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 Ibrahim Mahama and Eva Brioschi
Texts by Bernard Akoi-Jackson and Ibrahim Mahama; Eva Brioschi; karî’kachä seid’ou and Selom Kudjie
Design: Studio Temp
Softcover, 272 pages, 21 x 28.5 cm
English / Italian
ISBN 979-12-80579-20-1
Ibrahim Mahama was born in 1987 in Tamale, a city in northern Ghana where he lives and works. He studied painting and sculpture at Kwame Nkurumah University in Kumasi, Ghana, earning a master’s degree in painting and sculpture in 2013. During his university years, he began working on installations reflecting on the theme of globalization, labor, and the movement of goods, with works made in collaboration with local communities. In 2019, Mahama opened the Savannah Centre for Contemporary Art (SCCA), a foundation run by a group of artists and curators active in Ghana, which was followed by the establishment of Redclay in the suburbs of Tamale. This large facility incorporates artist studios (including his own), research spaces, an artist residency, a permanent collection of artworks, workshop rooms (some set up inside old decommissioned airplanes), and large plots of land dedicated to various types of cultivation. All of this contributes to this visionary artist’s desire to take an active part in the economic, social, and cultural development of his country, providing powerful incentives and teachings to new generations, to make the local population as participatory and economically self-sufficient as possible.
This volume, published to accompany Mahama’s inaugural exhibition at Eataly Art House, in Verona, is constructed as visual diary of artist’s impressive work in his native Tamale, a community-based project founded on the understanding of art as totalizing, reparatory experience: a catalyzer of energies directed for change and social progress. It features texts by the curator Eva Brioschi, Mahama’s professor and mentor karî’kachä seid’ou with Selom Kudjie, and Mahama himself with Bernard Akoi-Jackson.
Voli-ni, which literally means “inside the hole,” is composed of individual particles with their own meaning: Vo, “to pull out,” “extract”; li, “to transfer,” “teleport”; and ni, “here and now.”
Voli-ni therefore indicates an emersion from darkness, from a failed past of defeat, towards the possibility of redemption, regeneration, through a portal that is real (recovered architecture) or imaginary (art).
