Maxiprocesso brings together 360 photographs by Maria D. Rapicavoli, one for each of the archival folders documenting the largest mafia trial in history, held in Palermo from 1986 to 1987. The volume explores the relationship between memory, justice, and social responsibility, examining the material element of a landmark event in contemporary Italian history.
This is the first monograph on the influential American choreographer and dancer Trajal Harrell. In an entertaining, far-reaching conversation with curator Daniel Baumann, Harrell covers all of his choreographies and performances, as well as his influences, successes, and failures, addressing how he transforms and transgresses the history of dance.
This book offers the first comprehensive overview of Anna Franceschini’s practice. Organized around recurring themes, it explores animation, the body, machines, ghosts, desire, and windows through commissioned contributions and selected writings. Its associative structure reflects her interest in repetition, transformation, and unstable images.
This book accompanies 5 Works, Lydia Ourahmane’s first institutional solo show in Italy, staged at the Nicoletta Fiorucci Foundation in Venice and curated by Polly Staple, during the 61st Venice Biennale, and includes newly commissioned texts and images that further contextualize the artist’s practice and work.
Museums of Tears extends Francesco Vezzoli’s 2024 exhibition at Museo Correr, Venice, combining historical works and new commissions to explore antiquity, emotion and illusion. Conceived as an artist’s book rather than a catalogue, it transforms the museum guide into a hybrid archive and portable museum of memory, beauty and mourning.
A project by Fondazione In Between Art Film, edited by Carla Subrizi, Paola Ugolini, and Maria Alicata, this illustrated volume investigates the cinematic, documentary, and video output of women artists and filmmakers operating in Italy in the 1960s and 1970s, situating their research at the intersection of artistic experimentation, politics, society, and technology.
Edited by Béatrice Grenier
Texts by Philippe Azoury, Alenda Y. Chang, Béatrice Grenier, Ingrid Luquet-gad, Caroline Poggi and Jonathan Vinel
Co-published by Fondation Cartier pour l’art contemporain
Designed by Lorenzo Mason Studio
2024, English, 16.8 x 24 cm, 274 pages
ISBN 979-12-80579-66-9
The book is the first monograph of the work of Caroline Poggi and Jonathan Vinel, published in conjunction with the release of the duo’s second feature-length film, titled Eat the Night . Formal experimentation characterises the work of emerging French film-making duo Poggi & Vinel, who employ the languages of video games, archives, and film-making to hybridise genres and break aesthetic conventions. There is ambiguity over the register within which the duo’s work should be situated: is it film, musical score, game or animation?
Edited by Béatrice Grenier, considered as an object the book is a formulation of an archive or a record of the duo’s work, encompassing the variety of mediums with which Poggi & Vinel engage, in addition to the overarching question of memory as explored in their practice. Three essays by Alenda Y. Chang, Béatrice Grenier and Ingrid Luquet-gad offer in-depth analyses of the ways in which the work of the duo constitutes a form of preservation through the use and reuse of video-game imagery. Identifying key works and turning points, the book provides a commentary on their particular, ambiguous positioning, somewhere between cinema-video and practice-gaming, and helps to explain why this positioning is critical vis-à-vis contemporary art today. In an interview with Philippe Azoury, the film-makers reflect on the role of community-building both within and outside their films, considering specifically the relationship between the digital characters and the ’real’ characters, and the importance of gaming in acknowledging and understanding other subjectivities.
Each film selected for the book is transformed into a photo essay, calling into question the nature of the image—the significance it has when moving or still. Spiral-bound, the book is punctuated by an infinity of potential covers: the object itself has no beginning or end. One can pick off where one left off, or enter the narrative at any point—a formal attempt to transcend the nature of the age-old medium.
