The monograph reproduces the photographic documentation of the solo exhibitions held in 2005 at the Fondazione Merz, Castello di Rivoli Contemporary Art Museum and GAM Galleria Civica di Arte Moderna e Contemporanea, representing the most important spaces dedicated to contemporary art in Torino. This monograph, the most complete published collection on the artist, contains the complete iconographic documentation of his artworks, representing an archival documentation and providing an unprecedented understanding of Merz’s working process.
The volume includes a comprehensive artistic career history, bibliography and biographical chronology and which is the most updated and complete examination of the artist. The book is enriched by the inclusion of unpublished material showed for the first time at the Fondazione Merz. It documents Mario Merz selected artistic production, including paintings, sculpture, installations, drawings, neon and Fibonacci series works. Some critical essays complete the volume, providing a deep and high reflections on the artist and his significative role in contemporary art.

The book is published on the occasion of the exhibition Fragments from a chromatic discussion 1990-2005 held at Archivio di Stato in Turin from March 24th to May 3rd, 2006.

The show collects 80 paintings created by the artist from 1990 to 2005 and reproduced in this book. This tells deeply about the artistic personality of Renata Rampazzi through her works in which the tracks of the brush, charged with diluted colour, combine, lose themselves in each other, and belong only to their growth in intensity, opening up to symbiosis, to mutations like all vital and natural events, when they enter into the generational dimension that appears between matter and spirit. We find ourselves before a thin, vaporous painting betraying the pressure exercised on its “skin” by effects of sensible currents of energy, which lays bare vaguely libidinous flashes of memory and is sublimed by phosphorescences of hidden lights.

The book, curated by Marisa Vescovo, also includes a text by the Italian writer Lidia Ravera.

The catalogue is published on the occasion of the solo exhibition held at the Institut Mathildenhöhe in Darmstadt (Germany) from July 23rd to September 4th 2005.

This monograph, which documents several works, including paintings, sculpture, installations and drawings, is the most updated and complete examination of the artist. It is a rich iconographic recognition of the artist’s activity and an updated monograph that contains four selected essays. The works reproduced here represent Zorio entire artistic carreer. This catalogue raisonné presents the complete oeuvre of this important artist: his works from the 60s, Sedia (Chair), Tenda (Tent) and Senza titolo (Untitled), up to the latest series of Stella (Star) and Canoa (Canoe). This catalogue provides new insight into the many aspects of this extraordinary artist.

Gilberto Zorio’s artistic activity began through his involvment in the Arte Povera movement which developed in Italy at the end of the Sixties, as part of a more general tendency toward anti-form, anti-geometry. The interest in space and form was replaced by a focus on human activity and desire for organic harmony between art, culture and nature. Zorio uses primary material (metals, glass, rubber, wood, animal hide, alcohol, acids and minerals, water, fire and light), he concentrates on energy processes and is concerned with language as a medium and processes of linguistic communication.

The book includes a chronology with numerous photos and documents and an updated biobibliography.

This book collects 19 drawings in a double version, with lightness and darkness view.

Gilberto Zorio exhibited in a number of the defining group shows of Arte Povera in 1967.He has exhibited widely in Europe and the United States. Retrospective exhibitions of Zorio’s work have been presented at the Stedelijk Museum in Amsterdam in 1979; the Kunstverein in Stuttgart in 1985; the Centre Georges Pompidou in Paris 1986; the Instituto Valenciano de Arte Moderno in Valencia 1991; Centro per l’Arte Contemporanea Luigi Pecci in Prato 1992; Documenta inKassel 1992; Galleria Civica di Arte Contemporanea in Trento 1996; Dia Center for the Arts 2001 and Sonnabend Gallery in New York 2004.

The volume was published on the occasion of the Filippo Scroppo. Un artista tra pittura e critica exhibition organized by the Accademia Albertina, with the support of the City of Turin and the Piedmont Region, and hosted at the Accademia Albertina di Belle Arti di Torino from 1 December 2004 to 30 January 2005.

The goal of this volume is to recall some of the most significant moments in Filippo Scroppo’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 activity as a critic and curator.

“In the paintings produced between 1946 and 1948, the juxtaposition with Cézanne and Matisse, already recognizable in the canvases of the late 1930s, gives way to a more intense confrontation with the Cubist tradition. [...] Without crossing the analytical and self-reflective frontiers of the New Painting of the 1970s, he was a secret interpreter of the manner, and in the title of a painting of 1978 – Infiorescenza mentale – he perhaps wished to propose a poetic but also subtly ironic definition of the ruins and challenges into which artistic research was venturing”. (Maria Teresa Roberto) 

The catalogue reproduces about eighty works on display in the Turin exhibition and includes critical texts by Pino Mantovani, Maria Teresa Roberto and an extensive anthology edited by Ivana Multaro.

The series of catalogues published by hopefulmonster for GAM, Galleria Civica di Arte Moderna e Contemporanea in Torino, reserved for artists of the new generation, continues with a monograph dedicated to Vedovamazzei for the exhibition held at GAM from October 6 2004 to January 6 2005.
Founded in 1990 Vedovamazzei is the working name of Italian artists Stella Scala and Simeone Crispino. The book includes also two essays, one by Giacinto Di Pietrantonio and the other by Charlotte Laubard.
“Most of their works evince a familiarity with reality and at first exude a certain seductiveness, mixing humor with a sense for melodrama, they seem to wish to escape from interpretation at whatever the cost. Luminous and rash, heroic and impudent, the oeuvre of Vedovamazzei confronts the violence of the visible with eyes wide open. Their gaze fears neither sun nor death.” (Charlotte Laubard)