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Fratino's tender portraiture and intimate interiors evoke his own associations with the Italian landscape and cultural traditionThis volume presents a selection of work from American painter Louis Fratino, centered on his relationship with Italy, one of the artist's main cultural contexts of reference and a perspective through which to view both his artistic and his personal experience. His works evoke the landscapes, people and cultural context that animate the artist's everyday life, creating intense and erotically charged atmospheres. Alongside paintings, drawings, etchings and sculptures from the last decade, Satura includes new works providing a thorough investigation of the artist's practice. The title Satura comes from the Latin meaning of the word, referring to lanx satura, a dish filled with first fruits intended for the gods, from which descended a literary genre characterized by a variety of styles. In Italian, satura translates to "saturated" or "filled." Both Latin and Italian meanings resonate well with the richness and formal feast of Fratino's art.Louis Fratino was born in Maryland in 1993 and received his BFA in Painting with concentration in Illustration from the Maryland Institute College of Art in Baltimore. He is currently featured in the 60th International Art Exhibition of the Venice Biennale, Stranieri Ovunque--Foreigners Everywhere, curated by Adriano Pedrosa. His work is included in the collections of the Baltimore Museum of Art; the Hammer Museum, Los Angeles; the Museum of Contemporary Art San Diego; the Museum of Fine Arts, Houston; the RISD Museum, Providence; and the Whitney Museum of American Art. Fratino lives and works in Brooklyn.

Creating a literary bridge across continents through the art and archives of Michele LombardelliAs an artist, author, musician and editor, Michele Lombardelli (born 1968) has forged countless creative connections with everyone from Emilio Villa to John Baldessari and Martha Rock. This exhibition catalog celebrates the many publications born from these international collaborations, intertwining poetry, visual arts, music and literature.

Inspired by research on solar radiation management, Papageorgiou mixes beach gear with weather reports to unmask the cycle of rest and regenerationPitting a burgeoning tourism industry against the depletion of natural resources, Greek artist Vasilis Papageorgiou (born 1991) employs sunbeds, solar panels and copper-plated beach towels into an installation that offers a middle ground to where pleasure meets preservation.

A tale of two exhibitions: the first examination of the complementary practices of lifelong friends Yves Klein and ArmanIn 1958, Yves Klein (1928-62) held an exhibition in Paris' Iris Clert Gallery titled Le Vide ("The Void") in which he removed all of the art from the walls and display cabinets and repainted the white space. Two years later, Klein's close friend and colleague Arman (1928-2005) occupied the same gallery space with an exhibition titled Le Plein ("The Full-Up") in which he stuffed the rooms with enough trash to be seen from outside. Klein aimed to override the notion of art as synonymous with the material production of works, while Arman made clear the industrial essence of modern humanity. Using these two contrasting exhibitions as a starting point, Le Vide et Le Plein explores the diametrically opposed poetics of Klein and Arman, two lifelong friends both from Nice. Highlighting 60 works, this publication synthesizes their divergent practices as two compatible tenets of Nouveau réalisme.

Uncovering the impact of artist residencies beyond the finished artworks, with a special focus on changing ecologiesArtist residencies are instrumental settings of creation for many artists, but their mark on the work itself is often rendered invisible by the time of exhibition. Through 10 essays, this volume reconsiders the role of the artist residency, positing it as part of a societal and ecological mindshift. This book was published in conjunction with Saari Residence

From modern canopic jars to melting scythes, Maeller's augmented symbols of mourning reckon with melancholy and lossSpanning a diverse array of mediums including printmaking, sculpture and installation, Danish artist Martin Maeller (born 1990) combines personal experiences with elements of pop culture to examine public and private methods of mourning.

With Postproduction, the third and final issue of In Medias Res, Fluentum's research project on the history of its premises concludes by literally taking stock of both the production of and productivity inherent in moving images. At the core of this publication are new essays on film shot in the building: beginning in the mid-1990s, mere months after the US abandoned its West Berlin headquarters, these films formed part of reunified Germany's nascent creative industry, and continued to be made throughout the 2000s. Edited by Dennis Brzek and Junia Thiede Contributions by Loretta Fahrenholz, Richard Hawkins, Thomas Helbing, Margaret Honda, Evelyn Kreutzer, Elisa R. Linn, D'Ette Nogle, Maya Schweizer, Richard Sides, Mike Terry, Peter Wächtler, Florian Wüst Das Urheberrecht an bibliographischen und produktbeschreibenden Daten und an den bereitgestellten Bildern liegt bei Informazioni Editoriali, I.E. S.r.l., oder beim Herausgeber oder demjenigen, der die Genehmigung erteilt hat. Alle Rechte vorbehalten.

Jason Dodge's practice attempts to give new life to objects, exploring their potential and provoking the viewer's cognitive ability to imagine a corresponding narrative. Focusing on specific aspects of two works, A permanently open window and Changing the lights - From rose light to white light, from white light to rose light, by hand, over and over, Jason Dodge's artist book is not merely a documentation of his works but, in the artist's words, "a record of light changing over a day, in one case naturally and in one case manually". The publication was conceived and designed to accompany Jason Dodge's permanent installation realized for the Maramotti Collection, in Reggio Emilia - a permanently open window located in what was once the tower of a factory's electrical power plant, an abandoned industrial space, now transformed into a commercial outlet - and contains selected images from both projects, as well as a text.

Joshua Leon's first book accompanies his new commission at Chisenhale Gallery, London. The outcome of two years of writing and documenting his own research processes, the publication comprises original writing by Leon alongside archival imagery. Tracing history, memory and self across time and site, the text traverses locations including a synagogue in Bordeaux, an American bar in Vienna and a veneer factory in London's East End to reflect on the experiences of the Jewish diaspora in Europe and the formation of contemporary Jewish identity. Throughout, archival materials and images collected by Leon-architectural blueprints, immigration documents, musical scores and family photographs-visually trace slippages between personal and wider social histories. At once a fragment, a memoir and poetic prose, The Process details the varied ideas, intellectual figures and experiences that coalesce in Leon's work, whilst complicating the role of artistic production in acts of repair, restoration and remembrance.

In this deeply personal account, author Omar Kholeif takes readers on a journey through the life and work of Nil Yalter-one of the pioneering artists of our time. Born in Cairo in 1938 and raised in Turkey, Yalter has lived in France since 1965. Over the course of six decades, the artist has created genre-expanding artistic projects across disciplines, innovating across both form and content regardless of the complex sociopolitical context that has surrounded her.Dr. Kholeif fuses the genres of auto/biography to unfurl a social and historical context that examines concepts of ethnicity, the diaspora, and feminism. Gender and sexuality are unbuckled, presenting a distinct picture of the changing cultural climate both in France and globally during the last century.

Textile Textures: Multithreaded Narratives is a collective volume edited by Marta Kowalewska, an outcome of the international project "Interweaving Structures: Fabric as Material, Method and Message" organized jointly by the Central Museum of Textiles in Lódz, the Faculty of Fine Arts, Music and Design at the University of Bergen, and the Doctoral School of the Jan Matejko Academy of Fine Arts in Krakow. The book's uniqueness lies in its multi-aspect treatment of the medium of textile, regarded from the perspectives of art, history, anthropology, technology, politics, post-colonialism, museology, curatorship, and fashion, as well as from personal points of view taking shape amidst questions on identity, tradition, craft, collaboration and kinships with architecture, design, and industry. Individual themes are examined in relation to the issue of textile being a tangible medium of memory and a unique language which, by virtue of its nature, interweaves a variety of different themes.

Published to accompany an exhibition at the Nouveau Musée National de Monaco, this volume, which gathers scientific contributions from leading researchers, art historians, along with in situ installation views, pays tribute to the greatest set designer of the modern era. Viewing theater as a total artwork in which choreography, music, costumes and sets were of equal importance, Léon Bakst worked closely with artists such as Serge Diaghilev, Vaslav Nijinsky, Jean Cocteau, Isadora Duncan, Ida Rubinstein and Igor Stravinsky, transforming the perception of the ballet. Designing Dreams: A Celebration of Léon Bakst highlights Bakst's finest achievements in stage design, while also revealing his decisive influence in the field of textile design. Conceived especially by Nick Mauss, in parallel to the exhibition design, Designing Dreams presents in detail Bakst's drawings, costume and textile designs, previously unpublished writings on ornament and fashion, new scholarship on Bakst's sources and the impact of his vision, as well as exhibition views of the scenography realized in situ by Mauss. Available in five different colors, cloth covers stenciled by Nick Mauss.

Novel research approaches that challenge conventional curatorial and institutional practicesPublished within the context of the Frame Curatorial Research Fellowship, Falling In brings together curatorial essays addressing the field's performative, activist and communal dimensions, and highlighting the substantial amount of research beyond traditional academic circles.

Artistic explorations of happiness as a form of resistance and compassionThe catalog Happily Ever After, following the show at Malmö Konstmuseum, brings together Scandinavian artists who explore the human psyche in an era of increasing contempt for weakness. Artists such as Iris Smeds and Hannah Toticki address topics including mindfulness, welfare state profits and the tech industry.

Body parts, shoes and houses inhabit Wine's ceramic vessels, towers and spinning mobilesNew York-based British artist Jesse Wine's (born 1983) expressive clay sculptures investigate notions of the body and how it cohabits with capitalist society and the urban landscape. Sculpture brings together a substantial body of work produced between 2016 and 2023.

Texts by Terry R. Myers and Nicholas HatfulOliver Osborne is not the first painter to make pretty choice paintings that are about choice, or, better yet, about doing something about choice itself: something critical yet open, timely yet mindful of history. The categories in which his paintings could be situated remain well-placed themselves not because they have been kept in their place as dogma but rather because many artists have worked hard to resist those aspects of choice that have too often and too easily become limiting, if not exclusionary and reactionary. Abstract, representational, high, low, painting, picture, even colour and line are less likely than maybe ever to fit into any construct of either/or. Not that long ago any hint of such a resistance to definition was usually taken as evidence of a lack of commitment or conviction, a verdict rendered more often than not on the basis of modernist doctrine. Now, of course, new painters are emerging after postmodernism has moved from theory to doctrine itself, and, to my eyes (and ears), it's clear that another paradigm is emerging, one that pushes against not only the either/or but also any continuation of the 'death of painting' narrative. It seems to me that that story now seems to many of these emerging painters as having been exhausted by those of us who lived through a parent-child relationship with both modernism and postmodernism that was (and may still be) ambivalent. There have been, fortunately, some agile and reliable 'runaways' such as Laura Owens, who, as demonstrated in a recent interview, is very much on point  about what the death of painting wasn't able to extinguish: 'painting does things , and why wouldn't you use all the things it does?'This is the attitude adjustment that emerging painters such as Oliver Osborne have taken on and then intensified to up their game. Well versed in crucial aspects of image culture (its production and analysis), and with an anything-but-lacking desire for the material conditions of making and, yes, the dexterity of both hand and brain, Osborne has already established in his work that the long-standing ways and means of painting (long, long before modernism) are not all that played out after all.

This catalogue accompanies an exhibition held at Lismore Castle in Ireland in Summer 2013. The book records an extraordinary collection of monuments and follies, including paper monuments, dispersed or performative memorials, and various forms of unrealised or unrealisable structures.

Published for the exhibition Disposition, this slim but satisfying catalogue is composed of a series of pictures, close ups and words about the two major projects Ai Weiwei has created for Zuecca Project Space within the context of the 55th Venice Biennale.

Although the Californian conceptual artist Robert Kinmont's work dates back to the late 1960s and the beginning of 1970s, this is the first monograph ever. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard's famous book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Not so long afterwards, Kinmont retreated from art practice for the following three decades. Recent solo exhibitions in Glarus and Bremen have been the occasion for a long overdue publication. Kinmont is back. With texts by Alexandra Blättler, Stefanie Böttcher, Robert Kinmont, Aoife Rosenmeyer, Sabine Rusterholz Petko

Published in coordination with the first solo show by Matthew Brannon in an Italian art institution, the catalogue 'In Italy It's Called "Department Store At Night" The Rest Of The World Knows It As "Postcards & Death Certificates" is organised as two independent volumes contraining an unpublished novel by the American writer 'Antelope' an essay by Alan Reid in the form of a set of "imaginary" letters sent to Brannon himself, "Unanswered Letters," and a critical text by the curator of the exhibition and co-editor of the catalogue Alberto Salvadori.

An integral part of the work of An Order of Things II, presented by Petra Feriancova in the 55th Venice Biennale, the catalogue An Order of Things I forms the prelude, memory, inventory, extension and, above all, systematic organisation of that tangible experience, those collections physically arrayed before our eyes, according to criteria the viewer slowly intuits beyond the mute nature of the images.

The catalogue illustrates Signer's project for All'Aperto through a fine selection of images and documentation, to narrate the genesis, production and installation of this site specific piece, as well as the action that took place at the opening. There is preface by Anna Zegna and an introduction by Andrea Zegna.

This catalogue accompanies the exhibition by Cezary Bodzianowski, 'This Place is Called the Hole', the first museum retrospective of the work of one of the most original figures on the contemporary art scene. Bodzianowski has been part of this scene since the mid 1990's; he is known as the author of slight, sometimes hardly perceptible interventions, disturbing the natural course of day to day life and inserting an element of the absurd, anarchising poetry into it. The accompanying publication aims to sum up the artist's creative output to date.

For the past several years Will Benedict has been working professionally as a photographer, painter and tourist. This April at Gio' Marconi, Benedict will present Bonjour Tourist, new works relying on various combinations of gouache paintings and cut-out studio portraits, mounted in customized aluminium and foamcore frames. Organized in distinct series, they fulfill the nominal categories of newscasters, postcards, flags, couples having dinner and nations peeking in through windows. Compared to the kind of aesthetic stimulation experienced while watching TV the works are like watching two, maybe three channels at the same time. In Benedict's works the buzzing clamor of things, places, foods and people are fossilized in lavishly painted waxed foamcore passepartout, freezing the sadness of the tourist and audience (the same thing) into an ever so slight hypomanic mixture of euphoria and irritability. Frozen along with everyone and everything in these passepartouts are paintings on canvas depicting a tits and penis nationalism that sells food at restaurants, plane ticket to exotic locals, walls or stamps.