First Meeting is the first monograph on Argentinian artist Santiago de Paoli. From his early, experimental projects to his most recent explorations, the book delves into his innovative approach of painting on unconventional materials. The book features commissioned essays by Fernanda Brenner and Mariano Mayer, as well as a conversation between Christian Rattemeyer and the artist.
Infinite Memory is Caroline Poggi and Jonathan Vinel’s first monograph, co-published with Fondation Cartier pour l’art contemporain and Lenz. Like a memory card, the book stores information about a selection of films from the initial decade of the artists’ practice. Considered as an object, much like a piece of hardware that stores digital memory, the book offers the possibility to scroll infinitely, with no beginning or end.
Through the words of the sound artist and theorist Brandon LaBelle, the book explores the social and relational component of sound that gave rise to Benevolence, the site-specific project by Sonia Boyce. The Joy of Cacophony is the second book in a series of essay collections inspired by the site-specific projects conceived for GAMeC at Palazzo della Ragione.
Consisting of a richly illustrated booklet and a record vinyl, this special release accompanies the performative sound-based project A Comparative Dialogue Act by artists Andrea Mancini and the collective Every Island, hosted in the Luxembourg Pavilion at the 60th Venice Biennale.
Conceived as a catalogue and an artist’s book, the publication offers a deeper insight into the eponymous 2022 exhibition staged at Indipendenza Roma, and explores tensions that can be generated between artworks and their surrounding architectural context, raising questions of taste, value, function and decoration.
The practice of Tomaso Binga (Bianca Pucciarelli Menna, 1931) toys with the notion of gender, reconsidering women’s social roles and rights. This monograph, edited by Eva Fabbris, Lilou Vidal, and Stefania Zuliani, analyses her work through various languages and features a selection of poems, highlighting the author’s critical and artistic approach.
Edited by Lydia Ourahmane and Polly Staple
Texts by Nicoletta Fiorucci, Lydia Ourahmane, Polly Staple
Designed by Lorenzo Mason Studio
2026, English, softcover, 16.5 × 24 cm, 384 pages
ISBN 979-12-80579-98-0
This book accompanies 5 Works, Lydia Ourahmane’s first institutional solo show in Italy, staged at the Nicoletta Fiorucci Foundation in Venice and curated by Polly Staple, during the 61st Venice Biennale. As Ourahmane’s first publication, the book sets a template for her future editorial projects. Central to this design is the custom typeface “LL,” created by the artist with graphic designer Lorenzo Mason. Ourahmane’s new commission, 5 Works, followed her residency at the Foundation, which saw her living and working in Venice from January to May 2026.
One of the show’s prerequisites was that many of the artworks should be created in Venice. Ourahmane thus worked with Venetian craftspeople and technicians but also with organisations in the city and the surrounding Veneto region. 5 Works combines a wide range of visceral media—antique sculpture moulds, church lighting and decommissioned bed linen among them—with traditional conceptual gestures such as the recontextualization of found objects and the presentation of documentary processes. Several works in the exhibition are the direct result of negotiations, transactions and exchanges specific to historic sites and activist associations in Venice: the church of San Giovanni Crisostomo, Poveglia per tutti, Banco Lotto No. 10: Il Cerchio, Lavanderia LSG and TOCIA! Cucina e Comunità.
The publication encompasses the following elements: 282 photographs that Ourahmane shot during her residency in Venice while preparing 5 Works; an introduction to Ourahmane’s work and to the exhibition, written by Staple; a conversation between Ourahmane and Staple, structured as a walking tour of the exhibition; installation views, by photographer Marco Cappelletti, sequenced in the order visitors encountered the works; the floor plan of the exhibition—appearing on the book’s cover—complete with the list of works; and an endnote by Nicoletta Fiorucci.
