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.
Pardon Façade documents the artistic output of Luca Monterastelli, showcasing almost all of the sculptures and installations that he produced between 2011 and 2022. Across four chapters—corresponding to four solo shows that he staged in Milan, Otegem, Antwerp, and Naples—the publication provides the first overview of the artist’s work.
More than half a century after its premiere, Yvonne Rainer, in collaboration with choreographer and dancer Emily Coates, directed the 2019 revival of her 1965 performance Parts of Some Sextets. This book poses questions about the trajectories of artworks, performers, and audiences, all while tracing the life—and afterlife—of a dance.
How does technology organize life? This book documents and reflects on the exhibition Proof of Stake: Technological Claims at Kunstverein in Hamburg, curated by Simon Denny and Bettina Steinbrügge. It brings together a unique group of artists and scholars who investigate the technological apparatuses and power relations of organized life.
Edited by di Cloé Perrone
Texts by Adrienne Edwards, Ekow Eshun, Francesco Freddolini, Wangechi Mutu, Cloé Perrone, Ilaria Puri Purini
Designed by Lorenzo Mason Studio
2025, English, hardcover, 30 x 24 cm, 202 pages
ISBN 979-12-80579-80-5
The title of this rich publication, published on the occasion of the solo exhibition of the Kenyan-American artist Wangechi Mutu at the Galleria Borghese—the first time in the century-old history of the Villa for a living female artist—evokes the dual nature of Mutu’s practice: poetic and mythological, yet deeply connected to contemporary social and material contexts. “Black soil”—rich and malleable under the rain, almost like clay—appears across multiple geographies, including the Secret Gardens of the Galleria, which resonate with the artist’s imagination. From this soil, the sculptures seem to emerge, as if molded by a primordial force, giving shape to stories, myths, memories, and poems. The metaphor underscores the generative and transformative power of her work: rooted in materiality, yet open to multiple future interpretations.
Wangechi Mutu’s intervention introduces a new vocabulary into the historical and symbolic architecture of the Galleria Borghese. Through sculpture, installation, and moving image, the artist proposes an innovative approach to the museum space—one that challenges hierarchy, permanence, and fixed meaning. Her works question the visual weight and authority of the collection through strategies of suspension, fluidity, and fragmentation. In doing so, the museum is no longer presented as a static container of objects, but as a living organism, in continuous transformation, shaped by loss, adaptation, and reconfiguration.
Accompanied by a text by curator Cloé Perrone analyzing the context and themes that informed the exhibition’s conception, the volume is enriched by four additional essays by Adrienne Edwards, Ekow Eshun, Francesco Freddolini, and Ilaria Puri Purini, as well as a conversation between Eshun and the artist. A rich selection of illustrations allows the readers to retrace the exhibition, which unfolded in the Gallery’s sumptuous rooms and gardens, all the way to its extramural presence at the American Academy.
