and Mediterranean city—through a specifically European perspective, some of the residency participants convened for a series of organised conversations. These intimate, critical, and at times challenging discussions ultimately gave rise to the self-produced publication Place Holder.

Bringing together diverse voices, perspectives, and approaches, Holding Place aims to offer multidimensional narratives on Alexandria, Europe, and the Mediterranean, inviting readers to engage with urban and regional landscapes through their blind spots and complexities, rather than through functional and reductive geopolitical imaginaries.

A few years after the 1968 earthquake, the Istituto Superiore per l'Edilizia Sociale of Rome sent the plan for the total reconstruction of Gibellina Nuova, inspired by the models of the English New Towns. After an initial phase during which mayor Ludovico Corrao invited international architects and artists to participate in the city redesign, in the late 1970s a group of professors from the University of Palermo organised a series of seminars and workshops to reflect on the reconstruction. At that moment, Oswald Mathias Ungers was called to design the central area of the settle-ment, which was still undefined. His Civic Centre proposal reflected on the relationship between built and public space, between city, monument and history. However, little was real-ised, not really with rigour. The hotel, started on the edge of town, was soon abandoned. The artisanal district was freely adjusted to the needs of local activities. The housing along Viale Belice was built but its public walkway leads nowhere. What remains of the block of houses that was supposed to enclose a garden is a huge dry meadow and a small lake, ironically the element most faithful to the original project, in the centre of the town.

Bolletti/no is a journal of experimental didactics published for each solstice and equinox over a period of 3 years, between 2020 and 2023, for a total of 12 issues + a final extra issue. It was created to give a concrete printed form to a series of practices developed by Virginia Di Lazzaro and Giulia Filippi during their shared workshop activities with children and adults. Over these three years, the artists and authors have reflected on the world around them, accompanied by characters, stories, artistic practices and techniques, materials, matter, the seasons, and all the people and living beings they've encountered. Bolletti/no was created with the intention of being a tool that sparks action and inspiration. Each issue invites the reader to experience the world around them through exercises of observation, experimentation, collection, and storytelling, allowing them to build a small collection of "domestic art". Bolletti/no has experimented not only with content but also with distribution methods over the years: initially distributed individually, then as a subscription sent directly to the homes of those who chose to support the project, it now becomes a box set containing all 12 issues, plus the special issue and the related posters.

Sound Chapters: Voices of Sound Experimentation in Italy is a hybrid volume dedicated to the Italian auditory arts scene. Using textuality as an intimate form of sound, the book reflects the texture of the voice in writing. Words function like ventril-oquy, imitating remote vocalities. In the chapters, short stories, essays, research papers, poems, scores and songs sound without hierarchy, emphasising plurality. By weaving together contri-butions that elude conventional modes of writing, the project amplifies a fluid and inclusive bibliography on the subject. The authors of this book are artists, researchers, curators, and cultural organizers who, over the past ten years, have played an active role in the experimental sound arts scene in Italy. The book is not only a theoretical reflection on the Italian soul scene but also a catalogue for Mezz'aria. La strana apertura della ricerca sonora, a collective project that explored sound research within the exhibition setting of the Museo del Novecento e del Contemporaneo di Palazzo Fabroni a Pistoia (20.05-15.08 2023). Artists and researchers: Marco Baldini, Elena Biserna, Luca Boffi, Andrea Borghi, Mattia Capelletti, Francesco Cavaliere, Stefano De Ponti, Nicola Di Croce, Giulia Deval, Alessandra Eramo, Paolo Gabriotti, Giulia Gonfiantini, Renato Grieco, Riccardo La Foresta, Enrico Malatesta, Chiara Pavolucci, Leandro Pisano, Diana Lola Posani, Radio Papesse, Francesco Toninelli.

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. 

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.

For two hours, the public and passersby are invited to freely join the singing improvisations directed by three choir leaders: Liévine Hubert, Tom Mannaerts and Baptiste Vaes.
In this moment of collective singing, people who do not know each other will share the same tune, creating spontaneous complicity through rehearsals. 
Circles of Songs is a performance by Raffaella Crispino, commissioned by BOZAR Center for Fine Arts Brussels, performed on the 21st of December 2022, as part of Rebirth/Third Paradise by Michelangelo Pistoletto, curated by Alberta Sessa.