Böcker utgivna av Skira

We are more than a team of great stars, we are more than a stadium full of dreams, we are more than the goals we've scored and more than the trophies that we've won throughout our history. At Barça we are "MORE THAN A CLUB" because: we have MORE THAN 144,000 MEMBERS that make the big decisions democratically; because when we play we want to win, but without neglecting our OWN, UNIQUE STYLE; because we invest in 5 PROFESSIONAL SPORTS and promote WOMEN'S SPORT; because we are a SCHOOL FOR LIFE that educates people through sport; because we feel that such VALUES as humility, effort, teamwork, ambition and respect are just as important part of the way we play as winning; because we are firmly committed to SOCIAL CHANGE and the Barça Foundation provides support to the most vulnerable children and youth through sports and values; because without forgetting our roots in BARCELONA and our Catalan identity and culture, we have always been open to the world. That's why FC Barcelona is Més que un club (More than a club).This book details the complete history of the famous football club. Through its pages and images, the reader is be able to delve into the victories harvested by the most emblematic players and trainers of the organization, and discover the evolution and social impact of a club that has managed to transcend the sporting field and convert into a global phenomenon. Rich of great visual content the volume portrays like no other the complete history of FC Barcelona, from its origins to the present day, passing through the milestones of the club.The volume chronologically covers FC Barcelona's long trajectory, focusing on both its sporting success and history. It stands out for its great variety of photographs and historical pictures of the main football icons that have left their mark on the history of Barça.

The first complete compendium of Mullican's photographs from the 1960s to the present.Focusing on a medium the artist incessantly used from his debut to the late 1960s, but never analysed in depth by critics, the catalogue Mullican. Photographs comprehensively documents the entire photo oeuvre of Matt Mullican (Santa Monica, California, 1951. He lives and works in New York and Berlin), publishing a compendium of all his analogue photos taken between the 1960s, 1970s and 1980s up to his recent digital images and series, including images made by "That Person" - the artist's alter ego that emerges during states of hypnosis and trance - plus computer-generated images - in his initial experiments of virtual reality in the 1980s and 1990s - and a portfolio of exhibition views at Pirelli HangarBicocca, the biggest retrospective to date on Mullican, exceptionally photographed by the artist himself. In addition to an extraordinary collection of 2,000 images, this publication also contains various relevant texts: a conversation on photography between Matt Mullican and the artist/photographer James Welling; a critical essay on the use of images by Anne Rorimer, art historian and author of essays on the Picture Generation and the catalogue The Forest of Sign (1995); an excursus on the artist's digital photography and images by Tina Rivers Ryan; a conversation between Mullican and the exhibition curator Roberta Tenconi; finally, an essay by the philosopher Marie-Luise Angerer that explores the meaning of the show's title, "Matt Mullican. The Feeling of Things", the idea of "feeling", of perceiving things.

Ferruccio Laviani, architect and designer, since 1991, he is the Art Director for Kartell; same role he has played for other companies such as Flos, De Padova, Foscarini, Moroso, Society (Limonta), Emmemobili. He designs retail spaces, set-ups, offices and houses for private clients, as well as, furniture. His designs are included in the collection of several brands. Rita Selvaggio is an independent curator, journalist and art consultant, with experience both in Italy and abroad, working with commercial galleries, art fairs and public and private collections.

A selection of nearly 60 works made by the contemporary artist in the past 15 years.This book gathers a selection of around 60 works made by Francesco Arena from 2004 to 2019, plus two scholarly texts by Vincenzo De Bellis, curator and associate director of events at the Walker Art Center in Minneapolis, and Jacopo Crivelli Visconti, curator of the 34th Bienal de São Paulo. These analyse the basic themes in the artist's research, like the relationship between man and time and how this conditions the spaces we live in. The monograph is rounded off by a conversation between Francesco Arena and Ines Goldbach and technical entries of all the works with illustrations and short texts compiled directly by the artist.

Marino Barovier, editor of the series ¿Le Stanze del Vetro¿, is considered one of the greatest experts of glass art.

Rosa Maria Falvo is a writer, editor and curator specializing in Asia-Pacific and Middle Eastern contemporary art. She has published many books on leading artists and curated several important international exhibitions and private art collections.

For the 50th anniversary of UniFor, a leading company that develops and creates solutions for the contemporary space-office, this volume covers 5 key decades in the history of Italian design. Through an analysis of case studies, this book illustrates the peculiarity of UniFor, highlighting the absolute singularity of their work method. It recreates the identity through key moments, from the collaboration with the most prestigious architects - like Michele De Lucchi, Foster + Partners, Jean Nouvel, Renzo Piano, Aldo Rossi, Álvaro Siza, just to mention a few - to communication strategies, with the graphic designer Pierluigi Cerri unifying the message through a coordinated image and display system (from showrooms to fair stands) that exemplifies, in 3D space, the notions of order, measure, functional elegance and innovation. Specialising in major projects, an international vocation and a close relationship with the most prestigious architecture studios characterize the work of UniFor that since its founding (1969) is a factory-workshop open to the best creative talents.In fact, UniFor designs custom-made furniture systems, in the name of sophisticated quality. A task that entails working on materials, their durability, and their aesthetic, technical and functional performance, to create complex and complete environments.UniFor was born with a precise vocation: an interior landscape design that interprets and translates into reality the indications and needs of today's clients and architects.

John Offenbach's wonderful collection of portraits, boldly and bluntly entitled Jew, could not be more timely. In a period when antisemitism and racism are rife, when ignorance and prejudice prevail, here is a captivating tale of the unexpected. A portrait of Jewish people which defies cliché and stereotype. From Brooklyn to Azerbaijan, from the homeless to the homeland, all human life is here. - Alan Yentob - BBC Some years ago John Offenbach decided to embark on a series of portraits of Jews from different ethnicities, such as those from India and China and Ethiopia. Not just the great and the good, it had to include the homeless Jew, as well as the rich Jew. The incarcerated Jew, and the heroin addict.Offenbach took inspiration from People of the Twentieth Century, the series of portraits of German people of the 1920's by the Cologne-based photographer August Sander, but unlike Sander, he decided not to include the background or the setting for any of portraits, as he didn't want this collection to be documentary in style or intention; so, a weaver in Ethiopia is sitting in exactly the same light as a financier from Wall Street. Half way around the world to each other but surprisingly close.Offenbach travelled to thirteen countries, including Argentina, Azerbaijan, India, Ethiopia, China and Ukraine and took are approximately 150 black-and-white portraits of jews. The objective of the series is to look at Jewish faces and see the similarities and the differences. A snapshot of world Jewry today. On one level simply, that Jews come from all parts of society, and in all shapes and sizes.The prints are all 76 cm x 64 cm, printed on Zerkall mould paper. The image is injected like an ink jet, however consists purely of liquid carbon. The prints have an exquisite and beautiful quality. They are 100% archival and rather like a pencil drawing, consist of no chemicals at all, except paper and carbon.

Emma McClendon is associate curator of Costume of MFIT.

Victoria Noel-Johnson is an art curator and historian specialised in early 20th-century Italian art. Recognised as one of the greatest experts of Giorgio de Chirico¿s painting, from 2008 to 2017 she was the scientific curator at the Fondazione Giorgio e Isa de Chirico, where she managed the art collection and international exhibition programme for the Foundation.

This is the first English-language volume on Marinot (1882-1960), a pioneer in the development of glass as a studio art form.

Here, photographs by British photojournalist James Hill document the three studios of Georgian-Russian artist Tsereteli in Moscow, Paris and New York. These photographs offer a more personal perspective of an artist known for his sometimes-controversial monumental sculptures and paintings.

The works by visual artist and filmmaker Hito Steyerl (Munich, 1966), one of the most influential cultural figures of our time.Steyerl's works are critical reflections on the digital and contemporary age and focus on the pervasive role of technology and the circulation of images in the globalized world. Her installations, which encompass film and visual art, are immersive architectural environments that seek to establish the way in which technology and Artificial Intelligence shape reality and how it is experienced. This catalogue accompanies the exhibition The City of Broken Windows at Castello di Rivoli and features previously unpublished essays by Carolyn Christov-Bakargiev and Marianna Vecellio, the exhibition's curators, and by the feminist art historian Griselda Pollock. It also contains two new texts by the artist entitled The City of Broken Windows (2018) and The City of Unbroken Windows (2018), published here for the first time, and her important essay In Defense of the Poor Image (2009). Richly complemented by an extensive selection of images from the exhibition, the book includes an exhaustive scholarly chronology of the artist's exhibitions, screenings, and lectures and an anthology of critical essays and interviews from 1998 to the present, authored by Anna Altman, Manuela Ammer, Julieta Aranda, Marius Babias, Camila Bechelany, Jochen Becker, Franco "Bifo" Berardi, Fred Camper, Lauren Cornell, T. J. Demos, Thomas Elsaesser, Harun Farocki, João Fernandes, Alwin Franke, Lynn Hershman Leeson, Marvin Jordan, Ann Kaneko, Heinz Kersten, Adam Kleinman, Brian Kuan Wood, Pablo Lafuente, Gil Leung, Maria Lind, Sven Lütticken, Anja Osswald, Trevor Paglen, Laura Poitras, Bert Rebhandl, Isabella Reicher, David Riff, Daniel Rourke, Berta Sichel, Roberta Smith, Kerstin Stakemeier, Anton Vidokle, and Reinhard W. Wolf.

Marta Gnyp is a Dutch art historian at the University of Amsterdam with an international business background. She is also a collector of contemporary art, art advisor, and contributing art editor for several international magazines. With Skira she recently published You, Me and Art: Artists in the 21st Century (2018). Alex Bacon is a Curatorial Associate at the Princeton University Art Museum. He is an art historian based in New York City who regularly writes criticism and organizes exhibitions of both contemporary and historical art.

This catalog examines the career of Norwegian sculptor Vigeland--one of Norway's most celebrated 20th-century sculptors, known for his large-scale figurative works--situating him alongside such contemporaries as Antoine-Louis Barye, Constantin Meunier, Auguste Rodin, Aristide Maillol and Antoine Bourdelle.Bourdelle.

The horse has been represented in the history of art by almost every culture in every time period. In 1969, Jannis Kounellis (member of the Italian art movement Arte Povera) brought twelve living horses inside a gallery in Rome, creating a very reinterpreted image of the horse in an art context. Lara Nickel¿s homage is comprised of twelve life-size, realistic paintings of horses, positioned on the ground and installed perpendicularly to the wall. Presented in this non-traditional way, the images of horses appear to be standing in the room, making the architecture itself the setting of the paintings. Nickel¿s 12 Horses ¿ Homage to Jannis Kounellis uses painting as a sculptural intervention, inviting the audience to physically engage with the artwork. Using Kounellis¿ original piece as an art historical reference, Nickel¿s paintings are not only portraits of horses but painting-as-illusion, painting-as-object, and painting-as-situation.

Francesco Bonami is a renowned Italian art curator and writer who directed the Venice Biennale in 2003 and curated the Whitney Biennial in 2010. He is currently the Artistic Director of Fondazione Sandretto ReRebaudengo in Turin. David Campany is a writer, curator of exhibitions and an artist. He has published several books on photography, cinema and art, and over a hundred essays. Venus Lau is a curator and writer based in Shanghai and Shenzhen, where she is artistic director of OCT Contemporary Art Terminal. She won the Chinese Contemporary Art Award jury¿s prize with her proposal to rethink strategies of institutional critique within a Chinese context while exploring the links between ontology and objecthood in art.

Francesca Pola is a contemporary art historian, critic and curator. Since 2003 he has been Professor of History of Contemporary Art at the IES, the Institute for the International Education of Students in Chicago (Milan office).

In the first book to focus on Nordic conceptual art, Norwegian art critic R¿ed argues that artworks are entangled in collective histories. In closely examining conceptual artworks, R¿ed illustrates how works of art can be used to understand the past. the past.

Exhibitions were Joanna Drew's life. She began her impressive career at the Arts Council of Great Britain in 1952 and during the next forty years organised an extraordinarily diverse range of exhibitions across time and cultures, from prehistoric art to contemporary art, folk art and high art, the 150 exhibitions she made for the Arts Council (and, later, the Hayward Gallery) included the sensational Picasso exhibition held at the Tate Gallery in 1960 - the world's first blockbuster show - and other landmark exhibitions at the Tate and at the Victoria and Albert Museum, the Royal Academy, the ICA and elsewhere in London and the UK. Between 1975 and 1992 Joanna Drew was successively Director of Exhibitions and Director of Art at the Arts Council and finally Director of the Hayward Gallery, which had become the leading UK venue for thematic exhibitions of western and non-western art and monographic exhibitions from Matisse (1968) and Anthony Caro (1969), through Renoir (1985) and Leonardo da Vinci (1989) to Toulouse-Lautrec (1990) and Bridget Riley (1969 and 1992). Much of Caroline Hancock's account of Joanna Drew's life and work is drawn from memories of her colleagues, contemporaries and friends. It also features Joanna Drew's own perspective on exhibition making - and her recollections of working with Picasso, Miró, Max Ernst, Jean Arp, Henry Moore, Claes Oldenburg and many other artists - as voiced in her extensive interviews for the British Library's National Life Stories, made in 2002. Interspersing the main narrative are tributes from some of the people who worked alongside her.

This book surveys the landscape of Jane Benson's acute, yet lyrical practice, forging a trajectory through the past decade as she splits, fractures and skews archetypal structures into poignant re-assemblies. It is Benson's first major monograph, pon the occasion of her survey exhibition at the Contemporary Arts Center in Cincinnati. Notions of creation and destruction may seem diametrically opposed, but their uneasy, yet generative exchange has re-shaped the face of both art and the world it reflects. With a delicate, but poignant approach to dismantling and rebuilding, Benson has conducted a systematic campaign of deconstruction since the beginning of her career. Seeking to better reflect the multiple facets of the self as well as families separated by war, travel and trade, her amalgams forge a nascent place for renewal, plurality and gathering. This book surveys work from the past fifteen years of Benson's practice, discussing installations, video, drawing, sculpture and performances that regenerate familiar objects, texts and settings into vexing new formations. A primary example is her series The Splits (2011- ongoing), which features a number of string instruments hand-cut down the center so they could be re-connected in a more exploratory and collaborative manner by way of performers in locations near and far. She employed this concept to create metaphorical bridges for an exiled family from Iraq to renew connections via shared musical dialogue and flags from their many countries, shredded and woven together. Along with drawings made by repeated turns of her split instruments, fleshy self-portraits made by blindly rubbing her own body, precariously balanced still lifes, unabashedly fake faux flora and a series of excised texts that transform book pages into musical scores, Benson cobbles fertile new forms from the fractures of old.

The island of Palawan, the fifth largest of the Philippines archipelago, is home to an extraordinary natural treasure, one of the underground wonders of our planet. The Puerto Princesa Underground River was once named after the mountain of Saint Paul, that covers the whole length of the river, and it is known by local people as Natuturingan Cave. It is located on the western coast of the island, 50 kilometres north-west of the capital, Puerto Princesa. Mount Saint Paul is just over 1,000 metres high, the karst area is fairly limited, yet the caves that runs through it over three dimensions is tens of kilometres long, and is today the longest cave of the archipelago.The cave and the surrounding area became a national park in 1971, and in 1999 it was declared a UNESCO World Heritage Site. In 2012 it was included on the list of the "New7Wonders of Nature". In its chambers immersed in the silence of time are delicate mineralisations and speleothems of moving beauty, true treasures of crystal: some very rare, others even unique in the world. The underground river is indeed an extraordinary place in many respects: biology, mineralogy, hydrodynamics. And it is simply beautiful. The extraordinary body of photographs produced by La Venta during the explorations along the Puerto Princesa Underground River is the absolute protagonist of this book, which is accompanied by narrative and scientific texts that will guide the reader through this wondrous discovery.