Sound and Silliness is a book published for the exhibition by Jimmie Durham at MAXXI (5 February to 2 June 2016), curated by Hou Hanru and Giulia Ferracci. Proceeding from artist Emily Jacir’s Via Crucis, the newly-completed permanent installation at the church of San Raffaele in Milan, this publication illustrates the movement of objects, images, people and places between Palestine and Italy. Madama Cucchi is an interactive catalogue accompanying the installation by Enzo Cucchi in the Veranda juvarriana at Palazzo Madama in Turin (5 November 2015 – 1 February 2016). The book documents the installation of Sam Falls at the Fondazione Giuliani, on display from 14 February to 18 April 2015. PHILLIPS CONTEMPORARY ART NEW YORK EVENING SALE 14 MAY 2015 is an artist’s book by Marc Horowitz accompanying his solo exhibition Interior, Day (A Door Opens) at Depart Foundation, LA. Cy Twombly, Photographer is the exhibition catalogue accompanying the first Italian retrospective on the photographic activity of the artist held at the American Academy in Rome.
The catalogue includes a plethora of photographs of still lives of fruit and flowers, portraits and fragments of landscapes that constitute visual and formal notes as well as considerations on the nature or ontology of everyday objects. Niki, Lucy, Lola, Viola collects screenshots of a desktop-performance made by Petra Cortright. Sicilia Bambaataa is a booklet, risograph printed, which accompanies the namesake installation by Riccardo Benassi at the Museo Civico in Castelbuono, Sicily.
THE STREET Times is the newspaper accompanying the project THE STREET by the Swiss artist Tobias Kaspar. The text published in Villa is a transcript of a heretofore unpublished manuscript by Emilio Villa, written around 1962 and addressed to the painter Mario Schifano. Canto di strada is the catalogue of the joint exhibition Canto di strada (Street Song) by Hamish Fulton and Michael Hopfner, held at the MAN Museum in Nuoro (6 January–5 April 2015).
Space is the Place 2014 is made up of xerox reproductions that come from the original drawings created by various artists. In 2013 at the GULLIVER help for the homeless center in Cologne, English artist and musician Phil Collins installed a phone booth with a free line that anyone could use for unlimited local and international calls on the agreement that the conversations would be recorded and anonymised.
King Leopold’s Soliloquy by Mark Twain is a faithful reproduction of the original satiric pamphlet by Mark Twain, a monologue in which Leopold II speaks in his own defense about his rule over the Congo Free State.
Nero su bianco is a critical dialogue about historical and contemporary ways in which the black body and identity have been and continue to be imagined in Italy. The models in the installation Structure by Labics constitute a landscape in which architecture is not described or prefigured in an allusive ar analog way, as in drawing, but is simulated immanently. Black Mirror is the catalogue of British artist Mat Collishaw’s namesake exhibition at Galleria Borghese (8 October 2014 ?
Grand Hotel et des Palmes documents the project of artist Luca Trevisani for the Italian Institute of Culture in Madrid in February 2015. British-Iranian artist Kour Pour elaborate large-scale painting of Persian rugs by juxtaposing, with different techniques, sets of imagery, iconic motifs and religious symbols from different locations, traditions, time periods. There Is No Place Like Home documents the eponymous, self-managed exhibition project that took place in Rome in an abandoned building on the Aurelia Antica in September 2014. Lying Weapon on the Beach is the catalogue published in conjunction with the exhibition by French artist Benoit Maire spiaggia di menzogne (Lying Beach) at Fondazione Giuliani per l’arte contemporanea, Rome (4 October - 14 December 2013), curated by Adrienne Drake.
Odio gli indifferenti is the catalogue of the namesake exhibition of Giuseppe Stampone at the Istituto Nazionale per la Grafica di Roma (11 October 2014 – 22 February 2015), curated by Raffaele Gavarro and Antonella Renzitti. Forest Theater is the catalogue published in conjunction with the exhibition of the same name (8 October - 30 November 2014) by Grear Patterson at the American Academy in Rome, curated by Peter Benson Miller. Disordered Structures is a book of drawings by Alicja Bielawska which documents her artistic research on structures and constructions.
The Sudden Gust, the new artist's edition by Matteo Nasini, is composed of an audio vinyl, a booklet and an original eight large-format artist's print (A2). This books presents the fieldwork research produced by the participants of the programme Studio Roma of the Swiss Institute of Rome, in the spring of 2014 in Valle del Belice, Sicily. NERO is glad to present a new multiple by Olaf Nicolai, one of Germany’s most prominent artists.
The book documents an oral presentation given by Pierre Bal-Blanc to a jury of professionals in 2010, as part of his application to curate the 7th Berlin Biennale. Festa is a pocket-sized book curated by Alessandro Cucchi and dedicated to the artist Tano Festa. Altri sensi is the catalogue published on occasion of Laura Pugno’s solo exhibition at the MAN Museum, curated by Lorenzo Giusti, held from the 13th September to the 3rd November 2013.
The catalogue has been published in conjunction with Patane’s exhibition The foreigners stand still, in 2013 at Fondazione Giuliani in Rome and curated by the Foundation’s Director Adrienne Drake.


This publication is a kind of experiment stemming from the uniting of two concepts, that of the "artist book" and that of the scholarly study; it is an experiment wherein the artist avails himself of the pen and knowledge of others in order to carry out an analysis of the problem which is of interest to him. Names of Numbers is a series of monographic books of drawings by artists, intellectuals, scientists and people devoted to various other activities, curated by Carola Bonfili and Valerio Mannucci.
The Camera's Blind Spot explores the multiple relationships between sculpture and photography filtered through the lenses of a composite group of artists, both American and European, including Becky Beasley, Bruno Botella, Stefan Burger, Michael Dean, Giuseppe Gabellone, Francesco Gennari, Curtis Mann, Taiyo Onorato & Nico Krebs, Erin Shirref, Sara VanDerBeek. This book is a part of the project The dry salvages by Elisabetta Benassi, produced for vice versa, curated by Bartolomeo Pietromarchi, The Italian Pavilion at the the 55th International Art Exhibition - la Biennale di Venezia, 2013.
Rosas Lounge is an original document that reveals the act of writing as one of the most important creative collective processes behind the work Rosas by Italian artist Marinella Senatore. Sintesi anatomica is a reading, in a condensed form, of the organism and its functions, that aims to analyze the complex relationship between interiority and exteriority. This publication documents part of the artistic research carried out by artist Patrick Tuttofuoco in his Berlin studio, on the occasion of the show Focus on his eyes, which took place at the Italian Cultural Institute of Madrid. The pages of this book recount the intimate and experimental dimension of Tuttofuoco's new sculptural phase, which tends towards a neo-figurative and indeterministic representation, the result of a dialogue between the singularity of individual vision and the fragmentary nature of collective imagery.
In this first volume, Michele Manfellotto sets up an intellectual and sentimental confrontation between Cavallo's poetics and his own. The Categories by Book JungleAristotle was a student of Plato and a teacher of Alexander the Great. The project called My House is a Le Corbusier is an evolving performance undergone by the artist whilst living for variable periods in houses designed by Le Corbusier. Beginning four years ago, Vitrine has as its primary objective the research in the field of contemporary art. In a range of his works, in which the artist literally feels sorry and miserable for not being able to get through to the viewers in many different ways, Dawicki’s unveils the void of art. It consists of a 70 cm x 100 cm map of Palazzo Madama designed by Cucchi and a cardboard cut-out, or rather, miniature replica of the works on display: three paintings, Per ora… basta, Si… siamo in Italia and Testa dura and a sculpture, Drone Dario. The works on display – in different mediums – explore ways of faithfully representing time and understanding it through art. Horowitz has photographed each page of an art catalogue by Phillips, the famous auction house in New York, having placed on the pages the residues of junk food. The book accompanies the namesake exhibition by Petra Cortright curated by Paul Young, on view at the Depart Foundation, LA (9 July–12 September 2015). The title of the project includes a reference to the renowned American rapper and DJ, Kevin Donovan aka Afrika Bambaataa.
The publication remains faithful to the original document and thus there have been no spelling or language corrections. The exhibition placed the two artists’ work side by side identifying a common ground for comparison in a 14-day walking journey through the Supramonte and Gennargentu mountains. The artists were asked to draw by hand the same subject fifty times and the reproductions were displayed in a top floor apartment in Basel open to the public.
Ciroc is the name of a vodka brand prepared in France, made from grapes, five times distilled.
The works on display, in the Abrantes Palace, are objects with heterogeneous surfaces (textiles, clothing, tropical leaves, minerals) on which the artist impressed images derived from antique herbaria and design magazines. A collective of twenty-nine artists lived in and transformed the building over the course of 72 hours. Using a wide range of media, including sculpture, photography, text, film and performance, Benoit Maire aims to construct an aesthetic system in which words and concepts emerge through visual and sculptural devices. The book project consists of a mix of images from the two exhibitions along with texts written by artist friends invited by Herzog and directly inspired by one of her artworks.
The exhibition and the catalogue are a collaboration between Depart Foundation and the American Academy in Rome.
Twenty-five years after his death, NERO re-publishes the artist's last interview, conducted by Aldo Ricci and originally featured in Frigidaire magazine. Laura Pugno’s research focuses on the landscape not only as a natural element or a fixed frame of reality, but as a kind of social construction, an ideological and cultural superstructure.
This book could be contemplated as a kind of narrative in which each chapter corresponds to a specific artwork. Zamojski makes conscious use of the power of the word 'research' in the contemporary world and plays with the freedom we attain as a result of observing the outwardly rigorous rules of academe.
The series’ aim is to consider drawing as a common language, often complementary or parallel to other forms of artistic or intellectual production.


The fundamental themes of film - francesco puzzilli (vivente) are freely rendered, by equivalence, through a sequence of the artist's own cultural references, abstracted from their original context and recombined in a cut-up.
Art in the Age of Berlusconi is the result of an itinerant residency of the Dutch collective Fucking Good Art (Rob Hamelijnck and Nienke Terpsma) in Italy, who placed themselves as outsider observers of the complex Italian cultural scene in the current political and economical background. For the American artist, time is elusive and the future is "filled with meaning" only when it becomes "now". The artist’s sculptures and paintings on view at Depart Foundation are playfully corrupted with the inclusion of junky everyday objects and images. The project calls into question the very idea of the boundary itself: in music and art genres and also between music, art and life, which all, says Benassi, happen through synchrony. Their work is a reflection on art through an analysis of the relationship between experience and narration. The book has all the characteristics of a documentary catalogue of the exhibition, but is, in concept, a collector’s item.
They come in all shapes and sizes from the tiny rectangular squares of our smartphones to the gigantic advertisements on the sides of buildings in downtown Shanghai.
There is scarcely a shot that exists without one, for television—together with its supplemental apparatuses of VCRs, videocassettes and cable TV—was the dominant medium of the 1980s. As in previous endeavours, Diddy turned to a marketing agency to help create a promotion strategy that would embed the brand in the Urban consumer’s lifestyle.
It had become what Marshall McLuhan, back in the mid-1960s had termed a “total surround,” meaning an environment that is so pervasive as to become invisible to its inhabitants. Our neurons had become so fused together with the electrons being sprayed at us via the cathode ray tube that there was simply no way of separating them anymore.
Like Max Renn sticking his head inside the televisual mouth of radio personality Nicki Brand, we had been swallowed alive by it and were living on the inside of it, like Jonah in the whale’s belly; there was no getting out. For Chapman, Lennon did not exist as a real flesh and blood figure at all, but only as a mediatized saint whose image appeared on the “surfaces” of album covers, television talk shows like Dick Cavett and as a disembodied voice singing on LPs. Chapman sought to hunt down and kill Lennon because he didn’t really believe that Lennon was anything more than a phantom to him until he lay dying on the pavement, blood leaking from his physical body right before his very eyes. Now he had proof at last that the mediatized phantom who had appeared on television was, in fact, a real person. The proof lay right there on the sidewalk.[vi]The second event was the inauguration of Ronald Reagan on January 20, 1981.
Reagan had been a former movie star and governor of California, but it soon became clear to the CIA and to his Cabinet members, that Reagan could not sit still for debriefings on public affairs without being shown images. After all, each morning Reagan would turn to the funnies in the newspaper first and scan their pictorial images before he moved on to glancing at the day’s headlines. The CIA quickly realized that they had to debrief him in the form of making newsreel-style films for him to watch in order to capture his attention at all.
And then, during his presidency, it became clear that Reagan couldn’t remember for certain whether he had actually been in World War II or only played characters in World War II movies. But in the second order of simulation during the Industrial Revolution, the relation between the representation and the real begins to disintegrate since representations are now mass-produced and therefore begin to exhibit a problematic relation to the “original,” from which, as Walter Benjamin argued, the aura is leeched by the copy.[ix] Finally, in the postmodern epoch of third order simulation, the simulacra has nothing to represent, for it precedes the real, which no longer exists outside of the representation.
There is only the hyperreal, or signs that signify other signs, but never refer to any kind of a real beyond them that they are supposed to represent. This is the precession, or precedence, of the simulacra over the real in the triumph of hyperreality.[x]Now, Marshall McLuhan made a fundamental distinction in his 1962 book The Gutenberg Galaxy between media that function by means of “light through” them vs.
By the term “light through,” McLuhan had in mind the cultural phenomena of the Medieval epoch, with its age of stained glass in which light irradiates colored glass to create self-luminous Biblical phantoms, but also things like illuminated manuscripts and the scribal art of “seeing through” a Biblical text using exegetical methods.[xi] But with the shift to the invention of the printing press in the fifteenth century, the textural and highly tactile pages of illuminated manuscripts were traded out for the one-dimensional and uniform lines of type that required “light on” them in order to make them visible. The visual bias that had been stepped up during the Renaissance was now in abeyance as the earlier Medieval biases of ear and hand—which he realized that Joyce had already foreseen in Finnegans Wake with his character of Humphrey Chimpden Earwicker—were brought back into play. Jobs were traded out for roles, as the specialist was deprivileged over the generalist, for it was McLuhan’s contention that both computer and television favored generalists.
It was the Greek theoretician Cornelius Castoriadis who said that today, all anthropomorphic types—in past civilizations these were types like the thinker, the artist, the warrior—have been crushed into precisely one type, that of the consumer, while there has been a vast diminishment of all our “imaginary significations” to those which cluster about consumption. No one is encouraged to be critical of this consumerized consensus, and so no new meanings can emerge, since it is precisely through and by means of the tradition of the Greek agon, which involved a struggle between competing thinkers, that new meanings together with their significations are born.[xvii]The individual, with the failure of our schools and the undermining of literacy with the rise of iconic culture, becomes as hapless as Plato’s proverbial prisoner who mistakes the shadows on the wall cast by the firelight behind him for substance.



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