This volume, which constitutes the catalogue of the exhibition of the Norwegian artist held at the Museo Nacional Centro de Arte Reina Sofía from 18 September 2003 to 16 February 2004, presents not only images of the installation at the Palacio de Cristal but a vast excursus on the artist’s work, through photographs of works and texts by various authors. Among them are Giulietta Speranza, Mariano Navarro and Frédéric Bonnet.

Born in 1955, he lives and works between Turin and Oslo.
In 1990 he participated in the Nordic Pavilion at the XLIV Venice Biennale. His works have been exhibited in prestigious national and international museums, including: Henie-Onstad Art Centre in Oslo Museet for Samtidskunst in Oslo, Museo Nacional Centro de Arte Reina Sofía in Madrid, CAC Málaga Centro De Arte Contemporáneo in Málaga.
Among his most recent exhibitions, in 2014 he took part in the second edition of 'Icastica', in Arezzo, creating an oil installation in the Church of San Domenico, under the Cimabue crucifix. In the same year, he exhibited in São Paulo, Brazil, in 'Made by Brazilians...Creative Invasion'. In 2015, he was invited to participate in 'L'albero della cuccagna', an event conceived by Achille Bonito Oliva, creating an oil chamber at Ca' Pesaro, Venice. In 2017, he presented one of his large installations at the opening of the Centre de Création Contemporaine Olivier Debré in Tours, France. In 2018 he participated in Manifesta 12, Palermo, with an oil room at the Cavallerizza of Palazzo Mazzarino, and in 2019 he created an oil room at the Carpintarias de São Lázaro, Lisbon.

This catalogue was published on the occasion of Pier Paolo Calzolari’s solo exhibition at Galleria Giorgio Persano in Turin from 17 May to 31 July 2001. A critical essay by Luciana Rogozinski accompanies the images to explore the themes of Calzolari’s art and pauses to analyse his works, grasping their poetics and meaning: “Annunciation, Revelation, Trace: to indicate the transit of the luminous substance in the world’s day, Calzolari’s images are organised like an itinerary by stations. But this journey opens up like a theatre rose: wandering between one and another station in space, the pilgrims of the vision become witnesses and, in the acts of their own bewilderment or ecstasy, parts of the same landscape of the image: ‘figures’.” (Luciana Rogozinski)

The volume is published in occasion of Gian Marco Montesano’s solo exhibit (May 14th - July 6th 2003), that continues the cycle of exhibits dedicates to Piedmontese artists called Profili, set up at Galleria di San Filippo in Turin. 

Other than being the exhibit’s catalogue, the volume is an artist’s book rich in images and critical contributions, among which a conversation between the curators and the artist and an essay that goes into detail of Gian Marco Montesano’s artistic career, along with autobiographical writings and a wide anthology. 

The wide amount of images reproduced in the catalogue, divided by theme, include the cycle of one hundred drawings named Cinema Italia, that goes through the Twentieth century as in a carousel, made of still images, private memories and collective events, moving through History and stories, society and culture, costumes and memories. 

The section dedicated to the boards offers a selection of Montesano’s artistic production, illustrating some of his many favorite subjects and themes: from art’s Catholic heart to representation of dictators of the Twentieth century, from the local atmospheres of foretaste to quotes of gendered cinema, from images to sports under dictatorships, from war scenes to feminine portraits. 

The catalogue documents Mario Merz’s first solo exhibition in Brazil. The exhibition, curated by Danilo Eccher, was planned as a travelling event and was presented in the spaces of the Pinacoteca do Estado in São Paulo, the Paço Imperial in Rio de Janeiro and the Museu de Arte Moderna in Salvador di Bahia, after having been hosted in the spaces of the Fundación Proa in Buenos Aires. The exhibition included works and large-scale installations that the book documents through a large number of photographs.

The catalogue was published for the anthological exhibition held from 26 February to 4 May 2003, with the contribution of the City of Turin and the Piedmont Region, at the Accademia Albertina delle Belle Arti in Turin, which sought to present to the public the production of one of the most important artists in the Piedmontese art scene. The book is a tribute to Gino Gorza and his creative and professional career, which made an important contribution to the cultural growth of Turin.
Introduced by in-depth critical essays by Pino Mantovani, Marco Rosci and Francesco De Bartolomeis, the catalogue reproduces about one hundred works, accompanied by detailed biographical notes written by Anna Maglioni, and provides an exhaustive account of Gorza’s artistic personality, both through his works and through the autograph writings reproduced in their entirety.
The photographic documentation of Gorza’s work opens with the Ritratto del modello of 1949 and continues with the figure-signs of the Icone of the 1950s and the iconographic memories of the Panoplies, before lingering over the centrality of the experience of the Anamorfi and Bivalvi of the 1960s. Passing from the extreme essentiality of the Atti visivi and the aesthetic interpretation of silk in Artemis, we arrive at the musical trend of the Avverbi which constitute his last production together with the Interpunzioni and Alpha. Finally, a large section is dedicated to drawings: among others, the refined series on Nepalese paper.
The catalogue closes with an updated and complete biography and bibliography.

The series of catalogues made by hopefulmonster for GAM, Galleria Civica di Arte Moderna e Contemporanea in Turin, opens with a monograph dedicated to artist Eva Marisaldi in occasion of her exhibit at GAM from November 15th 2002 to January 15th 2003. 

The catalogue, that narrates the artistic personality of Eva Marisaldi, both through her works and thanks her biographical writings of 1994 and here published for the first time, opens up with her work up until 2002 (date of publication, NdR), made of installations, videos and numerous drawings. 

Through her drawings, that for Eva Marisaldi represent a mean of narrating many stories suspended in space and time, one reaches the sound works all centered on the mind, on thoughts, that get colored by emotion and desire. 

Two critical writings, one by Elena Volpato, curator of the exhibition, the other by Rosalba Paiano, accompany the images to deepen the themes of Marisaldi’s art, and analyze her work, taking on their meaning and poetry.