Artist book, edition of 25 copies + 5 artist proof, numbered and signed, containing the standard catalog more 4 different painting each signed, screenprint on leather color folder 820 gsm, 43 x 28.5 cm, 2019. Produced for the exhibition Sinossi (bon voyage) by Pesce Khete, Rome 2019. GO TO SHOP
Libro d’artista e catalogo della mostra Sinossi (bon voyage) di Pesce Khete, presso Colli Independent, Roma. Analizzando diversi cataloghi d’arte, di pittura, per individuare le tipologie di schedatura delle opere in pittura. Strumento descrittivo della materia della pittura, la scheda supporta l’immagine a restituire in solido l’opera, usando codici fisico-dimensionali, contestuali, di proprietà: rendendosi “discorsiva” raggiunge la narratività o la processualità. Partendo da una bibliografia selezionata di tipi di pubblicazioni sulla pittura, anche “maestra”, si sperimenta questo dispositivo letterario per indagare l’opera di un artista con parametri poetici-tecnici, in parte prestati dalla storiografia artistica. Versione a tiratura speciale con cartella in serigrafia contenente la versione standard in aggiunta a quattro tavole pittoriche originali e uniche, tutte firmate nel retro.
Artist’s book by Pesce Khete which is also the catalogue of his exhibition Sinossi (bon voyage) at Colli Independent, Rome. Looking at art catalogues and painting catlogues to identify how to catalogue paintings. This book is a descriptive tool of the matter of painting, where “data sheets” support images, using codes. This book is concieved to investigate the work of an artist through poetic-technical parameters, partly inspired to artistic historiography. special edition version with screenprint folder more four original paintings each unique and signed on the back
The project Faster than Christ by Franco Ariaudo is inserted in the wider investigation that he artist has conducted on some scenarios of the possible and on the influence that they can have on our perception of the reality or on that we assume to be possible. Through a series of sketches and actions developed since the 2017 during a residence in the island of Biruchiy, dipped in the suggestive landscape of the Azov sea, the project has initially taken the form of a book, Basilisk or How to run on water, that has explored under multidisciplinary points of view the practice of the run on water and its motivational potentialities in front of the challenges that the human being must face.
The project from COLLI independent art gallery is an extension of this research in the format of show that, in its plastic-sculptural evolution, acquires further senses and meanings. Beginning from a (re) teo-philosophical reading that the act of walk on water occupies in the western symbology and imagination, the project gets away from biblical topic toward other domains, closer to more actual anthropological and socio-cultural worries. Which are the necessary ideal conditions for facing the challenge of the run on water? Which are the physical and spiritual strengths that must be implemented, and which are the prerequisites that would allow a person to run on water? And above all, how can we change our point of view on the reality and start to imagine something impossible as possible?
The space of the gallery becomes a training centre that stage a series of tecno-gymnastic prototypes, that act as potential tools to reach this apparently impossible objective. From the installation PETER Mt14:31, a tapis roulant that desecrate the run on water, depriving it of its extraordinary nature, to the footwears that melt the theological lexicon with the mass production promotional one. The sublime fuses with today’s sport aesthetic, in a playful and ironic gesture of appropriation and hybridization. Like, for example, the poster with the representation of Jesus and the evocative writing Why did you doubt?. Starting from a para-scientific register, the project Faster than Christ lays the foundations for the theory and the practice of the run on water, in which the notion of the magic and of the miraculous cohabits with a competitive and pragmatic vision, reflecting some contradictions of the contemporary society. Result of multiples suggestions and visions drawn by the natural world and by the science, the show proposes a radical perspective change on the topic, moving the point of view from the utopic to the dystopic that pull us toward a redefinition of the same notion of impossible and of its perceptive limits, in front of the numerous technological and social transformations that we are going through.
The show is accompanied by the artist book Basilisk, edited by COLLI gallery, Viaindustriae publishing with the graphic project of Friends Make Books. The typeface shown by the works in the exhibition is “Sporty”, by Alessio Di Ellena.
The exhibition is accompanied by the artist book “Basilisco”, edited by Colli independent art gallery, Viaindustriae publishing, with the graphic project by Friends make books. LINK TO THE BOOK
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.
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.
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.
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.