The art book is published for the exhibitions held at the Kunstmuseum in Winthertur (September 6th / November 23rd 2003) and at Barbara Gladstone Gallery in New York (January 24th / February 21th 2004): it’s a black and white and color collection of drawings made by Marisa Merz between 2001 and 2004.

“Forty-three images on white paper, not contained within outlines but mere indications of figures: fine, dark visions which seemed to collect on the surface only to disperse again – barely any lines, just a suggestion. […] The drawings concentrate on the features of a face: eyes and a mouth, reference points which seem less to belong to a person than to occupy the space – not with any regularity, but sporadically like an assembly congregating, a throng of beings settling here and there.  […] Speed and energy shape these drawings, the gesture of the artist’s hand audaciously denies what has been before and forges ahead instead of sinking into the paper.” (Dieter Schwarz)

Marisa Merz was born in Turin and has participated in the creative activities that coalesced in the Arte povera group, showing at the Deposito d’Arte Presente in 1967 and in the group show Arte Povera + Azioni Povere, in Amalfi in 1968. In addition to having participated in some of the most important group shows in the last thirty years, Marisa Merz has also exhibited at many editions of the Venice Biennale, winning the Prize in 2001 edition. 

The catalogue was published on the occasion of the Non toccare la donna bianca. La liberazione delle diversità exhibition held at the Fondazione Sandretto Re Rebaudengo in Turin from 17 September 2004 to 8 January 2005. The exhibition at Fondazione Sandretto, curated by Francesco Bonami, is a reflection on the artistic role of women in a society shaped by male identity. The book, which constitutes the exhibition catalogue, aims to investigate this reality through the creative language of nineteen women artists whose works include installations, drawings, videos and photographs, mixing heterogeneous languages used to interpret the theme of women artists’ freedom in contemporary culture.

The book has been produced maintaining the creative layout specially conceived by the artists who have interpreted the pages dedicated to them in an autonomous and original way: a series of images follow one another without interruption, in a lively alternation that sees the works of well-known artists such as Shirin Neshat juxtaposed with those of emerging ones such as Maja Bajevic.

Accompanied by a text by the exhibition’s curator Francesco Bonami and by the entries for each work files and including a biographical and bibliographical appendix, the catalogue offers an original interpretation of the selected works of Micol Assaël, Maja Bajevic, Berlinde De Bruyckere, Marlene Dumas, Ellen Gallagher, Carmit Gil, Fernanda Gomes, Lyudmila Gorlova, Mona Hatoum, Michal Helfman, Emily Jacir, Koo Jeong-a, Daniela Kostova, Senga Nengudi, Shirin Neshat, Shirana Shahbazi, Valeska Soares, Nobuko Tsuchiya and Shen Yuan.

The book was published on the occasion of the Domenico Bianchi Mario Merz exhibition dedicated to the two artists as part of the Art&Maggio event, held at the Castello Svevo in Bari from 1 May to 30 June 2004.
The catalogue collects the photographic documentation of the exhibition and opens with the images of Mario Merz’s artistic project set up in the inner courtyard of the Angevin castle: it is a large igloo built in 1998 to be exhibited in the park of the Fundaçao Serralves in Porto and presented in the Bari exhibition as a tribute to the recently deceased artist. The iron structure of the igloo is surmounted by a deer that symbolically underlines the spiritual dimension of the work.
The second part of the catalogue is dedicated to the creations conceived by Domenico Bianchi and arranged in the castle’s Sala Angioina: eleven large paintings made using materials such as wood, wax, palladium and fibreglass.
The last part of the book uses images to illustrate some of Bianchi’s most significant experiences in exhibitions for indoor spaces and Merz’s works for outdoor spaces.

The 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.

The monograph has been published in occasion of the exhibit Piero Fogliati, Poeta della Luca, set up at Tendoni di Ponte Mosca in Turin from November 6th 2003 to January 11th 2004. 

The volume collects the photographic documentation of Piero Fogliati’s work through his artistic career, divided in three main chapters: light, sound and drawings, with the contributions of in-depth critical essays by Piero Bianucci, Josia Reichardt, Marisa Vescovo and Lara-Vinca Masini. 

About one hundred works have been reproduces, with detailed biographical descriptions edited by Alessandro Trabucco. 

Piero Fogliati (Turin 1930-2016), in his artistic research he used unaware perception processes. He works in the invisible with sound and light. Piero Fogliati’s art uses scientific principles in all of his sculptures and installations and studies physiological and psychological phenomenons of perception. 

The volume was published for the Operae exhibition dedicated to Sol LeWitt and Mimmo Paladino by the Associazione Culturale Futuro and held in Bari from 7 June to 24 August 2003.
The catalogue collects the photographic documentation of the exhibition and opens with images of Mimmo Paladino’s artistic project, articulated in a series of works set up in the medieval fortress overlooking the sea. Above the bastions of the fortress, the artist placed nine polychrome aluminium flags watching over the old port like ancient banners, while a large metal helmet presides over the entrance to the fortress, inside which lie the terracotta figures of the Dormienti, accompanied by music composed by Brian Eno.
The second part of the catalogue is dedicated to LeWitt’s work: All bands is a large wall-painting made up of rectangular tiles combining horizontal and circular lines in bright, brilliant, “Mediterranean” colours, in a sort of homage to Bari’s seafaring vocation, a synthesis of the angular geometries of Western architecture and the circular symbolism of the East. The pages of the book also illustrate all the stages in the creation of the work, from the initial preparation to the final installation.