This new anthology brings together visions, experiences and critical interdisciplinary methodologies that have been instrumental in the development of the language of moving images since 2010. New essays and conversations reflect on radical technological and poetic transformations in the works of the generation of digital native artists.
Center of the Frame is the artist’s first monograph and brings together paintings made between 1997 and 2024. The publication provides an in-depth look at Eisler’s fascination with cinema and with the transmission of images through the various formats of analog film, television broadcasts, Internet video and, of course, the painted canvas.
On the occasion of PROVENCE’s 15th anniversary, the reader My Alphabet presents 26 texts published by PROVENCE between 2009 and 2024, either in print or digitally in the weekly newsletter. These texts are sorted alphabetically, ranging from A for Amphetamine to N for Ne travaillez jamais to Z for Gen Z.
This publication is devoted exclusively to the metal works of Sidsel Meineche Hansen. Catalogued here is every cast, forged, and fabricated metal sculpture made since 2017. Poems by the artist Diego Marcon annotate and respond to the individual pieces.
This compelling artist’s book is built around KOOL (“cabbage” in Dutch), an original font designed by Reus, somewhere between a plant alphabet and concrete poetry. The publication draws on the type specimen book tradition to present new typefaces.
Through a rich selection of images, this artist’s book, published in two editions—gold and silver—explores the birth, life and death of Francesco Gennari’s work Vorrei perdermi e non trovarmi più, 2022, exhibited for the first time at the Ciaccia Levi Gallery in Paris.
The Empty Room Christian Frosi and Other Escapes from the Art Scene
Edited by Nicola Ricciardi
Design by Lorenzo Mason Studio
2022, English / Italian, softcover, 240 pages, 17 x 24 cm
ISBN 979-12-80579-28-7
Christian Frosi (Milan, 1973) was long considered one of the most inspiring and promising Italian artists debuting in the early 2000s. That is until just over ten years into his career, when he decided to make himself unreachable and remove himself from art history, its customs and figures.
This choice brings him abstractly close to Marcel Duchamp, Agnes Martin, Lee Lozano, Charlotte Posenenske and the many other artists before him who decided of their own volition to stop producing art and participating in the art world (sometimes for a few years, sometimes forever). This publication speaks of all of them, with a twofold purpose: on one hand to write the history of Christian Frosi’s works and exhibitions — for the first time in an organized and timely manner — and on the other, to relativize the pages left blank through the stories of other “dropout artists,” each with their own particular destiny yet united by a common desire to escape.
The book is published in conjunction with the exhibition La Stanza Vuota [The Empty Room], curated by Nicola Riccardi and staged at GAMeC in Bergamo. This first-ever retrospective of Christian Frosi’s oeuvre featured more than thirty works embodying precariousness, transience and evanescence — constant elements in his enigmatic, transitory output.
