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 Edoardo Bonaspetti, Erlend Hammer and Fredrik Værslev
Texts by Erlend Hammer and Martha Kirszenbaum
Design Lorenzo Mason Studio
2023, English, softcover, 23.5 x 33.5 cm, 184 pages
ISBN 979-12-80579-34-8
Fredrik Værslev: The Garden Paintings is the first publication dedicated to a single body of work by the artist. As Erlend Hammer writes in his essay: “The Garden Paintings are works that exist within a complex network of references that include everything from Abstract Expressionism to suburban garden furniture as one might find in an event organized as a platform for relational aesthetics. They similarly engage, art-historically speaking, with everything from the anthropological site specificity of Robert Smithson’s relics, the theatricality of Minimal sculpture, architecturally loaded carriers of institutional critique, and post-conceptual painting objects. At the same time, they’re also just paintings.”
In her essay, Martha Kirszenbaum points to the origin of the work in the suburban architecture of Norway in the 1980s: “His Garden Paintings are as much a homage as a misuse and a detournement of the wooden decks that formed the environment of his upbringing. Each work is based on an appropriation of wooden pallets, always seemingly the same size and comprised of seven or eight slats. The repetition of structure and material seems to echo the monotony of suburban life, while the various color palettes he uses refer to Norwegian housepaint.”
The publication gives a comprehensive and chronological account of the Garden Paintings as well as their exhibition history. It thereby shows both the stylistic development of the individual works and the various ways Værslev has presented them since he first began the series in 2011.
The book is published in conjunction with the exhibition Platting held at Haugar Art Museum (2023) and curated by Erlend Hammer. The works from the series have been also exhibited in institutions such as the Astrup Fearnley Museet in Oslo, Moderna Museet in Stockholm, The Power Station in Dallas, Kunst Halle Sankt Gallen and Bonner Kunstverein in Bonn.
