Maxiprocesso brings together 360 photographs by Maria D. Rapicavoli, one for each of the archival folders documenting the largest mafia trial in history, held in Palermo from 1986 to 1987. The volume explores the relationship between memory, justice, and social responsibility, examining the material element of a landmark event in contemporary Italian history.
This is the first monograph on the influential American choreographer and dancer Trajal Harrell. In an entertaining, far-reaching conversation with curator Daniel Baumann, Harrell covers all of his choreographies and performances, as well as his influences, successes, and failures, addressing how he transforms and transgresses the history of dance.
This book offers the first comprehensive overview of Anna Franceschini’s practice. Organized around recurring themes, it explores animation, the body, machines, ghosts, desire, and windows through commissioned contributions and selected writings. Its associative structure reflects her interest in repetition, transformation, and unstable images.
This book accompanies 5 Works, Lydia Ourahmane’s first institutional solo show in Italy, staged at the Nicoletta Fiorucci Foundation in Venice and curated by Polly Staple, during the 61st Venice Biennale, and includes newly commissioned texts and images that further contextualize the artist’s practice and work.
Museums of Tears extends Francesco Vezzoli’s 2024 exhibition at Museo Correr, Venice, combining historical works and new commissions to explore antiquity, emotion and illusion. Conceived as an artist’s book rather than a catalogue, it transforms the museum guide into a hybrid archive and portable museum of memory, beauty and mourning.
A project by Fondazione In Between Art Film, edited by Carla Subrizi, Paola Ugolini, and Maria Alicata, this illustrated volume investigates the cinematic, documentary, and video output of women artists and filmmakers operating in Italy in the 1960s and 1970s, situating their research at the intersection of artistic experimentation, politics, society, and technology.
Edited by Adriana Varejão, Helena de Freitas, and Victor Gorgulho
Authors: Elena Crippa, Raphael Fonseca, Helena de Freitas, Victor Gorgulho and Adriana Varejão
Designed by Lorenzo Mason Studio
2025, English, softcover, 24 x 32 cm, 152 pages
ISBN 979-12-80579-58-4
Paula Rego and Adriana Varejão. Between Your Teeth, published on the occasion of the eponymous exhibition held at CAM – Gulbenkian in Lisbon, explores convergences in the work of Paula Rego (Lisbon, 1935 – London, 2022) and Adriana Varejão (Rio de Janeiro, 1964), although they belong to different generations and come from different backgrounds.
Curated by Adriana Varejão, Helena de Freitas, and Victor Gorgulho, the exhibition, which presents nearly 80 works—including paintings, engravings, sculptures, and installations—is divided into thirteen thematic rooms. The long conversation between the three curators, which forms the main text of the catalogue, reflects the structure of the exhibition, addressing the different thematic nodes and revealing the conceptual and methodological process that guided the selection of works.
The two essays by Raphael Fonseca and Elena Crippa, which complete the catalogue, offer further insights, by highlighting several similarities in the practice of the two artists from a critical perspective.
The title—Between Your Teeth—is a line taken from the 1974 Poemas aos homens do nosso tempo (Poems to the men of our time) by the Brazilian poet and novelist, Hilda Hilst, in a clear allusion to the dictatorial regime that had begun in Brazil in the previous decade. Hilst describes and criticises the power associated to greed, conquest, profit and exploitation. In their representations of literal and metaphorical bodies, Paula Rego and Adriana Varejão reflect on how patriarchy, colonialism and all forms of oppression mutually interact, “chewing up” people and their stories.
This is the artists’ first joint exhibition in Portugal, having already exhibited together in Rio de Janeiro (Carpintaria, 2017), when Paula Rego was still alive.
The catalogue fosters the encounter between Adriana Varejão, who has developed pioneering work in the field of postcolonial thought, and the work of Paula Rego, whose political force is developed by a productive tension between a private register and its public dimension, expanding the interpretive universe of the two artists.
