Monumento (2022) is an artistic intervention by Edoardo Tresoldi, commissioned by Generali, promoter of the restoration of the building carried out by the David Chipperfield Architects studio. The building is the Home of The Human Safety Net Foundation, a global movement of people helping people, active in twenty-six countries with a network of NGOs, volunteers and partners that work with those living in vulnerable conditions so that they can transform the lives of their families and communities.

These pages archive the visual and written tracks of those elements that defined the creation of Monumento, an installation built inside the Procuratie Vecchie in Venice.

An extreme weather event hit north-eastern Italy in October 2018. The Sirocco wind blew up to 200 kilometres per hour through the Dolomite valleys, knocking some 14 million trees to the ground. The incessant rain caused torrents to overflow, dragging logs and debris downstream. Overnight, the inhabitants of a number of mountain communities in Trentino,Veneto and Friuli-Venezia Giulia found their cellars flooded and even their houses torn apart by the winds.
More than six years later, the consequences of storm Vaia are still visible and tangible. The slopes of various mountains are barren. The remaining forests have been invaded by the spruce bark beetle: a parasite that feeds on wood. Without the plants, there is no protection against landslides and avalanches. While experts and locals are rolling up their sleeves to try and bring the situation back to normal, the total economic damage has been estimated at three billion euros.

OHT chiude il progetto su Frankenstein con una pubblicazione che raccoglie la ricerca e i viaggi di Filippo Andreatta mentre ripercorre i luoghi e i posti prediletti dalla creatura. Un libro che si presenta esso stesso come un oggetto mostruoso: innestate tra le pagine di Mary Wollstonecraft Shelley appaiono le forme sceniche e i materiali prodotti dall’incontro tra OHT e il romanzo. Sono lembi, frammenti, lacerti di opere la cui vita avviene altrove e che qui interagiscono con il testo di Shelley facendolo esplodere. Un insieme di sovrapposizioni e assemblaggi che formano una diversa prospettiva sul nostro presente. Il volume ripubblica l’edizione del romanzo del 1831 di Mary Wollstonecraft Shelley innestando sopra le sue parole i materiali prodotti attraverso la ricerca artistica di OHT. Una creatura che tiene assieme una serie di viaggi alla ricerca del mostro, uno spettacolo teatrale, una reading session, un EP, un adattamento filmico, un’installazione e un radiodramma abortito.

Fort Biennale 01 — In the Body of Language
edited by Franzensfeste Fortress, Ulrike Buck and Margareth Kaserer

With:
Altınstark, Özlem Altın, Ellinor Aurora Aasgaard & Zayne Armstrong, Gianfranco Baruchello, Alighiero Boetti, melanie bonajo, Alexandra Cardenas, Max Castlunger, Carlfriedrich Claus, Roberta Dapunt, Tracey Emin, Ian Hamilton Finlay, Sylvie Fleury, Julia Frank, Chiara Fumai, Siggi Hofer, Hannes Hoelzl, Roni Horn, Brigitte Kowanz, Sophia Mairer, Beatrice Marchi, Nadja Verena Marcin, Maurizio Nannucci, Bruce Nauman, Masatoshi Noguchi, Sunny Pfalzer, Caroline Profanter, Egon Rusina, Toni Schmale, Berty Skuber, Lawrence Weiner, Karin Welponer, Jörg Zemmle

Speaking Nearby blends theoretical orientations and artistic gestures that embody various degrees of intimacy, sympathy, and permeability. The researchers and artists in the 10-month residency at Istituto Svizzero, within the framework of Roma Calling 2023/2024, present punctual emergences of their research, revealing the intra-action between bodies and matter through different protocols of encounters, the attunement to certain environments, and the transformations resonating within situated processes.

Iva Lulashi. Love as a Glass of Water is the catalogue for the homonymous exhibition at the Albanian Pavilion of the Venice Biennale 2024, Stranieri ovunque – Strangers Everywhere.
The “Theory of the Glass of Water”, linked to radical thinker and feminist Alexandra Kollontai (St. Petersburg, 1872 – Moscow, 1952), calls for a sexual and emotional revolution in which impulses are seen as simple human needs, to be satisfied with the ease and carefreeness with which a glass of water is usually drunk.
Love, desire, impulse and sexuality are the essence of Iva Lulashi’s work, transcending boundaries and uniting multiple perspectives. Inspired by the erotic media, Lulashi captures stills from films and videos, igniting the creative process for her artworks, which predominantly feature female figures. These works subtly suggest scenarios of potential eroticism, evoking emotions of strength, fear, hope and a longing for freedom. They serve as a tribute to female desire, reflecting unresolved pasts intertwined with global political issues that are encountered on a daily basis.

Art for Radical Ecologies is a platform impulsed by Institute of Radical Imagination that brings together art workers and eco-activists to discuss the role art can play in the creation of new radical ecologies. The Art for Radical Ecologies Manifesto is the initial result of our collective writing, to reflect on the positioning and role of art within the interconnected struggles for climate and ecological justice. The essays in the book expand on the main points presented in the 16 articles of the Manifesto: the need to intertwine new materialisms and historical materialism; the specification of who the subjects of the struggles are in a more-than-human perspective; the setting of possible strategies against censorship and artwashing, and a radical critique of extractivism and colonialism.

Contributors
Andrea Conte (Andreco), Léna Balaud, Marco Baravalle, Manuel Borja-Villel, Emanuele Braga, Ashley Dawson, Rosa Jijón and Francesco Martone, Oliver Ressler, Tiziana Terranova, The Experimental Station for Research on Art and Life (Ovidiu Țichindeleanu, Raluca Voinea), The Laboratory of Insurrectionary Imagination (Isa Fremeaux, Jay Jordan), Federica Timeto, Igor Vamos, Françoise Vergès (with Maddalena Fragnito, Marco Baravalle)

Il suolo, oltre ad avere significati metaforici, rappresenta un ecosistema complesso che porta con sé narrazioni letterali e materiali: è una struttura per le città, un nutriente per le piante e può avere un’influenza sulle tecnologie per il sostentamento umano.
La scienza del suolo, nata nell’Ottocento, studia la complessità di questo elemento, coinvolgendo, oltre a geologi e agronomi, figure provenienti da diverse discipline, tra cui l’antropologia, l’economia, e l’arte.
Soils Matter nasce nell’ambito di Scientific Visualisations: Impact on Practice [SVIP], un progetto di ricerca interdisciplinare sviluppato presso la Libera Università di Bolzano tra il 2019 e il 2021 e nato dalla collaborazione tra ricercatori e ricercatrici della Facoltà di Design e Arti, e della Facoltà di Scienze Agrarie, Ambientali e Alimentari.
Il volume raccoglie contributi che riflettono sull’intersezione tra diversi ambiti professionali, esplorando il suolo attraverso diverse prospettive disciplinari.
Soils Matter è a cura di Elisabetta Rattalino, German A. Duarte, Andrea Facchetti e include testi di Giovanni Aloi, Maria Elena Balza, Marcello Barison, BAU – Institute for Contemporary Art and Ecology (Simone Mair & Lisa Mazza), Luigimaria Borruso, Elena Mazzi, Stephan Schmidt-Wulffen, Giulia Mengozzi e Camilla Rossi-Linnemann. Il volume presenta le traduzioni inedite di testi di John Dupré & Gemma Anderson, Jussi Parikka e Maria Puig de la Bellacasa.

published on the occasion of the exhibition Appunti Fotografici. La Venezia di Luigi Ferrigno, Fondazione Querini Stampalia, Venezia

“Over the course of more than fifty years, Luigi Ferrigno has observed and documented Venice, going beyond the picture-postcard stereotypes to reaffirm the city’s uniqueness and myriad contradictions. His is an attentive look, capable of entering the folds of daily life, pondering the passing of time and the themes of a divided Italy in the post-war years, between the euphoria of freedom and the difficulties of the country’s reconstruction. But his approach is also discreet, revealing unexpected glimpses and points of view that are never trite, and which fully inscribe Ferrigno within the tradition of what has been defined as humanist photography.”

“Nel corso di oltre cinquant’anni, Luigi Ferrigno ha osservato e documentato Venezia, superando gli stereotipi da cartolina e restituendone l’unicità e le molteplici contraddizioni. Uno sguardo attento, capace di entrare nelle pieghe della quotidianità, di soffermarsi sullo scorrere del tempo e sui temi di un’Italia divisa, negli anni del dopoguerra, tra l’euforia della libertà e le difficoltà della ricostruzione. Ma anche un approccio discreto, che restituisce scorci inattesi e punti di vista mai scontati, iscrivendo appieno Ferrigno nel solco di quella che viene definita fotografia umanista.”

Lorenza Bravetta

Italy is the country with the most UNESCO World Heritage sites. This enormous artistic and natural heritage attracts more than 60 million visitors from all over the world every year.

“The often passive fruition of attractions by tourists as they traipse along the routes from one absolutely unmissable place to the next, as sold to them by tour operators or cultural marketing strategies, is at last offered redemption here in the appropriation of such experience. Thanks to Louis De Belle’s work, while following in the footsteps of their more sophisticated eighteenth-century ancestors, today’s travellers take on an active role here in the use of their mobile phone cameras – a key tool for interpretation and reading, very much on a par with the notebook and fountain pen tucked into the pockets of young gentlemen on the Grand Tour of yesteryear. […]” Alessandro Morandotti

a cura di / edited by Cristina Cobianchi

Coordinamento progetto editoriale / Editorial supervision Marta Bracci

Testi / Texts Carola Barbero, Arianna Cecconi, Cristina Cobianchi, Davide Dal Sasso, Anna Daneri, Diletta De Cristofaro, Alessandra Donati, Jean-Paul Felley, Eva Frapiccini, Federica Martini, Giulia Palomba, Vincenzo Santarcangelo, Paola Ugolini

Contributi di / Contributions by Sara Berts, Ali MacGilp, Daniele Ninarello, Zane Onckule, Alberto Peola, Catalina Quijano, Alexandra Stock, Michele Tavano, Paola Tognon

The King is dead, long live The King! restages Tiane Doan na Champassak’s first self-published artist’s book, The King of Photography. Back in 2011, the volume was gathering a collection of images found on the internet which represented King Bhumibol Adulyadej of Thailand with a photographic camera. The King was a keen photographer and was rarely seen without this device. After the King’s death in 2016, Doan na Champassak decided to complete his iconographic research with a new arsenal of images depicting the former King and his beloved camera in a “sequel” limited to 250 copies: The King is dead, long live The King!

Conserving the Future is the book that bears witness to twenty-five years of curating contemporary art in the same place: the Fondazione Querini Stampalia in Venice. It is a long time in which curator Chiara Bertola has been able to observe the metamorphoses and rebirth of this ancient palace, which, through the different visions of the artists projected into its spaces, have made it many places each time. Conserving the Future is a program and a working method based on the relationship with time, the past, and history because in every project the historical place becomes a subject that asks to be seen, recognised, listened to and then opened to dialogue with present. Chiara Bertola recounts, in a single text that trace the site-specific exhibitions from 1997 to 2022, the questions, thoughts, and discoveries made together with the artists living with them the creative process. She defines a curatorial line beyond the canonical and consolidated confines, focused on the concepts of precariousness and instability. The perception of a time never closed, the intuition of hidden possibilities behind established meanings and the search for margins of meaning revealed beyond the usual confines become the keys to open up unexpected poetic worlds.

I don’t care (About Football) is a participatory artistic project involving the players of the Marangoni 105 football team, created in 2011 as part of one of the rehabilitation residences of the Udine Mental Health Department managed by the Duemilauno Agenzia Sociale Cooperative. The title, inspired by the words of a girl from the community, suggests how the game is not an end in itself but rather a practice of social inclusion and integration. Marangoni 105 is made up of service users together with its operators and supporters. They all wear the number 14, that of the legendary Ajax player Johan Cruijff – one of the most emblematic proponents of total football. Over three years of mutual understanding and hard work, workshops were held in which, through artistic-expressive practices, there was a choral reflection on mental discomfort and on the path undertaken over the course of the residence. Photographs, meetings, travel, training, stretching sessions, performance actions, interviews, writing exercises and collages are the actions that transform the art object into a place of dialogue, where it is the discovery of the other and the self that takes centre stage. The process of analysis/self-analysis turns into a creative impetus via the appropriation and re-signification of images. Through the cut lines around the bodies, it thus becomes easier to investigate that ‘not’, that ‘not’ that gave the project its name, that difficulty which is such a common trait of existence yet to which it is very difficult to give voice, form and meaning.

I don’t care (about football) è un progetto artistico-partecipativo che coinvolge le giocatrici e i giocatori della squadra di calcio Marangoni 105. La Marangoni 105 nasce nel 2011 all’interno di una delle residenze riabilitative del Dipartimento di Salute Mentale di Udine gestita dalla Cooperativa Duemilauno Agenzia Sociale. Il titolo, ispirato dalle parole di una ragazza della comunità, suggerisce come il gioco non sia fine a sé stesso, ma un esercizio di inclusione e integrazione sociale. La squadra è composta, infatti, dagli e dalle utenti insieme a operatrici e operatori, sostenitrici e sostenitori. Tutti vestono il numero 14 di Johan Cruijff, leggendario giocatore dell’Ajax, inventore del calcio totale. Durante tre anni di conoscenza e lavoro, Iacolutti ha attivato dei laboratori in cui si è riflettuto coralmente sul disagio mentale e sul percorso svolto in residenza, usando il calcio come metafora di un percorso e di un’esperienza di cura. La ricerca si compone di fotografie, incontri, viaggi, allenamenti, sedute di stretching, interviste, progetti, esercizi di scrittura e collage, tutte azioni che trasformano l’oggetto d’arte in un luogo del dialogo, in cui è la scoperta dell’altro e del sé ad assumere centralità. Il processo di analisi e autoanalisi si converte allora in moto creativo che diviene parte dell’opera stessa; è attraverso le sagome ritagliate dei corpi che si indaga sul “non” che ha dato nome al progetto, quel negativo a cui è complesso dare voce, forma, senso.

with texts by / con testi di Maddalena Fragnito, Giulia Iacolutti, Igor Peres, Tiziano Possamai

Michel Butor’s Description of San Marco (1963) is an unusual book; an unorthodox intermingling of overheard dialogue from the iconic Venetian square in question, thick descriptions of persons and buildings, along with sober historical information. In the original, each genre of information is assigned a distinct typography of its own, hence interacting like voices in a play.

Six decades later, the artist Giovanna Silva stumbled upon an English translation of the French essayist’s queer text in an archive at the New York Public Library. Returning to Venice, she cast her eye to the square and its surrounds, an iconic space at once populated by signs of contemporary life, but also astonishingly unchanged.

Art for UBI is a manifesto: the world of art positions itself in favor of universal and unconditional basic income, placing in the foreground its advantageous conditions in economic, social and ecological terms. The manifesto was born as collective writing within the School of Mutations, a project of the Institute of Radical Imagination, an international platform of artists, researchers, activists and curators engaged in the experimentation of post-capitalist artistic practices. In addition to the introduction by the curators, the volume contains the contributions of diverse artists, theorists and activists addressing UBI in the panorama of the generalized precariousness of artistic work, the demand for income in transfeminist and decolonial struggles, mutualism practices in the independent art scene, the relationship between finance, fabulation and crypto philosophy.

The volume includes the dramaturgy of Una Renta, Muchos Mundos / One Income, Many Worlds, a performative investigation by IRI on the subject of income conducted in Madrid involving a diverse sample of residents. The performance was staged at the Reina Sofia Museum in the framework of the program On The Precipice of Time. Practices of insurgent imagination. The Zapatista Forum in September 2021.

Texts by Emanuele Braga, Kuba Szreder, Ilenia Caleo, Maddalena Fragnito and Raising Care Assembly, Gabriela Cabaña and Julio Linares, Erik Bordeleau

Cabins is the outcome of Matteo Ghidoni’s theoretical and critical research on “being”. Relying on architectural drawing, and through the investigation of a human most basic needs, Ghidoni produces ten abstractions of architecture, dedicated to the care of body and soul.
Cabins are not residential units as described by modern architecture; they do not impose fixed domestic functions although they anticipate potential daily actions by organizing them around a certain minimum number of elements: a bath- tub, a sitting area, a shower, a shelf, and little more.
The sober character of the project is defined by the drawing exercise, bound to essential principles imposed on the sheet: the rigorous use of axonometry, the grid system for clad- ding, the repetition of standardized elements. They all come together describing the selfimposed and subtly circumvented rules of the game.

EUPavilion Eight proposals features eight projects for the first European Pavilion at the Venice Biennale drawing on both artistic and architectural practices from across Europe. Armature Globale, BB (Alessandro Bava and Fabrizio Ballabio) in collaboration with Tomaso De Luca, Jasmina Cibic, Diogo Passarinho Studio, Plan Común, Something Fantastic, TEN and Evita Vasiljeva were invited by the curators of the exhibition to reimagine the national pavilion – to this day the dominant symbolic and spatial paradigm in the Giardini and the Biennale context in general.

The EUPavilion catalogue is conceived as the collection of the results of the EUPavilion Eight Proposals exhibition alongside the research produced by the collective since 2018. It also features two essays by Sebastiano Fabbrini and Carlo Palazzolo. Its design is both a homage and a challenge to the bureaucratic aesthetics of EU publishing.

Argh! is an onomatopoeia which references a bodily expression, a state of mind described through a sound rather than words. It hints at fatigue, exhaustion but also a reaction and a release of the body towards a situation or an environment. Argh! introduces the recurring presence of the body in Davide Savorani’s series of private notebooks through drawings. They are an expressive necessity, but also an artistic tool of enquiry, a source of ideas, space for personal confessions and emotions.
This publication is an intense selection of drawings the artist made in the last 15 years. In doing this, we have paid attention to the crossing of visual scripts for performative actions, written materials describing personal occurrences or delving into theoretical obsessions. Rather than categorise or index the drawings, the graphic design as well as the text commissioned to and composed by Allison Grimaldi Donahue, embrace a lexicon of fragments, of chance overlapping and of close memories, triggered, yet not contained, by the drawings.

Argh! è un’onomatopea che rimanda a una manifestazione del corpo, a uno stato d’animo, cedendo a un suono la possibilità di esprimerlo. Allude alla stanchezza, all’esaurimento, ma anche a una reazione e a una liberazione del corpo nei confronti di una situazione o di un ambiente. Argh! riporta la presenza ricorrente del corpo nei disegni di Davide Savorani raccolti in diari personali. Il disegno per Davide Savorani è diventato una necessità espressiva, ma anche uno strumento artistico di indagine, una fonte di idee a cui attingere, uno spazio per confessioni private ed emozioni.
La pubblicazione è frutto di un’intensa selezione di disegni realizzati negli ultimi 15 anni. Nel concepirla, si è prestata attenzione alla sovrapposizione di script visivi pensati per azioni performative assieme a materiali scritti che descrivono avvenimenti personali o che approfondiscono ossessioni teoriche. Invece di categorizzare o indicizzare il materiale delle pagine dei taccuini, la coreografia grafica scelta così come le nuove parole scritte da Allison Grimaldi Donahue, abbracciano un lessico di frammenti, di sovrapposizioni casuali e di ricordi vicini, innescati, ma non contenuti, nei disegni stessi.

The book talks about graffiti writing, or more simply, writing. About tags, sprays, streets and letters. With the photographs and words of its protagonists, it tells the birth and evolution of this phenomenon in Italy, how a handful of kids changed the face of our cities forever. All it took was minimal resources, a lot of perseverance and a fair dose of style. Signatures appear on the ground, on lamp posts, on tall buildings, in the tunnels of the metro and on public transport. They are the triumph of overbearing individualism, a reaction to the city itself that tends to dissolve the individual.

Il libro parla di graffiti writing, o semplicemente di writing. Di nomi, spray, strade e lettere. Con le fotografie e le parole dei suoi protagonisti racconta la nascita e l’evoluzione del fenomeno in Italia, di come una manciata di ragazzi ha cambiato per sempre il volto delle nostre città. Sono bastati pochi mezzi, tanta perseveranza e una buona dose di stile. Le firme appaiono per terra, sui pali della luce, sui palazzi più alti, nei tunnel del metrò e sui mezzi pubblici. Sono il trionfo dell’individualismo prepotente, una reazione alla città stessa che tende a dissolvere il singolo.

with / con
Sonda, Vandalo, Graffio, Naps, KayOne, Rae, Dumbo, Verbo, Fone, Creso, Longe, Hekto, Zeal, Ouch, Utero, Zuek, Cento, Rame, Naso, Poison, Ver, Stand, Rocks, Jason, Heman, Atomo, Fumo, Joys, Peeta, Fayer, Zeal, Lemon, Sky4, ZeroT, Dayaki, Solow, Rendo, Spyder7, FlyCat, Drop C, Mace, Sika, Rusty, Kaos, Panda, Styng, Bean, Dem, Boost, Tawa, Metro, Airone, Eron, Lego, Dra, Krisa, Arix, Texas, Mind, Zoe, Blast, Fra32, Clock, Nitro, Muko, Trota, Sand, Rayn, Kid, Mastro K, Isey, Chob, Magma, Dafne, Senz, Karma, Evian, Oste, Brus, Pilchi, Snitch, Sher, Sera, Game, Zelda, Jamba, Sayko, Besk, Secse, Capo, Filthy, Hero, Worn, Rats, Files, Dodge, Wish, Rohw, Ringo, Font, Chaos, Rud, Onil, Enko4, Sherif, Matar, Norma, Dirty, Loser, Spice, Zeus, Neo, Pazol, Opium, Eroin, Giose, Cromo, Vins, Smit, P.zee, Fonser, Aber, Kotone, Tapes, Gees, Noce, Reps, Nemo, Swoc, Rhum, Daze, Rancy, Tyson, Doz, Kers
and many others… / e molti altri…

Works by: Andrea Abati, Giampietro Agostini, Giovanni Ambrosio / Sébastien Louis, Autopalo / Gli Impresari, Davide Baldrati, Olivo Barbieri, Gabriele Basilico, Walter Battistessa, Ruth Beraha, Gianni Berengo Gardin, Mario Cattaneo, Giovanni Chiaramonte, Cesare Colombo, Mario Cresci, Matteo de Mayda, Emilio Deodato, Paola Di Bello, Vittore Fossati, Federico Garolla, Carlo Garzia, Ando Gilardi, Giulia Iacolutti, Giuseppe Iannello, Mimmo Jodice, Martino Marangoni, Paola Pagliuca, Piero Pozzi, Marco Previdi, Daniele Segre, The Cool Couple, Hans van der Meer, A.S. Velasca, Fulvio Ventura, Manfred Willmann

Il volume interroga la scena del lungo Sessantotto in Italia all’incrocio tra sperimentazioni artistiche e politiche dei movimenti, alla ricerca di questioni che ancora assediano e turbano il presente. Questioni esplose allora, relative alla comunità, all’ibridazione disciplinare, ai processi di soggettivazione, alla relazione tra creazione e produzione sono tuttora dominanti nella prassi discorsiva e artistica della performance.

Un laboratorio italiano radicale, inventivo e non privo di contraddizioni, qui prende corpo attraverso temi e percorsi che hanno avuto la loro prima emersione negli anni Sessanta e sono venuti radicandosi e precisandosi nei Settanta, in quella forma-performance che deflagrava nello spazio delle lotte. Nel vivo delle geografie, degli ambienti, degli ecosistemi relazionali, il volume restituisce la dimensione complessa della performance come campo di produ­zione del comune.

In fiamme è costruito come un oggetto a più dimensioni e polifonico, che assembla diverse temporalità e voci di artiste/i, studiose/i, attiviste/i, muoven­dosi tra teorie e pratiche, tra scritture e materialità delle immagini. Frutto del lavoro del gruppo di ricerca di INCOMMON, è un archivio vivo di parole e gesti che si riattiva al presente, aprendo nuove traiettorie di lettura storica e insieme di teoria critica contemporanea.

Con testi di Ilenia Caleo, Piersandra Di Matteo, Annalisa Sacchi, Toni Negri, Marco Baravalle, Lorenzo Mango, Maurizio Lazzarato, Alessandro Pontremoli, Stefano Tomassini, Franco Berardi Bifo, Gianni Manzella, Lucia Farinati, Marco Solari, Francesca Corona, Giorgio Barberio Corsetti, Riccardo Caporossi, Kinkaleri, Giada Cipollone, Lea Melandri, Marion D’Amburgo, Viviana Gravano, Marcella Campagnano, Valeria Graziano, Silvia Bottiroli, Silvia Fanti/Xing, Stefano Brilli, Giuseppe Allegri, Enrico Pitozzi, Maria Grazia Berlangieri, Ippolita Avalli, Caterina Serra, Valentina Valentini, Nicolas Martino, Daniele Vergni, Marco Assennato, Gregory Sholette, Michele Di Stefano

Comprising a single roll of film, the photographs presented in this book capture the bespoke furniture designed by Charlotte Perriand in 1961 for use in the rooms of Building E of the United Nations complex in Geneva.

In January of 2021, in the midst of a building-wide refurbishment, Perriand’s chairs were momentarily moved off-site, where they formed the irreverent jumble depicted here.

These drawings give back the intimacy of the everyday to objects and postures which, exasperated within existing spaces, take new positions and discover new sides to themselves, giving life to a sym­phony of small theatrical pièces where stage and backstage are one and the same.

I disegni, questi disegni, nell’insita tensione del loro tratto, ci consen­tono di immaginare gli altri nel paradosso delle loro esistenze, esploso tra le pareti delle proprie abitazioni e di farci sentire meno soli, meno tristi. Immaginare gli altri e le altre, ci restituisce lo spazio del gioco, dell’assurdo, del surreale che fatichiamo a praticare mentre stiamo seduti sui nostri divani.

Silvia Jop

A miniseries on drawing
This enticing series of little books approaches drawing in its most specific acceptation, i.e. as a peremptory gesture that is gradually revealed, a tool at the service of thought and a primary form of representation. The pages feature both real and imaginary objects along with the caprices, secrets and flights of fancy of the artists involved. With all the speed and immediacy of a snack, browsing through this finger-lickin’ collection – jam-packed full of mouth-watering tasty titbits – will certainly whet your appetite. And once you try one, you will keep coming back for more.

Mini collana sul disegno
Questa serie di teneri libriccini tratta il disegno nella sua accezione più specifica, come gesto perentorio che con scioltezza rivela se stesso, strumento al servizio del pensiero, forma prima di rappresentazione. Le sue pagine contengono oggetti reali e immaginati, capricci, segreti e bizzarrie degli artisti coinvolti. Sfogliare, con la velocità e l’immediatezza di uno snack, questa raccolta gustosa, sbrodolante di succhi saporiti e mai indigesti, vi aprirà lo stomaco; possederla vi darà la certezza di non esserne mai sazi.

The research of Mariateresa Sartori revolves around three thematic fulcrums: empirical scientific method; behavioural dynamics, often in relation to neurosciences; music and sound in relation to language. Depending on the project she embarks upon, the artist uses different mediums ranging from drawing – whether for small or wall-size works – to pinhole photography, video, and sound recordings.
However, such a variety of approaches is merely apparent, and reveals the same attitude supported by recurring patterns of action. These choices enable us to grasp the polymorphous unity of a work which, through single projects and sets, investigates, confirms, and reinvents its underlying relationship to the world. Inside this book three pinhole photographic series, soberly titled Plantes, Nuages and Feuilles which Mariateresa Sartori produced in 2016, 2017 and 2018 respectively. The small-sized works were produced in the south of France, the first two sets on the occasion of a residency at the Cassidaine Camargo Foundation2, the third during a residency at CAIRN, the art centre of Digne-les-Bains, where they were on show the same year.

Text by Riccardo Caldura, Marion Castanet, Fabien Faure, Giulia Pagnetti, Mariateresa Sartori

Fragments of posters with Pop culture icons hang from the walls. An empty kennel, a telephone receiver hanging from the antlers of a deer, a little garden dwarf: they are the shreds of a discontinuous and paradoxical narrative, lost into space and contaminated by the violence and contradictions of history.

Naturamorta is an apparently neutral title that D’Anteo actually explores in the oxymoronic dimension of its etymology, in its enigmatic and surreal suspension, in the uncanny vitalism that lies behind anything that becomes residual. In this dark and angsty scenario lies the paradox: dreams become nightmares, but from the dark zones of the nightmare emerge the traces of a (perhaps) still possible salvation.

The book reveals and explore all these aspects, through an immersive visual narration which led readers to enter the complex world of the artist himself.

We, curators Alexander Roberts and Ásgerður G. Gunnarsdóttir, have been working on a curatorial research under the title ‘Into the City, Onto the Stage’ since 2014. The central point
of enquiry has been to ask how we as curators – based in Reykjavík, Iceland – working as Artistic Directors of Reykjavík Dance Festival – can create a platform, with the performing arts at its centre, where the basic assumptions about who the performing arts are for can be fundamentally challenged and transformed. Who in our city gets to watch it, make it and have opinions on it How to cultivate and shape an institution that gathers publics through engagements with the performing arts on terms that are ardently anti-racist, pro-queer, interspecies, anti-ableist, feminist, pro-worker and decolonising? How to foster a platform that is constituted by a porous and intersectional community of listeners and learners committed to amplifying the voices, bodies, experiences and urgencies among them that are otherwise often under represented, lesser seen and lesser heard? […] We conceived of this book as a space to learn from others that have also been busy devising artistic and curatorial strategies relevant to these questions.

Alexander Roberts &
Ásgerður G. Gunnarsdóttir
Editors

Choosing Venice as the most suitable place to describe natural and social complexities, Altrove. New Fictions sets the outcomes produced by a group of scholars and artists during their residencies in the Venetian lagoon. The contributions that follow come, in fact, from crossing the stimuli proposed by Altrove Project (2018-19) and from recognizing art and its narrations as a powerful tool to reach newer and more coherent disciplinary hybridizations.

Riconoscendo Venezia come il luogo più adeguato per descrivere complessità naturali e sociali, Altrove.New Fictions raduna i risultati delle ricerche portate avanti da un gruppo di studiosi e artisti durante le loro residenze nella laguna veneziana. I contributi che seguono, infatti, derivano dagli stimoli proposti dal progetto Altrove (2018-19) e dall’aver considerato l’arte e le sue narrazioni come uno strumento potente nella creazione di nuove e più coerenti ibridazioni disciplinari.

UN is a photographic diary by Giovanna Silva guiding us through the United Nations Office headquarters in Geneva. A chat-like narration unveils spaces, thoughts, eye catching details and is overlapped by images of halls, old phone booths filled with plastic wrap, textured walls, floors and ceilings, rows of tables and chairs, either straight or curving, like rollercoasters.

“I shoot five hundred and sixty-seven photos in thirtyfive minutes. The genre is known as now or never, and it’s a fairly commonplace form of delirium in this line of work.”

The pictures, all taken with an iPhone, offer an instant and almost sneaky glimpse into the architecture and ordinary life of the building, now stripped of its inaccessible status.

#4 of Loc. Fies 1, a series by Centrale Fies

Note sugli oggetti performativi
Remarks on the performative objects

Mali Weil è una piattaforma artistica nata nel 2008. Crea performance espanse e stratificate che comprendono anche la realizzazione e diffusione di linee di design, format audiovisivi e prodotti editoriali. Mali Weil indaga le potenzialità della performance come spazio di creazione e diffusione di immaginari politici. Questo volume raccoglie e ordina le note della ricerca teorica e pratica di Mali Weil sul design di oggetti performativi.

Mali Weil is an art platform created in 2008.
It creates expanded and stratified performances which also include the implementation and dissemination of design collections, audio-visual formats and editorial products. Mali Weil explores the potentials of the performance intended as a space for the creation and dissemination of political imageries. This book is an organized collection of the remarks regarding the theorical and practical research carried out by Mail Weil on the design of performative objects.

“I was in the pool of the hotel, it’s awesome! … my gosh just what I needed and guess what? I managed to get the autograph of Chip ’n’ Dale, like, not just Chip or just Dale, both! I found them outside the hall chattering about something. I’d like to go for a ride on Dumbo’s choo-choo later and then maybe after we can finally jer ……. …………. …………………………………………………..”

“Sono stato nella piscina dell’hotel, è fantastica! … mio dio ci voleva proprio e indovina un po’? Sono riuscito ad avere l’autografo di Cip e Ciop, cioè non solo Cip o solo Ciop, tutti e due! Li ho trovati fuori dall’ingresso che confabulavano. Dopo vorrei fare un giro sul trenino di Dumbo e poi magari dopo ci facciamo una bell ……. …………. …………………………………………………..”

Valerio Nicolai

published on the occasion of the exhibition Flavio Favelli Il bello inverso, Ca’ Rezzonico, Venezia
texts by Gabriella Belli, Flavio Favelli, Antonio Grulli

“I believe one of the densest images of Venice, despite all its history and its art places, is the photo of huge letters spelling out ‘Coca Cola’ in St Mark’s Square, written in birdseed and then completed and implemented by the pigeons until its disappearance.”

“Credo che una delle immagini più dense di Venezia, sia, nonostante la sua storia passata e i suoi luoghi d’arte, la foto della grande scritta Coca Cola in piazza San Marco, degli anni Sessanta, con le grandi lettere formate dal becchime e compiuta e realizzata dai piccioni fino al suo dissolvimento.”

Flavio Favelli

#3 of Loc. Fies 1, a series by Centrale Fies

A roulotte. A tiny and portable pavilion. A bar. An ephemeral gathering place. An homage to the Fun Palace; the cult project by architect Cedric Price and theatre director Joan Littlewood that back in the 60’s wanted to realize a university of the street, a laboratory of fun. Little Fun Palace brings together artists, philosophers, economists, scientists, engineers, musicians, architects, sociologists, writers, meteorologists, teenagers exploring every aspects of realty in its diverse areas and shapes. This is a seriously spontaneous survey releasing intelligence from any cirrus of intellectualism.

Una roulotte. Un padiglione piccolo e portatile. Un bar. Un luogo effimero di aggregazione. Un omaggio al Fun Palace; il leggendario progetto dell’architetto Cedric Price e della regista teatrale Joan Littlewood che negli anni sessanta volevano realizzare un’università della strada, un laboratorio del divertimento. Little Fun Palace mette insieme artisti, filosofi, economisti, scienziati, ingegneri, architetti, sociologi, scrittori, meteorologi, adolescenti esplorando ogni sfaccettatura della realtà nelle sue diverse forme e aree di riferimento. Un’indagine seriamente spontanea che affranca l’intelligenza dai cirri dell’intellettualismo.

#2 of Loc. Fies 1, a series by Centrale Fies

On the Folds of Real by the Lens of Performative
NOTE ON TRANSLATION The texts of this publication are works with their formal and linguistic autonomy. Translations were only possible in those cases where this autonomy is not compromise

Nelle pieghe del reale attraverso la lente del performativo
NOTE SULLA TRADUZIONE I testi che troverete in questa pubblicazione sono lavori con una loro autonomia formale e linguistica. Le traduzioni sono state possibili solo in quei casi in cui questa autonomia non veniva compromessa

#1 of Loc. Fies 1, a series by Centrale Fies

Recordings from an empty country, sequences for the montage of a seductive landscape that promises the pleasure of actions on the territory, and renews the sense of “letting oneself go” in the concept of abandon.

Registrazioni da un Paese vuoto, sequenze per il montaggio di un paesaggio seducente che invita al piacere di azioni sul territorio e restituisce all’abbandono il senso di lasciarsi andare.

with a short story by Jordan Hruska

“Above all, how are we to imagine a relation between a thing and its image, between matter and thought, since each of these terms possesses, by definition, only that which is lacking to the other?”

Henri Bergson, Matter and Memory

texts by Lucia Amara, Joe Kelleher, Anastasio Koukoutas

All for All! is a trip through All! (2012-2017), a project conceived by Kinkaleri and instigated by the voracious attacks on language committed by William Seward Burroughs. It intentionally strays beyond the limits of theatre and dance, suggesting an outside and setting the possible into motion along an undecidable boundary between the body and language.

“This book is a testament against the immaculately quaffed cunts who live their lives on social media networks hoping to score big points because they manipulated the perfect lie via filters and apps, that ape artifice and exaggeration. It is a much needed example of the down and dirty, the all to real, the in your face – fuck you – to false standards of an unattainable beauty that is based on bullshit and deceit that dominates Western culture and acts as just another consumer con, preaching conformity and product placement as it tries desperately to erase the individual.”

Lydia Lunch

#7 of Carte blanche, a series edited by Sara Marini, Alberto Bertagna
illustrations by Riccardo Miotto | photographs by Sissi Cesira Roselli

There is an area between Venezia and Venice, between the reality and the logo, between the city and its brand. In this middle-earth conflicts rise frequently like fumes, clashes between truths and promises. In this space the imagination finds the humus needed to manifest itself. Here the two cities face off, mingle, declare war on a daily basis, they exchange the meaning of things and words. Only the stranger who lives in Venezia, remaining a stranger, can see this limbo; only by looking at Venezia in Venice and living the two dimensions with detachment can one understand The Possibility of an Island.

published on the occasion of the exhibition Natura quasi trasparente, Fondazione Querini Stampalia, Venezia

“With a few simple elements Di Maggio reflects, and makes us reflect, on profound concepts such as nature and time, and she does so through the instability and equilibrium of a work which, being alive, requires constant care, ministering and attention to halt its inexorable decay. Elisabetta plays with a clear contrast between different times: that of real life – an ephemeral, precarious and changeable time – which vibrates in the fragile ivy leaves; and that of fiction, the eternal time of the stuccos; plant simulacrums that the real plants intertwine with to weave new trails. […] The natural beauty that resides in this ephemeral balance between life and death is what Elisabetta, aware of its fragility and unpredictability, tries to pinpoint with her complex and discrete art.”

“Con pochi e semplici elementi Di Maggio riflette, e ci fa riflettere, su concetti densi come quelli della natura e del tempo, e lo fa attraverso l’instabilità e l’equilibrio di un’opera che, essendo viva, necessita di una cura costante, di accudimento e attenzione, per rallentarne l’inesorabile decadenza. Elisabetta gioca con un contrasto evidente tra tempi diversi: quello della vita reale – un tempo effimero, precario, mutevole – che vibra nelle fragili foglie di edera; e quello della finzione, il tempo eterno degli stucchi, simulacri vegetali cui le piante vere s’intrecciano, intessendo nuovi percorsi. […] In questo effimero equilibrio tra vita e morte risiede quella bellezza naturale che l’arte complessa e discreta di Elisabetta tenta di fissare, consapevole della sua fragilità e contingenza.”

Chiara Bertola

published on the occasion of the exhibition Senza titolo, invisibile, dove le stelle si avvicinano di una spanna in più, mentre oltremare appare verso Sud-Est, e la luce focalizza…, Fondazione Querini Stampalia, Venezia

“Senza titolo, invisibile, dove le stelle si avvicinano di una spanna in più, mentre oltremare appare verso Sud-Est, e la luce focalizza… As is often the case with the works of Giovanni Anselmo, the lengthy title of the Venice exhibition is a long sequence, almost a short story, which describes the works we encounter. Above all, however, it is a succession of landscapes that open onto our imagination like windows. […] In all of his works Anselmo shows how everything is transformed, renewed and completed in relation to the environment they are in; as Germano Celant writes, the works become ‘solitary wayfarers which adapt to the environmental metamorphoses to the extent that they absorb the humours and the humus’”

“Senza titolo, invisibile, dove le stelle si avvicinano di una spanna in più, mentre oltremare appare verso Sud-Est, e la luce focalizza… Il titolo esteso dell’esposizione di Venezia, come molto spesso accade negli interventi di Giovanni Anselmo, è una lunga sequenza, quasi un piccolo racconto che descrive le opere che s’incontreranno. Soprattutto, però, è una successione di paesaggi che, come finestre, si aprono alla nostra immaginazione. […] In ogni suo lavoro Anselmo mostra come ogni cosa si trasformi, si rinnovi e si completi in relazione con l’ambiente in cui si trova a essere; perché le opere diventano, come ha scritto Germano Celant, ‘viandanti solitari che si adattano alle metamorfosi ambientali, tanto da assorbirne gli umori e l’humus.’”

Chiara Bertola

“Bart Julius Peters is a master in combining objective reality with his subjective fiction, making the material world that surrounds us collapse in front of our own eyes. The objects and images he portrays are doorways into the human mind—they are projections of our hopes, dreams, and desires; they are symbols of the failures and successes of our aspirations, of our material absence or presence in the world, and of our most secret sexual fantasies as well. By looking at his images, we almost inevitably project their beauty onto our present and future life, which end up trapping us with their withering and fading romanticism and erotic tension.”

Tommaso Speretta

#6 of Carte blanche, a series edited by Sara Marini, Alberto Bertagna

This reader is the result of a cycle of seminars and an exhibition developed by the Iuav University of Venice around the notion of heritage. The publication focuses on issues related to the status of heritage in the contemporary; the study and use of archives; restoration strategies; and heritage as a place of transformation.
Nowadays, the notion of Heritage is besieged by multiple perspectives. Thoughts, materials, architectures and cities are all parts of heritage, a claim that stirs reactions, as well as creates expectations of the materials themselves. These must produce memory and future, restore monetary wealth and culture, tell ethical stories and extol aesthetics. However, the siege can also become an orchestra rehearsal in which the reactions and expectations call into question the successful performance of the symphony. An orchestra rehearsal (like the one in Fellini’s famous film of the same name) is an opportunity for reflection, for rehearsing a single instrument and verify the harmony it produces with other instruments.

#5 of Carte blanche, a series edited by Sara Marini, Alberto Bertagna

A history of the hidden and the forbidden in the urban landscape, born out of a research project conducted on Genoa’s night life
What happens when the music’s over? What happens when the lights turn off? What happens when the lights turn elsewhere? This is the story of what you do not want to see. This is the story of what you do not want to watch. This is the story of what you do not want to know. This is the story of the hidden, this is the story of the forbidden. This is the story of the unspoken, the inscrutable, the unsearchable, the unfathomable, the impenetrable. This is the story of empty, void, vacant, shallow, vacuous, frothy, null, insignificant, pointless, vain, invalid, disabled, bereaved, bereft, destitute, blank, emptiness, gap, rifle, dump, deplete. This is the story of a city, this is also the story of all cities. This is the story of the Dark Side of All of Us.

#4 of Carte blanche, a series edited by Sara Marini, Alberto Bertagna
illustrations by Riccardo Miotto

This prospective study places Africa and the city of Durban at the heart of a project to reconnect the interrupted paths of modernity and of people’s emancipation. A singular reflection on architecture and spaces interlocking contemporary issues and dystopian narratives. The future is going to travel to the cities but the risk is that it stops in their antechambers, full of closed doors, where someone has turned off the light. And that interrupting the trip all remain stuck stepping on each others feet, until all the oxygen will finish. The images of our past also seem to be the images of our future. Images of huge crowds traveling by land and sea accompanied by the constant danger of sinking. Maybe it’s time to tear the future from this time-loop and give it a direction, reconnecting the interrupted path of the project of modernity with the need for emancipation from which it was born. And why not to start the whole thing from Africa where the first homo sapiens has decided to move 100,000 years ago. The book is divided into two parts: the first in seven short essays, the second into seven stories so as not to let the city sleep and with her who contributes in co-producing its spaces and its architecture, without exception.

#2 of Lights Out, a limited edition Artists’ Colouring Books edited by Nina Fuga

Pink Canyons is a silent narrative of a sudden lust-filled encounter between a cowgirl and an Indian girl and their threatening journey through a psychedelic Wild West at night.

#1 of Lights Out, a limited edition Artists’ Colouring Books edited by Nina Fuga

Black Out consists of a juxtaposition of intimacy and loneliness in the city at night.

Published in occasion of the exhibition
Shahzia Sikander: Ecstasy As Sublime Heart As Vector, MAXXI National Museum of 21st Century Arts, Roma

“Throughout my practice, I have persevered to create work with unpredictable diversity…” Shahzia Sikander
“Drawings, wall paintings, videos, books, prints, installations: in Sikander’s universe in the making are intertwined music, words, and images, Hindu deities, and the symbols of Western history. It is a language and a vision thanks to which one feels both enthralled and moved. The artist’s iconographic repertoires allude to apparently distant geopolitical contexts, which elaborate group events or sublimate personal experiences.”

“In tutto il mio lavoro ho inteso creare opere di imprevedibile diversità…” Shahzia Sikander
“Disegni, opere murali, video, libri, stampe, installazioni: nel suo universo in divenire si intrecciano musica, parole e immagini, divinità induiste e simboli della storia occidentale. Un linguaggio, una visione che affascina ed emoziona. Sono repertori iconografici che alludono a contesti geopolitici apparentemente lontani, che elaborano eventi collettivi o sublimano esperienze personali.”

Giovanna Melandri

Zaha Hadid’s pioneering vision redefined architecture and captured imaginations across the globe. In celebration of her career spanning four decades, Fondazione Berengo is hosting an abridged retrospective exhibition of her work showcasing many of the seminal paintings, drawings and models of Hadid’s repertoire. In a variety of media including photography and film, the exhibition conveys the unrivaled ingenuity and dynamism of Zaha Hadid’s work

Catalogue of the exhibition
Formes de l’affiche – Posters from Chaumont, curated by Eric Aubert, Giorgio Camuffo, Bevilacqua La Masa, Venezia

“Each poster proposes a different experience of quality. None claims to belong to a school or a superior style, even less to be an exception or marginal. It is a matter of demands – that can be in the scope of a historical, cultural and social considerations of the production of signs or that of individual expression, without which images would not have their own ‘quality’. Quality is to be understood as a chain of demands that pertain just as much to cultural values as to the concept and the formal and technical know-how – design, in short. The commissioner, the designer and the printer (particular attention was paid to the quality of the screen-printing) all bear the responsibility.”

Eric Aubert

Illustrated catalogue on the occasion of the touring exhibition Bellissima: Italy and High Fashion 1945-1968, MAXXI National Museum of 21st Century Arts, Roma, and NSU Art Museum, Fort Lauderdale

Bellissima: Italy and High Fashion 1945-1968 offers a new perspective on current fashion developments at the same time that it pays tribute to the founders of Italy’s unique and significant contributions to the history of design, from luxurious high fashion to everyday wear and everything in between.

#3 of Carte blanche, a series edited by Sara Marini, Alberto Bertagna

In the last of the wild lands: an exploration of the world’s least hospitable territories which have made and still make human settlement difficult or impossible. The study is conducted by means of three work tools: a Glossary, an Atlas and a travel guide. A Glossary, an Atlas, a User’s manual, a small land held in a box. These are the travel notes about the Last Lands, and the true Last Lands and their meaning at the beginning of the 20th century. Which words describe lands that are more whishes than true? How to represent the search for landscapes that are daily kept by a satellite’s eye? What to do with the “brown gold”, which has been already plundered, occupied, consumed and sometimes forgotten? This book is keeping the secret of an imaginary pioneers’ quest and impossible journeys, as everything is already known. This book wants to remind us of the capability of travelling and discovering, it shows the way of the Mount Analogue… The secret of land is held in a small box, and in the belief that something is still invisible, something is still kept unknown.

Rob Pruitt’s eBay Flea Market: Year 1 is an unconventional autobiography. It retraces one year in the life of Rob Pruitt through the quotidian objects that the artist once loved, consumed, then felt he didn’t need anymore. An extension of the real-world flea markets, that he has been organizing since the early 1990’s, this particular collection of belongings sold on eBay (www.robpruittsfleamarket.com) from September 23, 2013 to September 23, 2014 unearths precious fragments of Pruitt’s life while revealing his most material desires.

Tommaso Speretta

This cookbook consists of life stories and photo portraits where each recipe becomes a blind date – a culinary encounter with someone you don’t really know. 52 recipes from starters to desserts including a range of meat, fish, pasta, vegetable dishes, and a cocktail. By rejecting the usual categories and freeing itself from received culinary wisdom, it creates a new genre. This is indeed the first cookbook to feature recipes from punk, pop art, spiritual-medium, cosplay, veteran and many other types of cuisine. The recipe suggestions come from a diversity of cultures. If you wish to follow them, you need to be prepared to turn your kitchen into a place of unprecedented experimentation. If you believe that “we are what we eat”, then there is opportunity for change in the dishes of others.
Enjoy, if you wish.

#2 of Carte blanche, a series edited by Sara Marini, Alberto Bertagna

Future is Twelve Cities in Search of. Future is no Longer What it Used to be. Future is to Ask Yourself Where We Are Now. Future is an Utopian Vision, Future is also Back to Utopia: Future as Utopia. Future is Power, Power for a not Schedulable Life. Future as Practice. I Can Only Say One Thing About the Future: What I Wouldn’t Want it to be. Future is Visions, Visions of Future. Future is the Space of Expectations. Future is Architecture and Prophecy. Future is also Accidents: the City of Failure, Without Landscape; the Laboratory-City, Recycle and Repair. Future is the Hegemony of the Present: a New Aesthetic of Reality, the History of the Monkey and the Path. Future is Reform or Revolution? We Are Looking For Urban/Human Futures. But No More Alibis, please.

“Maybe later, late, when in theory you should have balanced out, the loss pounces and tears you up. Silence means resistence; to cling oneself to smells and things, to squeeze air, to endure. This time even insects lend a hand. You watch how they move, back and forth, and you get in their way. No matter when, or how, they are the ones who will suffer. Then, once the game is over, you return to the void.”

“Le mancanze si sentono, magari dopo, in ritardo, quando teoricamente dovresti averle metabolizzate e invece si fanno vive e lacerano. E tacere significa resistere, aggrapparsi agli odori e al resto, stringere aria e resistere. Questa volta anche gli insetti danno una mano. Li guardi che si muovono, avanti indietro, e poi fai accadere qualcosa. Non importa cosa o come, accade, e sono loro a farne le spese. Poi, finito il gioco, si torna al vuoto.”

Claudio Rocchetti

#1 of Carte blanche, a series edited by Sara Marini, Alberto Bertagna
illustrations by Riccardo Miotto | photographs by Sissi Cesira Roselli

There is an area between Venezia and Venice, between the reality and the logo, between the city and its brand. In this middle-earth conflicts rise frequently like fumes, clashes between truths and promises. In this space the imagination finds the humus needed to manifest itself. Here the two cities face off, mingle, declare war on a daily basis, they exchange the meaning of things and words. Only the stranger who lives in Venezia, remaining a stranger, can see this limbo; only by looking at Venezia in Venice and living the two dimensions with detachment can one understand The Possibility of an Island.

“Houses with complicated, unhinged, polyhedric shape. Tattooed, scratched houses. Anti-tectonic, unbuildable houses. Houses with incongruous, mutant and paradoxical geometries. Puzzling houses: convex or concave? Introvert or Extrovert? The mirror of the soul or of a delirious willpower.”

“Case a forma di poliedri complicato e sgangherati. Case tatuate, graffite, con segni antitettonici, e costruttivamente improbabili. Case con geometrie incongrue, mutanti e paradossali. Case rompicapo: convesse o concave? introverse o estroverse? Specchio dell’anima o di svolgimenti deliranti.”

Mario Lupano