This small anthology reviews some of the central themes of Diego Marcon’s research: from the role of the display in exhibitions to his relationship with cinema, from the use of special effects and animatronics to the sense of community established through his work. Glassa accompanies the exhibition of the same name designed by the artist for the spaces of the Centro per l’arte contemporanea Luigi Pecci in Prato.
Strata raccoglie 37 conversazioni con artisti il cui lavoro ha dato un contributo significativo alla scena artistica italiana e internazionale a partire dal 2000. Questo libro è il resoconto personale di una serie di incontri, amicizie e relazioni professionali che Vincenzo de Bellis e Alessandro Rabottini hanno coltivato negli ultimi vent’anni.
Strata compiles 37 conversations with artists whose work has made a significant contribution to the Italian and international art scene since 2000. This book is the personal account of a number of encounters, friendships, and professional relationships that Vincenzo de Bellis and Alessandro Rabottini have nurtured over the past twenty years.
Pardon Façade documents the artistic output of Luca Monterastelli, showcasing almost all of the sculptures and installations that he produced between 2011 and 2022. Across four chapters—corresponding to four solo shows that he staged in Milan, Otegem, Antwerp, and Naples—the publication provides the first overview of the artist’s work.
More than half a century after its premiere, Yvonne Rainer, in collaboration with choreographer and dancer Emily Coates, directed the 2019 revival of her 1965 performance Parts of Some Sextets. This book poses questions about the trajectories of artworks, performers, and audiences, all while tracing the life—and afterlife—of a dance.
How does technology organize life? This book documents and reflects on the exhibition Proof of Stake: Technological Claims at Kunstverein in Hamburg, curated by Simon Denny and Bettina Steinbrügge. It brings together a unique group of artists and scholars who investigate the technological apparatuses and power relations of organized life.
Edited by Gina Buenfeld-Murley and Martin Clark
Essays by Gina Buenfeld-Murley, Martin Clark, Leonie Radine, Géraldine Gourbe
Designed by Sara De Bondt
Published with Camden Art Centre, London; Frac Bretagne, Rennes, France; Kunsthalle Wien – Stadt Wien
Kunst GmbH, Vienna, and Museion – Museum of Modern and Contemporary Art, Bolzano/Bozen
2025, English / French / German / Italian, softcover, 240 pages, 20 x 26 cm
ISBN 979-12-80579-67-6
This fully illustrated monograph marks the occasion of the first European survey of Nicola L. (1932–2018). Often discussed in the context of Pop Art, activism, feminism, and design, this is the first in-depth exploration of the multi-layered and expansive nature of her extraordinary practice, which also encompassed cosmology, environmental concerns, spirituality, political protest, and sexuality.
With new scholarly essays translated into English, French, Italian, and German, and supplementary texts on major bodies of work, Nicola L. I Am The Last Woman Object offers novel perspectives on the artist’s practice from some of the exhibitions’ curators: Gina Buenfeld-Murley, Martin Clark, Géraldine Gourbe, and Leonie Radine. Together, they reflect on her life in Paris, Ibiza, Beirut, and New York, situating her within the politics and the social movements of her time. They also bring her work fully into the present by placing it in the context of the social, political, and ecological challenges facing the world today, thus enabling the resonance of her extraordinary practice to continue more than half a century after she began working. Taken together, the texts reveal Nicola L.’s remarkable and lifelong commitment to art, creativity, and radical subversion, presenting a long-overdue appraisal of a practice that straddled many movements and styles in twentieth-century art but resolutely defied categorization.
