The catalogue of this ambitious project, held at the Centre d’Art Contemporain Genève in 2017, reflects on the centrality of writing in contemporary visual art practices. Documenting its slippages from printed matters to the digital realm, from voice modulations to its sculptural presence, this book celebrates the word in all its forms.
A book emerged from the need to try to tell the story of architecture in a way quite unlike how it’s usually told, in a continuous dialogue between the anthropological gaze of Armin Linke’s photos compared with the ideation process of two public works by the Carlana Mezzalira Pentimalli architecture office.
The book documents and brings together two exhibition projects by Nina Canell and Maria Hassabi. Essays, unpublished materials and a rich set of photographic materials form the driving force behind two visual narratives that offer new keys to understanding the research of the two artists.
Can art, literature, filmmaking, and music draw out, make visible, legible, audible, or even contestable the patterns in which our lives are held? Considering the work by Stan Douglas, Harun Farocki, Ingri Fiksdal, Åke Hodell, Stefan Panhans & Andrea Winkler, Susan Philipsz, and Elizabeth Price, this publication entertains this question.
This new major monographic publication on the Ghanian artist documents the work that transformed sites and repurposed buildings in his native town of Tamale to transformative outcomes rooted into the idea of art as a tool of understanding, rebalancing, and advancement.
For life and limbs, Austrian artist and curator Anna-Sophie Berger has assembled a group of works, from Arakawa and Gins to Lyle Ashton Harris, that register the body as a habitat that can be imaginatively stretched, altered, modified, adorned, replicated or destroyed.
Edited by P. Staff with Samuele Piazza
Designed by Studio Dominik Krauss
Published with OGR, Turin
2026, English, softcover, 13 x 19 cm, 136 pages
ISBN 979-12-80579-94-2
Full Rotation is an artist book by P. Staff organized around three terms: “Ekstase,” “Animals,” and “Light.” Chosen and assembled by Staff, the essays, poems and artworks move without hierarchy between the clinical, the erotic, the zoological and the cosmological, bringing different systems of knowledge into contact and allowing unexpected affinities to emerge. Rather than establishing a unified argument, the book unfolds through encounters, associations and shifts in perspective, exploring the body as a site where physical sensation, desire, vulnerability and transformation converge.
A constellation of texts spans the poem, the polemic, the letter, the elegy, hybrid verse and anthropological essay. Artworks by Käthe Kollwitz, Valie Export, Aura Rosenberg, Pati Hill, Catherine Opie and Luigi Russolo are interleaved with Staff’s own drawings and images, creating a field of correspondences across different historical moments, artistic practices and modes of representation.
Across the book, ecstasy emerges as both a bodily experience and a disruption of the self: a state in which pleasure, pain, excess and surrender unsettle the boundaries of individual identity. Animality offers a related perspective, challenging the divisions between human and nonhuman, instinct and reason, the organic and the artificial. Light, in turn, appears as a force of illumination and exposure, but also of instability and transformation—a phenomenon that makes visible while exceeding the limits of perception. Together, these three terms open onto questions of how bodies are constituted, how they encounter other forms of life, and how they are altered by forces that cannot be fully contained or understood.
The resulting structure is cyclical rather than linear, inviting connections to recur and meanings to shift as the reader moves through the book. Full Rotation treats the page as a space of circulation in which images and texts are continually reconfigured, resisting fixed distinctions between bodies and environments, sensation and knowledge, the intimate and the universal. Physical ecstasy, animality and illumination become three vantage points from which to consider what exceeds, consumes and transforms the body—and the possibility of inhabiting forms of existence beyond its presumed limits.
