This book is inspired by the pictures that Giordano Bonora, a young streetcar operator and aspiring photographer, took of Bologna's small transgender community in 1980 (although it would be more correct to speak, in this case, of proto-Transgenderism). Reproduced here for the first time, these raw and gilded images reflect-during a period in Italy characterized by subversive movements and political revolts that were not just rooted in questions of identity-attempts made by T* people at a construction of the self outside the binary logic of the genotypically XY male/genotypically XX female. By people like Valérie-a woman's face, a hairless chest with no breasts, a fleur-de-lis tattooed on the shoulder, and two pairs of pantyhose-for whom "gender" is not determined biologically but something to be embraced depending on the circumstances. A box containing a jigsaw puzzle with a picture that is constantly changing. Bundled with the photographs, a handful of texts set out to explain how the question of gender involves two cultural levels of sexual difference, the normative and the dissident.
Published on the occasion of Lars Fredrikson's retrospective exhibition at the Musée d'Art Moderne et d'Art Contemporain in Nice, organized in collaboration with the Nouveau Musée National de Monaco and the artist's son, this book is the first monograph dedicated to the radical Swedish painter, draftsman, sculptor, and precursor of sound art (1926-1997). Over his long career the artist produced a vast and multidisciplinary corpus of works that aimed to question our perception - the borders between the visible and the invisible, presence and absence, inside and outside. The publication plays on the multiple rebounds and echoes in Fredrikson's works, in particular his nonlinear approach to art, his bodily exploration of vibrations, and his constant aim to grasp the invisible waves and frequencies that surround us - to render palpable the unseen that is actually right before our eyes.
This book accompanies a new exhibition of the work of Robert Morris (1931-2018), a foundational figure in the history of Minimalism, Postminimalism, and Conceptual art. The exhibition focuses on the role of installation and the phenomenology of direct encounter in Morris's work of the 1960s and 1970s, foregrounding the relation between the sculptural object and the beholder - the "perceiving body" - in the space of the room. This volume contains texts composed from three vantage points: art-historical essays by Jeffrey Weiss, Caroline A. Jones, and Courtney Fiske consider chief works and themes; personal accounts by dancer Simone Forti and curator and critic Bernard Ceysson reflect on the authors' working relationships with Morris during his early period; and three essays by the artist himself - here translated into French for the first time - address certain fundamental preoccupations of sculpture after 1960: medium, form, space, and time.
Published on the occasion of Leimer's 2019 solo exhibition at the International Studio & Curatorial Program (ISCP) and designed by Other Means, Via San Gennaro features documentation of Leimer's newly-commissioned large-scale sculptures and a video installation, continuing her long-standing interest in urban space, architecture, labor and globalization. The video component is a collaboration with filmmaker and puppeteer Tony de Nonno, who keeps the fading Sicilian Opera dei Pupi (Opera of the Puppets) tradition alive.