Maxiprocesso brings together 360 photographs by Maria D. Rapicavoli, one for each of the archival folders documenting the largest mafia trial in history, held in Palermo from 1986 to 1987. The volume explores the relationship between memory, justice, and social responsibility, examining the material element of a landmark event in contemporary Italian history.
This is the first monograph on the influential American choreographer and dancer Trajal Harrell. In an entertaining, far-reaching conversation with curator Daniel Baumann, Harrell covers all of his choreographies and performances, as well as his influences, successes, and failures, addressing how he transforms and transgresses the history of dance.
This book offers the first comprehensive overview of Anna Franceschini’s practice. Organized around recurring themes, it explores animation, the body, machines, ghosts, desire, and windows through commissioned contributions and selected writings. Its associative structure reflects her interest in repetition, transformation, and unstable images.
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, and includes newly commissioned texts and images that further contextualize the artist’s practice and work.
Museums of Tears extends Francesco Vezzoli’s 2024 exhibition at Museo Correr, Venice, combining historical works and new commissions to explore antiquity, emotion and illusion. Conceived as an artist’s book rather than a catalogue, it transforms the museum guide into a hybrid archive and portable museum of memory, beauty and mourning.
A project by Fondazione In Between Art Film, edited by Carla Subrizi, Paola Ugolini, and Maria Alicata, this illustrated volume investigates the cinematic, documentary, and video output of women artists and filmmakers operating in Italy in the 1960s and 1970s, situating their research at the intersection of artistic experimentation, politics, society, and technology.
Edited by Tom McCarthy and Anne Hilde Neset
Texts by Inke Arns, Magnus Haglund, Tom McCarthy, Sina Najafi, Anne Hilde Neset, Susan Philipsz, David Toop, and Judith Vrancken
Design by Lorenzo Mason Studio
2022, English, softcover, 17 x 24 cm, 240 pages
ISBN: 979-12-80579-12-6
A holding pattern is what air traffic controllers use to keep several planes orbiting above a busy airport without crashing. The scenario suggests a general condition: of human destinies bound up in the circuits of technology; and of anxiety, danger, and salvation—being “brought in safely.” Involving elements of skill and craft, the drawing of patterns on a page, screen, or sky, it also invites analogies with art and choreography.
What are the patterns in which our lives are held? What rhythms, or algorithms, drive these? How do they play out in historical, political, and cultural terms? And can art, literature, filmmaking, and music draw them out, make them visible, legible, audible, or even contestable? These are the questions posed in a major international group exhibition at Kunstnernes Hus in Oslo, curated by Tom McCarthy and Anne Hilde Neset.
In this volume, published to accompany the exhibition, McCarthy and Neset reflect on artworks by Stan Douglas, Harun Farocki, Ingri Fiksdal, Åke Hodell, Stefan Panhans & Andrea Winkler, Susan Philipsz, and Elizabeth Price. The book also includes essays and contributions from Inke Arns, Magnus Haglund, Sina Najafi, Susan Philipsz, David Toop, and Judith Vrancken.
