MIRABILIA URBIS

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AA.VV. Viaindustriae publishing con Colli Publishing Platform, 500 copies, bw+col, 314 pp., 20×12 cm, it/eng 2019. GO TO SHOP
La mostra Mirabilia Urbis si configura come un particolare cammino che attraversa tappe dislocate in diversi spazi, sia commerciali che istituzionali, tra i Rioni Parione e Regola di: dedalo di vie e vicoli che caratterizzano una delle aree del centro più peculiari di Roma. Il titolo, preso in prestito dalle antiche guide turistiche per pellegrini nate nel Medioevo, nasce dalla necessità di tracciare e mappare un percorso inedito e inaspettato proponendo al visitatore un’esperienza di avvicinamento al luogo totalmente nuova. Attraverso le opere degli artisti, la mostra intende analizzare le trasformazioni di questa zona di Roma, registrando i mutamenti che hanno portato al cambiamento di strutture sociali, economiche, amministrative, politiche, culturali e artistiche su cui poggiano i valori fondanti della realtà contemporanea. Il progetto espositivo è ideato da Carlo Caloro e prodotto da artQ13, curato da Giuliana Benassi.
The exhibition Mirabilia Urbis is configured as a particular path that crosses stops located in different spaces, both commercial and institutional, between the Parione and Regola districts: a maze of streets and alleys that characterize one of the most peculiar areas of Rome. The title, borrowed from the ancient tourist guides for pilgrims created in the Middle Ages, stems from the need to trace and map a new unexpected path, offering the visitor a particular experience in approaching a totally new space. The project is created by Carlo Caloro and produced by artQ13, curated by Giuliana Benassi.

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WITH THE EYES OF THE EARTH
MARKUS KARSTIESS

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Markus Karstiess, Claudio Abate, Roberth Smithson, With the Eyes of the Earth, Colli publishing platform, 500 copies, 38.5 x 28, 2018, produced for the exhibition With the Eyes of the Earth, 2018, Roma. GO TO SHOP
Prodotto in occasione della mostra With the Eyes of the Earth, presso COLLI Independent Art Gallery, Roma. 49 anni fa Robert Smithson realizzò il suo primo Asphalt Rundown di terra nell’ottobre del 1969 in una cava abbandonata vicino a Roma con la Galleria L’Attico. Questa pubblicazione raccoglie materiale raro e inedito dall’Archivio Claudio Abate e Fabio Sargentini (Galleria L’Attico) che documenta il flusso iconico e la mostra che Smithson ha realizzato all’interno della Galleria L’Attico, nonché sculture e opere video di Markus Karstiess che ha realizzato uno scavo per cercare i resti dell’asfalto nel 2014.
Produced in the occasion of the exhibition With the Eyes of the Earth, at COLLI independent art gallery, Rome. 49 years ago Robert Smithson made his first earthwork Asphalt Rundown in October 1969 in an abandoned quarry near Rome with Galleria L’Attico. This publication brings together rare and previously unpublished material from the Archivio Claudio Abate  and Fabio Sargentini (Galleria L’Attico) documenting the iconic flow and the exhibition Smithson realized inside Galleria L’Attico, as well as sculptures and video works from Markus Karstiess who made a dig for the remains of the asphalt in 2014.
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GOODBYE AMERICA
BRAD FEUERHELM

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Brad  Feuerhelm, Yard Press with Colli publishing platform, limited edition of 300 copies printed by Grafiche CMF, Foligno, offset print, 176 pages (color & b/w ill.) 21.5 x 32cm, paperback twist-stitching, 2016. GO TO SHOP
“What then of our cherished civility? What then of this dreadful order of things that enables us to sustain the mediocrity of a politics of small differences? Better to leave it to them. It’s only a matter of time before the incessant chatter of sports heroes and TV personalities spools so tightly around its tricolour shroud to choke every last breath of meaning from the body politic.” Ryan Mahan
Goodbye America is the new volume by Brad Feuerhelm (La Crosse, 1977). Feuerhelm drives us throughout an images sequence on which he activate a destructive process, a target shooting on every kind of “american dream” decline. The volume includes essays by Anthony Faramelli and Ryan Mahan.
The images that Brad Feuerhelm collected, smashed, scratched, distressed, destroyed shows the perverse ideological core of American culture in agonising clarity. It is almost as if Feuerhelm were trying to literally tear away the simulacrum in order to expose the “desert of the real”, the void at the heart of the American experiment. In their un—altered form, these photos deliver powerful messages of community, freedom of consumption, and sexual liberation: the American promise that you can “have it all” by simply surrendering to the authority of America’s ideological culture and its logic of exchange. By negating these liberal narratives Feuerhelm takes aim at the so—called “American dream” and formulates a fundamentally nihilist politics that rejects the promise of a better tomorrow. This is a politics that shatters the idea of the American epoch, not by questioning whether history has come to an end, but rather by questioning if history ever really began.
Perhaps this is Feuerhelm’s way of saying goodbye to America. His way of leaving a promise land where the milk has soured and the honey has turned to amber. But saying goodbye does not mean that he has left. Leaving is a process that is never complete. The events that structured the need for this book’s political and philosophic intervention will continue to return and haunt the world long after the American empire has turned to dust.” Anthony FaramelliSchermata-2020-04-14-alle-17.17.07 Schermata-2020-04-14-alle-17.17.22 brad Schermata-2020-04-14-alle-17.17.33

SPORTIFICATION
EUROVISION PERFORMATIVITY AND PLAYGROUNDS

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Franco Ariaudo, Luca Pucci, Emanuele De Donno, Viaindustriae publishing with Colli publishing platform, printed by Grafiche CMF, Foligno (PG), Italy offset, printed in 1 color (black), 3 colors (RYB), 4 colors (CMYK), edition of 800 copies, 17 x 24 cm (softcover), 600 pages (color & b/w ill.) BUY NOW
SPORTIFICATION is a long term research and a set of cultural actions based on several archives about “historical” Eureopean TV casts or Eurovisions (Games without frontiers/Jeux Sans Frontieres/Spiel Onhe Grenzen). Sportification/società, agonismi e giochi senza frontiere (Sportification / eurovisions, performativity and playgrounds), analyzes, with an interdisciplinary approach, the issue of agonism in the public and game in contemporary cities/societies. Sportification  is an inter-disciplinary research focused on analyzing the subject of sport, of agon and of game nowadays. The basis of the work is a critical-comparative and sociological analysis dictated by a wide archive of images and videos of the famous tv-show Giochi Senza Frontiere / Jeux Sans Frontieres / Spiel Onhe Grenzen / It’s a Knockout, which constitues a master guide and a “true” archeology of the competitive action from the times of picturesque villages, to Eurovision, passing through the postpolitical era of European Community. The project deals both with the utopia of a playful society and with the social musculature leading to “sportification” of the collective body and to politicization of sport. It includes several text-contributions: David Robbins, Cesare Pietroiusti, Alexander Skidan (Chto Delat), Luisa Perlo, Claudio Cravero, Cecilia Casorati, Sven Luttiken, Valentin Torrens, Fabio Cafagna, Krzysztof Gutfrański, Gunnar Schmidt, Boris Nieslony, Tom Marioni, The Bureau of Melodramatic Research, Elena Volpato, Denis Isaia, Lisa Le Feuvre, Myriam Laplante, Armin Linke, Gianni Magrin. In the book you will find memorabilia, games, masquerade with critical contributions of experts and researchers on the connection between art, sport and society, european and community policies.

YES YES YES ALTERNATIVE PRESS
'66-'77, FROM PROVO TO PUNK

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Amedeo Martegani and Emanuele Dedonno, Viaindustriae publishing/A+Mbookstore with Colli publishing platform, 1000 copies, printed by Grafiche C.M.F Foligno, 23 x 31 cm (softcover), 512 pages (color & b/w ill.), 2016.
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YES YES YES è un saggio visuale, un libro di immagini che esamina il ruolo della stampa alternativa, underground e controculturale in un periodo fiorente: 1966-1977. Editori, autori, praticanti radicali di quella scena, intervistati in questo libro, ripensano quelle azioni e pubblicazioni che toccavano i temi dell’ urgenza sociale del cambiamento.
YYY tratta soprattutto la cultura visiva di riviste povere stampate in off-set, la loro grafica stupefacente e la loro estetica liberata in integrazione con il sistema di attivismi ed interventi politici. In questo modo le pagine dei giornali trattano i fatti e le notizie, ma anche supportano lo stile sovversivo e quel clima fervente che formò una rete sociale di stampatori, le autonomie creative e i sindacati per la distribuzione. In questa innovazione sistemica, la democratizzazione di stampa stimolava la sperimentazione del design grafico da un lato e la crescita della pratica editoriale in una cultura allargata alla comunità dall’altro.
Le riviste sono state catalogate secondo dei temi e, anche se collocate in una geografia incompleta, testimoniano uno scenario culturale internazionale tra Europa e America. YYY è una collezione di innumerevoli documenti sui diritti civili e movimenti di liberazione, che ha lo scopo non solo di conservare e riportare a memoria, ma anche di sfogliare le pagine viventi diffondendo contenuti radicali e layout creativi.
YES YES YES  is a visual essay, a book of images that examines the role of the alternative, underground and countercultural press in a flourishing period: 1966-1977. Publishers, authors, radical practitioners of that scene, interviewed in this book, rethink those actions and publications that addressed the social urgency of change. YYY deals above all with the visual culture of “poor” magazines printed off-set, their amazing graphics and their aesthetics liberated in integration with the system of activism and political interventions. In this way, the pages of newspapers deal with facts and news, but also support the subversive style and that fervent environment that formed a social network of printers, creative autonomy and trade unions for distribution. In this systemic innovation, the democratization of the press stimulated the experimentation of graphic design on the one hand and the growth of the editorial practice in a culture extended to the community on the other. The magazines have been cataloged according to themes and, even if placed in incomplete geography, testify an international cultural scenario between Europe and America. YYY is a collection of countless documents on civil rights and liberation movements, which aims not only to preserve but also to browse the living pages spreading radical contents and creative layouts.
Zines: Aloha, American Avatar, Avatar, Bauls, Berkeley Barb, Berkeley Tribe, Big Muddy Gazette,  Countdowm, East Village The Other, Fapto, Fire!, Freedom News, Friends, Gay, Gay Power, Gay Scene, Gay Sunshine, Georgia Straight, Good Times, Haight Ashbury Eye, Haight Ashbury Free Press, Haight Ashbury Love Street, Haight Ashbury Maverick, Haight Ashbury Tribune, Harbinger, Helix, Hitweek, Idiot International, Iets, Insekten Sekte, Juche, Kabouter Krant, Kaleidoscope, King Kong International, Kiss, Klaas Krant, Liberated Guardian, Los Angeles Free Press, Mondo Beat, Muhammad Speaks,  Nola Express, Old Mole, Open City, Oracle Los Angeles, Oracle San Francisco, Other Scenes, Peninsula Observer, Pic up, Pleasure, Provo, Quicksilver Times, Rampage, Rat, Real Free Press, Re Nudo, Rising Up Angry, Royal World Countdown, San Francisco Ball, San Francisco Express Times, Screw, Search & Destroy, Sette Aprile, Sniffin’ Glue, Southern Free Press, Spy-in, Styng, Suck, The Bird, The Black Dwarf, The Black Panther, The International Times, The New York Review of Sex, The Oracle, The Seed, Virginity, Washington Free Press, Witte Krant.
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CONTINUOUS DAYS
DINO FRACCHIA

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Dino Fracchia, A+Mbookstore, Viaindustriae publishing con Colli publishing platform, printed by Grafiche CMF Foligno800 copies, 25 x 16.5 cm, 512 pp, 2015. BUY NOW
Il fotogiornalista italiano Dino Fracchia è nato a Milano nel 1950 e ha iniziato la sua carriera professionale con il quotidiano “L’Unità” nel 1974. Era il periodo dei giornali di controcultura come la rivista “Re Nudo”. Re Nudo organizzò due grandi raduni di musica rock (chiamati “Festival della gioventù del proletariato”) nel Parco Lambro, a Milano, ispirandosi all’atmosfera di pace e amore di Woodstock (1969). La macchina fotografica di Fracchia ha registrato questi avvenimenti su larga scala con dettagli inequivocabili, raduni della sinistra radicale che culmineranno infine nei violenti scontri di Bologna del 1977. Innumerevoli immagini catturano l’atmosfera di questo fugace momento storico. 
Italian photojournalist Dino Fracchia was born in Milan in 1950 and began his professional career with the newspaper l’Unità in 1974. Around that time, counterculture newspapers such as the magazine ‘Re Nudo’ (The Naked King) were being printed. These organized two large rock music rallies (named ‘Youth Festival of the proletariat’) in Parco Lambro, Milan, modeled after the peace and love atmosphere of Woodstock (1969). Fracchia’s camera recorded these large-scale happenings in unambiguous detail, gatherings of the radical left which would eventually culminate in Bologna’s violent clashes of 1977. Countless images capture the vibe of this fleeting historical moment.
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