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 This publication brings together rare and previously unpublished material from the Archivio Claudio Abate  and Fabio Sargentini (Galleria L’Attico) documenting the iconic flow and the exhibition Smithson realized inside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.

This book is a translation raisonné of Una Bella Passeggiata or a walk in wartime Italy, already published in 1995 in both English and Italian language. The author is an English soldier, Arthur “Ettore” Page who, during the Second World War, while trying escaping from the Germans and the fascists, finds himself into a journey across Italy and the Apennines. While walking, advised by the natives to andare sempre giù alle montagne (always go down to the mountains), he mentally takes note of all the stages of his bella passeggiata (nice walk) that will later become the chapters of his book, a posthumous war diary and a way to thank the villagers who had helped him and hid him.

Ultras Mash Up is a series of audio tracks in which recordings of football chants are mixed with the original songs they are based on. The work reflects on the musical aspects of football supporters’ culture and supporters’ practice of creation through appropriation. The work includes football supporters’ repurposed versions of Giuseppe Verdi’s opera theme Aida, Jewish traditional song from Psalm 23 Gam Gam, Marcella Bella’s 1972 Sanremo Festival success Montagne Verdi, Walt Disney’s whistling theme from Robin Hood, northern Italian folk song La Mula de Prensio, Coca-Cola jingle Buy the World a Coke, Dean Martin’s signature song That’s Amore, and Righeira’s 80’s summer hit L’Estate Sta Finendo. The football chants used in the tracks have been recorded at the stadium and on trips to away matches as part of my involvement with the ultras group Brescia 1911.

The Sound of Normalisation is a collection of audio recordings documenting the sound culture of the ultras group Brescia 1911 in relation to modern football and the wave of repressive measures targeted at organised supporters groups. The recordings were made over a period of fifteen years and cover: 1) the creation, uses and meanings of the chants 2) group principles and collective identity 3) audience participation and the process of social exclusion from the stadium 4) police repression and the political implications of the chants 5) the evolution of drumming in the stadium in relation to the drums ban-order of 2007. Each recording comes with a short introductory text and is presented here as a video with subtitles.

The Map is not the Territory (Montedellarte) is an artist’s book, a video and an installation visualizing the artistic result and process of Montedellarte.
People sometimes confuse the representation of reality with reality itself. The mapping of a territory, therefore, does not constitute the actual territory. Despite our best efforts to control the world around us, we often fail. Perception does not always coincide with reality.
On 1 October 2017, Belgian Artist Griet Dobbels produced the art happening Montedellarte on M Cucco in Biella. A group of hikers drew a physical map in the landscape by walking along a contour line. People from all over the world could watch and participate in the hike via the project website and app.
The artist’s book, takes the form of a layered geographical map. Each layer on the map corresponds to a different aspect of the process behind the project and is an attempt to control the chaos through intensive mapping.
The installation consists of two lightboxes and is conceived as a 3D-presentation of the artist’s book.

Catalogue of the exhibition Ugo La Pietra. Istruzioni per abitare la città 1966-2018, CIAC, Foligno, 24th march – 30th september 2018, curated by Italo Tomassoni, Giacinto di Pietrantonio, Giancarlo Partenzi. Twelve research areas are preceded for their understanding by “Instructions” that offer the key to reading the works. The route unfolds through a hundred two-dimensional works, video pieces, three-dimensional objects and an installation. At the center there is an “Open House”, a full-scale structure with a series of furnishings created through the practice that the author defines as “design reconversion”: some elements of urban furniture are reconverted into domestic furnishing elements.

Catalogue of the exhibition Perché il cielo è di tutti e la terra no?, CIAC, Foligno, 24th march – 30th september 2018, curated by Italo Tomassoni, Giacinto di Pietrantonio, Giancarlo Partenzi. The exhibition presents the artist’s recent production with several of his works related to some key themes that has been developing for some time: the dilation and re-appropriation of his intimate time, through layered drawings, executed with the BIC pen in black, red and blue, of iconic images taken from the web and reworked into unique pieces in a process of rebellion against the dictatorship of the frenetic space-time in which we are all immersed; the reinterpretation of historical paintings in a contemporary key with the denunciation of the migratory phenomenon and the extreme poverty of large sections of the world population; the battle for global education, through maps, tourist guides and abecedarians, which invite us to reflect on current topics such as migration, water resources, wars.

Questo libro documenta il progetto di ricerca e residenza Manufatto in Situ fondato da viaindustriae (2007-2017). Inizialmente basato su una specifica ricerca-azione nel paesaggio marginale e radicale dell’area rurale-montana di Cancelli e della Valle del Menotre, Manufatto ha poi utilizzato metodi ipertestuali e progetti extra-situ per disegnare collegamenti tra i diversi siti, i tipi di intervento e i paesaggi “tematici”. Il risultato è un’ampia indagine, una mostra e un libro di arte-architettura-natura sullo spazio pubblico, le pratiche artistiche site-specific, gli interventi e studi sul paesaggio in Italia e confini. Questo progetto di archivio è costituito di 10 sezioni tematiche composte di tracce artistiche, opere e documenti relativi a 10 paesaggi umbri, collegati a loro volta a 10 siti “paralleli” extra-regionali, ambienti ed esperienze storiche radicali dagli anni ’60 fino ad oggi. Ciò introduce una supervisione non ortodossa e critica del paesaggio contemporaneo, tra arte ambientale e architettura, natura e città. Questo catalogo è il tentativo di inglobare il vasto database della mostra, concepita come un sistema integrabile di documentazione orizzontale (documentario/tavolo), inventario verticale (muro), e di “proiezioni”, artefatti provvisionali, forme complesse situate nel paesaggio (utopia/piramidi). I testi pubblicati sono estratti dal materiale generato e raccolto durante il corso dela programma di residenza e della mostra.

This publication intends to explore the altas of Nitsch’s “public aktionen” insofar as they are recorded – scored, directed, written down, photographed, published and reported. To that end, it will focus on four categories representing Nitsch’s constellation: pre-documents, documents, post-documents, relics. The preparative phase (pre-documents) consists of research (theoretical texts, manifestos, drawings) and announcements, posters; the pragmatic phase (documents) of instructional and operative documents (physical scores, pamphlets or flyers used directly in performance) and the iconographic information, documentation (photographs, recordings). The post-documents are the action-books, artist’s publications, videos, catalogues and, in isolated cases, press conferences, print media and police reports. This archiving methods attempts to explore Nitsch’s off-media and performative practice, both in terms of how the performance is organized, and by what means the organization is effected by the original and primary scripts Nitsch prepared for his own actions (performed or unperformed), as well as in his own theoretical texts on the “o.m. theater”.

La Serpara is a sculpture garden founded by Paul Wiedmer in 1997 in a picturesque valley in the municipal territory of Civitella d’Agliano, right on the border between Lazio and Umbria. After twenty years of activity, in which the garden has invited about thirty artists from all over the world to make sculptures, this book celebrates the bond between art and nature, ten years after the catalog published by Kehrer Verlag. The Serpara is a collective project. Around every opening, dozens of people from all over Europe gather at each party.

FoodPassport is a 3 year program (2014-2017) of the European Community inside the frame of Erasmus+ KA2 – Cooperation for innovation and the exchange of good practice. The main subject of the project is healthy food, lifestyles, habits and preparing the partners’ traditional meals (Bulgaria, Latvia, Poland, Turchey, The Netherlands, Italy, Portugal) with the goal of gaining equal possibilities of inclusion in the society through a collective counsciousness and identity based on food.

“La carta sonora degli Orti di San Pietro” was produced during UmbriaLibri 2015 and 2016, during the ninth and tenth edition of Manufatto in Situ, art and landscape workshop curated by Viaindustriae applied in the Medieval Garden and in the and Didactic-Social Garden of San Pietro, in collaboration with Fonoteca Regionale Trotta, the University Center for the Scientific Museums – University of Perugia and with the Department of Agricultural, Food and Environmental Sciences. The workshop hosted 18 young visual and sound artists and 5 visiting artists, from different backgrounds, who recorded and mapped, documented and reinvented the places of the three gardens and their social relations. The outcome was a site-specific live set, “Campestre, mimetica“. From this experience, viaindustriae published the first “Quaderno di Campo” together with an audio CD, as a prototype of an editorial series in collaboration with the Fonoteca Trotta. This mapping configures and proposes a more systematic regional intervention starting from the Carta Sonora model to outline geography of interesting “acoustic places” in terms of soundscape/soundscape/listening. On the cover of the editorial research, Eugenio Faina, founder of the Istituto Superiore Agrario di San Pietro, created from the beginning (1894) as a space for pedagogical “experimentation”.

Catalog of the exhibition Hermann Nitsch. O.M. Theater colore dal rito, at Centro Italiano Arte Contemporanea, Foligno from March 25th to July 9th, 2017. Hermann Nitsch, after an initial phase in compliance with the repertoires of the poetic body, arrives at a much more complex conception of art which articulates imagining a vision of the world that precedes and surpasses scientific knowledge and an idea of purely formal art. He practices liturgical natural mythologies and meditates on the mystery of time and death.
[…] Hermann Nitsch’s exhibition displayed at Ciac with a selection of over forty works from 1984 to 2010, grouped into nine different cycles, highlights a theoretical framework and curatorial modalities comparable to those that, in 2014, were represented in the exhibition “Arena. Werk aus dem Werk” (Arena. Work in the work) born from the collaboration between two artist’s monographic museums; those of Mistelbach in Austria, founded in 2007 in the Weinvertel, where Hermann Nitsch lives and works; and the Nitsch museum of Naples founded by the historical gallerist of body art and performance, Giuseppe Morra, in 2008. Substantially, the Foligno exhibition also aligned, in the Ciac arena, “works from the works” in the sense that it documents the planning of the actions and the materials deriving from the actions themselves which, in the exhibition set-up, acquire autonomy of works of art along analogical displacements and metaphorical suggestions.

Sportification is a stunt book, a performative publication composed of euro-texts, a living inventory of 400 performances and 250 playgrounds staged between 1965 and 1999 in several European cities, during the course of the TV game show Jeux Sans Frontières. The authors have used an artistic approach to test different playing fields with ludic actions. The results of a long term research are organized in three sections: Eurovisions, Performativity and Playgrounds. This unusual comparative system sets new grounds for an inter-media definition of European performance in which performances, happenings and art based game-actions interact with televised sub-pop culture.

Lonely is a guide book to Ponte delle Torri (Towers Bridge), which is one of the favourite destinations for travellers, artists and suicides. It is a small publication of extreme explorations, on the border between travel literature, fiction and crime dossier. This is a publication along the lines of the touristic guide ‘Lonely Planet’ which deals with the concept of travelling and its historical, artistic and sociological context, in a transversal way. Several themes are included and debated: timing of fall, jump, damages, history, environment, hotels and restaurants for the last meal, art and a wide section dedicated to other places connected to suicide in Italy and across the border. In this way, instead of pushing the tourist toward the act of committing suicide, this guide tries to bore him and to ‘spoil the party’.