First Meeting is the first monograph on Argentinian artist Santiago de Paoli. From his early, experimental projects to his most recent explorations, the book delves into his innovative approach of painting on unconventional materials. The book features commissioned essays by Fernanda Brenner and Mariano Mayer, as well as a conversation between Christian Rattemeyer and the artist.
Infinite Memory is Caroline Poggi and Jonathan Vinel’s first monograph, co-published with Fondation Cartier pour l’art contemporain and Lenz. Like a memory card, the book stores information about a selection of films from the initial decade of the artists’ practice. Considered as an object, much like a piece of hardware that stores digital memory, the book offers the possibility to scroll infinitely, with no beginning or end.
Through the words of the sound artist and theorist Brandon LaBelle, the book explores the social and relational component of sound that gave rise to Benevolence, the site-specific project by Sonia Boyce. The Joy of Cacophony is the second book in a series of essay collections inspired by the site-specific projects conceived for GAMeC at Palazzo della Ragione.
Consisting of a richly illustrated booklet and a record vinyl, this special release accompanies the performative sound-based project A Comparative Dialogue Act by artists Andrea Mancini and the collective Every Island, hosted in the Luxembourg Pavilion at the 60th Venice Biennale.
Conceived as a catalogue and an artist’s book, the publication offers a deeper insight into the eponymous 2022 exhibition staged at Indipendenza Roma, and explores tensions that can be generated between artworks and their surrounding architectural context, raising questions of taste, value, function and decoration.
The practice of Tomaso Binga (Bianca Pucciarelli Menna, 1931) toys with the notion of gender, reconsidering women’s social roles and rights. This monograph, edited by Eva Fabbris, Lilou Vidal, and Stefania Zuliani, analyses her work through various languages and features a selection of poems, highlighting the author’s critical and artistic approach.
Texts by Kirsty Bell, Christopher Bollen, Judith Eisler, Wade Guyton
Design by Joseph Logan
2024, English, hardcover, 19.6 x 28.5 cm, 176 pages
ISBN 979-12-80579-56-0
Center of the Frame, which brings together paintings made between 1997 and 2024, is Judith Eisler’s first monograph. The artist’s paintings depict paused moments in cinematic time in which predominantly female subjects are caught midnarrative, cropped, and recontextualized by the fundamental elements of painting: form, color, and light. Using preexisting material borrowed from moving images, Eisler defines the abstractions inherent in the representational image with shifting marks of paint. The structure of the painting is informed by the information in the source as well as the more intangible issues of perception, desire, and mediation.
Featuring an essay by Kirsty Bell, an introduction by Christopher Bollen, and an interview with Wade Guyton, the texts delve into the artist’s fascination with cinema and the transmission of images through the various formats of analog film, television broadcasts, internet videos, and of course, the painted canvas.
“Eisler seizes on the information within the cropped still image in an entirely structural sense, beyond any cognitive meanings of expression, action, or emotion, focusing in on these differentiations as if examining the very infrastructure of vision.”
—Kirsty Bell
