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.
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.
Edited by Yuvinka Medina, Bettina Schultz and Lap-See Lam
Texts by Stephanie Cristello, Mara Lee Gerdén, Yuvinka Medina, Svante Tirén, and Xiaoyu Weng.
Designed by Thomas Bush
2022, English, softcover, 188 pages, 21 x 28 cm
ISBN: 979-12-80579-25-6
The ubiquitous presence of Chinese restaurants overseas has long been the default and emblematic symbol of Chinese diasporic life. Chinese restaurants are the archetype of a constructed Chineseness meeting the nostalgic ideal of an ancestral homeland. In their many yet all so stereotypical incarnations, these places have acquired names that riff off a few words to embody an oriental experience: Lucky Garden, Mandarin City, Bamboo Palace, New Peking City, Crane Garden, Lotus, Ming Garden. Lap-See Lam puts herself—and us with her—in a relationship to the Chinese restaurants, challenging both the Western historical fascination and its fear by seeking out other realms. It would seem that at the heart of it all, Lam’s practice is guided by a simple question: What are the implications of something looking Chinese? This monograph accompanies Lam’s first institutional exhibition at Bonniers Konsthall.
