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Aelita Andre (born in 2007 in Melbourne) is an Australian abstract painter. She began experimenting with paint when she was nine months old and her extraordinary acrylic on canvas paintings were presented in her first solo exhibition in Australia at age two. Aelitäs artistic impulses embody the kind of richly expressive freedoms that the ¿fathers of modern art¿ such as Kandinsky and Klee drew upon over a century ago to create the entire canon of Western abstract art. This self-taught artist demonstrates creativity in its purist form, which has become the wellspring of her interactions with the natural environment surrounding her. Picasso and Rothko acknowledged the superiority of children¿s art in its ability to be visually brazen, utterly fresh, and even revolutionary ¿ characteristics they yearned for throughout adulthood. Aelita Andre breaks away from the conventions of contemporary art to produce truly inspirational pieces that are stunningly vivacious and original. Now formally recognized as the youngest prodigy painter in the world, Aelita Andre staged a widely acclaimed solo exhibition in 2016 (at nine years of age) at the Royal Academy of Fine Arts Museum in St. Petersburg, Russia. In 2020 and 2022, she was among the world¿s top 100 recipients of the ¿Global Child Prodigy Awards¿ in the ¿Art & Drawing¿ category. Aelita continues to create her beautiful ¿sound and touch-paintings¿ and installations, merging art and music, and successfully exhibiting her work internationally.

Henri is a free artist. His eclectic, versatile practice has led him to work with sculpture, painting, graphics, mosaics and ceramics, with an authentically exploratory approach. Henri is a living testimony to art understood as inspiration and expressive vitality. Henri's style is characterized by a refined expressionism accentuating the physical features of human and animal figures, distorting muscles into tensions, nerves, cheekbones, and fibres, yet always averting grotesque, caricatural and obscene outcomes. This accentuation of physiognomic features, profiles, grinding, nodules, is the most distinctive trait of his production. But his works are never caricatures, farces, or jokes. Henri is an artist taking human and animal features where harmony and physical composure dissolve, fall apart, and become an inner expression, a state of mind, a symbol. Henri does not create figures, but psychic states.

Published on the occasion of the solo exhibition devoted to Otobong Nkanga(Kano, Nigeria, 1974; lives and works in Antwerpen, Belgium), among the most important international contemporary artists of African origin who tackles urgent issues related to the ecological crisis and the environment, the exploitation of resources and sustainability, from a point of view that takes into account the history of colonialism with the consequent inequalities and repercussions on the social fabric. Through a multidisciplinary approach and the use of expressive languages, such as sculpture, tapestry, drawing, video, photography, participatory projects and performances, in her works Otobong Nkanga explores the natural traces and the social and cultural dimensions of the human being, in a network complex of relations with the territory. Her works address urgent issues related to the ecological crisis and the environment, the exploitation of resources and sustainability, exploring the stories of colonialism and new forms of material art. The monograph focuses on a new project, a site-specific installation designed for the five rooms of the third floor of the Castello (approximately 750 square meters). The installation includes two large carpets with irregular shapes inspired by minerals such as quartz and malachite, whose healing properties have been known since ancient times. Long hand-woven ropes branch off from each carpet, crossing the exhibition space. A number of objects and elements, both organic and handcrafted, are tied to the ropes, offering the experience of a relational environment, in which visitors can benefit from the healing and beneficial properties contained in the specific objects, becoming co-authors of new stories who in turn redesign the space.

Anne Imhof (Gießen, Germany, 1978) is internationally recognized as one of the most innovative voices of her generation. Through her "durational performances", she offers an unprecedented expression of the experience of the contemporary world in which physicality is increasingly mediated by digital communication. The new forms of alienation and detachment dictated by the massive spread of social media and its new related gestures can be considered an essential component in the artist's work. Published on the occasion of the first exhibition in an Italian institution dedicated to her, the book presents paintings, sculptures, objects, architectural elements, drawings and a sound installation that is inspired by the form of the public concert, as well as a performance and some historical works of art. The central sculptural element is a long glass and steel wall that Imhof stages in order to define the space in an ambivalent way. Untitled (Glass Wall), 2019-2020, is an architectural and sculptural work comprising glass panels mounted on steel bases.

The third volume of the catalogue raisonné of Enrico Castellani accompanies the other two volumes published in 2012, which document his works made between 1955 and 2005, and completes the cataloguing regarding the practice of this artist, who died in 2017. The volume, in Italian/English, divided into various sections, gathers his works on canvas, sculptures, high reliefs and installations registered with the Archive of the Fondazione Enrico Castellani and not included in the previous two volumes of the catalogue raisonné (Skira, 2012). The book is arranged chronologically to follow the authorised cataloging and carries forth the work begun by Renata Wirz, who died in 2016, and promoted by Castellani himself, with whom the publication process and work verification was agreed upon for this final and third volume. The book, promoted by the Fondazione Enrico Castellani, edited by Lorenzo Wirz Castellani and Federico Sardella and introduced by Hans Ulrich Obrist, together with the two previous publications, represents the vastest monograph dedicated to this artist¿s work and, in addition to being an essential tool in identifying his works, fully renders the spirit and modalities of the method of Enrico Castellani, whose final ten years of activity were especially prolific.

The only extensive survey of Nesch¿s printed work, this long awaited book will be conductive to a broad dissemination of knowledge of this outstanding printmakers work. Rolf Nesch (1893¿1975) is recognized as the inventor of the so-called metal print technique and his graphic work is acknowledged by a specialized audience. Works by Nesch can be found in museums in Stuttgard, Hamburg, London (British Museum), New York (MoMA), Oslo ¿ just to mention some. His graphic activity spanned more than fifty years, and his recorded production comprises 860 works, a number of which have not previously been accessible to the public. The publication of a catalogue will allow everyone to see the quality of his entire graphic work and the chronology will reveal its historical importance.

The concept of the "beautiful" has undergone profound changes during the last half of the twentieth century, as has our way of considering everything that is called "art." We need a new key to help us "know how to see" so that we can stay attuned to what is going on in the contemporary world of art where new aesthetic styles are appearing and being challenged one after the other. This book by Lea Vergine, which discusses seventeen different art movements in separate chapters, offers, within the panorama of contemporary art criticism books, a blend of handy art-history manual and an assessment of a cultural adventure that has passed through and overturned the parameters of taste of the last forty years. The clear and incisive writing style guides the reader, student or specialist, whatever his or her specific interests and curiosities, like an essential travel kit for understanding today's reality, grasping its "raison d'etre," and above all, plunging into its multiple mutations.

Vertigo seeks to document the surge of multimedia art driven by the advent of new technologies, including works produced by great names in art such as Balla, Warhol, Beuys, Anselm Kiefer, Nam June Paik, and Laurie Anderson.

The Asian continent today acts as a theatre to some of the most rapid changes in the urban environment ever to occur anywhere in the world. As cities--and economies--expand at an almost immeasurable pace, Asian architects face new challenges and opportunities. Through interviews, conversations, and visits to architecture studios across the continent, Instant Asia documents the most recent built projects of the emerging generation of designers shaping the architectural identity of Asia today. Includes an international cast of contributors--Taro Igarashi (an architectural critic and professor in Tokyo), Jiang Jun (an editor of Urban China magazine, Beijing), and Kayoko Ota (a curator in Rotterdam)--who focus on the heavily urbanized region of Southeast Asia to investigate novel forms of urbanism, offer a mix of theoretical perspective and present a panoramic view of the cultures, societies, and politics of Asian cities.

This large format book explores, in more than 100 black & white images, the "phenomenon" called Silicon Valley. Gabriele Basilico's background in both photography and architecture qualify him particularly for this look at both the landscape and buildings of this region. Published on the occasion of the Gabriele Basilico exhibition at MoMA San Francisco (January 2008), this catalogue also includes 70 never-before-published photographs of San Francisco. An introductory essay by Sandra Philips explores his work.

The most complete publication to date on the complex story of the Caravaggesque style. Michelangelo Merisi da Caravaggio (1571-1610) is probably the most admired, studied and universally known painter of 17th century Italy. Every knows the legend of this cursed and hot-tempered painter, who was rejected by the Roman Curia for his paintings, which were considered to be inappropriate and even scandalous. However, a more complete picture of this artist - as the skilful director of a career fostered and protected by influential cardinals and important nobles families - has been known for some time now, in all its complexity. Although many questions still remain regarding Caravaggio's body of work, it is certain that he never formed a proper school or studio. Caravaggio did however have a substantial circle of followers throughout Europe, an unofficial school formed by those who knew him personally and were in direct contact with his works, and also by those who discovered his work following his death. PLEASE NOTE: text is in Italian with translated English foreword only.

Antonio Citterio has earned a reputation for his design and craftsmanship- primarily for his work in product and interior design. In the last two decades he has also expanded into the architectural sphere with accomplishments in public and private design. His ability to control the scale of a project has been recognized worldwide as the new standard of "Made in Italy" excellence. His design work is in the permanent collections of the Museum of Modern Art, New York, and the Architecture and Design Museum of Chicago.

Just what does the average gallery-goer know about Neo-Dada, Nouveau Realisme, or the other art terms and movements that have followed close upon one another particularly in this century? If the ideas behind those works are unknown, then an understanding of the different historical moments becomes difficult and at times arbitrary. It occurred to me that a small vademecum was necessary, a pocket manual that would serve as an introduction to the world of art of this century, an informative handbook rather than a volume of serious art criticism, a valid instrument for the viewer to walk, without feeling lost, through the field of contemporary art. Therefore, I spoke first to Loredana Parmesani, a young and attentive art critic, about my idea, and she agreed to write such a book. That is how this volume came about. (Giorgio Marconi)

During his career Douglas Gordon has received major international prizes including the Turner Prize in 1996, a prize at the Venice Biennale in 1997, and the Hugo Boss Prize in 1998. He is considered one of the greatest contemporary video artists, and his works are part of the permanent collections of the Tate Modern in London and the Guggenheim Museum in New York. Gordon has always been interested in the dual expressive register of verbal communication and images in movement. He became successful through video installations of unusual dimensions that included his texts printed on the walls of the exhibition. This British artist has also worked in the mediums of photography, objects, and film. Gordon is well known for his videos which make use of sequences from famous Hollywood movies, such as a recent installation of a nonstop sequence of Alfred Hitchcock films. Gordon studied at the Glasgow School of Art and at the Slade School of Fine Arts in London.

Beautifully illustrated and well documented with detailed technical entries, this volume surveys the production of Italian ceramic art through 500 objects. The essays examine the stylistic trends from the brilliant floral decorativism of the Tuscan ceramics by Galileo Chini, the extraordinary period of the 1920s and 1930s, as represented by Gio Ponti, Guido Andloviz, Giovanni Gariboldi, Pietro Meandri and Francesco Nonni, and the contamination by contemporary painting and sculpture, from the Futurists up to the first Informal pieces at the end of the second World War through the early works of Fontana, Leoncillo and Melotti. The book is filled with valuable information including biographical profiles of the artists, detailed descriptions of the manufacturers, a cataloguing of their back stamps, an up-to-date bibliography, and a technical glossary.Comprehensive and engrossing, the book is essential reading for collectors, antique experts, art scholars, students and anyone interested in ceramics.

There is astonishingly little literature in English on painting in the Viceroyalty of Peru. Published in association with the Cantor Center for Visual Arts, this exhibition catalogue explores a little known aspect of the history of art that is increasingly appreciated for its energy and originality.Although the initial impetus for paintings in South America was provided by artists who came from Europe, they were soon outnumbered by natives who become proficient in decorating churches and public buildings. The 56 paintings--never previously published--in the Thoma Collection offer an accurate and compelling survey of the diverse schools of painting that developed in the vast regions of the Viceroyalty which yielded the present day countries of Peru, Bolivia, Ecuador, Colombia, Chile, Paraguay, Uruguay, and Argentina.Exhibition schedule: Cantor Center for Visual Arts, Stanford University September 20-December 31, 2006.

In Weak and Widespread, modernity stands as a contrasting operative practice when compared to that of the 20th century, which was based on finding definitive solutions to old and new problems of industrial society. Today's architecture and urban planning tends to operate through reversible solutions, taking their references from models that are incomplete, imperfect and elastic. Precisely for this reason they are capable of withstanding the continuous processes of innovation. In this book Branzi examines how transformations in the concept of modernity have changed project strategy following new territorial and social developments. He puts this into relation to his own projects and research from the mid-1960's with the radical experience of the Archizoom group until the present.

This monumental art reference series will offer a complete and up-to-date survey of the major movements and art phenomena of the 1900s and the first years of the new millennium in an original interdisciplinary analysis of artistic culture. It provides an extraordinary repertory of images and a vast source of information, enriched fact-finding windows and technical information compiled by experts. This first volume in the series highlights the artistic situation at the beginning of the last century and explores the different artistic choices taken in the search for modernity and of art as a total experience. Volume 1 examines avant-garde movements in the years between 1900 and 1901--the Fauves, the Cubists and others--both as complex syntheses of nineteenth century artistic culture and as alternatives to the traditional language of figurative art. The period examined starts with emblematic moments such as the Great Exhibition in Paris, which opened a century of technological marvels, and closes with the end of the initial phase of the Dada movement and the foundation of the Bauhaus school.

The art of Mimmo Rotella seems to be marked by a constant play of chance and intuition-"the mythical mental radar" to which the artist often alludes in his writings-and can be characterized by his attraction to the unusual, the unexplored and the unforeseen. Germano Celant traces Rotella's work, in all of its diversified phases and periods from 1946 to the present, including the initial geometrical and pre-décollages works, the decollages and the verso of torn street posters, the artypo and emulsified canvases, the blanks, and the overpaintings. Rotella has been the subject of numerous retrospectives throughout Europe and the United States, including Grand Central Station, New York in 1994; Cuartel del Conde Duque, Madrid also in 1994; Galerie Ernst Hilger, Wien in 1999; and Palazzo della Triennale, Milan in 2004. In 1964, Rotella represented Italy in the Venice Biennale.

Italian design marked a highly distinctive mark on the way that the form of objects is perceived in contemporary society.Italian design has spanned the whole of the twentieth century, leaving a highly distinctive mark on the way that the form of objects of everyday use is perceived in industrial and contemporary society. This "Italian way" has succeeded, through a complex and hesitant process of industrial innovation and technological updating, in developing an independent and multifaceted culture of design capable of marrying the country's rich craft tradition with an often fiercely resisted aspiration to modernity made up of flashes of improvisation and irony, and associated with an arduous bent for experimentation. In this sense, the history of Italian design has not yet been subjected to an exhaustive interpretation of the cultural and artistic dimensions of the phenomenon, and in particular little has been said so far about the synergy between artistic experimentation and innovative design that has characterized it throughout the twentieth century. The exhibition and this catalogue set out to offer a first overview of these links through an exploration of the different ways of seeing, interpreting, and representing industrial society in Italy on the part of the architects, artists, and designers who lived though its emergence, and who to some extent "invented" it.The exhibition, with around 400 works chosen from among the most representative of artistic research and the culture of design in Italy in the twentieth century, is arranged chronologically, with four sections that define the different periods in the philosophical, economic, and aesthetic discourse that has accompanied the recent history of art and design in Italy. The survey brings to light the "philosophies" of design and the "aesthetics" that found a strong and dialectical expression right through the last century in Italy, and that are at the root of the country's characteristic and lively cultural debate between art and design.This catalogue is published in conjunction with Il modo italiano. Italian Design and Avant-garde in the 20th Century, an exhibition produced by the Montreal Museum of Fine Arts in collaboration with the Royal Ontario Museum, Toronto, and the Mart - Museo di Arte Moderna e Contemporanea di Trento e Rovereto

Public assemblies and multitudes in action are fundamental to our notion of political life. Through 120 posters-many never previously reproduced-the book examines the impact of large gatherings of people in politics and society concentrating on the turbulent years of the first half of the 20th century. The posters will be presented in a nearly year-long US exhibition, drawn from the massive collection of Stanford University's Hoover Institution, and augmented by works from the Wolfsonian Museum, Florida International University, and the Cantor Arts Center, Stanford University. The exhibition catalog, published in conjunction with the Cantor Arts Center, explores the decisive importance of large gatherings of people and its correlative, the mass medium of poster art, and considers the complex nature of the portrayal of political crowds in the modern period.Schnapp's text frames the featured works within a broader history of the images of the crowd in Western art. The essay aims to sharpen the reader's perspective by creating a synthetic understanding of how emerging principles of popular sovereignty in politics shaped new images and myths of a new, collective sense of our humanity.

This groundbreaking volume on Richard Pousette-Dart is the most comprehensive publication on his painting to be published since the artist's death. It provides fresh insights into his oeuvre by five outstanding, contemporary art historians, who have interpreted the artist's creative output from the 1930s to 1992. Richard Pousette-Dart, one of the founding members of the New York School, created paintings, drawings, sculptures, and journals for over sixty years. The youngest member of the first generation of American Abstract Expressionists, Pousette-Dart shared with his fellow artists' interests in psychology, myth-making, anthropology, and both African and American tribal art. Along with Pollock, Rothko, de Kooning, Motherwell, and others, Pousette-Dart created the art movement known as The New York School. This book presents the evolution of Richard Pousette-Dart's styles and philosophy and provides an in-depth look at his ever-evolving painting techniques. The essays focus on his major themes and periods, and include his contributions to the complexity of the intellectual and stylistic language of the Abstract Expressionist movement.

Because United Colors of Benetton's core business is clothing, the contemporary culture of design plays an important role in the group's activity, including its corporate architecture. Benetton's international brand style― combining color, energy, and practicality― can be seen first in its buildings. In 1964, long before it was fashionable for designers to employ brand-name architects, Lucianno Benetton chose two very young and ambitious architects, Afra and Tobia Scarpa, to design his first textile factory. This project marked the beginning of a vision of architecture aimed at enhancing the workplace: an architecture where image and substance come together.This unique book, brilliantly designed by Massimo Vignelli, brings together all of the Benetton buildings, including plans, 500 color illustrations, superb photographs by Antonia Mulas, an interview with Luciano Benetton, and a chapter dedicated to Tadao Ando's Fabrica building.This book is designed and published in collaboration with Fabrica, Benetton's corporate communications research center designed by Japanese architect Tadao Ando. Tadao Ando states the true spirit of the Benetton style when describing his work on the Fabrica project: "The role of the new architecture is to bring out the charm and strength of the ancient villa and to give birth to a reciprocal, cathartic relationship between old and new in an in an atmosphere of complete harmony, transcending the limits of a specific period.