The book tells the story of artist Concetta Modica's project, winner of the PAC - Piano per l'Arte Contemporanea 2021 - Linea committenza call for bids, promoted by the General Directorate for Contemporary Creativity of the Ministry of Culture and commissioned by the Civic Museum of Castelbuono (Palermo). The work she realised is linked to the historical events of the relic of St. Anne, the patron saint of Castelbuono, preserved in the chapel dedicated to her in the Ventimiglia Castle, home of the Museum. It is a large blue felt cloth printed in ink using a special intaglio technique, representing the image of the sky above Castelbuono on the night of 4 May 1454, the date on which the relic was transferred from the town of Geraci to Castelbuono. The image of the starry sky was obtained with the collaboration of the GAL Hassin Foundation - International Centre for Astronomical Sciences of Isnello. The project also makes use of the contribution of the embroiderers of Castelbuono and Isnello, renews the value of collaboration between institutions and communities and promotes a reinterpretation of the cultural heritage by encouraging cooperation between artists, artisans and the territory. The book contains texts by the president of the museum's board of directors, Mariaenza Puccia; museum director, Laura Barreca; curator of the public programme, Maria Rosa Sossai; anthropologist Angelo Cucco; astrophysicist Sabrina Masiero, head of didactics - GAL Hassin Foundation; Michela Eremita, co-founder of the Children's Art Museum of Santa Maria della Scala in Siena; and a conversation between the artist and Valentina Bruschi, curator of the project.

Concetta Modica was born in Modica and lives and works in Milan. Her works reflect on the present and its paradoxes, in particular on the concept of the 'contemporary epic'.

The volume constitutes the catalogue of Francesco Bartoli's project for mudaC | Museo delle arti Carrara and brings together images, drawings, photos, notes, and sketches documenting the genesis of the film of the same name and its final installation. The volume is conceived to disseminate the project on display and as a vehicle to promote tourism and the local cultural heritage. The project "Sculpting the Wind" by Francesco Bartoli, winner of the PAC - Plan for Contemporary Art 2021 of the General Directorate for Contemporary Creativity of the Ministry of Culture, curated by Laura Barreca, included the production of a film and it is one of the 39 projects selected from the 98 proposals that reached the 2021 edition of the call for proposals, for the acquisition, production, and valorization of works of contemporary art and creativity destined for the Italian public heritage. The title of the work is freely inspired by Andrej Tarkovskij's famous book "Sculpting Time", and in line with the museum's cultural orientation, it takes the form of a poetic narration and a dialogue with the territory of the Apuan Alps, linking together past and present, sculpture and landscape, art and technological innovation. The project was also realised with the collaboration of the Omero Museum for the Blind in Ancona and in partnership with the Academy of Fine Arts in Carrara. "The production of a work as complex as Bartoli's," commented the museum's director Laura Barreca, "is an extraordinary opportunity to reinterpret the Carrara area through creativity and poetic intuition, the outcome of which will be a film that will become part of the mudaC's permanent collection, thanks to the support that the DGCC has allocated to support Italian museums through the PAC Piano per l'Arte Contemporanea 2021.

Catalogue of the exhibition Palermo Mon Amour curated by Valentina Greco for the Fondazione Merz in collaboration with the Centro internazionale di fotografia Letizia Battaglia and the Enzo Sellerio archive. The book tells the story of Palermo from the 1950s to 1992 in images. A story that has the rhythm similar to a visual walk through the research and intuitions of five photographers, five gazes, who have investigated the poetic imagery of Palermo with different feelings, recounting a city in continuous deflagration, and not always recomposed in its complexity. The subject of a gentle, playful, cultured, anti-rhetorical vision, which is also an acute testimony to the social scene of the 1950s and 1960s, dense with stratified situations of misery and degradation but awaiting a possible civil and economic rebirth, Palermo underwent the further assault of the 1970s, of daily events of ferocious chronicle, until 1992, the year in which it seemed, once again, that everything could change. Through the photographs of Enzo Sellerio, Letizia Battaglia, Franco Zecchin, Fabio Sgroi and Lia Pasqualino we understand a new visual code, the sequences of their photographs amplify our feelings and add notions to those we have acquired of what it is necessary to see in order to position oneself in the world.

In addition to the curatorial text by Valentina Greco, the book is enriched by biographical contributions by Olivia and Antonio Sellerio for the Enzo Sellerio Archive, Marta Sollima for the Letizia Battaglia Archive, Franco Zecchin, Fabio Sgroi and Lia Pasqualino, as well as a moving story by Giorgio Vasta.

The first volume of the general catalogue of the artist's work is dedicated to the igloos and based on the exhaustive research conducted by art historian Maddalena Disch, edited by the Fondazione Merz with the support of the Scientific Committee composed of Richard Flood (independent curator and essayist), Frances Morris (Director of the Tate Modern in London) and Vicente Todolì (Artistic Advisor HangarBicocca in Milan) and the Merz Archive. The volume is introduced by a text signed by the Scientific Committee and an essay by Maddalena Disch; each work is presented with an analytical historical and biographical profile supported by accurate bibliographical references and an exhaustive photographic repertoire; a section of the volume will be devoted to an anthology of texts by the artist and excerpts from interviews concerning the works included in the volume. The book of over 500 pages will be published in two editions, one in Italian and one in English. Publication is planned for Autumn 2023 to mark the 20th anniversary of the artist's death in Milan on November 9th 2003.

In the monologue "Clic", by the unforgettable author of "Code", the scene is hinted at as a hospital. He exists, evoked by a mere name, which makes him a very powerful character, a certain Dr. Dickmans. The monologue speaker apparently freewheels about various themes and issues, produces his own reflections on himself, the world, the situation he is experiencing. But we follow this voice with growing disquiet, as it becomes clearer and clearer to us at every step that the narration itself is the story, not what the voice says. Indeed, the voice is often interrupted by a sign/sound, i.e. a 'click', which breaks its course just as it simultaneously breaks our mental reconstruction of the scene.
The continuous fractures are thus as much of the monologue-giver as of the reader/listener. This simple but ingenious 'click' binds us to the monologue more than any other empathic, or narrative, or visual, or experiential gimmick.

Mario Giorgi was born in Bologna in 1956. He has written texts for radio, theatre, TV. He has published "Codice" (Bollati Boringhieri 1994), "Biancaneve" (Bollati Boringhieri 1995), "Sulla torre antica" (Portofranco 1998), "23 : 59" (Rai Eri 1999), "Torpore" (Portofranco 2001), "Alter E" (Un fagiano) (:duepunti 2010), "Società del Programma Spaziale" (CS_libri 2016), "Configurazione Alieno" (CS_libri 2019), "Fiori" (Tiemme 2019).

Belma Goralija left suddenly. I didn't have time to meet her in her house or at the café, as I had thought. Nor did I have time to return to Sarajevo, where she lived. Accessory was the pandemic that cancelled the plane ticket I had bought two years ago. Now I regret this lost time and I am shocked at the voracious time of human nature in which our days flow. We will not be able to meet, talk, listen. I will no longer be able to write what I should have written. Then I and anyone else may ask: what to do with the time that remains? Just that time, our time that we have left to live. Before it was the time to run, to write, every day. Of telling others what life daily life disclosed. Today it seems to me the time to grasp the memories of those we have met, because they have something or perhaps a lot to teach. This verb seems beautiful. "The time that remains" pass through their faces, their stories, by what they have taught us. The index of the book will be the letters of their names.

Filippo Landi was born in Rome in 1954. He graduated in Political Science at the University La Sapienza in Rome. In 1978 he participated in the founding of the weekly "Il Sabato". He joined RAI in 1987. Correspondent in Saudi Arabia and Kuwait during the First Gulf War, then in former Yugoslavia and Sarajevo, during the years of the siege, in Kosovo and Albania. In 2001 he returned to the Middle East, as RAI correspondent in Cairo and from 2003 in Jerusalem, where he remained until 2014. On his experience in Kosovo he wrote Un treno per Blace (La Meridiana, 1999).