Looking for Rianbow is an action initiated by Davide D’Elia in the Shoreditch district of London in 2008 to launch a collection of images and data related to rainbows or iridescent formations, and to create a database to be drawn upon for subsequent works. Today, those colored flyers—primary tools for triggering this process of collection—return in a small volume, in a limited edition of 50 copies, published with the book Tiepido Cool.

Looking for Rianbow is a paper-based and obsessive work by Davide D’Elia that tells the story of a research process which, starting from a flyer with the typical 'wanted/for sale/for rent' graphic style, moves toward an attempt at pictorial experimentation through the involvement of an uncontrolled community.

Tiepido Cool brings together Davide D’Elia’s artistic research of the past fifteen years in an image-based narrative that follows the poetic criterion introduced by the title. The two words—Tiepido, Italian, and Cool, English—guide the sequence of works along a path that privileges perceptual experience over a chronological or biographical approach.

Tiepido Cool collects Davide D’Elia’s artistic research of the last fifteen years through images that follows the poetic criterion introduced by the title. The two words, Tiepido, Italian, and Cool, English, guide the succession of works in a path that privileges perceptual rather than chronological-biographical experience. Perceived by the artist as antithetical, London and Rome become the two ends of a discourse that converges at a point of balance, highlighting the duality on which his work hinges, both belonging to art and communication. Trained as a visual designer and moved to London in the early 2000s as a creative, here D’Elia began to focus on the themes of an aesthetic investigation that, upon his return to Rome in 2011, became fully conscious. The artist’s two souls complement each other by permeating “warm” works of an organic nature and “cold” works dominated by the use of iris blue antifouling paint; between the two extremes a cycle of “cool” works in which the lexicon of the buoy translates this necessary coexistence between dichotomies.
Two texts, by Elisa Del Prete and Mike Watson, antithetical in latitude, training and style, trace the guidelines for a never exhaustive reading of D’Elia’s work.

Tiepido Cool  is supported by Italian Council (X edizione, 2021), project of the Directorate-General for Contemporary Creativity of the Ministry of Culture for the production, knowledge and dissemination of creation contemporary Italian in the field of visual arts; coordinated and produced by Nosadella.due, curated by Elisa Del Prete and Silvia Litardi (NOS Visual Arts Production), in collaboration with Viaindustriae publishing and <rotor> Center for Contemporary Art (Graz), cultural partners: Musei Civici d’Arte Antica | Settore Musei Civici Bologna (Museo Davia Bargellini, Bologna); MAXXI, Museo delle Arti del XXI Secolo (Roma); Myymälä2 Gallery (Helsinki); Centre for Poetic Innovation, Universities of Dundee and St Andrews (St Andrews); Cultural Center GRAD (Belgrado).

Bibliothèque d’un Amateur. Richard Prince’s Publications takes a look at Richard Prince’s library and production of artist’s books published between 1980 and 2020. This book is not a proper catalogue raisonné, but rather an invitation to browse the library of an amateur’s. It allows us to consider this important aspect of Richard Prince’s work, addressing books as well as the notion of a collection and its incompleteness, revealed here by the “ghosts” of missing books. Richard Prince is an avid book designer and collector; this zeal and fervor transpire in many book works where he photographs books from his collection, transforming a publication in an infinite library. Bibliothèque d’un Amateur is also the catalogue of the exhibition “ALL BOOKS AND SOME PRINTS” at Centre de la Photographie Genève (16 March–30 May 2021). 

Un percorso critico per la città di Roma alla ricerca delle tracce dell’impresa coloniale italiana. Accompagnati dalla riscrittura in chiave contemporanea di dodici eventi memorializzati da monumenti, arredi urbani, ponti e toponomastica, a cui fanno eco dodici voci e radici multiculturali, seguiamo un percorso che ci invita a confrontare e affrontare questa parte rimossa della nostra storia. Il viaggio si conclude nell’ex museo coloniale, in una visita attraverso alcuni oggetti della collezione, anche loro in attesa della nostra riscrittura partecipe.

Pink for Flower is the first in-depth international publication about the work of Italian artist Caterina Silva. The book is a comprehensive, polyphonic canon spanning over a decade of the artist’s practice with written contributions by a selection of curators, artists, poets, writers and academics from across a range of disciplines. The 178-page book will be published and distributed across UK Europe as 500 coloured soft-cover copies by Bosse&Baum and the prestigious Italian publishing house, visual art research centre, archive and exhibition space, Viaindustriae. Caterina Silva (1983, Rome) is a visual artist based between Rome and London working with painting and performance.  She uses painting to probe at the obscure spaces of the mind, those which are impossible to explain in words. She creates open images available to the interpretation of the observer, a consequence of a process of deconstruction of her own internal superstructure carried out through the matter of painting itself and its translation into choreographic experiments and performances. The list of collaborators includes curator Laura Smith, independent writer and curator Marta Federici, choreographer and dance-maker Cristina Kristal Rizzo, artist Bea McMahon, indologist, academician, one of the major experts of tantric shaivism and Hindu aesthetics Raffaele Torella, and researcher of radical psychiatry, Hannah Proctor.  

I maestri serie oro è un’opera di Flavio Favelli composta dai 278 fascicoli monografici della serie “I Maestri del Colore” della Fratelli Fabbri Editori, uscita in edicola tra il 1963 e il 1967, fenomeno culturale di prima grandezza che rivoluzionò il mercato editoriale negli anni del boom economico. Favelli ha lavorato su ciascuna delle iconiche copertine, interagendo con la loro eleganza formale, con il loro equilibrio tra grafica e taglio fotografico dei particolari pittorici. Ha utilizzato una o più cartine dorate dei Ferrero Rocher per occultare i volti dei ritratti, le scene aneddotiche, le porzioni di quadri, affreschi e mosaici dove campeggia la figura umana. Favelli riporta le riproduzioni delle grandi opere d’arte ad uno stato di impenetrabilità, quasi di chiusa sacralità: è un gesto che mescola la cura all’iconoclastia, quasi fosse necessaria una nuova ricarica del senso per delle immagini forse troppo note, persino troppo ammiccanti nella loro conquistata emblematicità. Il libro è il catalogo della mostra dal medesimo titolo presso la GAM di Torino nel 2022. L’opera è vincitrice del dell’avviso pubblico PAC2020, promosso dalla DGCC del Minsitero della Cultura.

1 is an artist’s manual by Mattia Pajè containing a series of instructions for the use of paranormal techniques, related to healing and personal development – experienced by Pajè in the course of his research – which in the book are blended with notes and poetic compositions. These are accompanied by illustrations and graphic  sketches that reinterpret the contents of pseudoscientific manuals and independent blogs. The book collects six texts by different authors writing about the idea of truth, addressing the topic from the different angles. Texts by Flavia Monceri, political philosopher; Stella Succi, art historian; Giovanni Rendina, art curator; Bruno Paura, plant ecologist; Mariagrazie Ciaccia, counsellor and Hatha Yoga teacher; Simone Romagnoli, pedagogist and computer scientist; Settimo Catalano, psychotherapist. Editorial project made with the support of Fondazione del Monte, in collaboration with Art City Bologna, MamBo, Arte Fiera, Associazione BOCA e Gelateria sogni di ghiaccio. Book curated and coordinated by Giovanni Rendina. Graphic design by Marco Casella. 

“Oggi l’evidenza è tutto ciò che non siamo più in grado di osservare. È tutto ciò che è minimo, silenzioso, discreto. Tale è questo diario per immagini, un lavoro incessante di perlustrazione, un segno, una frase, una traccia, un momento di ordinaria quotidianità, una strada anonima, un paesaggio desolato, un volto, un punto, una riflessione, forme che ricordano altro, che ricostruiscono altro. […] Creare un museo immaginario di ciò che è evidente vuol dire proprio il contrario, ossia valorizzare ciò che non lo è. Uno strumento musicale che non suona: un ciclo di sculture di alcuni anni fa di Lacchini ci ha fatto comprendere la sua propensione a una dimensione altra, in cui la forma deve muoversi con disinvolta complicità con l’intuizione e, soprattutto, con la riflessione. La sua produzione editoriale, sempre più curata e intensa, è piena di sguardi verso un altrove che nel museo dell’evidenza ritroveremo tutti: sarà un luogo immaginario in cui finalmente fermarci a guardare, dando spazio a ciò che abbiamo sempre ignorato, confrontandoci su ciò che è poco visibile, rispettando tutto quel che è solo apparantemente irrilevante” Lorenzo Madaro

Substance with a mysterious fascination, which seems to belong to an eternal time, snow has always been a lure for explorers, scientists, and artists; an everchanging matter and at the same time solid memory of the world. Drawing on the magnetism that this element exercises on the humansoul, the artist Laura Pugno with the video installation Over Time explores the tensions and the reasons for this natural connection; the need to live, study and create snow in the time of climate emergencies.

For a decade, from the mid-1990s, Active Worlds was the most popular user-created virtual environment on the internet. It was an online zone full of precedent and potential; a worldbuilding exercise and infrastructure holding the promise of a self-electing global citizenry amidst virtual constructions of their own imagination and creation. Coming from a background in architecture, editors Andrea Belosi and Joana Rafael have led an expedition through the remains of Active World’s principal territory, AlphaWorld. Infused with principles of psychogeography and urbanism, and sprinkled with the dream logic that seasons virtual realities, four avatars were enlisted to walk in relay the 655 digital kilometres that separate AlphaWorld’s northern and southern limits. Alongside an atlas of AW’s 495 public and private worlds, and details of the online platform’s social and technical construction, rules and labor, Lost Zone draws a line through the ruins of our recent digital past, to gain insights into our hybrid present.

Second edition of Yes Yes Yes Revolutionary Press in Italy from Mondo Beat to Zut, this time with a white softcover and dusk jacekt. Densely filled with reproductions of newspapers, magazines, mimeographs, news-sheets, pamphlets, and other ephemera, this book investigates the Italian scene during the turbulent years between 1966 and 1977. These revolutionary printing activities were linked to the political, ideological, and countercultural struggle of a period of protest and occupation of public spaces as areas of freedom and social creativity for a disillusioned generation. A selection of over 600 publications are catalogued in this book, output from the subversive newsrooms of the radical artistic and libertarian movements, and “ultra-political” groups, autonomists, and other collectives seeking change.

A tree, specifically a plane tree, is the subject portrayed by the artist careless of repetition and, at the same time, of the variety used to transform it in a pictorial surface. This tree is the anonymous protagonist: that’s why “untitled2. In fact, the plane trees are horizon friends that Eusepi used to observe and study from the window of his “house-atelier” in his everyday life in Anzio. Those trees have been a constant, monotonous presence and passive interlocutors for a pictorial pretext. Eusepi considers reality and natural subjects as pictorial occasions, visual pretexts to test the grip of color on the canvas as if it were “skin”.

Exercises on Ezra is an artist’s book by Enzo Cucchi conceived around a series of portraits of Ezra Pound made by the artist, and around the diptych senza titolo (Pound), an anti-memoir work on the poet which is the main piece of the exhibition Antifragile at Colli Independent Art Gallery, Rome. The book is a collection of drawings, fragments, and annotations around Pound’s portraits, also entering into relation with the text Il Grano, written by Giuseppe Cucchi and Brunella Antomarini. The text unfolds fragmentarily, reconstituting itself at the end of the volume offering the possibility of an organic reading full of references to the individual pages, in a continuous relationship with the visual elements.

Ubi Consistam is a project by Laura Agnusdei composed of five acousmatic pieces resulting from the auditory exploration of five locations in Bologna. Each piece is devised to be listened to with headphones in the place where its sound material has been recorded. This idea was born in the winter of 2020, when due to the closure of music venues, as musicians we were forced to reimagine ourselves in new contexts, enacting new listening dynamics. I decided then to explore Bologna, my city, searching for special sound landscapes and / or particular architectures and to enact them using sometimes my saxophone and sometimes inviting other musicians to take part in my experiment: Stefano Pilia on the double bass, Enrico Malatesta on percussions, Flavio Zanuttini on the trumpet and Giacomo Bertocchi on the clarinet.

La mostra Ciak Collecting – Collezionismo Italiano Attivo, a cura di Irene Sofia Comi, è il miglior esempio di come Veronafiere attraverso ArtVerona interpreti la valorizzazione del sistema culturale. L’iniziativa punta i riflettori sul significato e il valore della figura del collezionsita e si propone di esplorare i più recenti fenomeni che caratterizzano questo ruolo nella scena artistica contemporanea. Ciak Collecting si inserisce in un più ampio lavoro di indagine sul mondo del collezionismo condotto da ArtVerona. Il progetto espositivo Ciak Collecting e la pubblicazione Collezionismo Italiano Attivo portano esempi virtuosi e positivi di come oggi sia possibile creare una narrazione nuova tra gli artisti, le gallerie e i collezionisti. Testi di: Maurizio Danese (presidente Veronafiere), Stefano Raimondi (direttore ArtVerona), Irene Sofia Comi (curatrice), Cristina Masturzo (storica e critica d’arte). Schede di indagine: Seven Gravity Collection, GRID by Eddy Merckx Curating, Fondazione Coppola, Associazione Barriera, DucatoPrize, Cascina IDEA by Nicoletta Rusconi Art Projects, Gerry Bonetti, Viaindustriae.

The theme of the fourth issue of Bolletti/no is DEPARTURES. It invites readers to trace their own routes. Through stories of different journeys and departures (Ali who leaves from Afghanistan, the Lathrea Clandestina that travels with the poplar, the swallow who returns to Franco every year…) Bolleltti/no.4 creates an interweaving of lines that seem to be waiting not to be interrupted to set in a collective journey.

Bollettino is an experimental didactic magazine published at each solstice and equinox for the duration of 3 years. It responds to the desire to give a physical and printed form to a series of practices experimented in the time of laboratory work shared with children and adults by Virginia Di Lazzaro and Giulia Filippi. Each issue of BOLLETTINO is an invitation, a lense to read, and a tool for experimentation, creation, collection, and sharing. It is a journey into a world of small and big things, and things that are close to us and we see everyday. Each issue collects suggestions, narrations of experiences, prompts and leaves space for your own experiments. In addition to the 12 issues, there are going to be special issues and a conclusive “Annual Collection” will be the container for all the magazines.

La discoteca is a project by Jacopo Miliani comprising of a movie, a neon-light sculpture and a publication. Through an aesthetic marked by numerous cultural references and surreal visions, the artist proposes an open narrative in constant dialogue with the viewer on topics such as the construction of identity, the sphere of sexuality, queerness, gender fluidity and the relationship between personal choices and those imposed by society.  The aim of the publishing project is to share a collection of fragments that make up the personal research conducted by Jacopo Miliani in parallel with the shooting of the film. The book is split into various sections, aiming to highlight how discos can be interpreted as contexts of contamination, transformationism, love relationships as well as gestures with strong political and social potential, capable of providing an interpretation of the present and a perspective on the future. Contributions by Jacopo Miliani (artist); Elisa Del Prete (curator of NOS); Mariuccia Casadio, (Art Consultant for Vogue Italia and expert in issues concerning culture and style); Luca Locati Luciani (essayist), and an original conversation with Eva Robin’s. La discoteca is the winning project of the eighth edition of Italian Council, the programme to promote contemporary Italian art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture (MiC). Coordinated and produced by the cultural association Nosadella.due with the curation of Elisa Del Prete and Silvia Litardi of the curatorial partnership NOS Visual Arts Production, the project originates in collaboration with APS Arcigay Il Cassero / Gender Bender Festival; Bottega Bologna; If I Can’t Dance, I Don’t Want To Be Part of Your Revolution; Run by a group / Openspace, and will become part of the museum collection of the Centro per l’arte contemporanea Luigi Pecci in Prato.

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 September 2020. It is a diary of the seven days spent with visual artists Giacomo Infantino and Francesca Ruberto and musicians Laura Agnusdei, Matteo Pennesi, Luca Sguera 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. But this cadence of seven should not be taken too literally; indeed the contents are composed of texts fragments which should serve to evoke rather than describe, combined with photos, scans from documentation produced during the residency (technical notes, shopping lists, menus) in a collage intended to suggest and create connections not evident at first glance.

Ab ovo is the trace of a research on decorative patterns that artist Adelaide Cioni have been conducting for over a year. The images are scans of large drawings on cotton gauze which she made during a residency at the Mahler & Lewitt studios in Spoleto, and they refer to some patterns found on prehistoric vases. These excerpts of gauze, here reconfigured as fragments, hint at the potential infinity which is the implicit dimension of every decorative pattern. With the support of Mahler & Lewitt studios, Spoleto and P420, Bologna. 

Helicotrema is a non-profit festival curated by Blauer Hase and Giulia Morucchio. Started in 2012, it presents a program of recorded audio pieces, with the aim of investigating the possibilities of an environment and a form of collective listening, as happened in the first decades of radio broadcasting. The festival is structured in a series of listening sessions, in which the audience is invited to immerse themselves in listening to compositions by international authors. Over the years the festival has been hosted in very different places, always investigating how audio works, space and audience can merge together. The book is designed as a retrospective manual/manifesto, an extended reading of playing with sound, narratives, authors, spaces, public, and listening dramaturgy. Helicotrema commissioned Marcos Lutyens a new sound work to be featured in a Flexi disc as part of the publication.

Between September and October 2019, the artist Irene Coppola in collaboration with the architect Vito Priolo conducted an intense period of research in the village of Armila, in Panama’s Guna Yala indigenous community. A variety of languages were used, ranging from writing to drawing, sculpture, photography and video. This publication features authorial materials about the project, whose local dimension is closely connected to global issues and urgencies, expolred in the essays by three contributors active in the field of contemporary art. The project is supported by the Italian Council (6th Edition, 2019), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.

The subject of the third issue of Bolletti/no is Landscape. In the third issue you can find instructions for a workshop with gypsum. Starting from the discovery of gypsum in nature, we get to drawing a map of an imaginary landscape.

Bollettino is an experimental didactic magazine published at each solstice and equinox for the duration of 3 years. It responds to the desire to give a physical and printed form to a series of practices experimented in the time of laboratory work shared with children and adults by Virginia Di Lazzaro and Giulia Filippi. Each issue of BOLLETTINO is an invitation, a lense to read, and a tool for experimentation, creation, collection, and sharing. It is a journey into a world of small and big things, and things that are close to us and we see everyday. Each issue collects suggestions, narrations of experiences, prompts and leaves space for your own experiments. In addition to the 12 issues, there are going to be special issues and a conclusive “Annual Collection” will be the container for all the magazines.

La Lince D’Ombra è un racconto di ispirazione mitologica e cavalleresca, con elementi contemporanei e surreali, tipici dei racconti di Vallo di Nera, le cosiddette villanate. Una favola che si ancora alle credenze e alle passioni del territorio, le sue conformazioni geologiche e religiose. Libro d’artista di Francesco Cavaliere, stampato in 100 copie, realizzato in occasione della seconda edizione di Una Boccata d’Arte, curato da Threes productions. Una Boccata d’Arta è un progetto promosso da Fondazione Elpis, in collaborazione con Galleria Continua e con la partecipazione di Threes Productions.

I am Gonzo is a book on Italian erotic-porn comics. Gonzo is the immersive and amateur technique chosen by the authors to collect, analyze and look at erotic-porn comics, a poor and modest form of publication, with sensual papery aesthetcis and a high rate of collectability. Gonzo (dupe) is also a person, the amateur porn addict, usually male (porno-man, homo heroticus), who collects and consumes these enjoyable objects with an animal-like, almost wild atittude. This book attempts to describe a fragmented panorama; it is not about the estabilshed art comics, but about the ‘gonzo’ comics of the reader-lover, who owns and consumes the object and its ‘covetous authorship’, and keeps the issues hidden among more scholarly books.
The book brings together a visual selection of comics (published between the 1960s and the 2000s) essays, the exhibition displays that contributed to the development of the research over the course of three years, and a final list of all the comics collected for the research.