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. 

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.

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.