Writings by artist
  • Pellizza Da Volpedo

    Pellizza da Volpedo. Diari torinesi 1891

    pages: 55
    format: 12 x 15 cm
    date of publication: May 2000
    images: 28
    binding: paperback
    language: Italian
    isbn 8877571152


    This small book collects and orders chronologically most of the notes written by Giuseppe Pellizza in Turin in September-October 1891, when he tried his hand in the competition for the national artistic pension. The notes belong to three different notebooks, one of which is preserved in Giuseppe Pellizza’s studio-museum in Volpedo. The transcriptions are by Pierluigi Pernigotti for the Volpedo notebook, and Virgilio Giacomo Bono and Aurora Scotti Tosini for the other two.
  • Yervant Gianikian - Angela Ricci Lucchi

    edited by Sergio Toffetti
    pages: 130
    format: 16 x 22,5 cm
    date of publication: May 1992
    images: 25
    binding: paperback
    language: Italian/English
    isbn 98877570644


    This monograph devoted to the artist-director duo Yervant Gianikian and Angela Ricci Lucchi traces a large part of their work from the early 1970s to the 1990s. Thanks to a conversation curated by Sergio Toffetti and Daniela Giuffrida, it reconstructs the thread of a journey that begins with Angela Ricci Lucchi’s training in Salzburg with Oskar Kokoschka and the early film experiences of Gianikian; films that use found objects to focus on the themes of memory. The meeting of the directors’ artistic practices and their respective lives has fostered attention on the theme of the “catalogue”: the true pole around which Gianikian|Ricci Lucchi’s poetics revolves and unfolds. In addition to the aforementioned interview, the book includes texts by Alberto Farassino, Janis Crystal Lipzin, Scott MacDonald, and Michel Hommel, and is completed by texts by the filmmakers featured in the book.
  • Giulio Paolini

    Contemplator Enim

    pages: 42
    format: 28 x 37 cm
    date of publication: March 1991
    images: 7
    binding: paperback
    language: Italian/English
    isbn 9887757030X


    The book, like Giulio Paolini’s works themselves, is coherently suspended between the visible and the invisible, the defined and the unresolved. Once again the artist looks at the riddle of his work as a participatory author and critic, in a dynamic progress, preserving intact the attitudes of wonder through which he fascinates the spectator with whom he identifies. In his book, the artist uses seven rooms – as many places of refraction, reference and accumulation, where anything can happen – to allow or suggest to the reader, who is mirrored in the work, the activation of an exchange of role and experience, to explore what happens outside and inside himself. The book features the photographic collaboration of Paolo Mussat Sartor.
  • Giuseppe Chiari

    Dubbio sull'armonia

    pages: 60
    format: 21 x 30 cm
    date of publication: February 1990
    binding: paperback
    language: Italian
    isbn 9788877570261


    Written by an avant-garde musician, this book confirms the typical critical attitude of the musical avant-garde towards classical theories. But it must be immediately said that the book does not deal with Theory of Harmony but only with Harmony. It is about the concept that in the field of music theory and didactics is used as an implicit foundation for so many behaviours and precepts. In these pages we do not analyse the musical mechanisms but the conceptual mechanisms. It examines whether the preceptual discourse in music is meaningful or not, and what contradictions and consequences it entails. The essay, written in the form of thoughts, phrases, aphorisms, often crosses over into existential fields and is undoubtedly the testimony of a situation into which we are ourselves drawn.
  • Benedikt Livšic

    L'arciere da un occhio e mezzo

    introduction and notes by Jean Claude Marcadé
    translation by Renata Francheschi
    pages: 344
    format: 16 x 22,5 cm
    date of publication: July 1989
    images: 44
    binding: paperback
    language: Italian
    isbn 98877570016


    “The title is symbolic: the Shiite archer, representing the Asian creator, galloping on the border between the Western and Eastern worlds, his face turned towards the immense East (the Russian multinational empire, Persia, China, Japan, India), with only half an eye observing what comes from the West. The meaning of the metaphor is clear, perhaps arguable, but deliberately provocative: Russian avant-garde art exists in itself; it finds the necessary forms, the creative inspiration, on its own terrain”. Benedikt Livšic's memoirs, which cover a crucial period of artistic development in Russia, are of fundamental importance in the reconstruction of the epic of the expressive revolution of the first two decades of the twentieth century. Introduction by Jean Claude Marcadé.
  • I want to write a book right now

    curated by Beatrice Merz
    introduction by Harald Szeemann
    translation by Paul Blanchard
    pages: 194
    format: 18 x 26,5 cm
    date of publication: July 1989
    binding: paperback
    language: Italian
    isbn 8877570253


    This book is the english translation 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