Writings by artist
edited and translated by Nadia Caprioglio
introduction by Jean-Claude Marcadé
format: 16,5 x 24 cm
date of publication: February 2010
The history of Russian art between 1919 and 1930 offers numerous examples of collaboration between painters and writers who came into close contact in the avant-garde groups. Malevich, for his part, felt that the pictorial medium was insufficient to respond to the more precise demands of a new logical discourse, and in the summer of 1919 he temporarily abandoned painting in order to turn to the creation of theoretical texts. Rejecting the “imperfection of the ruffled brush” in favour of the “subtlety of the pen”, Malevich crossed the boundary between painter and philosopher. He did not write about Suprematism, but wrote as a Suprematist, drawing on the extra-pictorial consequences of the new meaning he attributed to painting. The result is an immense corpus of writings, the whole of which constitutes a great book illustrating the artist’s universe. His constantly moving thinking can be found scattered throughout the theoretical essays, polemical articles and letters, which were continually revised, as if the author wanted to sketch define it more closely, and continually interrupted. At times, one has the feeling that Malevich eschews the final version; that the texts are written on the spur of the moment, without revision or correction. Alongside treatises and manifestos in which the philosophy of art appears inseparable from reflections on politics, economics and religion, Malevich’s legacy as a writer has recently been enriched by the discovery of a considerable quantity of poems, some of which are still unpublished. A prolific and polemical writer, Malevich is noteworthy not only for his richness and originality (and sometimes extravagance), but also for his fascinating, ungrammatical literariness. He often ignored not only the rules of spelling and punctuation, but also the usual human logic. His rough prose, which initially repels the reader, ends up capturing and involving him thanks to its vigour and prophetic spirit; the numerous neologisms are a good test for the translator, who is often forced to undertake an exegesis of ’transmental’ linguistic forms and philosophical terms created on the hoof.
Jean-Claude Marcadé, emeritus director of research at the C.N.R.S Centre National de la Recherche Scientifique in Paris, has been the curator and scientific commissioner of numerous exhibitions, including the monographic exhibition dedicated to Malevich at the Musée des Beaux-Arts in Bilbao in 2006.
Nadia Caprioglio graduated from the University of Turin in Russian Language and Literature. She completed a PhD in Comparative Slavic Literature at the University of Milan and spent time at the A. Pushkin Institute of Russian Language and Literature in Moscow, the Lomosov University in Moscow, the Université Libre in Brussels and the University of Nebraska in Omaha. She has been a researcher at the University of Turin since 1992, and since the 1996-97 academic year has held the chair of Contemporary Russian Literature at the Faculty of Education where she holds courses on twentieth-century poetry and preparatory seminars on Russian versification.
format: 19 x 20 cm
date of publication: 2009
€30,00The artist’s book brings together 138 drawings created by Marzia Migliora between 2006 and 2008. The title Ink on paper incisively defines the content of the book, in which the choice of colour, limited to two Indian ink colours, red and black, determines the thread accompanying a journey through images without the aid of the written word. The book contains no critical apparatus or texts: a choice designed to highlight the expressive and evocative freedom of the language of drawing. The sequence of drawings traces a narrative thread that is composed in the eyes of the viewer without imposing a pre-established reading. The book is divided into six projects with a blank page, a pause, a breath to take the eye to another place. The subjects represented move from the woods to the high seas, from domestic interiors to spaces in which an undefined outline sees the protagonists floating in the white of the paper, the void. This too takes shape, becoming a consistent physical space: a place. Drawing for Marzia Migliora is an act of discovery, a glance at her surroundings, a private act in close relation to her own reserve of past observations, the blank sheet of paper a condition of existence, the area in which to give birth to a situation and make it become conscious.
curated by Alain Cueff
format: 16,5 x 24 cm
date of publication: December 2007
€35,00“The interviews collected here – from the first, given in 1962, to the last, published after his death in 1987 – allow us to appreciate Warhol’s constancy and his ability to continue to play the part of a sort of Sphinx swearing it has no enigma to offer. This collection can be read as a treatise on the art of escape: ask me whatever you want, because after I mutter an answer I won’t be there anymore. It can also be read as the paradoxical and enigmatic lesson of an artist who cultivates contradiction as a necessity: tomorrow I will say the opposite of what I said today. One dodge after another, his philosophy ends up filtering through the lines and even though Warhol knows how to juggle in a palace of mirrors to throw up reflections confusing he who would study him, it is still possible to reconstruct the portrait of the character and the artist. But it is necessary to pass through many traps, whether signalled or hidden, which often spring up at inopportune moments: short circuits, paradoxes, double-meaning statements which, by relegating the truth to the rank of a derisory accessory, destabilise his interlocutors. In the following pages, the reader sees that something similar happens in his interviews where, by trying to avoid the subject of his work, Warhol puts his interlocutors and readers against the wall. But if we read between the lines, we can see that he is mainly interested in the dislocations of signs, the sudden appearances and disappearances of vanishing points. Except where he first tries to draw us back to the picture. In case we had forgotten: right on the axis of the picture” (Alain Cueff). There is probably no cultural personality who has been interviewed as frequently as Andy Warhol. His figure was perennially associated with the media and wherever he went, the press followed him. As far as possible, this book presents Warhol in all his dimensions over the twenty-five years he was in the spotlight. There are pieces focusing on every area of his vast oeuvre and voracious life: Andy as painter, filmmaker, publisher, promoter, performer, printmaker, photographer, author and videographer; there are interviews that illustrate Andy’s views on other artists; the experience of going shopping with him; what his feelings were about New York; how he perceived his Catholicism. Although we have tried to maintain a certain chronological balance, more than half of the interviews date from the 1960s, considered the most important period of his life. No changes have been made to the interviews, nor have revised versions of the texts been included. Original title: I’LL BE YOUR MIRROR. Selected Andy Warhol Interviews, 1962-1987 (edited by Kenneth Goldsmith), Carroll & Graf Publishers, New York 2004.
text by Giorgio Griffa
format: 16,5 x 23,5 cm
date of publication: July 2005
images: 70 col.
This book is published on the occasion of the solo exhibition held at Institut Malthildenhöhe in Darmstadt from July 23rd to September 4th 2005. It collects 70 drawings by the artist and his text concerning some reflections over the contemporary painting role.
“These notes are for those who think my paintings is a more or less elegant exercise in decorative aestheticism. I would like to tell them that I believe and trust in the lyrical value of color and signs, but I do not think of painting, and art in general, as an escape from reality, a free zone. Just the opposite: I believe art continues to be a tool of awareness and therefore of immersion in reality.” […] Since I am convinced that the position of the artist hasn’t changed very much, I will attempt to lay out certain aspects of knowledge that determine my work, without claiming to explain the uncharted paths if the ineffable.”
“When my brush crosses the canvas, one sign after another, it fixes space from within. Rather than organizing it in an external, completed vision, it follows a dynamic dimension in which time coexists, similar to what happens when we occupy space by walking, one step after another, events, like proper time of relativity.” (Giorgio Griffa)
Giorgio Griffa was born in Turin in 1936. Since 1968 he has held about one hundred solo shows in public and private spaces, including the 39th Venice Biennial in 1980, and the GAM in Turin in 2001-02. He has published the following texts: Non c’è rosa senza spine (Ed. Martano, Turin 1975); Cani sciolti antichisti (Martano and Samanedizioni, Genoa 1980); Drugstore Parnassus (Martano and Ottenhausen Verlag, Aachen 1981); In nascita di Cibera (Studio Noacco, Chieri 1989); 434-442-443-... (Ed. Franco Masoero, Turin 1992); Il principio di indeterminazione (Ed. Maestri Incisori, Milan 1994); Di segno in segno (with Martina Corgnati - Ed. Stefano Fumagalli, Bergamo 1995); Come un dialogo (Lorenzelli Arte, Milan 1997); Approdo a Gilania (Galleria Giancarlo Salzano, Turin 1998); Intelligenza della materia (Galleria Giancarlo Salzano, Turin 2000); 60 schizzi da opere 1968/2000 e un testo (Ed. Franco Masoero, Turin 2000); Nelle orme dei Cantos (Libri Scheiwiller, Milan 2001).
curated by Beatrice Merz
introduction by Harald Szeemann
format: 16,5 x 23,5 cm
date of publication: April 2005
€24,00This book is a new, revised and corrected edition of the artist’s writings first published in 1985. In line with the work system adopted by Mario Merz, the transcription of the texts does not maintain a chronological order, but identifies three moments of typological distinction in which different referential identities emerge in the development of the writing. “Voglio fare subito un libro” (I want to make a book right now) is a collection of published and unpublished texts written by Mario Merz up to 1985, in which the dialogue between the ’forces’ of art and those of literature erupts at times luxuriantly and brilliantly and at times harshly and critically; it is concentrated or dispersed in various topics that flow through the pages like a river in flood. The poetic freedoms that Mario Merz appropriates in the act of writing are interwoven with suggestions and references to his art. An art managed on the basis of inventions: of architectural structures (the progression of tables, spirals or the better-known igloos...), of pictorial constructions (which have developed since the birth of Merz the artist), on the natural cyclical and numerical development of the elements (the application of Fibonacci’s numerical progression), on the use of materials rejected by society (broken glass, old newspapers...), on strategic statements (“Se il nemico si concentra perde terreno, se si disperde perde forza”, “Objet cache-toi”, “Città irreale…”) which are included in his works as axioms and emerge as traces in the reading of this book.” Harald Szeemann
texts by: Isabelle Baechler, Patrizia Bonanzinga, Paolo Longo, Roberto Salbitani
format: 21 x 15 cm
date of publication: September 2004
illustrations: 56 duplex
€35,00A myriad of trucks loaded with coal, cycles cart overflowing with round back coal bricks, and an acrid smell: we are in Beijing… The black sobering dust of coal is everywhere: behind the temples, in the alleys, at the corner of big avenues, inside the main entrances, on the stairwells. Patrizia Bonanzinga has followed the path of Chine's coal industry that runs along the Datong- Beijing axis. She has discovered a touching whole, but a very tough universe. She shows this reality in a simple manner through the human interaction with coal. The text that goes together with the photos is written with the same spirit: free from militant engagement, it shows this complex human whole, so simple but also very proud, and it presents the problems linked to the utilization of coal, such as the destruction of the environment, without excluding the tenderness of life that revolves around coal. The aim is to sketch a picture giving life to this Chinese coal world where the human relations are formed by the hardness of the task. The photographic work shows the various phases of the production and the routing of the coal between Datong (in northern Shanxi province) and Beijing: the various types of coal mines, including one major state-owned mine in Datong with 2000 workers, a small or "local" mine in Datong with 200, and a collectively-owned mine with 25 workers. Patrizia Bonanzinga, graduated in mathematics at the University of Siena and has worked for about ten years in telecommunications sector for an institute of scientific research. She spent numerous long periods abroad (Mexico, Algeria, USA, France, and China). her passion for photography started during her university studies. She settled in Beijing between 1995 and 1998 and during these days she worked on various subjects linked to China which she has published and exhibited in: the gallery of the Central Academy of Fine Arts, Beijing (December 1997), the national Gallery of Modern Art, Rome (June-July 1999), the Italian Institute of Culture, Marseille (April 2001), the Atelier François Seigneur & Sylvie de la Dure, Arles (July 2001). She took part in the realization of the book Grammaire de l'objet chinois by Michel Culas (Edition de l'Amateur, Paris 1997), producing, among other things, the cover photo. For two years (1996-1998), she worked on the project The Road to Coal, utilizing only black and white film.