The book is published on the occasion of two exhibitions held at the Galleria Marabini in Bologna and at Centro Arti Visive Pescheria in Pesaro (26 October 2007-13 January 2008).

Candida Höfer is a German photographer, a former student of Bernd and Hilla Becher and specializing in large-format photographs of empty interiors and social spaces that capture the “psychology of social architecture”. In spite of the diversity of achitectural ideology and stylistic conventions, Hofer captures a singularity of the architects’ intent to represent a grand superstructure.

Candida Höfer’s photographs of libraries are sober and restrained – the atmosphere is disturbed by neither visitors nor users, especially as she forgoes any staging of the locations.

Candida Höfer was born in Eberswalde in 1944. She was a student at the Düsseldorf Academy of Art from 1973 to 1982, and studied film under Ole John before going on to study photography under the tutelage of Bernd Becher. Since 1975 she has taken part in numerous group exhibitions and held countless solo shows, and is now considered one of the greats of the current international photographic and art community.

The catalogue is published on the occasion of the exhibition INBETWEENESS held at San Michele former prison at Ripa (Rome) from 22 May to 15 June 2007. This exhibition wants to give you an idea of the situation experienced by recent generations of artists in the Balkan regions; we have called it Inbetweeness. This word represents a condition of perennial transit, an undefined identity in continuous movement from one place to another, in different time frames and different spaces, often in contradiction to each other. This ongoing condition of transience is something that the artists have experienced in person. It has prompted them to abandon their millenary traditions in order to embrace more modern forms of expression, such as the installation, photography, video, or the Net, all of which are instruments that can express pressing needs which could no longer be conveyed by the static nature of a painting or sculpture. The Balkans are a border region that has represented the meeting of East and West for centuries, all too often in the form of bloody conflicts. Today, in the era of globalisation, the Balkans actually stand for change and the definition of an ideal territory in which these two worlds can live in peace. For this reason the San Michele a Ripa former prison complex is the ideal venue for expressing this change. And so the works of the twenty-four exhibiting artists, symbolically placed inside the cells, form a melting pot of ideas, concepts, messages, and declarations that are able to annul the physical and symbolic confines of their space in order to create a new territory, one in which art can be freely expressed.

Essays are edited by Dobrila Denegri and Ludovico Pratesi.

Artists: Maja Bajeviç, Maja Beganoviç, Pavel Braila, Mircea Cantor e Gabriela Vanga, Nemanja Cvijanoviç, Nezaket Ekici, Nicu Ilfoveanu, Pravdoljub Ivanov, Šejla Kameriç, Daniela Kostova, David Maljkoviç, Ebru Özseçen, Adrian Paci, Tobijas Putrih, Anri Sala, son:DA, Miça Stajãiç, Erzen Shkololli, Jelena Tomaševiç, Slavica Toševska, Nikola Uzunovski, Vesna Vesiç, Natalija Vujoševiç

The series of catalogues published by hopefulmonster for GAM, continues with a monograph dedicated to the Italian artist Elisa Sighicelli for the exhibition held at GAM from March 15 to June 10 2007.
The catalogue, that tells deeply about the artistic personality of the artist through her works, opens with the photographic documentation of the exhibition to tell then through the images the art of Sighicelli from 1990’s up to today, showing light boxes and video projections.
Following a period of substantial observation of many of the variegated and composite effects that light can generate, the artist has recently chosen to investigate, in depth, the perceptive processes triggered by visual and luminous devices, both through moving images and photographic research. The scenarios are normally domestic situations, with an ordinary light. They tell of human presence through interior views, daily and earthy spaces. The attention placed on the possibilities, not only representative but rather experiential, offered by light and darkness, has led Sighicelli to direct her practice to scenarios that are increasingly aimed towards a more active role of the onlooker. 

Fondazione Merz in Turin from April 27th to July 29th, 2007. This book presents works since 1954, illustrating 300 drawings by Mario Merz. The majority of the artist’s sketches have never before been published and there has been little theoretical attempt to understand this crucial aspect of his career. For him, with the exception of writing, drawing was the only medium to accompany life, at home and on one’s travels, not only because it requires little in the way of materials and can be done anywhere and everywhere, but because drawing can match our mental and physical movements.

This book illustrates from the series of drawings on Objet cache-toi (Object, hide yourself) to the themes of the tables, cups and groups dedicated to the Giardino dei gufi (Garden of the owls), Semi floreali volanti (Flying flower seeds) and the Disegni di Sidney (Sydney drawings), as well as the large works depicting the prehistoric “terrible animals”.

The book includes an essay by Dieter Schwarz (Director of Kunstmuseum in Winterthur), Claire Gilman and a selected chronology by Lara Conte.

The book was published on the occasion of the Come in terra così in cielo exhibition organised by the Centro Arti Visive Pescheria in Pesaro from 24 March to 13 May 2007.

The exhibition project stemmed from the idea of transforming the former Chiesa del Suffragio into a total work of art, working on the relationship between light and architecture. Passi, the installation inside the former church, consists of a floor of mirrors that reflects the entire space, creating an evocative play of refractions and deformations. The mirror on which the public walks, contributing to its demolition, returns a deformed, fragmented image of the environment, preventing a global, composed vision. Every step is another crack in the reflective surface, breaking through the pilasters of the walls and the wooden beams of the ceiling: the space becomes a shattered image, while the architecture becomes an open, total work. On the walls, the artist has placed vertical watercolours, called Acque, which recall the shape of large windows and suggest the sliding of water over glass.

The texts and the interview with the artist are edited by Ludovico Pratesi. The descriptions of the works, edited by Alfredo Pirri, accompany the images and contain his reflections, almost a personal journey that includes the significant moments of his artistic research, united by a strong and incisive sensitivity.

The ART IN THE CITY project aims to analyse the relationship between Italian artists of recent generations and the urban context through the realisation of projects designed specifically for the Cinecittà district, characterised by the presence of the film studios and the Cinecittàdue shopping centre, the only one in Italy to have an exhibition space within set aside expressly for contemporary art. ART IN THE CITY takes the form of a series of one-man shows dedicated to Italian artists of recent generations, displayed within the exhibition space at Cinecittàdue. Each of the artists invited is requested to interpret the genius loci of the Cinecittà district through a site-specific project realised for the occasion. Waiting for the early bus is the first result of the cycle, produced by Botto & Bruno, who have interpreted the relationship between the exhibition space and the urban context surrounding it. Botto & Bruno’s installation overturns the relationship between inside and outside, transforming the space into a portion of the city seen as a moment drawn from daily life and an open space in which the contradictions of the city outskirts are stressed, perceived as they are by the young as an alternative territory that is vital and alienating at the same time.

The book includes the photographic documentation of the site specific project and its work in progress. Essays are edited by Marco Lodoli, Ludovico Pratesi and Simona Brunetti.