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 Tom McCarthy and Anne Hilde Neset
Texts by Inke Arns, Magnus Haglund, Tom McCarthy, Sina Najafi, Anne Hilde Neset, Susan Philipsz, David Toop, and Judith Vrancken
Design by Lorenzo Mason Studio
2022, English, softcover, 17 x 24 cm, 240 pages
ISBN: 979-12-80579-12-6
A holding pattern is what air traffic controllers use to keep several planes orbiting above a busy airport without crashing. The scenario suggests a general condition: of human destinies bound up in the circuits of technology; and of anxiety, danger, and salvation—being “brought in safely.” Involving elements of skill and craft, the drawing of patterns on a page, screen, or sky, it also invites analogies with art and choreography.
What are the patterns in which our lives are held? What rhythms, or algorithms, drive these? How do they play out in historical, political, and cultural terms? And can art, literature, filmmaking, and music draw them out, make them visible, legible, audible, or even contestable? These are the questions posed in a major international group exhibition at Kunstnernes Hus in Oslo, curated by Tom McCarthy and Anne Hilde Neset.
In this volume, published to accompany the exhibition, McCarthy and Neset reflect on artworks by Stan Douglas, Harun Farocki, Ingri Fiksdal, Åke Hodell, Stefan Panhans & Andrea Winkler, Susan Philipsz, and Elizabeth Price. The book also includes essays and contributions from Inke Arns, Magnus Haglund, Sina Najafi, Susan Philipsz, David Toop, and Judith Vrancken.
