Between an artist’s book and a catalogue, this publication follows up on Armleder’s multidimensional exhibition at KANAL in 2020–21. Through archival pictures and in depth conversations, the book is designed to recreate the immersive experience of this collective experiment, and proposes a dive into something akin to a large self-portrait, conceived through the works of more than a hundred artists.
This artist’s book reflects Eva & Franco Mattes’ continued interest in the condition of displacement to be sensed in Fukushima. Borrowing the format of wrapping-paper catalogs, it contains twenty large pre-perforated sheets, each of which features a photographic texture—a seamlessly repeating motif captured by the camera amid the radioactive ruins of the contaminated towns and countryside.
The album brings together the music composed by Federico Chiari for various film and video works by Diego Marcon, including Monelle (2017), Ludwig (2018), The Parents’ Room (2021), and Dolle (2023). The album comes with a booklet containing lyrics and images that provide a deeper insight into this unique, profoundly intertwined collaboration between Chiari and Marcon.
This small anthology reviews some of the central themes of Diego Marcon’s research: from the role of the display in exhibitions to his relationship with cinema, from the use of special effects and animatronics to the sense of community established through his work. Glassa accompanies the exhibition of the same name designed by the artist for the spaces of the Centro per l’arte contemporanea Luigi Pecci in Prato.
Strata raccoglie 37 conversazioni con artisti il cui lavoro ha dato un contributo significativo alla scena artistica italiana e internazionale a partire dal 2000. Questo libro è il resoconto personale di una serie di incontri, amicizie e relazioni professionali che Vincenzo de Bellis e Alessandro Rabottini hanno coltivato negli ultimi vent’anni.
Strata compiles 37 conversations with artists whose work has made a significant contribution to the Italian and international art scene since 2000. This book is the personal account of a number of encounters, friendships, and professional relationships that Vincenzo de Bellis and Alessandro Rabottini have nurtured over the past twenty years.
An Orobic Journey. On Migratory Restlessness, Community, and Multispecies Geographies
Edited by Valentina Gervasoni and Lorenzo Giusti
With contributions by Annamaria Ajmone, Atelier dell’Errore, Elena Bassi, Enrico Bassi, Yesmine Ben Khelil, Cecilia Bengolea, Julius von Bismarck, Bianca Bondi, Emanuela Borgnino, Sonia Boyce, Roberto Casti, Maurizio Cattelan, Gabriel Chaile, Mosè Cometta, Giulia Costanzo Talarico, Abraham Cruzvillegas, Giammarco Cugusi, Marta Cuscunà, Michela de Mattei, Adele Dipasquale, EX., Adriano Favole, Simone Ferracina, Francesco Ferrero, Frantoio Sociale, Gaia Fugazza, Ilaria Gadenz, Agnese Galiotto, Chiara Gambirasio, Valentina Gervasoni, Lorenzo Giusti, Agostino Iacurci, Michael Jakob, Zeyn Joukhadar, Alice Kentridge, Amal Khalaf, Invernomuto, Brandon LaBelle, Alice Labor, Greta Martina, Alessandra Mignatti, Asunción Molinos Gordo, Mozzarella Light, Bertram Niessen, Serpil Oppermann, Veronica Pecile, Francesco Pedrini, Marie Petersmann, Roberto Picchi, Giulia Rispoli, Francesca Rossi, Angela Rui, Lin May Saeed, Ana Silva, Giulio Squillacciotti, Studio Ossidiana, Federica Timeto, Miriam Tola, Mauro Varotto, Pedro Vaz
Designed by xxy studio
2026, English, softcover, 21.5 x 16,5 cm, 720 pages
ISBN 979-12-80579-84-3
An Orobic Journey: On Migratory Restlessness, Community, and Multispecies Geographies brings together a layered and polyphonic investigation that, setting out from the Orobic Alpine territory in Northern Italy, explores the mountainside not merely as a natural backdrop but as an epistemological lens through which to understand and rethink the contemporary world.
The book originated as an online magazine and an expansion of the biennial program Thinking Like a Mountain (2024–25), a project inspired by Aldo Leopold’s exhortation to abandon an anthropocentric gaze in favor of a geological outlook on the peaks, thereby acknowledging the intrinsic value of every natural element. An Orobic Journey developed independently from the exhibition program and is not limited to mere documentation; instead, it functions as a parallel research tool articulated through essays, conversations, and visual documentation, featuring contributions from artists, scientists, researchers, anthropologists, ornithologists, curators, academics, architects, writers, and other experts.
Embracing Ursula K. Le Guin’s “carrier bag theory,” An Orobic Journey brings together non-heroic tales of resistance, adaptation, and cohabitation. The book opens with a reflection on species migration and “migratory restlessness”: a condition that does not only concern the spontaneous return of wolves to the Alps or the transit of birdlife, but becomes a metaphor for a shared condition of continuous movement and searching. The future of the mountain—amid tourist monocultures and acts of transformative care—is investigated by conceiving the Alpine landscape as a political space shaped by power relations, images, and collective memories, and inhabited by multispecies communities that dwell in a place, weaving intergenerational relationships. With both a poetic and political approach, An Orobic Journey attempts to rethink ways of looking at the mountain landscape while imagining new collective rituals.
