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.
Italian Female Filmmakers in the Sixties and Seventies
Edited by Carla Subrizi, Paola Ugolini, and Maria Alicata
Texts by Maria Alicata, Lucia Aspesi, Silvia Bottinelli, Lara Conte, Flavia Frigeri, Francesca Gallo, Sharon Hecker, Laura Iamurri, Caterina Iaquinta, Teresa Kittler, Jennifer Malvezzi, Iolanda Ratti, Giulia Kimberly Colombo, Carla Subrizi, Paola Ugolini, Valentine Umansky, Giovanna Zapperi
Designed by Lorenzo Mason Studio
2026, English, softcover, 13 x 21 cm, 504 pages
ISBN 979-12-80579-93-5
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.
With 18 newly commissioned essays about artists and filmmakers Valentina Berardinone, Anna Valeria Borsari, Pia Epremian, Giosetta Fioroni, Rosa Foschi, Laura Grisi, Ketty La Rocca, Le Nemesiache, Cecilia Mangini, Federica Marangoni, Marisa Merz, Gina Pane, Marinella Pirelli, and Angela Ricci Lucchi, it charts a captivating, multifaceted period, the elements of which have now been compiled for the first time in this publication.
Each chapter, which is accompanied by illustrations and previously unpublished archival documents, analyzes a series of moving-image works as well as the personalities of pioneering (and on occasion non-professional) female directors and artists involved, who embraced the camera as a medium for investigation, documentation, and critique. In their efforts to construct a form of agency for visual imagery, they fostered new narratives, leaving in their wake a plethora of stories and visual strategies that remain vital and worthy of re-examination today.
The contributions of academics, researchers, and art historians such as Maria Alicata, Lucia Aspesi, Silvia Bottinelli, Lara Conte, Flavia Frigeri, Francesca Gallo, Sharon Hecker, Teresa Kittler, Caterina Iaquinta, Laura Iamurri, Jennifer Malvezzi, Iolanda Ratti with Giulia Kimberly Colombo, Carla Subrizi, Paola Ugolini, Valentine Umansky, and Giovanna Zapperi problematize the two decades under examination, which panned out in parallel with the protest movements, and navigate a phase of Italian history, art, and culture that was shot through with changes and transformations, in part arising from the women who decided to take back control—of themselves, even before they reached for a film camera. Therefore, they endeavor to glean an understanding of the transformations of language, subjectivity, identity, ways of seeing, and imaginaries through what women filmmakers described, documented, recorded, and wrote. At the same time, the book constructs an Italian history of this cinematic output in order to then understand how specific, identity-forging visions can be expanded or connected within a broader story, composed of cultural differences and urges that enter into a transnational dialogue. To this end, the book also includes a specially conceived timeline of the main socio-political events that occurred and the most important moving-image works that were produced over the two decades under consideration.
