A myriad of trucks loaded with coal, cycles cart overflowing with round back coal bricks, and an acrid smell: we are in Beijing… The black sobering dust of coal is everywhere: behind the temples, in the alleys, at the corner of big avenues, inside the main entrances, on the stairwells. Patrizia Bonanzinga has followed the path of Chine's coal industry that runs along the Datong- Beijing axis. She has discovered a touching whole, but a very tough universe. She shows this reality in a simple manner through the human interaction with coal. The text that goes together with the photos is written with the same spirit: free from militant engagement, it shows this complex human whole, so simple but also very proud, and it presents the problems linked to the utilization of coal, such as the destruction of the environment, without excluding the tenderness of life that revolves around coal. The aim is to sketch a picture giving life to this Chinese coal world where the human relations are formed by the hardness of the task.

The photographic work shows the various phases of the production and the routing of the coal between Datong (in northern Shanxi province) and Beijing: the various types of coal mines, including one major state-owned mine in Datong with 2000 workers, a small or "local" mine in Datong with 200, and a collectively-owned mine with 25 workers.

Patrizia Bonanzinga, graduated in mathematics at the University of Siena and has worked for about ten years in telecommunications sector for an institute of scientific research. She spent numerous long periods abroad (Mexico, Algeria, USA, France, and China). her passion for photography started during her university studies. She settled in Beijing between 1995 and 1998 and during these days she worked on various subjects linked to China which she has published and exhibited in: the gallery of the Central Academy of Fine Arts, Beijing (December 1997), the national Gallery of Modern Art, Rome (June-July 1999), the Italian Institute of Culture, Marseille (April 2001), the Atelier François Seigneur & Sylvie de la Dure, Arles (July 2001). She took part in the realization of the book Grammaire de l'objet chinois by Michel Culas (Edition de l'Amateur, Paris 1997), producing, among other things, the cover photo. For two years (1996-1998), she worked on the project The Road to Coal, utilizing only black and white film.

This small book collects and orders chronologically most of the notes written by Giuseppe Pellizza in Turin in September-October 1891, when he tried his hand in the competition for the national artistic pension. The notes belong to three different notebooks, one of which is preserved in Giuseppe Pellizza’s studio-museum in Volpedo. The transcriptions are by Pierluigi Pernigotti for the Volpedo notebook, and Virgilio Giacomo Bono and Aurora Scotti Tosini for the other two.

This monograph devoted to the artist-director duo Yervant Gianikian and Angela Ricci Lucchi traces a large part of their work from the early 1970s to the 1990s. Thanks to a conversation curated by Sergio Toffetti and Daniela Giuffrida, it reconstructs the thread of a journey that begins with Angela Ricci Lucchi’s training in Salzburg with Oskar Kokoschka and the early film experiences of Gianikian; films that use found objects to focus on the themes of memory. The meeting of the directors’ artistic practices and their respective lives has fostered attention on the theme of the “catalogue”: the true pole around which Gianikian|Ricci Lucchi’s poetics revolves and unfolds. In addition to the aforementioned interview, the book includes texts by Alberto Farassino, Janis Crystal Lipzin, Scott MacDonald, and Michel Hommel, and is completed by texts by the filmmakers featured in the book.

The book, like Giulio Paolini’s works themselves, is coherently suspended between the visible and the invisible, the defined and the unresolved. Once again the artist looks at the riddle of his work as a participatory author and critic, in a dynamic progress, preserving intact the attitudes of wonder through which he fascinates the spectator with whom he identifies. In his book, the artist uses seven rooms – as many places of refraction, reference and accumulation, where anything can happen – to allow or suggest to the reader, who is mirrored in the work, the activation of an exchange of role and experience, to explore what happens outside and inside himself. The book features the photographic collaboration of Paolo Mussat Sartor.

Written by an avant-garde musician, this book confirms the typical critical attitude of the musical avant-garde towards classical theories. But it must be immediately said that the book does not deal with Theory of Harmony but only with Harmony. It is about the concept that in the field of music theory and didactics is used as an implicit foundation for so many behaviours and precepts. In these pages we do not analyse the musical mechanisms but the conceptual mechanisms. It examines whether the preceptual discourse in music is meaningful or not, and what contradictions and consequences it entails. The essay, written in the form of thoughts, phrases, aphorisms, often crosses over into existential fields and is undoubtedly the testimony of a situation into which we are ourselves drawn.

“The title is symbolic: the Shiite archer, representing the Asian creator, galloping on the border between the Western and Eastern worlds, his face turned towards the immense East (the Russian multinational empire, Persia, China, Japan, India), with only half an eye observing what comes from the West. The meaning of the metaphor is clear, perhaps arguable, but deliberately provocative: Russian avant-garde art exists in itself; it finds the necessary forms, the creative inspiration, on its own terrain”. Benedikt Livšic's memoirs, which cover a crucial period of artistic development in Russia, are of fundamental importance in the reconstruction of the epic of the expressive revolution of the first two decades of the twentieth century. Introduction by Jean Claude Marcadé.