texts by Maria Teresa Roberto, Marco Vallora, Sara Abram
format: 21 x 28 cm
date of publication: December 2003
images: 58 col. 60 b/n
€25,00The catalogue was published on the occasion of the exhibition held from 12 December 2003 to 1 February 2004, with the contribution of the City of Turin and the Piedmont Region, at the Accademia Albertina delle Belle Arti in Turin. This volume aims to illustrate some of the most significant moments in Piero Martina’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 acquaintance with poets, critics and men of letters, which from the early 1930s extended over a period of forty years. The photographic documentation of Martina’s work is divided into chronological and thematic sections: it opens with an oil on canvas entitled C.so San Maurizio and continues with Interno del Caffè Nazionale, paintings that show the artist’s pictorial exploration of her everyday environment, the Turin of the late 1930s. Landscapes and figures fuel Piero Martina’s painting, together with the depiction of interiors, including the artist’s studio, which becomes the primary object of her scrutiny, and not merely the backdrop to portraits and compositions: Interno di studio con cappello and Nudo con paravento testify to Martina’s pictorial investigation that sees the studio as the elective place, the idea of an interior space “strongly contrasting with the public space dominated by the rhetoric and propaganda of the regime, marked by more discriminating and aggressive buzzwords day by day.” (Maria Teresa Roberto). To this same first decade (1932-1942) also belong a series of photographs taken by Carlo Mollino in the painter’s studio, in a specular game of cross-references between photography and painting, from which also emerges the portrait of Carlo Mollino, published here for the first time. After the realist season of the early 1950s (in the 1948-1956 chapter in the catalogue), Martina deliberately chose not to limit her painting to the use of canonical materials, but to contaminate it with technical and formal innovations, from oil painting to enamels, acrylics and tempera variously mixed in a desire to suggest form and evoke it with rapid synthetic touches. The last chapter in the catalogue illustrates Martina’s artistic production between 1961 and 1977: from the early 1960s to the last compositions of the following decade, the artist divided her work between oil painting and the practice of collage. The idea of painting conceived by the artist from Turin, of her telling of places, people and facts, is realised through the vibrations, discords and tensions between the colours applied to the canvases. The catalogue closes with a number of drawings that explore and conclude the artist’s research on the nude. The wealth of images in this volume allows us to grasp Piero Martina’s entire creative path, and makes use of a complete biography and bibliography and an in-depth anthology of criticism that includes a rich series of testimonies, among which those of Carlo Levi, Sergio Solmi and Eugenio Montale stand out in particular.
edited by Marisa Vescovo
texts by Piero Bianucci, Jasia Reichardt, Marisa Vescovo, Lara-Vinca Masini
entries edited by Alessandro Trabucco
apparatus edited by Paolo Fogliati
format: 21 x 28 cm
date of publication: November 2003
images: 166 col. and b/w
format: 23 x 27 cm
date of publication: October 2003
€0,00This volume, which constitutes the catalogue of the exhibition of the Norwegian artist held at the Museo Nacional Centro de Arte Reina Sofía from 18 September 2003 to 16 February 2004, presents not only images of the installation at the Palacio de Cristal but a vast excursus on the artist’s work, through photographs of works and texts by various authors. Among them are Giulietta Speranza, Mariano Navarro and Frédéric Bonnet.
texts by Luca Beatrice, Guido Curto, Gian Marco Montesano anthology: Jean Baudrillard, Franco Bifo Berardi, Achille Bonito Oliva, Vittoria Coen, Giacinto Di Pietrantonio, Danilo Eccher, Luciano Franch, Helena Kontova, Toni Negri, Michele Robecchi, Adriano Sofri, Philippe Sollers
format: 16 x 22,5 cm
date of publication: May 2003
images: 100 col, 100 b/w
text by Danilo Eccher
format: 23 x 27 cm
date of publication: March 2003
€28,00The catalogue documents Mario Merz’s first solo exhibition in Brazil. The exhibition, curated by Danilo Eccher, was planned as a travelling event and was presented in the spaces of the Pinacoteca do Estado in São Paulo, the Paço Imperial in Rio de Janeiro and the Museu de Arte Moderna in Salvador di Bahia, after having been hosted in the spaces of the Fundación Proa in Buenos Aires. The exhibition included works and large-scale installations that the book documents through a large number of photographs.
texts by Francesco De Bartolomeis, Pino Mantovani, Marco Rosci, Anna Maglioni
format: 21 x 28 cm
date of publication: February 2003
images: 35 col, 73 duplex, 118 b/n
€40,00The catalogue was published for the anthological exhibition held from 26 February to 4 May 2003, with the contribution of the City of Turin and the Piedmont Region, at the Accademia Albertina delle Belle Arti in Turin, which sought to present to the public the production of one of the most important artists in the Piedmontese art scene. The book is a tribute to Gino Gorza and his creative and professional career, which made an important contribution to the cultural growth of Turin. Introduced by in-depth critical essays by Pino Mantovani, Marco Rosci and Francesco De Bartolomeis, the catalogue reproduces about one hundred works, accompanied by detailed biographical notes written by Anna Maglioni, and provides an exhaustive account of Gorza’s artistic personality, both through his works and through the autograph writings reproduced in their entirety. The wealth of images in the catalogue makes it possible to grasp the entire artistic career of Gino Gorza, and makes use of a comprehensive critical anthology and a series of testimonies that flesh out the figure of the artist, teacher and man of culture. The photographic documentation of Gorza’s work opens with the Ritratto del modello of 1949 and continues with the figure-signs of the Icone of the 1950s and the iconographic memories of the Panoplies, before lingering over the centrality of the experience of the Anamorfi and Bivalvi of the 1960s. Passing from the extreme essentiality of the Atti visivi and the aesthetic interpretation of silk in Artemis, we arrive at the musical trend of the Avverbi which constitute his last production together with the Interpunzioni and Alpha. Finally, a large section is dedicated to drawings: among others, the refined series on Nepalese paper. The catalogue closes with an updated and complete biography and bibliography.