A new tale by Miguel Angel Mendo for La favola dell'arte. A young artist, Nari Ward, Jamaican by birth but living in New York, provides the inspiration for this new adventure. A tale "against". Against waste, standardization, extravagant consumption, which can lead us and our children to loose the joy of preserving things with love, and lose our relationship with other people, both similar and different to us.

La favola dell'arte, or a fabulous way of entering the world of art. The art of writing and the art of the figure in a close synergy at the service of fun and learning.

Nari Ward was born in St. Andrews, Jamaica, in 1963. “[...] While Ward resonates far beyond the Harlem locale that often acts as incubator for his creative impulses, he often acts as lay archaeologist of this well-chronicled neighborhood. [...] He is a seeker and his art tells the tale of this self-compelled odissey. [...] Sometimes, the things that catch his eye are too close to us; competing for our divided attention, they simply fall off the radar screen. His evocative installations incorporate everyday finds baby strollers, stockfish, shopping carts, plastic bags sending out an SOS to which we can't help but respond” (Olukemi Ilesanmi).

Miguel Angel Mendo was born in Madrid in 1949. A graduate in psychology, he began working as a psychotherapist in close contact with the world of children and alternative pedagogy. He has written books for children, but also for the theatre, and in the past has been a teacher of cinema, a contributor to various periodicals and an editor of television and radio programmes.

Monographic catalogue of the sicilian artist published for the exhibition held at Galleria Civica d’Arte Contemporanea in Siracusa. The book includes also a Compact Disk with music composed by Giuseppe Gavazza for sonorizing some of the artist’s works.
Alfredo Romano’s work gathers the transitoriness of becoming in forms and objects that express the ambivalence of reality and the human condition. This symbolic size becomes a concrete reality because of the use of ordinary materials for a new interpretation: wax, wood, marble, iron and fabric are used together and they refer to the lightness and at once to the heaviness of everyday life.
The bowls that compose ‘La stanza sorda’ (Deaf Room) refer to a popular culture, the pliers used for ‘Feritoie’ (Loops-holes) evoke the brutality and violence of our society and the plaits, the grills, the chairs, the bowls, the scythe “are not”, as the artist says, “objects. They are the sense of existence”.
The inner speech of Romano’s works meets the musical speech of Giuseppe Gavazza, an italian composer from Turin, to create the sounding installations called ‘N-Odi’. They express Alfredo Romano’s wish, when he says: “I would like my work to be like a song”.

The catalogue of the solo exhibition that GAM in Turin dedicated to the work of Kcho, a young Cuban artist, from 9 February to 7 April 2002, is the ninth in the AVVISTAMENTI 1999-2001 series. Ten exhibitions of contemporary art, curated by Alessandra Pace, with critical contributions by Gianfranco Maraniello, José Manuel Noceda Fernández and Corina Matamoros Tuma. The book includes a rich iconographic repertoire and includes images of the installation, designed and supervised directly by the artist.

The book documents the Guggenheim Public project, a complex process that lasted five years: from September 1996 to December 2001. The inspiration for the project is easily recognisable and leads back to the legacy of Josef Beuys. The intention of Anita Sieff, creator and curator of the entire programme, was to create a series of appointments and to make each encounter a “social sculpture”, as Beuys understood the intangible work of communication. The book takes into account the editing of the various contributions of the many participants by a flexible editorial team.

A lively guide to the history and decorations of Turin’s historic Palazzo Madama, the booklet is designed for younger readers and visitors. It follows a historical path illustrating the complex story of the building, from its Roman foundations to its medieval extensions, and from the stately Baroque palace to D’Andrade's interventions, and on to the Subalpine Parliament and the site of the Risorgimento to the more recent restoration work that has given the city a place that is a symbol of Turin and its history. The texts by Ivana Mulatero are accompanied by a character called Farinello, illustrated by Petra Probst.

The Belgian artist Panamarenko is described by Nico Orengo as the toy maker from Antwerp because of the ludic and experimental peculiarity of a great many of his works.
The character of the children rhyme is Panamarenko/Pepto Bismo, a sculpture of the artist and a flying little man who, after leaving his studio in Antwerp, allows himself a journey by flight and by sea. Then he is fished out for being exhibited at the Biennale of Venice. But Pepto Bismo has a free mood-attitude and, on board of a white improbable airship, he will run away to come back to the stillness of the countryside, after visiting Giotto at the Cappella degli Scrovegni, where he will test new “Unidentified Flying Objects”.

Nico Orengo (Turin, 1944-2009), has written, among others, A-ulì-ulè. Filastrocche, conte, ninnenanne, (Einaudi, Torino, 1972) and Spiaggia, sdraio e ombrellone (Einaudi, Torino, 1999), Dogana d’amore, (Rizzoli, Milano, 1987), poems like Cartoline di mare (Einaudi, Torino, 1984), Terre blu (Melangolo, 2000), a touching and philosophical fairy tale for adults with the title L’allodola e il cinghiale (Einaudi, Torino, 2001), illustrated by Luigi Mainolfi, and the much praised novel La curva del latte (Einaudi, Torino, 2002) about the political and cultural changes of the late 1950s.

Panamarenko (Antwerp, 1940 - Brakel, 2003), artist and inventor, he was one of the most relevant personalities of the Belgian panorama in the 70s. Between ’62 and ’64 he experiments, together with Hugo Heyrman, with new materials, chiefly polyesters, which enabled the most varied of objects to be made. Prolific, visionary, experimental, Panamarenko has created an incredible set of objects with which “to play”, in which Utopya plays an important role. His first, real “machines” such as Prova-Car, a white metal model of a futuristic racing car, or the human-propulsion Airship (also called Six-bladed Helicopter) as well as the flying machines he was to build later, are the superbe result of an alchemy made of sofisticated calculations and archaic construction which evoke the poetic, epic dimension of human flight, lost since Leonardo da Vinci, and restore the nostalgic image of the pioneer, of adventure and exploration.