Founded in Turin in 1963, Sperone Gallery hosted extreme and different art forms: Pop Art, Arte Povera, New Dada, Minimalism, Conceptual Art and Transavanguard, have found in this space a sure landmark that have let artists and critics cross national boundaries. The book, made up of 2 tomes, describes Sperone Gallery’s history through a large documentation of photographs of the exhibitions of more than 150 artists, hosted in Turin, Rome and New York. The first tome, centred around the activity at the gallery in Turin from 1963 to 1972, includes the texts by the authors; the opening of the new spaces in Rome and New York marks the beginning of the second tome, that speaks about art exhibitions organized from 1972 to 1999, and ends with a chronological and geographical list of all the exhibitions and of all the artists. The pages, in chronological sequence, tell Sperone Gallery's history, draw the route and its most important stages, through views of the fittings of the exhibitions, photographs of the artworks, invitations, texts taken from the original catalogues and from newspapers articles. All the archive material is the result of a deep research made by the authors Anna Minola, Maria Cristina Mundici, Francesco Poli and Maria Teresa Roberto, each of them studying in depht with an essay an important period of the Gallery’s activity, that gives the book the charactheristic of being both critical and historical.

The book offers an interesting interpretation of contemporary art history, here rivisited through unpublished and unusual images that let fully understand the fervour and enthusiasm that always go with the artistic choises of this historical gallery.

The book is published with the contribute of Regione Piemonte.

This volume is the catalogue of the exhibition of the artist Per Barclay held at the Galleria Civica di Arte Contemporanea in Trento, from 22 January to 12 March 2000.
The volume is edited by Vittoria Coen and contains texts by Vittoria Coen, Micheal Vincent Tarantino, Karin Hellandsjø and Lars O. Ericsson.

Per Barclay (Oslo, 1955) is a Norwegian art historian and sculptor who lives and works between Turin and Oslo.
In line with the assumptions of the conceptual reinterpreted through Arte Povera, Barclay uses different media such as photography, installation, object sculpture and later sound to develop his work around a single experience, that of space. His art develops along four fundamental lines of work that coexist over time: interiors, installations, works embedded in nature and finally bodies. Going beyond the usual coordinates linked to different expressive media, the artist seeks a dialogue between architectural space and the human interior, where each element flows into the work in a psychological balance constantly calibrated on the edge of disquiet. For Barclay, like a stage director, he works in real space and transforms it into a fictitious place, telling another story. The room becomes a scene, a scene at the disposal of the artist/director, who uses it to create the work. The reflection and duplication of the image, the ambiguity cleverly conferred on the liquid elements (oil, water, blood) are essential components of the work.

The catalogue documents the exhibition held to celebrate the hundredth anniversary of Francesco Menzio’s birth at the Accademia Albertina delle Belle Arti in Turin from 17 December 1999 to 13 February 2000. The exhibition, curated by Rolando Bellini, traced the entire life and work of one of the major protagonists of the group of the “six painters of Turin”, starting with a selection made by the curators in agreement with the artist’s children of self-portraits the artist painted throughout his life. In addition to a rich iconographic documentation, the volume includes texts, a critical biography and a focus on Menzio’s activity as a teacher at the Academy.

A leading figure on the contemporary art scene, Giulio Paolini has since the beginning of the 1960s undertaken constant and unceasing research into the complex interweaving of relationships that take place in the sphere of visual experience and pictorial practice, between image and gaze, artist and spectator, past and present, time and space. The exhibition that this catalogue accompanies presents the figures and imaginative territories most assiduously frequented by the artist through forty years of work. In addition to a rich set of images, the catalogue includes a critical text by Pier Giovanni Castagnoli, an essay by Daniel Soutif, texts and projects by the artist, an essay by Maddalena Disch, another by Maurizio Fagiolo dell’Arco, a photographic essay by Paolo Mussat Sartor, a biographical note by Daniela Lancioni and biographical and bibliographical apparatus by Maddalena Disch.

This volume is the catalogue of the first solo exhibition dedicated to Calzolari by Bologna, the artist’s hometown, in a public space, from 14 March to 2 May 1999. Edited by Bruno Corà, with texts by the curator, by Mario Bertoni and Calzolari himself, the book documents the historical phases of the artist’s work and the installation at the Villa delle Rose, consisting largely of works specially conceived for the space. The book is completed by an extensive biography and bibliography.

Published by the Fondazione Guido ed Ettore De Fornaris on the occasion of the “Costruire una collezione. Nuove Acquisizioni 1994-1998” (Building a collection. New Acquisitions 1994-1998) exhibition, the volume constitutes the catalogue of the acquisitions of the previous five years and bears witness to the workcarried out by the Foundation in conformity with the cultural guidelines provided by the Artistic Commission. The book, edited by Riccardo Passoni, is the third catalogue produced so far: with the two previous ones, published in 1986 and 1993, almost twenty years of De Fornaris’ activity are thus summed up. This activity has enabled the more than one thousand works acquired by the Foundation to enrich the holdings of the Galleria Civica d’Arte Moderna e Contemporanea di Torino.