This revised edition of I Am Gonzo includes three new erotic stories and supplementary matter tobring it up to date as a new issue of the series. A porn addict amateur who collects dirty Italian comics inan “animalistic” way, Gonzo applies a conservative technique whereby he hides these questionablyviewable images within scientific libraries. This book addresses a widespread form of collecting thatavoids the subject of the “arty” comic strip and instead dives headlong into obscene material and theviewer’s experience of it. This mega-collection of pornographic Italian comics faithfully presents the genrefrom its sensual, sexual-phobic beginnings (1960-1970) to its porno-violent shift, between the years 1985and 2000. Voyeuristic and chock-full of thematic variants, from transgenderism and homoeroticism to fairytale, zombie, and cyber porn.

Alessandro Saturno lives the landscape through the body, his memory and his experience, transposing trhough painting the concept of paesagire (landscape-action) that Andrea Zanzotto introduced in his poetry. The poet’s harsh struggle against a progresso scorsoio (‘sliding progress’) shows us the landscape as an essential condition for life and art. The poet described the landscape of his childhood, which reflected his relationship with his father and was a crucial influence in his developement as a man. The same goes for Saturno, with Naples and its sea becoming the ‘threshold’ of his works: a passage to a world that is real and ideal at the same time; a world that serves as both culture and dream; a wordl of the sould after also having been a world of experience; a place you know but do not know what to call. A nameless place.

Da Monterrey a Monteluco, a solo exhibition by Calixto Ramírez, is the result of the Mexican artist’s residency in Spoleto and around monteluco, a hill covered with dense forest that rises to the south-east of the city. During his stay, the artist created a series of works deriving from his direct contact with the natural landscape in this location. The exhibition is a tribute to Monteluco itself: to the strenght of nature – sometimes enveloping or overwhelming, sometimes more calm and measured – and to the relationship between the elements of the landscape and the artist’s ability to interpret it, as he interacts with the natural setting in a visceral way, which is always poetic and at times playful.

Ogni anno, al Carnevale di Sant’Eraclio (Foligno, PG), sfilano carri allegorici. Vengono fatti in cartapesta usando tre tipi di giornale: bianco (La Nazione), giallo (Il Sole 24 Ore), rosa (La Gazzetta dello Sport). Quattro prova ad aggiungere un quarto colore. Quattro può essere acquistato con o senza multiplo in edizione limitata.

Every year, during the Sant’Eraclio Carnival, there is a parade of papier collé floats. Three types of newspapers are used to build the floats: white (La Nazione), yellow (Il Sole 24 Ore), pink (La Gazzetta dello Sport). Quattro attempts to add a fouth colour to the floats. This version of Quattro comes with limited-edition multiple, a small float with which the book can be transported.

Contenuto Rimosso is an "experiment in psychoanalysis applied to the environment." A work on collective memory, it addresses the issue of depopulation of mountain areas, experimenting with a community art where community forms of life that have a centuries-old tradition survive, in alpine communities. In particular, Contenuto Rimosso ved refers to the paradoxical nature of a process of reconstruction that was at the same time a process of collective removal, the Rifabbrico in Cadore. On the evening of July 30, 1855, a fire destroyed the historic center of Lorenzago. The settlement was rebuilt, giving rise to Quadrato, a neighborhood that is now mostly uninhabited. Since 2012, the Contenuto Rimosso project has included the discontinuation of public lighting along the streets of the neighborhood and an installation of fires, flashlights and candles on the anniversary of the fire. Over the years, the action has become a new tradition, the village's main celebration. Contenuto Rimosso is not a "commemorative" event proper, because it does not celebrate or perpetuate the memory of anything. The reactualization of the memory of the fire is thought of as a trigger for a "counter-image" to emerge, for the local community to reclaim its past by using public space as a place for the elaboration of a self-image inverse to the stereotypical one. By ritualizing a recurrence and building a narrative around it, Contenuto Rimosso contributes.

This first monograph dedicated to the work of Cleo Fariselli recounts the poetic and formal processes behind the moving image project Your Storm Our Dew (2023), which explores the contemporary collective unconscious at a time when states of emergency have become normalized. The artist transforms everyday items such as thermal blankets, protective suits, high-visibility vests, safety cones, and megaphones into creature that belong in the world of YSOD. These beings are both playful and unsettling, as seen in the large puppets that, illuminated by sudden flashes of light, emerge from the darkness of their habitat only to disappear again shortly afterwards to the amazement of those watching. Expanding upon the film, the contributions by Lucia Aspesi, Cleo Fariselli, Chus Martinez, and Guido Santandrea shed new light on the artist’s multidisciplinary practice. At the same time, they explore the shadows of anthropocentric thinking at the intersection of art and science, ultimately asking how the  past and the present inform the futures of our imagination. Exploring the imaginative power of the object elements typical of states of emergency, the artist gives life to a world of its own, illuminated by the incessant flashing of sirens, creating a new emotional, narrative and aesthetic environment.

La sostanza agitata exhibits the work of eleven artists under age 35 who share an interest in installational and plastic aspects, as well as the interaction between the work and the context in which it is displayed. The title refers to the experimental and hardly classifiable nature of the works on display, the diversity of the materials used, and an approach that declares an explicitly sculptural derivation between lightness and monumentality, irony, and issues that reflect the social changes in place. La sostanza agitata wishes to distinguish itself as a construction site of proposals, some of which are unpublished and made on site, a laboratory open to different perspectives: each artist is assigned a room, allowing the visitor to immerse themselves in the individual poetic, between organic and industrial materials, verticality and horizontality, movement and stillness, works formed from unique pieces and others that tend to spread up to a real multiplication. Catalog of the exhibition La sostanza agitata, a curated by Saverio Verini, artists: Francesco Bendini, Paolo Bufalini, Lucia Cantò, Giovanni de Cataldo, Binta Diaw, Bekhbaatar Enkhtur, Roberta Folliero, Jacopo Martinotti, Lulù Nuti, Giulia Poppi, Davide Sgambaro, 24 June – 16 October2023, Palazzo Collicola, Spoleto (PG).

Turbomondi (Stratigrafia) encompasses the project artist Andrea Martinucci developed between 2020 and 2023, dedicated to a research of suspended worlds populated by creatures investigating their integrity in a continuous evolution among themselves. Turbomondi is a collection of film treatments by the artist and screenwriter Laura Sinceri. It took the form of a unique screenplay that, from 2021, was entrusted to twelve people who interpreted it in a specific time frame, allowing them to write comments, make observations, remove pages, draw or even destroy parts of it. The layering of different voices and impressions that virtually redefines the meaning of the original text is transformed into a personal archive and a publication that traces the evolution and the plural transformation of its contents. Project contributions by Alice, Lisa Andreani, Maria Vittoria Di Sabatino, Aurelio Di Virgilio, Francesca Ferrari, Giulia Geromel, Marialaura Grandolfo, Pietro Librizzi, Zeno Piovesan, Cecilia Saita, Carla Subrizi, Cosimo Rizzo.

Launched on the occasion of the 700th anniversary of Dante Alighieri’s death, the project is the result of a profound analysis and reflection that involved various experts and scholars as well as photography experts from the ICCD and looks at the world of the Poet in a completely new way: it focuses on the objects, landscapes and other natural elements that Dante Alighieri deals with in his major works. The luminous and photographic narrative comes to life through a meticulous reconstruction of images and optical illusions from the three Canticles, with the aid of early analogue photographic processes. The works on display have become part of the contemporary photography collections of the ICCD and are enclosed in a volume named after the exhibition, published by Viaindustriae Publishing, which is the result of extensive research into typographic printing materials and techniques. The project was supported by the National Committee for the celebrations of the 700th anniversary of Dante Alighieri’s death. The photographs of the animals were realised thanks to the collaboration of the Civic Museum of Zoology in Rome.

Il Grillo Minerva is a story about an unknown city. A city built from animal stones. Two brothers, on a break from a long journey, somehow discover its existence. Artist's book by Francesco Cavaliere, printed in 100 copies

Ginestra Finenstra is the imaginary newspaper of the town of Gestri; a town of invention in which Cavaliere is setting part of his latest works. In this first issue: the arrival of Volta di Lame di Lune in the villages of the town, the bell ringer and an exclusive article on Gennarino Speri, the man who managed to enter the town's main tower.

A Week from Monday is a publication with a CD that gathers together the sonic and visual results of the residency – with the same title – organized by Viaindustriae and Holydays in Scopoli (Italy, PG) in 2021. It is a diary of the seven days spent with visual artists Davide Barbini and musicians ksara, Vincenzo Marando, Steve Pepe between sound investigation, visual research, and exploration of the landscape. The seven days of the residency are mirrored in the seven tracks on the CD, as well as the seven ‘chapters’ of the diary. The theme of the project stems from its title, A Week from Monday, loosely quoting the title of John Cage’s A Year from Monday. Lectures & Writings, 1967, a theoretical work mixing reflections on working methods, compositional suggestions, social criticism, sound, music and philosophy. Central to the work that emerged was an investigation into song and voice. Davide Barbini’s work, is a video-diary accompanied by a series of drawings.

The editorial project Caro Campo. Workbook stems from the artistic project Campo: a human, artistic and environmental experience lived by Alberonero from 2019 to 2021 in Campogalliano (near Modena, Italy), in symbiosis with a field of 290 poplars until they were cut down. During “Campo” project, daily immersed in the field of poplars, Alberonero has accompanied its natural changes by transforming the field’s portions through the creation of 20 temporary artworks. The book evokes the portable proportions of the “field notebooks”, the resistant books capable of listing the “trans-actions”, the movements meant both as a “poetic” experience and as a work diary.
“Caro Campo. Workbook” is produced by STUDIO STUDIO STUDIO, published by Viaindustriae and supported by the Italian Council (11th edition, 2022), the program aimed at supporting Italian contemporary art in the world promoted by the Directorate-General for Contemporary Creativity within the Italian Ministry of Culture. Cultural Partners: Arte Sella – The Contemporary Mountain, Borgo Valsugana (TN), Italy; Associação Anda&Fala, Azores Island, Portugal; Domaine de Boisbuchet, Lessac, France; CENTRO DE INVESTIGACIÓN ARTE Y ENTORNO, Universidad Politécnica de Valencia, Valencia, Spain; University of Balamand, Tripoli, Lebanon; Taller Chullima, La Habana, Cuba.

Pila Thinkerwiller is a work composed of two metal plates, one copper and one zinc, placed at the north and south ends of the village of Toscolano. These two elements are placed at the north and south cardinal points to imagine the village as a large stack, the positive pole of which is the copper plate and the negative pole is the zinc plate. Both were engraved from the artist's drawings. The copper plate depicts the ideas and wishes of the inhabitants with respect to their village, collected by Pajè during his stay. The zinc plate, on the other hand, shows geometric shapes, numbers, and diagrams derived from the artist's research into spiritual, magical, and pseudoscientific theories. This investigation interests the artist both aesthetically and speculatively. Indeed, the theories he has studied have given rise to a series of graphic elements that, according to Pajè, have potential formal value, usable as a veritable visual alphabet. They also bring to light central themes in contemporary times, such as the construction of official discourse on truth and the different and unusual forms of encoding reality, time and history. The use of copper and zinc alludes to the first static electricity generators invented in the late 18th and early 19th centuries by Alessandro Volta and John F. Daniell. Another reference is the initiatory techniques of a small mountain community in the Caucasus, recorded in a 1955 manuscript by S. C. Walewski, for whom copper and zinc are the basis for the construction of analog devices that generate a microcurrent in the human body, useful for rebalancing vital energies and amplifying the intentions of the user. Pila Thinkerwiller reworks this technique, poetically transferring its supposed operation from the human body to the inhabited suburb. Pila Thinkerwiller isan amplifier of ideas, a portrait of a time, a place, and a community.

Earth Field Land Clay are different words that rotate around a single element: the matter, and on which the poetics of this publication is built. Earth Field Land Clay is an artist’s book, in which the theme of the process of making objects is approached by making a parallel between the process of ceramics and the geological processes of the planet. The publication presents a series of images of objects made by the participants of the workshops “making the immaterial” conceived by the author of the book and held in various cities in Italy. The book contains a critical essay written by curator Jo Melvin, on the collective processes of creating objects in relation to the territory and the transformative character of these actions.

Ten years of performance practices of the Pietribiasi/Tedeschi Company around the long term project #memoriedelsuolo told through the manipulation of a wide range of materials. A creative journey where the emotional temperature and degree of truth of the joint work of the artist duo Cinzia Pietribiasi and Pierluigi Tedeschi puts collective memory and archive in dialogue with processes, experimentations, readings, writings, stage gestures, public actions.

"This book is about love, life, death and resurrection. In March 2008 Carla, the love of my life, died. We had been together for 35 years and had never left each other. The painful sense of lack had created a void in me that I perceived as a half-death. Placed at the edge of that dark abyss I was distracted by a call to life. It was Evelina, also suffering from the loss of her friend. We began an almost daily email correspondence that lasted a couple of years, writing about topics suggested by our state of grief. From those very many pages I have extracted short sentences that reconstruct the dialogue at the time for this artist's book. In the front facing each sentence I drew a black vignette differentiated only by the outer outline. Black hole where everything seems to fall. Black fabric button that years ago was worn on the lapel of the jacket of mourning males." Aldo Grazzi

“What is a documentary?” “Why do I make documentaries?”. Soda Kazuhiro – one of the most prominent Japanese filmmakers, who has based his documentarist career on a radically independent filmmaking method, – writes this reflexive diary on his own work pursuing to find answers to these and to other crucial questions that arose along his long path of research. This first curated English version of his most enlightening and complete text has been enriched with a brand new iconographic apparatus from Soda Kazuhiro’s movies and a new updated introduction by the author himself. 

Interspecies Kin is the first publication enclosing the research that Giovanni Chiamenti has carried out over the past two years. The project was developed between the United States, specifically in New York during his residency at the NARS Foundation and a subsequent collaboration with the community biolab Genspace, and Italy, thanks to the collaboration with Spazio Volta and the support of his cultural partners Attiva Cultural Projects and The Blank Contemporary Art. Chiamenti’s practice lies somewhere between scientific popularization and his intent to be formally speculative, bordering on the sci-fi. The artist has created an organic glossary, originated from interspecies relationships, in which creatures demonstrate their adaptability to an increasingly polluted environment and the hybrid becomes the protagonist of rhizomatic relationships capable of interconnecting extremely distant worlds. The texts within the publication address the issue of micro-plastic pollution plaguing the oceans and its subsequent integration within the evolutionary process of organisms and bacteria inhabiting the deep sea. The topic is addressed not only by curators and critics but also by a marine microbiologist and a biomedical engineer. This is a transdisciplinary project in which the imaginative power of the forms generated by the artist is not intended to obscure the scientific component, but instead to bring the reader closer to the studies conducted in recent years in evolutionism.

Global migration is one of the most pressing matters facing contemporaneity, but also a leitmotif in the work of Massimo Ricciardo. In his most recent project, the artist creates a dialogue between photographic objects from the Photothek of the Kunsthistorisches Institut in Florenz and objects of migration: things that are functional to the journey, such as passports and nautical charts, but also to identity and memory, such as family photographs, diaries, a sample of earth from the homeland. The installation generated compelling questions about these ‘talking’ objects: who do they belong to? Are they part of our cultural heritage? What are the appropriate artistic and curatorial practices if one decides to collect, archive, exhibit, transform them? The dialogues prompted by Ricciardo’s installation continue in this book and involve a polyphony of voices.

What’s your idea of a natural place? Starting from this question, addressed to a heterogeneous audience, of different ages, professions and nationalities, Claudia Losi has put together Being There. Oltre il giardino (Beyond the Garden), the last chapter of a twenty-year-long research project focusing on that interweaving of meaning, perception and memory that humans deploy when looking at the world. In conducting her investigation, Losi hybridizes sociological-scientific language with artistic language, translating the many responses to her question (about four hundred, collected through an open call and a series of seminars) into images and drawings woven on an 18-meter tapestry. The work graphically synthesizes the contributions collected during the various stages of the research, constituting a visual diary between word and drawing. This book brings together a series of traces in the form of textual contributions, drawings and photographic documentation of the journeys and works that made up the project. Texts by Giorgio Vallortigara, Mauro Sargiani, Ugo Morelli, Riccardo Komesar, Cesare Raimondi, Gioia Laura Iannilli, Alice Benessia.

Epidermis collects suggestions and scans of urban space, or rather of its decorative mantle, as part of an analytical practice aimed at detecting the distorions and pitfalls of the collective and democratic enjoyment of its public spaced. Cypriot artist Meletios Meltiou’s board book, of which 100 copies have been printed, consists of fifteen four-color and singe-color printed panels based on graphic elaborations in which the artist digitally shapes and molds a core of iconic patterns of hostile architecture.