The catalogue is published on the occasion of the exhibition S.N.O.W. (Sculpture in Non-Objective Way) held at Galleria Tucci Russo in Torre Pellice (Torino) from October 8th 2005 to January 22nd 2006.

The intention of the show is to investigate on some of the aspects of contemporary sculptural exploration, concentrating on non-objective and abstract languages. Despite their disparate historical and artistic backgrounds and contexts, the works of the artists in the show (Gianni Caravaggio, Björn Dalem, Francesco Gennari, Paolo Piscitelli, Robin Rhode, Conrad Shawcross) revolve around the same object; their attitude toward science is anecdotal, metaphoric, literary, and symbolic. The materials employed are often natural – wood, marble, sugar, foam – and avoid optical or retinal effects or references to the realm of mass media. References to the quotidian, to the object, to recognizable elements – even manipulated or presented in a decorative form – are avoided in favor of a more complex and visionary concept of form.

The book, curated by Andrea Bellini (art historian, critic and independent curator), provides documentation of the exhibition at Tucci Russo Art Gallery together with a selection of recent works by the artists.

Artists: Gianni Caravaggio, Björn Dalem, Francesco Gennari, Paolo Piscitelli, Robin Rhode, Conrad Shawcross

The monograph is published on the occasion of the solo exhibition organized by the Galleria Giorgio Persano in Turin.

The book offers a complete overview on the artist to tell then through the images the art of Luisa Rabbia showing a large number of illustrations: the artist works with various materials, though she prefers those that best narrate the passage of time, the crumbling of things and their disintegration. “I like to consider time itself a material,” Luisa Rabbia says, “the main material that everything else may relate to.”

In her art, Luisa Rabbia explores the perception of the body as border between the outside and the inside world of an individual: the relationship between a human and his environment, including his spiritual journey, his thoughts, memory and the passing of time. In Luisa Rabbia drawings, patterns mirror the world, while the forms the textiles take create not only an outside world, but also hide an inside, which remains an enigma to the viewer.

The catalogue also includes the critical essay by Achille Bonito Oliva and an up-to-date biobibliography.

This book documents the experience of the food4thought project, its development, the exhibitions and performances which have accompanied it, the thoughts and experiences of its creators and of the experts, artists, cooks and protagonists of the world of art and culture that helped make it happen.

Four chefs of international acclaim and five of the most fascinating artists on the contemporary scene take visitors on a unique discovery of the complex rituals connected to food, including nourishment, taste, instincts and consumption. There are four leading concepts around which the exploration revolves: food/future, food/substance, food/environment and food/exchange.

Artists: Raúl Cárdenas Osuna, Francesco Jodice, Dunja Scannavini, Sissel Tolaas, Ben Vautier

Cooks: Burkhard Bacher, Herbert Hintner, Thomas Mayr, Davide Scabin

The catalogue is published on the occasion of the solo exhibition held at the Institut Mathildenhöhe in Darmstadt (Germany) from July 23rd to September 4th 2005.

This monograph, which documents several works, including paintings, sculpture, installations and drawings, is the most updated and complete examination of the artist. It is a rich iconographic recognition of the artist’s activity and an updated monograph that contains four selected essays. The works reproduced here represent Zorio entire artistic carreer. This catalogue raisonné presents the complete oeuvre of this important artist: his works from the 60s, Sedia (Chair), Tenda (Tent) and Senza titolo (Untitled), up to the latest series of Stella (Star) and Canoa (Canoe). This catalogue provides new insight into the many aspects of this extraordinary artist.

Gilberto Zorio’s artistic activity began through his involvment in the Arte Povera movement which developed in Italy at the end of the Sixties, as part of a more general tendency toward anti-form, anti-geometry. The interest in space and form was replaced by a focus on human activity and desire for organic harmony between art, culture and nature. Zorio uses primary material (metals, glass, rubber, wood, animal hide, alcohol, acids and minerals, water, fire and light), he concentrates on energy processes and is concerned with language as a medium and processes of linguistic communication.

The book includes a chronology with numerous photos and documents and an updated biobibliography.

This book collects 19 drawings in a double version, with lightness and darkness view.

Gilberto Zorio exhibited in a number of the defining group shows of Arte Povera in 1967.He has exhibited widely in Europe and the United States. Retrospective exhibitions of Zorio’s work have been presented at the Stedelijk Museum in Amsterdam in 1979; the Kunstverein in Stuttgart in 1985; the Centre Georges Pompidou in Paris 1986; the Instituto Valenciano de Arte Moderno in Valencia 1991; Centro per l’Arte Contemporanea Luigi Pecci in Prato 1992; Documenta inKassel 1992; Galleria Civica di Arte Contemporanea in Trento 1996; Dia Center for the Arts 2001 and Sonnabend Gallery in New York 2004.

An illustrated overview of the architectural development of the Fondazione Merz, this is the book of the building. With beautiful photography it describes the finished building, the ideas behind it and the way in which it was designed and built. This visual narrative includes views of the construction and the Fondazione completed and in use.

The Fondazione’s site, a former heating plant for the Lancia factory, is a 1930s industrial building owned by the City of Turin and given in concession to the Fondazione Merz. It is located in Borgo San Paolo, an area now undergoing the urban and cultural revitalisation and refurbishment affecting much of Turin in recent years.

The refurbishment and restoration, supported by both private and public funds (City of Turin and the Regione Piemonte), has affected the whole building, defining the interior spaces and taking into account the cultural purposes the Fondazione intends pursuing. The building has an overall area of 3,200 m2, of which 1,400 for an exhibition area over three floors and including an external area.