The editorial project Caro Campo. Workbook stems from the artistic project Campo: a human, artistic and environmental experience lived by Alberonero from 2019 to 2021 in Campogalliano (near Modena, Italy), in symbiosis with a field of 290 poplars until they were cut down. During “Campo” project, daily immersed in the field of poplars, Alberonero has accompanied its natural changes by transforming the field’s portions through the creation of 20 temporary artworks. The book evokes the portable proportions of the “field notebooks”, the resistant books capable of listing the “trans-actions”, the movements meant both as a “poetic” experience and as a work diary.
“Caro Campo. Workbook” is produced by STUDIO STUDIO STUDIO, published by Viaindustriae and supported by the Italian Council (11th edition, 2022), the program aimed at supporting Italian contemporary art in the world promoted by the Directorate-General for Contemporary Creativity within the Italian Ministry of Culture. Cultural Partners: Arte Sella – The Contemporary Mountain, Borgo Valsugana (TN), Italy; Associação Anda&Fala, Azores Island, Portugal; Domaine de Boisbuchet, Lessac, France; CENTRO DE INVESTIGACIÓN ARTE Y ENTORNO, Universidad Politécnica de Valencia, Valencia, Spain; University of Balamand, Tripoli, Lebanon; Taller Chullima, La Habana, Cuba.

Pila Thinkerwiller is a work composed of two metal plates, one copper and one zinc, placed at the north and south ends of the village of Toscolano. These two elements are placed at the north and south cardinal points to imagine the village as a large stack, the positive pole of which is the copper plate and the negative pole is the zinc plate. Both were engraved from the artist's drawings. The copper plate depicts the ideas and wishes of the inhabitants with respect to their village, collected by Pajè during his stay. The zinc plate, on the other hand, shows geometric shapes, numbers, and diagrams derived from the artist's research into spiritual, magical, and pseudoscientific theories. This investigation interests the artist both aesthetically and speculatively. Indeed, the theories he has studied have given rise to a series of graphic elements that, according to Pajè, have potential formal value, usable as a veritable visual alphabet. They also bring to light central themes in contemporary times, such as the construction of official discourse on truth and the different and unusual forms of encoding reality, time and history. The use of copper and zinc alludes to the first static electricity generators invented in the late 18th and early 19th centuries by Alessandro Volta and John F. Daniell. Another reference is the initiatory techniques of a small mountain community in the Caucasus, recorded in a 1955 manuscript by S. C. Walewski, for whom copper and zinc are the basis for the construction of analog devices that generate a microcurrent in the human body, useful for rebalancing vital energies and amplifying the intentions of the user. Pila Thinkerwiller reworks this technique, poetically transferring its supposed operation from the human body to the inhabited suburb. Pila Thinkerwiller isan amplifier of ideas, a portrait of a time, a place, and a community.

The theme of the eleventh issue of Bolletti/no is SUMMER SUN. It invites readers to… impress. Aino’s mother teaches us how to create images with light and tumeric. You can find all the instructions you need in the last issue of Bolletti/no.

Bollettino is an experimental didactic magazine published at each solstice and equinox for the duration of 3 years. It responds to the desire to give a physical and printed form to a series of practices experimented in the time of laboratory work shared with children and adults by Virginia Di Lazzaro and Giulia Filippi. Each issue of BOLLETTINO is an invitation, a lense to read, and a tool for experimentation, creation, collection, and sharing. It is a journey into a world of small and big things, and things that are close to us and we see everyday. Each issue collects suggestions, narrations of experiences, prompts and leaves space for your own experiments. In addition to the 12 issues, there are going to be special issues and a conclusive “Annual Collection” will be the container for all the magazines.

Earth Field Land Clay are different words that rotate around a single element: the matter, and on which the poetics of this publication is built. Earth Field Land Clay is an artist’s book, in which the theme of the process of making objects is approached by making a parallel between the process of ceramics and the geological processes of the planet. The publication presents a series of images of objects made by the participants of the workshops “making the immaterial” conceived by the author of the book and held in various cities in Italy. The book contains a critical essay written by curator Jo Melvin, on the collective processes of creating objects in relation to the territory and the transformative character of these actions.

Ten years of performance practices of the Pietribiasi/Tedeschi Company around the long term project #memoriedelsuolo told through the manipulation of a wide range of materials. A creative journey where the emotional temperature and degree of truth of the joint work of the artist duo Cinzia Pietribiasi and Pierluigi Tedeschi puts collective memory and archive in dialogue with processes, experimentations, readings, writings, stage gestures, public actions.

"This book is about love, life, death and resurrection. In March 2008 Carla, the love of my life, died. We had been together for 35 years and had never left each other. The painful sense of lack had created a void in me that I perceived as a half-death. Placed at the edge of that dark abyss I was distracted by a call to life. It was Evelina, also suffering from the loss of her friend. We began an almost daily email correspondence that lasted a couple of years, writing about topics suggested by our state of grief. From those very many pages I have extracted short sentences that reconstruct the dialogue at the time for this artist's book. In the front facing each sentence I drew a black vignette differentiated only by the outer outline. Black hole where everything seems to fall. Black fabric button that years ago was worn on the lapel of the jacket of mourning males." Aldo Grazzi

The theme of the tenth issue of Bolletti/no is EGG. It invites readers to… hatch. The blackbird is crouched on its newly laid egg and waits. Life will come and spring will come. Have you ever seen blackbird eggs? And those of the herring gull? Find those and other eggs in this issue of Bolletti/no.

Bollettino is an experimental didactic magazine published at each solstice and equinox for the duration of 3 years. It responds to the desire to give a physical and printed form to a series of practices experimented in the time of laboratory work shared with children and adults by Virginia Di Lazzaro and Giulia Filippi. Each issue of BOLLETTINO is an invitation, a lense to read, and a tool for experimentation, creation, collection, and sharing. It is a journey into a world of small and big things, and things that are close to us and we see everyday. Each issue collects suggestions, narrations of experiences, prompts and leaves space for your own experiments. In addition to the 12 issues, there are going to be special issues and a conclusive “Annual Collection” will be the container for all the magazines.

“What is a documentary?” “Why do I make documentaries?”. Soda Kazuhiro – one of the most prominent Japanese filmmakers, who has based his documentarist career on a radically independent filmmaking method, – writes this reflexive diary on his own work pursuing to find answers to these and to other crucial questions that arose along his long path of research. This first curated English version of his most enlightening and complete text has been enriched with a brand new iconographic apparatus from Soda Kazuhiro’s movies and a new updated introduction by the author himself. 

Interspecies Kin is the first publication enclosing the research that Giovanni Chiamenti has carried out over the past two years. The project was developed between the United States, specifically in New York during his residency at the NARS Foundation and a subsequent collaboration with the community biolab Genspace, and Italy, thanks to the collaboration with Spazio Volta and the support of his cultural partners Attiva Cultural Projects and The Blank Contemporary Art. Chiamenti’s practice lies somewhere between scientific popularization and his intent to be formally speculative, bordering on the sci-fi. The artist has created an organic glossary, originated from interspecies relationships, in which creatures demonstrate their adaptability to an increasingly polluted environment and the hybrid becomes the protagonist of rhizomatic relationships capable of interconnecting extremely distant worlds. The texts within the publication address the issue of micro-plastic pollution plaguing the oceans and its subsequent integration within the evolutionary process of organisms and bacteria inhabiting the deep sea. The topic is addressed not only by curators and critics but also by a marine microbiologist and a biomedical engineer. This is a transdisciplinary project in which the imaginative power of the forms generated by the artist is not intended to obscure the scientific component, but instead to bring the reader closer to the studies conducted in recent years in evolutionism.

Global migration is one of the most pressing matters facing contemporaneity, but also a leitmotif in the work of Massimo Ricciardo. In his most recent project, the artist creates a dialogue between photographic objects from the Photothek of the Kunsthistorisches Institut in Florenz and objects of migration: things that are functional to the journey, such as passports and nautical charts, but also to identity and memory, such as family photographs, diaries, a sample of earth from the homeland. The installation generated compelling questions about these ‘talking’ objects: who do they belong to? Are they part of our cultural heritage? What are the appropriate artistic and curatorial practices if one decides to collect, archive, exhibit, transform them? The dialogues prompted by Ricciardo’s installation continue in this book and involve a polyphony of voices.

The theme of the seventh issue of Bolletti/no is MANTO (blanket). It invites readers to… bundle up, to stay warm under the blankets and to create your own snowy landscape. Open it up and flip through the pages to find out how. The ninth issue of Bolletti/no, the last of 2022, contains an artist’s poster by School of Nonfunctional Studies. This is the second of three artist’s posters specifically designed for Bolletti/no to say goodbye to the past year and all its seasons. The other poster will be attached to the last issue of 2023.

Bollettino is an experimental didactic magazine published at each solstice and equinox for the duration of 3 years. It responds to the desire to give a physical and printed form to a series of practices experimented in the time of laboratory work shared with children and adults by Virginia Di Lazzaro and Giulia Filippi. Each issue of BOLLETTINO is an invitation, a lense to read, and a tool for experimentation, creation, collection, and sharing. It is a journey into a world of small and big things, and things that are close to us and we see everyday. Each issue collects suggestions, narrations of experiences, prompts and leaves space for your own experiments. In addition to the 12 issues, there are going to be special issues and a conclusive “Annual Collection” will be the container for all the magazines.

What’s your idea of a natural place? Starting from this question, addressed to a heterogeneous audience, of different ages, professions and nationalities, Claudia Losi has put together Being There. Oltre il giardino (Beyond the Garden), the last chapter of a twenty-year-long research project focusing on that interweaving of meaning, perception and memory that humans deploy when looking at the world. In conducting her investigation, Losi hybridizes sociological-scientific language with artistic language, translating the many responses to her question (about four hundred, collected through an open call and a series of seminars) into images and drawings woven on an 18-meter tapestry. The work graphically synthesizes the contributions collected during the various stages of the research, constituting a visual diary between word and drawing. This book brings together a series of traces in the form of textual contributions, drawings and photographic documentation of the journeys and works that made up the project. Texts by Giorgio Vallortigara, Mauro Sargiani, Ugo Morelli, Riccardo Komesar, Cesare Raimondi, Gioia Laura Iannilli, Alice Benessia.

The theme of the seventh issue of Bolletti/no is MINESTRONE. It invites readers to… cut your veggies and make soup. With the eighth issue of Bolletti/no, you are all invited to make your own soup. Open it up and flip through it to find out how.

Bollettino is an experimental didactic magazine published at each solstice and equinox for the duration of 3 years. It responds to the desire to give a physical and printed form to a series of practices experimented in the time of laboratory work shared with children and adults by Virginia Di Lazzaro and Giulia Filippi. Each issue of BOLLETTINO is an invitation, a lense to read, and a tool for experimentation, creation, collection, and sharing. It is a journey into a world of small and big things, and things that are close to us and we see everyday. Each issue collects suggestions, narrations of experiences, prompts and leaves space for your own experiments. In addition to the 12 issues, there are going to be special issues and a conclusive “Annual Collection” will be the container for all the magazines.

Epidermis collects suggestions and scans of urban space, or rather of its decorative mantle, as part of an analytical practice aimed at detecting the distorions and pitfalls of the collective and democratic enjoyment of its public spaced. Cypriot artist Meletios Meltiou’s board book, of which 100 copies have been printed, consists of fifteen four-color and singe-color printed panels based on graphic elaborations in which the artist digitally shapes and molds a core of iconic patterns of hostile architecture.

Tiepido Cool collects Davide D’Elia’s artistic research of the last fifteen years through images that follows the poetic criterion introduced by the title. The two words, Tiepido, Italian, and Cool, English, guide the succession of works in a path that privileges perceptual rather than chronological-biographical experience. Perceived by the artist as antithetical, London and Rome become the two ends of a discourse that converges at a point of balance, highlighting the duality on which his work hinges, both belonging to art and communication. Trained as a visual designer and moved to London in the early 2000s as a creative, here D’Elia began to focus on the themes of an aesthetic investigation that, upon his return to Rome in 2011, became fully conscious. The artist’s two souls complement each other by permeating “warm” works of an organic nature and “cold” works dominated by the use of iris blue antifouling paint; between the two extremes a cycle of “cool” works in which the lexicon of the buoy translates this necessary coexistence between dichotomies.
Two texts, by Elisa Del Prete and Mike Watson, antithetical in latitude, training and style, trace the guidelines for a never exhaustive reading of D’Elia’s work.

Tiepido Cool  is supported by Italian Council (X edizione, 2021), project of the Directorate-General for Contemporary Creativity of the Ministry of Culture for the production, knowledge and dissemination of creation contemporary Italian in the field of visual arts; coordinated and produced by Nosadella.due, curated by Elisa Del Prete and Silvia Litardi (NOS Visual Arts Production), in collaboration with Viaindustriae publishing and <rotor> Center for Contemporary Art (Graz), cultural partners: Musei Civici d’Arte Antica | Settore Musei Civici Bologna (Museo Davia Bargellini, Bologna); MAXXI, Museo delle Arti del XXI Secolo (Roma); Myymälä2 Gallery (Helsinki); Centre for Poetic Innovation, Universities of Dundee and St Andrews (St Andrews); Cultural Center GRAD (Belgrado).

The theme of the seventh issue of Bolletti/no is SIDEREAL. It invites readers to… desire. The summer night sky is populated with stars that invite us to desire. We follow the trail of shooting stars and entrust our thoughts to them. With the seventh issue of Bolletti/no, you are all invited to make your own sky. Open it up and flip through it to find out how.

Bollettino is an experimental didactic magazine published at each solstice and equinox for the duration of 3 years. It responds to the desire to give a physical and printed form to a series of practices experimented in the time of laboratory work shared with children and adults by Virginia Di Lazzaro and Giulia Filippi. Each issue of BOLLETTINO is an invitation, a lense to read, and a tool for experimentation, creation, collection, and sharing. It is a journey into a world of small and big things, and things that are close to us and we see everyday. Each issue collects suggestions, narrations of experiences, prompts and leaves space for your own experiments. In addition to the 12 issues, there are going to be special issues and a conclusive “Annual Collection” will be the container for all the magazines.