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.
In her work, Cally Spooner crystallizes an absurd contemporary ecosystem in which entities run the risk of managing themselves and one another to death. Featuring newly commissioned essays alongside a lecture by Spooner, SWEAT SHAME ETC. is the first comprehsive survey of the artist’s output of the last five years.
This new anthology brings together visions, experiences and critical interdisciplinary methodologies that have been instrumental in the development of the language of moving images since 2010. New essays and conversations reflect on radical technological and poetic transformations in the works of the generation of digital native artists.
Center of the Frame is the artist’s first monograph and brings together paintings made between 1997 and 2024. The publication provides an in-depth look at Eisler’s fascination with cinema and with the transmission of images through the various formats of analog film, television broadcasts, Internet video and, of course, the painted canvas.
At 500 pages, this is the most comprehensive book yet on Norwegian artist, Ida Ekblad. Appearing three years after the artist’s show at Kunsthalle Zürich, Melted Snow took certainly a long time—all the time is takes to ponder fifteen years of the artist’s career.
On the occasion of PROVENCE’s 15th anniversary, the reader My Alphabet presents 26 texts published by PROVENCE between 2009 and 2024, either in print or digitally in the weekly newsletter. These texts are sorted alphabetically, ranging from A for Amphetamine to N for Ne travaillez jamais to Z for Gen Z.
Edited by Alessandro Rabottini and Leonardo Bigazzi with Bianca Stoppani
Authors: Cecilia Alemani, Erika Balsom, Étienne Bernard, Leonardo Bigazzi, Ali Cherri, Lorenzo Giusti, Stefanie Hessler, Priyesh Mistry, Alessandro Rabottini, and Stefan Tarnowski
Design by Lorenzo Mason Studio
2024, English, softcover, 21 x 28 cm, 192 pages
ISBN: 979-12-80579-46-1
The publication is the first institutional monograph on the multimedia practice of artist and director Ali Cherri. It aims to highlight the constellation of ideas, themes, and formal concerns running through his most recent, highly significant projects.
Edited by Alessandro Rabottini and Leonardo Bigazzi, with Bianca Stoppani, this book provides an overview of the artist’s output over the past three years, teasing out both new strands for interpretation and formal links between his films, videos, sculptures, drawings, and installations.
Originated by Fondazione In Between Art Film on the occasion of Dreamless Night—a comprehensive solo exhibition first staged at GAMeC in Bergamo, and later at Frac Bretagne in Rennes—the book showcases a number of newly commissioned essays that reflect upon Cherri’s most recent exhibition projects. Starting with the documenting of Dreamless Night, the book also covers Humble and quiet and soothing as mud, the 2023 exhibition at Swiss Institute in New York; his participation at Biennale Arte 2022 in Venice; and If you prick us, do we not bleed?, the exhibition held at the National Gallery in London following his residency at the museum in 2021. Each exhibition is also extensively illustrated by a visual essay conceived by the artist, encompassing not only the installation views but also images charting the development and production stages.
The book features a wide-ranging conversation between the artist, GAMeC director Lorenzo Giusti, and Étienne Bernard, director of Frac Bretagne, as well as essays by Alessandro Rabottini and Leonardo Bigazzi, curators of the exhibition Dreamless Night at GAMeC, and at Frac Bretagne; Cecilia Alemani, who curated the exhibition The Milk of Dreams for Biennale Arte 2022; Stefanie Hessler, director of Swiss Institute in New York; Priyesh Mistry, Associate Curator of Modern and Contemporary Projects at the National Gallery, London; Erika Balsom, Reader in Film Studies at King’s College, London; and Stefan Tarnowski, Early-Career Research Fellow in AMES and Social Anthropology at Corpus Christi College, University of Cambridge.
This publication was made possible thanks to the support of Galerie Imane Farès.