Monographies
  • Mario Merz

    texts by Carolyn Christov-Bakargiev, Dieter Schwarz,Luciano Pistoi, Carla Lonzi, Germano Celant, Michael Sonnabend, Wieland Schmied, Achille Bonito Oliva, Mario Diacono, Zdenek Felix, Marlis Grüterich, Denys Zacharopoulos, Harald Szeemann, Rudi Fuchs, Bruno Corà, Danilo Eccher, Daniel Soutif, Marcella Beccaria
    The monograph reproduces the photographic documentation
    pages: 244
    format: 23 x 27 cm
    date of publication: November 2006
    illustrations: 166 col and b/w
    binding: hardback
    two editions: Italian and English
    eng ed. isbn 99788877571845
    it. ed. isbn 9788877572134

     

     

     

     



    €50,00

    The monograph reproduces the photographic documentation of the solo exhibitions held in 2005 at the Fondazione Merz, Castello di Rivoli Contemporary Art Museum and GAM Galleria Civica di Arte Moderna e Contemporanea, representing the most important spaces dedicated to contemporary art in Torino. This monograph, the most completed published on the artist, contains the complete iconographic documentation of his artworks, representing an archival documentation and providing an uprecedented understanding of Merz' working process.

    The volume includes a comprehensive artistic career history, bibliography and biographical chronology and which is the most updated and complete examination of the artist. The book is unriched by the inclusion of unpublished material showed for the first time at the Fondazione Merz. It documents Mario Merz selected artistic production, including paintings, sculpture, installations, drawings, neon and Fibonacci series works. Some critical essays complete the volume, providing a deep and high reflections on the artist and his significative role in contemporary art.

     

    Mario Merz (1925-2003)

    He was one of the leading exponents of Arte Povera. He was born in Milan in 1925. After moving to Turin, he began his studies in medicine, but these were soon interrupted by the war. He would draw, write poetry and was a militant member of the anti-fascist group Giustizia e Libertà; in fact he was even arrested for his political activities. Then he travelled to Paris and, in 1950, he started painting. He joined the Arte Povera group in 1968 during an exhibition in the Galleria De’ Foscherare of Rome. His early works made him become acquainted with Pinot Gallizio, the creator of the Bauhaus Immaginista, a sister movement of French Situationism. As early as 1965, he started using unconventional materials such as osier, either as single branches or grouped together in bundles, in a hard and ironic bout between the industrial culture of American Pop and the craftsmanship of Arte Povera, or the neon light which under the influence of Fontana and perhaps Flavin’s luminous minimalism turned into one of his most interesting means of expression. Works by Mario Merz have been shown in permanent collections of the most important and prestigious museums all over the world: from Guggenheim in New York to the MOCA (Museum of Contemporary Art) in Los Angeles, from Stedelijk Museum in Amsterdam to Nationalgalerie in Berlin, from Israel Museum in Jerusalem to the Centre Pompidou in Paris. On November 2003 Mario Merz received the prestigious Praemium Imperiale for Sculpture from the Japan Art Association in Tokyo.

     
  • Renata Rampazzi

    texts by Marisa Vescovo, Lidia Ravera, Claudio Strinati
    pages: 112
    format: 23 x 27 cm
    date of publication: March 2006
    images: 98 col. and b/w
    binding: paperback
    languages: Italian/English
    isbn 8877572019



    €35,00

    The book is published on the occasion of the exhibition Fragments from a chromatic discussion 1990-2005 held at Archivio di Stato in Turin from March 24th to May 3rd, 2006.

    The show collects 80 paintings created by the artist from 1990 to 2005 and reproduced in this book. This tells deeply about the artistic personality of Renata Rampazzi through her works in which the tracks of the brush, charged with diluted colour, combine, lose themselves in each other, and belong only to their growth in intensity, opening up to symbiosis, to mutations like all vital and natural events, when they enter into the generational dimension that appears between matter and spirit. We find ourselves before a thin, vaporous painting betraying the pressure exercised on its “skin” by effects of sensible currents of energy, which lays bare vaguely libidinous flashes of memory and is sublimed by phosphorescences of hidden lights.

    The book, curated by Marisa Vescovo, also includes a text by the Italian writer Lidia Ravera.

  • Gilberto Zorio

    text by Ada Masoero, Marco Meneguzzo, Giorgio Verzotti, Klaus Wolbert
    pages: 192
    format: 21,50 x 31,50 cm
    date of publication: July 2005
    illustrations: 120 col.
    binding: hardback
    language: Italian/English/German
    isbn 8877571830



    €45,00

    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.

  • Gilberto Zorio. phosforos

    pages: 44
    format: 30,5 x 21,5 cm
    date of publication: July 2005
    images: 38 col.
    binding: hardback
    language: Italian
    isbn 8877571942



    €25,00

    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.

  • Filippo Scroppo. Un artista tra pittura e critica

    texts by Pino Mantovani, Maria Teresa Roberto e Ivana Mulatero
    pages: 140
    format: 21 x 28 cm
    date of publication: January 2005
    images: 64 col. e b/n
    binding: paperback
    language: Italian
    isbn 8877572078

     



    €40,00

    The volume was published on the occasion of the Filippo Scroppo. Un artista tra pittura e critica exhibition organised by the Accademia Albertina, with the support of the City of Turin and the Piedmont Region, and hosted at the Accademia Albertina di Belle Arti di Torino from 1 December 2004 to 30 January 2005. The goal of this volume is to recall some of the most significant moments in Filippo Scroppo’s artistic career, both through images of his works and through the testimony of his autograph writings and critical essays that deepen not only our knowledge of the artist but also his activity as a critic and curator. The photographic documentation of Scroppo’s work is divided into chronological and thematic sections: from his beginnings in the 1930s and 1940s, through his post-war pictorial research to the significant abstract experiences of the 1950s and 1960s. “In the paintings produced between 1946 and 1948, the juxtaposition with Cézanne and Matisse, already recognisable in the canvases of the late 1930s, gives way to a more intense confrontation with the Cubist tradition. [...] Without crossing the analytical and self-reflective frontiers of the New Painting of the 1970s, he was a secret interpreter of the manner, and in the title of a painting of 1978 – Infiorescenza mentale – he perhaps wished to propose a poetic but also subtly ironic definition of the ruins and challenges into which artistic research was venturing”. (Maria Teresa Roberto) The catalogue reproduces about eighty works on display in the Turin exhibition and includes critical texts by Pino Mantovani, Maria Teresa Roberto and an extensive anthology edited by Ivana Multaro. “Painting, the arts in general, express what is inside us, in our souls: our fears, beliefs, dreams [...]. Of course, the artist must express himself, without being conditioned by the judgements of others and the demands of the public: only in this way is art pure. [...] However, even if the path of art as an individual quest is necessarily a private, personal matter, I have never been selfish…". (Filippo Scroppo).
  • vedovamazzei

    texts by Giacinto Di Pietrantonio and Charlotte Laubard
    pages: 116
    format: 21 x 28 cm
    date of publication: October 2004
    images: 97 col. and 6 b/w
    binding: paperback
    language: Italian/English
    isbn 8877572094



    €35,00

    The series of catalogues published by hopefulmonster for GAM, Galleria Civica di Arte Moderna e Contemporanea in Torino, reserved for artists of the new generation, continues with a monography dedicated to Vedovamazzei for the exhibition held at GAM from October 6 2004 to January 6 2005.

    Founded in 1990 Vedovamazzei is the working name of Italian artists Stella Scala and Simeone Crispino. Most of their works evince a familiarity with reality and at first exude a certain seductiveness, mixing humor with a sense for melodrama, they seem to wish to escape from interpretation at whatever the cost. Luminous and rash, heroic and impudent, the oeuvre of Vedovamazzei confronts the violence of the visible with eyes wide open. Their gaze fears neither sun nor death.

    The catalogue, that tells deeply about the artistic personality of the duo through their works, some of them published here for the first time, opens with the photographic documentation of the exhibition to tell then through the images the art of Vedovamazzei from 2004 down to 1990, showing installations, video and several watercolours. The book also includes three new works the artists created especially for GAM exhibition: For once in My Life, representing the first murder committed in the world of storks; Bluish, a large glass tube containing a classic chandelier with a few bulb slit; Plank Bed, consisting of three tables of different dimensions hanging above ground and closed in glass shocases which contain them.

    The book includes also two essays, one by Giacinto Di Pietrantonio and the other by Charlotte Laubard.

     

    Stella Scala was born in Naples in 1964 and Simeone Crispino was born in Frattaminore (Naples) in 1962. They live and work in Milan. Their works has been shown throughout the world in galleries and museums.