Böcker utgivna av Skira

Travelling from Muscat to Marrakech, this book explores the importance of perfume and its place in Arab culture Since ancient times, the Kingdom of Saudi Arabia has been at the heart of the trade in olfactory materials. Home to myrrh and incense, it was also the crossroads for the trade in spices and precious aromatics, such as the mythical oud or the mysterious musk. All these marvels, brought by caravan from the eastern reaches of the world, spread to the shores of the Mediterranean and the Euphrates. Perfumes not only had a historical and commercial status, but they were one of the favourite things of the Prophet, as he said: "From your world, I love women and perfume, and my favourite part of the world is prayer." The use of perfume has always been a hallmark of Arab-Islamic civilisation, as perfume makes one's life pleasant and accompanies them in both their social and intimate lives. With contributions from more than twenty perfumers, including olfactory experimenters, materials researchers, engineers, sociologists, and historians, this book celebrates an art that is as evanescent as captivating, and which still shapes an entire culture today. From the fields of roses in the Drâa valley to the saffron-scented streets of the medina, from the incense scents of the souk to the sacred fumigations of the temple, from the gardens of jasmine to the aromas of honey and orange blossom in oriental cuisine, let yourself be drawn into the fascinating and sensual world of perfume.

A visual and conceptual journey through the 35-year career of one of the most influential and internationally acclaimed street artists On the occasion of 35 years of Shepard Fairey's (Obey) career and his first solo exhibition in Italy (curated by the artist and the Wunderkammern gallery), this monograph presents a body of work that is among the most representative of his artistic production, together with numerous unique pieces conceived especially for the occasion. Shepard Fairey (Charleston, 1970) is the artist behind Obey. Known for the HOPE poster, a portrait of Barack Obama for the 2008 presidential campaign, Obey is distinguished by an essential and bold style with a minimalist palette guided by the hip hop and punk cultures that taught the artist to question social conventions. This is the poetics with which Fairey animates all of his works, inviting the audience to question on relevant current issues. The sections of the book are inspired by the most representative themes of Shepard Fairey's art: propaganda; peace and justice; environment; music and new works. Introduced by the essays by Giuseppe Pizzuto, Edoardo Falcioni and by a statement by Obey, the book begins with the section dedicated to propaganda featuring some of the artist's most significant images on this theme, starting with the iconic HOPE portraying Obama's face, which sparked so much enthusiasm and hope in 2008. It then continues through works in the peace and justice section in which, through the power of images, Shepard Fairey draws attention to issues such as human rights, abuse of power, war and peace. Suggestive and powerful are the works in the environment section, where the artist wishes to open a dialogue with the viewer reminding him of the importance of community in safeguarding our planet. The artist's universal message also finds expression in the section devoted to music. Of this art form Fairey especially admires universality and accessibility; he himself cites musical groups such as the Sex Pistols, Black Flag, Bob Marley and Public Enemy as his main sources of inspiration. The monograph ends with the new works, executed by Obey between 2021 and 2024, and Rubylith illustrations.

A comprehensive insight into the Iranian artist's workThe work of Mehdi Farhadian (b. 1980) emerges from the fusion of personal visual memories of nature and collective memories preserved in old photographs. The former is deeply individual, while the latter taps into a shared reservoir of collective memory. His paintings are a deliberate effort to activate overlooked histories - forgotten places, neglected public events and monuments erased by time in Iran, portraying the intersection of reality and fiction. Through these images, Farhadian explores the dichotomies of public versus private, past versus present and the forgotten allure of historical images contrasted with the recreation of those memories. Despite incorporating archival images, his artistic pursuits are not solely driven by these materials; they are equally fuelled by the emotional bonds and effective responses he shares with them. This book, comprising scholarly essays accompanied by over 150 colour images, provides a comprehensive insight into Farhadian's oeuvre. It reveals how Farhadian approaches history with a dual perspective - an intellectual appreciation coupled with a profound reverence. For him, a site's history transcends its physical or archival origin; it also encompasses an emotional projection onto that space. Farhadian invites viewers into a world they may have never physically experienced, known, or consciously remembered. Instead of erasing history, he seeks to illuminate hidden facets, using the seemingly faded qualities and ahistorical additions to evoke the challenges of uncovering the truth about Iran's complex past.

A exhaustive survey of thirty years of Peter Lynch's architectureAn in-depth exploration of Peter Lynch's architecture spanning three decades of practice, teaching, and writing. Fragments and Coherence is also an inquiry into a compositional approach that the author calls "holding together," practiced in many creative disciplines. Beethoven's Late Quartets, T.S. Eliot's The Waste Land, Marcel Duchamp's "Large Glass," Hadrian's Villa, the Humble Administrator's Garden, Scarpa's Brion Vega Cemetery, and Peter Lynch's own Timescape Garden are all examples. In each case the work's overall structure arises from the holding-together of heterogeneous parts. The book proposes a relationship between this way of making things and philosopher Giorgio Agamben's notion of singularity. Works made up of disparate, disjunct elements, reconciled with each other according to their natures, are often singular- examples of themselves alone, not encompassed by any category or rule.

The wonders of the Red Sea in a wonderful children's picture book My Little Red Sea is a children's picture book that tells the adventures of Naham in the Red Sea. A child like many others, Naham is nine years old and lives in Jeddah, a city on the coast of the Red Sea in Saudi Arabia. Together with his fisherman uncle, they spend hours at sea. While Naham spends most of his time by the Red Sea, he doesn't know the magic it entails. Until one night, amazed by the magical bioluminescent fish, he falls into the water, gets sucked into the depths, and brought before the Genius Loci who guides him to discover the wonders of the sea. His adventures include going to school with other fish, cheering at a Marlyn speed race, and even attending a magnificent party! But more importantly, Naham learns to respect and care for this underwater world so close to us yet still unknown.

The life and work of the iconic artist in Chinese contemporary art historyAuthored by the distinguished critic and art historian Lü Peng, Story of Parent Icon is a fascinating biography and in-depth exploration of the life and artistic journey of Mao Xuhui, a pivotal figure in the realm of Chinese contemporary art and one of the key artists within the influential Southwest art group. This luxuriously illustrated volume not only traces Mao Xuhui's ideological and artistic maturation during the 1980s but also seeks to reconstruct this journey through the artist's personal documents and materials, including diaries, letters, paintings, reading notes, and transcripts. The result is a profound and authentic portrayal, narrating the true history and the illustrious years of a remarkable generation. Story of Parent Icon stands as a testament to Lü Peng's commitment to preserving and illuminating the diverse narratives within contemporary Chinese art, marking another significant work following Bloodlines: The Zhang Xiaogang Story.

The wonders of the Red Sea in a wonderful children's picture book My Little Red Sea is a children's picture book that tells the adventures of Naham in the Red Sea. A child like many others, Naham is nine years old and lives in Jeddah, a city on the coast of the Red Sea in Saudi Arabia. Together with his fisherman uncle, they spend hours at sea. While Naham spends most of his time by the Red Sea, he doesn't know the magic it entails. Until one night, amazed by the magical bioluminescent fish, he falls into the water, gets sucked into the depths, and brought before the Genius Loci who guides him to discover the wonders of the sea. His adventures include going to school with other fish, cheering at a Marlyn speed race, and even attending a magnificent party! But more importantly, Naham learns to respect and care for this underwater world so close to us yet still unknown.

The new works of the versatile artistic practice of the acclaimed artist Published on the occasion of the exhibition in Venice, Venetian Bubbles inaugurates a new phase of the versatile and experimental artistic practice of the globally acclaimed artist Jiri Georg Dokoupil: the evolution of the artist's renowned Soap Bubble Paintings into three dimensional forms. Accompanied by an essay by Christian Dominguez and an introduction by Reiner Opoku, the curator of the exhibition, the catalogue presents Dokoupil's large-scale sculptural works in glass, several large-scale paintings, and a series of works on paper. These new works reflect the artist's liberated exploration of materials and techniques, revealing new approaches to painting and glassmaking with freedom, play and humour, while capturing the ephemerality of existence. A key figure in the Neue Wilde movement in Germany in the 1980s and known for his unconventional experimentations in the global art scene, Georg Dokoupil has never been confined to a specific genre or style. Instead, he transcends traditional practices, using unusual materials such as whip marks, candle soot, or fruit, and soap bubbles, demonstrating a multiplicity of approaches to painting and a body of work that defies categorization. Since the late 1970s, the artist has been exploring the subtleties of his technique, mixing soap-lye with pigments, and blowing bubbles onto a canvas coated with paint, guiding their burst to leave intricate organic imprints. These unpredictable patterns evoke a sense of spontaneity that challenges the control of the artist and the notion of permanence often found in the painting practice. Dokoupil simultaneously reflects on deeper themes of the human condition - the breath used to conceive the bubble, evokes the fugacity of existence, while the traces marked on the canvas reveal traces of its ephemerality.

An updated and comprehensive monograph devoted to a leading figure of Italian contemporary artAmong the most relevant artists of the contemporary Italian scene, since the 1970s Remo Salvadori (Cerreto Guidi, 1947) has been carrying out research that, based on the interaction between elements such as water, colour, and metals, proposes a renewed formulation of the work defined by alchemical mutations and streams of knowledge, capable of offering the observer a new awareness of the self and the world. This monograph edited by Studio Celant with the curatorship of Antonella Soldaini - the first to have this approach within the artist's bibliography - traces in an articulate and in-depth way Salvadori's life and activity from 1947 to 2024 through a rich chronology, resulting two-years research into the artist's archive. The publication is accompanied by more than 600 images of solo and group exhibitions, works, events, and documents, many of them previously unpublished, and introduced by the essays by Antonella Soldaini, Davide Bondì, Filippo Bosco, and Sharon Hecker that, through different viewpoints, contribute to broaden the critical analysis of the artist's work.

One hundred years after the publication of the first Manifesto of Surrealism, an excursus on the movement through its magazinesPublished on the occasion of on the occasion of the centenary of the publication of the first Manifeste du Surréalisme (15 October 1924), the volume volume intends to reread the parabola of the movement through the study of some of the journals animated by its members, i.e. the collective products that most effectively revealed its interdisciplinary complexity and theoretical strength, but also its contradictions and internal conflicts. If the extraordinary London exhibition Dada and Surrealism Reviewed edited by Dawn Ades back in 1978 focused for the first time on the centrality of periodicals in the overall economy of the movement, Rosalind Krauss does not hesitate to define these publications as "the true surrealist object", works of art in themselves that challenge conventions and disciplinary boundaries in order to mix languages and forms of expression. The essays collected in this volume reveal the role played by journals as veritable laboratories of Surrealism. In the introduction to the volume Jacques Dürrenmatt explores Paulhan and Éluard's journal Proverbe (1920-21) while Franca Bruera and Elena Galtsova scour Littérature above all in search of the contributions of women. Andrea Zucchinali in his essay traverses the crucial junctures of the periodical La Révolution Surréaliste (the movement's official journal) from 1924 until its closure in 1929. Gianluca Poldi opens his contribution on La Révolution Surréaliste and on other Surrealist journals that hosted the surrealists' reflections on the processes and materials of painting. Arnauld Maillet reconstructs the experimental and pioneering vein of the journal L'âge du cinéma, while Anna Maria Testaverde and Elena Mazzoleni analyze Comœdia very attentive to the international theatrical avant-garde. The "surreal without surrealism" in the Italy of the Ventennio is the focus of Gabriele Gimmelli's contribution and with Elio Grazioli we move instead to American soil, where there the eclectic journal View. Alessandra Violi documents the Surrealist movement in Great Britain (from the small university magazine Experiment to Mass Observation) and Andrea Zucchinali offers a complete mapping of the journals at the end of the volume.

The monumental Land Art sculptures by Puerto Rican ecofeminist artistGisela Colón is a Puerto Rican-American contemporary artist whose organic, totemic, light-activated sculptures and monumental environmental installations explore human per_x0002_ception challenging viewers to experience transformation in real time and space. Through an artistic process that employs high-tech materials like optical acrylics and carbon fiber, as well as matter harvested from sites of the artist's own life, Colón is known for pioneering a language of "organic minimalism" that recalls the energy of the earth, ancestral biological memories, and concepts of time, gravity, and universal forces of nature. Colón's monoli_x0002_ths invoke bullets, projectiles, and missiles, consequently recalling the fraught history of militarized colonialism in the Caribbean generally, and the artist's complicated personal experiences with gun violence more particularly. Yet for Colón the monolith in its soaring verticality also echoes the arresting mountainous peaks of Puerto Rico, an enduring source of materia prima for the artist. Employing ecofeminist and decolonial strategies, Colón reconfigures entangled histories into a universal language, transmuting forms of violence, displacement, and death into vessels of healing, light, and life.

The first comprehensive monograph on Pakistani artist and curator Amin Gulgee, dedicated to his illustrious career.Spanning over three decades, Gulgee's multifaceted practice unfolds through a rich tapestry of techniques and themes, inviting readers to immerse themselves in the intricate layers of his work. Featuring insightful essays from esteemed figures across the contemporary creative landscape—curators, novelists, artists, academics, critics—this volume illuminates Gulgee's artistry from myriad perspectives. From spirituality to politics, from the uni_x0002_versal to the particular, Gulgee's oeuvre navigates the complexities of human existence with fearless inventiveness, inviting contemplation on the boundless realms of the universe and the depths of our collective consciousness.

The extraordinary Vicky and Marcos Micha Levy Collection and its masterpiecesThis publication honors Mexican collectors Vicky and Marcos Micha Levy and traces their extraordinary artistic journey, bringing to light how, over a period of fifty years, they established a collection of the highest level. Driven by a keen sense of research, infallible eye, deep knowledge, and a passion for seeking out a great prize they amassed works spanning the development of modernity in Mexico with prevalent figures of Modernism and the national avant-garde such as José Clemente Orozco, Diego Rivera, Manuel Rodríguez Lozano, David Alfaro Siqueiros, Rufino Tamayo, Wifredo Lam, Roberto Matta in juxtaposition to pioneers in modern art with major works by Chagall, Picasso, Duchamp. Later, their interest focused on contemporary artists such as Allen Jones, David Hockney, Anselm Kiefer, Miquel Barceló and Robert Rauschenberg. Other treasures in the Levy Micha collection include Pierre-Auguste Renoir, Berthe Morisot, and Édouard Manet. Under the direction of Denise Wendel-Poray, the book features essays by the greatest specialists of Latin American art, Taiyana Pimentel, Ana Elena Mallet, Ana M. Franco, James Oles, Ana Garduño Ortega and of modern and contemporay European art, Jonas Storsve.

The first comprehensive monograph of Ala Ebtekar, spanning more than twenty years of the artist's work and practice This comprehensive monograph of San Francisco Bay Area-based artist offers a unique insight into the vast array of his influences and sources and includes contributions by Yasiin Bey, Venetia Porter, Sussan Babaie, Deena Chalabi, Hushang Ebtehaj and Shiva Balaghi. Ala Ebtekar (1978) is a contemporary visual artist whose work frequently orchestrates various orbits and cadences of time, bringing forth sculptural and photographic possibilities of the universe, and time, gazing back at us. This extensive research and making process borrows and physically reworks thousand year old image/object-making traditions up to the latest technological advances in production. His ongoing investigations create liminal experiences extending beyond human timelines, exploring the phenomenology of light. Considering light itself as both a concept and medium, and its healing possibilities, Ebtekar uses UV-light emitted from the sun and night exposures produced by moonlight and starlight in his practice. His photographic works, which take an entire night to expose, continue his durational projects viewed as in collaboration with celestial bodies. Ebtekar equally over decades has employed the tactile traditions and properties of bookmaking, page and illumination in bound manuscripts, and classical training in Iranian coffeehouse painting. His alchemy of combining these legacies weave into his commitment and own work in tandem with enduring centuries of reclaimed text & image archives, poetry, and translation.

An unprecedented insight into telsem art through the work of one of its most prolific contemporary practitioners.Drawing from astrology, religion and spirituality, the Ethiopian art form of telsem interweaves symbols, drawings and texts imbued with spiritual and philosophical significance. Shaped throughout the ages by the sociopolitical and cultural histories of Ethiopia, telsem—with its ancient inspirations and modern idioms—is used to address critical problems in the contemporary world such as climate disasters, war and poverty. Despite the fact that it continues to be practised, telsem is often characterised as "healing art" or "talisman art" within western frameworks, a perspective that excludes it from many discussions of modernism. Henok Melkamzer: Telsem Symbols and Imagery, edited by scholar Elizabeth Giorgis, challenges such a one-dimensional understanding of modernism and offers us a rare insight into one of Ethiopia's most compelling modernist art practices through the work of Henok Melkamzer.

The evocative artistic practice of Clive van den Berg, whose work weaves together themes of landscape, absence, and echoesClive van den Berg (b. 1956, Zambia) - artist, curator, designer, writer and activist - has been working across mediums throughout the course of his prolific career, producing a range of works unified by his enduring focus on five interrelated themes: memory, light, landscape, desire, and the body. Embodied in his lush paintings, mixed-media sculptures, delicate prints, films, and public projects, these themes are bound up with the history of his native South Africa and its ongoing ramifications. He has marked sites affected by Apartheid with human figures formed out of fire, and often depicts the body itself as a landscape, bearing the marks of AIDS. For van den Berg, both the body and the landscape are sites that carry memories and scars and that evoke desires, which he aims to reveal in his work, often through the illuminating power of light. As a visual artist he is interested in both formal beauty and conceptual depth. His extensive body of work ranges in size and format, and includes paintings, prints, multi-media sculpture, landscape installation, and videography. His art is both known and respected Internationally, being included in many public and private collections, and his work has garnered him several major awards and prizes. Clive van den Berg lives and works in Johannesburg, South Africa.

Twenty years of images by the acclaimed American photographer, pioneer of color art photography Mitch Epstein (Holyoke, Massachusetts, 1952) is a photographer who helped pioneer fine-art color photography in the 1970s. Focusing primarily on America as a place and an idea over the last five decades, Epstein produced iconic images of his country and immersive, visually arresting stories on the urgent political and cultural challenges America has to face as a nation. American Nature explores the inextricable link between the American landscape and psyche. Published on the occasion of the Turin exhibition, the book presents three seminal series (American Power, Property Rights and Old Growth) and premiers two multimedia works: Clear Cut, a projection of Darius Kinsey's early 20th century photographs of logging in the Pacific Northwest forests of the United States set to a modern soundtrack; and Forest Waves, a multi-channel video-sound installation made in the old growth forests of Massachusetts, which features tonal music performed there by Mike Tamburo and Samer Ghadry. American Nature is an inquiry into the rapacious consumption of resources by American industry and the bold risks that individuals undertake to preserve what is left of precolonial land for future generations. It includes a selection from all three photographic series, Kinsey photographs from Clear Cut and film stills from Forest Waves. Together, they tell the story of the resilience and fragility of the natural world. Also included are essays by acclaimed art historians Makeda Best and Robert Slifkin and curator Brian Wallis, and an in-depth interview between Wallis and Epstein, which delves into the artist's practice, and his evolving artistic and political resolve.

A complete monograph devoted to the Polish master of abstract painting, whose compositions play with minimalist forms and colour Stanisław Fijałkowski (1922-2020) boasts a direct connection to the very origins of the European avant-garde - he was an assistant of Wladyslaw Strzeminski, who in turn had studied under Kazimir Malevich. Throughout six decades Fijałkowski maintained a solely unique idiom of mystical painting, hovering between the abstract and the representational. He also explored the subject theoretically and translated into Polish several important texts, including Wassily Kandinsky's On the Spiritual in Art. Fijałkowski was also an accomplished engraver, with prints in the collections of Museum of Modern Art, New York and Tate Britain. Even when simplified to black and white his compositions still manage to convey an aura of meditative mystery. The artist had significant international presence in his lifetime - he represented Poland at the São Paulo and Venice biennales, lectured in Belgium and Germany, served as Vice-President of the International Society of Wood Engravers XYLON in Winterthur, Switzerland. This comprehensive monograph is a rare opportunity for the international audience to rediscover an artistic vision of such scope and magnitude. "Longevity allows Fijałkowski to trump the logic of 'isms'," as critic Mark Sadler pointed out in his Frieze review of a 2016 exhibition.

Extensive new monograph of Norwegian artist Frida Orupabo, known for her powerful and thought-provoking collage work. Leading Norwegian artist and sociologist Frida Orupabo gained prominence in the art world for her evocative digital and physical collages. Her work often explores themes of race, gender, identity, family relations, sexuality, violence and the human body. Black bodies, which have been subjected to exploitation throughout history, are often present. Orupabo manipulates images, cutting them out, adding and excluding elements, and then reassembling them, suggesting a phantasmagorical and poignant reworking of representational codes. Frida Orupabo was born 1986 in Sarpsborg, Norway. She lives and works in Oslo. Orupabo is the recipient of the prestigious 2025 SPECTRUM Internationaler Preis für Fotografie and was shortlisted for the Deutsche Börse Photography Foundation Prize in 2023. This richly illustrated catalogue accompanying Orupabo's exhibition at Bonniers Konsthall in Stockholm in 2024 and Astrup Fearnley Museet in Oslo in 2025, focuses on newly produced works. Alongside an introduction by curators Yuvinka Medina and Owen Martin, and poems by C. LeClaire, original essays by Portia Malatjie, Nina Cramer and Mai Takawira explore the tensions and positions of Orupabo's work both internationally and within a Nordic context.

A reflection on the relationship between nature, ecology and politics in the catalogue of the Portuguese Pavilion at La Biennale di Venezia The publication Greenhouse interweaves texts from artists, curators, as well as theoreticians concerning themes of ecology, identity, history and diaspora in relation to contemporary artistic practices. Created by artist-curators Mónica de Miranda, Sónia Vaz Borges and Vânia Gala, and comissioned by DGArtes (General Directorate of the Arts) in Portugal, it reflects on and manifests the vision of Greenhouse, the official Portuguese representation at the 60th International Art Exhibition - La Biennale di Venezia. Looking at the land as a vector of decolonial thinking and practice, as inspired by the agronomist and leader of the liberation struggle in Guiné-Bissau and Cabo Verde, Amílcar Cabral, the publication brings together historical narratives of liberation. It looks at contemporary decolonial practices, and imaginings of possible futures in the context of the Anthropocene and continued struggles against structural racism and for historical reparations. The texts are interwoven with images from the exhibition that proposes a collective action through the creation of a "Creole garden" inside the exhibition space, which combines sculpture, stage, installation and assembly spaces, to open an area of resistance and freedom for multiple subjectivities. "Creole gardens" blend a wide range of plant species. They are instances of resistance, exercises in freedom. Situated at the intersection between practice, theory and pedagogy, Greenhouse is grounded in four actions: Garden (Installation, Space and Time), LIVING ARCHIVE (Movement, Sound and Performance), Schools (Education, History and Revolution), Assemblies (Public and Communities).

A tribute to Valerio Adami's more than 60 years of artistic research Realized in collaboration with the Valerio Adami Archive, the monograph is published on the occasion of the anthology that celebrates sixty-five years of research by Valerio Adami (1935), a well-known European painter (he lived between France and Italy) recognized as a valid interlocutor by all contemporary philosophers. Valerio Adami is a contemporary Italian painter belonging to the New Figuration movement. His paintings, almost always large format, give a great visual impact, therefore the artist has sometimes been defined as "pop". Behind straightforward images is hidden a more complex narrative: the Adami's artworks are rich in sophisticated visual metaphors, and they include philosophical, literary and mythological concepts, representing the evolution of ideas through the European and Western thought. Valerio Adami is a central figure in the Milanese art scene of the 1960s, very important in the international context, especially in France, from the following decade. Published on the occasion of the anthological exhibition at Palazzo Reale, the monograph presents about ninety works representative of Valerio Adami's long artistic career, a sort of "gallery" of major works, in the old-fashioned manner, yet very modern in linguistic conception. The works come from the artist, who over the decades kept with him the works he considered most significant, from various European museums, prestigious galleries and private collections, and cover the entire time span of his activity, from the first trials of the 1950s to the present.

The first volume of the Catalogue Raisonné dedicated to Mario Schifano's pictorial work explores the artist's 1960s-production. The result of an over fourteen-year research conducted by Archivio Mario Schifano, the publication is divided in four volumes, each dedicated to a single decade. This first volume presents the works the artists created from 1960 to 1969, with over 500 high-resolution pictures and about 300 mainly so-far unpublished photographs from Mario Schifano's personal archive, Achivio Ugo Mulas, and the Camilla and Earl McGrath Foundation. The son of an archaeologist head of the Leptis Magna excavations in Libya, Mario Schifano (1934-1998) carried out his apprenticeship at the Etruscan Museum of Villa Giulia, and made his artistic debut in 1960 with an exhibition in Rome presented by Pierre Restany; Schifano immediately captured the critics' interest with his mono chrome paintings evocative of the photographic screens that would later incorporate numbers, letters, road signs, and Esso and Coca Cola logos. In 1963 he travelled to the United States for the first time and met Frank O'Hara, Jasper Johns, and Andy Warhol. His works started to include quotations from the history of Italian art and Futurism. In this period he painted his first Paesaggi anemici and in 1966-1967 he began the Ossigeno ossigeno, Tuttestelle, Oasi, and Compagni, compagni series. Besides his solo shows and his participation in national and international group exhibitions, during the 1960s Schifano also worked on full-length films, directed three exper imental films, and collaborated with a psychedelic rock band. An ideological and existential crisis forced him to isolate in his studio for periods of time during which his production focused on the reinterpretation of the art of Magritte, De Chirico, Boccioni, Cézanne, and Picabia.

On the occasion of the 60th International Venice Biennale, a new installation and performance video by the internationally renowned visual artist. This volume accompanies the exhibition Kiss and Don't Tell with Maria Madeira's works, curated by Natalie King. Maria Madeira's work represents Timor-Leste in its inaugural pavilion at the 60th International Venice Biennale, coinciding with the 25th anniversary of the independence of Timor-Leste. Maria Madeira is one of Timor-Leste's most significant contemporary visual artists working internationally, yet her practice is deeply embedded in local traditions, concerns and histories. For the first ever participation of Timor-Leste at the Venice Biennale, Madeira presents Kiss and Don't Tell, a new site-specific installation utilising local materials such as tais (traditional textile), betelnut, earth and pigments. Her performative installation draws on the collective memories of her foremothers. Responding to the Venice Biennale's overarching theme Stranieri Ovunque-Foreigners Everywhere, curated by Adriano Pedrosa, Madeira imbues her work with her lived experience of displacement, having grown up in a refugee camp in Portugal with her mother. Maria Madeira was born in Timor-Leste, lived as a refugee in Portugal, studied art, and achieved a Doctor of Philosophy in Australia. Her artistic practice is a bridge between our past and our future. She uses our traditional cloth "tais", betel nut, and the red earth of her village to tell a story that speaks to the world today. Her work has been exhibited in Australia, Brazil, Indonesia, Macau, Portugal and Timor-Leste. Her recent exhibition at Fundacão Oriente in Dili, Flowery Talk, celebrated her belief that art and culture are the spirit and soul of a nation.

The Paradiso of The Divine Comedy illustrated by plates from the contemporary artist. This volume presents the full text of the Paradiso/ Paradise beautifully illustrated by Cecco Bonanotte's plates, created in a sophisticated mixed technique that simultaneously exploits the tools of printing and those of drawing. The three volumes revolve around guiding colours: black and red for Hell; gray and silver for Purgatory; cream and gold for Paradise.

The Purgatorio of The Divine Comedy illustrated by plates from the contemporary artist. This volume presents the full text of the Purgatorio/ Purgatory beautifully illustrated by Cecco Bonanotte's plates, created in a sophisticated mixed technique that simultaneously exploits the tools of printing and those of drawing. The three volumes revolve around guiding colours: black and red for Hell; gray and silver for Purgatory; cream and gold for Paradise.

The fascination of the ocean through 150 artworks from 16th century to the presentThe Atlantic Ocean. Art, Myths, Science presents around 150 artworks spanning from the 16th century and until today, which offers unique visions of the North Atlantic Ocean and of how its' cold, dark waters have shaped human practices, lives, and longings over centuries. Mirroring the flow of the oceans, the book highlights the coexistence of species, cultures, and stories. Romantic paintings of stormy seas or ship_x0002_wrecks by artists such as J.M.W. Turner, Peder Balke, J C Dahl, and John Constable, whose work has influenced the collective imagination, are interspersed with more modern outlooks, including vitalist bathing scenes by Edvard Munch and Anna-Eva Bergman's abstract geometric compositions of the coastal landscapes of Northern Norway. Vintage maps from late 1500-1700s that combines accurately drawn coast_x0002_lines with fantastical creatures, are interlaced with contemporary works, including Allan Sekula's seminal photographic documentation of globalized trade and precari_x0002_ous labor at sea in Fish Story (1988-95) and video installations by artists such as Sondra Perry and Joar Nango, the latter featuring a projection screen constructed of halibut stomachs; the artist's contemporary interpretation of the older Sea-Sámi practice of constructing windows of this material.

Dalle aigrettes di diamanti adorate da Maria Antonietta alle sontuose parures di coralli e cammei predilette da Paolina Bonaparte. Dai capolavori in micromosaico del Grand Tour ai gioielli sentimentali della regina Vittoria o all¿anello in diamanti con il monogramma dell¿imperatore Franz Joseph, fino alle spille sinuose dell¿Art nouveau. Dai bracciali sofisticati del Déco, allo sfarzo in platino e diamanti della Mode Blanche e alla delicatezza dei bouquet degli anni cinquanta dei grandi gioiellieri: questo volume celebra tre secoli di alta gioielleria, dal 1750 al 1950, racchiusi nello scrigno prezioso della collezione Pennisi. Un viaggio nel tempo e nello stile, che attraversa mode e modi, materiali rari e tecniche millenarie, in compagnia di orafi straordinari e di donne leggendarie, e ci conduce a capolavori dell¿arte orafa dalla bellezza incomparabile.

The official catalogue of the newly opened Cecco Bonanotte Museum in TokyoFew artists have the good fortune, and the privilege, of conceiving, designing, building and organising a museum devoted to their own work: an unparalleled opportunity to tell the story of the dreams, visions, courage, challenges and ideas which guided them along the way, forging their style and bringing their poetry into being. This magnificent challenge is a one-of-its-kind honour for Cecco Bonanotte (1942), but also an immense responsibility, made all the more exciting by the fact that the establishment of a museum devoted entirely to his art has come about thanks to the support and praise of illustrious representatives of his second, adopted homeland: Japan. His ties to Japan date from back in the 1970s, when, as a young artist just starting to gain notice on the international scene, he was invited to take part in exhibitions, in addition to being assigned official commissions, with the crowning recognition arriving in 2012, when he was awarded the highly coveted "Praemium Imperiale". In this extremely valuable publication, which testifies to the importance of a truly exceptional museum project, each individual work of sculpture is examined through the rigorous, sophisticated camera lens of Alessandra Maria Bonanotte, the artist's daughter. Through the use of an original artistic language that combines what Pascal called the "spirit of geometry" with the "spirit of finesse", Cecco Bonanotte creates a richly expressive sculptural world overflowing with a refined, free and sometimes mysterious atmosphere. As has often been noted, Bonanotte's art reflects the "Italian tradition" stretching from Donatello and Michelangelo to Manzù and Fazzini; going even further back in time, we might also glimpse traces of a wide variety of forms from the ancient Mediterranean world.

A wide-ranging monograph of over 100 prints by HockneyDavid Hockney (b. 1937) is renowned for his distinctive paintings, mostly portraiture and landscape, but also for his approach to works on paper and printmaking, mirror ing the vibrancy and diligent indexing seen in his broader body of work. Hockney's prints often showcase a dynamic interplay of color, form, and perspective, reflecting his keen eye for visual storytelling of intimate elements of his own life. Throughout his career he has experimented with various printmaking techniques, including etching, lithography, screen printing, and more recently iPads, each method revealing his diligence in manipulating the medium - without ever experiencing, in his own words, "a feeling of failure." His visual experiments, always surprising in their outcomes, suggest a rich interior and exterior life, captured in telling bits and frag ments, suggesting a montage of quotidian scenes. Like much of his oeuvre, Hockney's prints draw from extensive art historical study of the optical devices of Old Master paintings. Recently, his iPad-based art shows an interest in the changing seasons from his own perch in the English countryside, among other vantage points and geographies of interest. Whether depicting landscapes, portraits of friends, or banal scenes, Hockney's prints exhibit a harmonious blend of traditional craftsmanship and his own distinct playful ness and insight to daily life. The title, Paper Trails, echoes Peter Bürger's writings on visual art's relationship with the "praxis of life." In Theory of the Avant Garde, Bürger saw art's relationship with the lived experience as becoming increasingly atrophied and distinct. In contrast, Hockney's work displays an ever-evolving search for depict ing snapshots of life that capture and celebrate its true essence-its character, its soul.

A monograph on Marina Abramovic's work with crystals, a part of her practice that is still underexploredMarina Abramovic (1946) believes in the power of crystals to store the whole history of the earth and carry and transmit their energy. Thus, crystals are mainly linked to the Transitory Objects - a series of objects that the artist created to embody energy and trigger physical and mental experiences in the public through direct interaction, several installations, and exhibitions. Published on the occasion of the retrospective exhibition at the Museum of Modern Art (MAM) Shanghai, the book tells the story of how Marina Abramovic discovered and explored the power of stones and crystals, at first, during her performance The Great Wall of China with Ulay, and later by visiting mines around Brazil. The publication contains her personal theory on crystals and energy, with her draw ings, pictures of her works, and other sources describing Abramovic's vision of crystals and the "crystal meditation" her works aim to inspire. It also contains a spiritual guide, along the lines of The Marina Abramovic method. Instruction cards to reboot your life, communicating with the reader and inspiring actions and meditations