Progetto prada arte (74 resultados)

Brossura. Condición: new. Edited by Cippini L. A.English Text.Milano, 2017; paperback, pp. 146, col. ill., col. plates, cm 17x13. In un momento storico in cui il cinema ha progressivamente perso la capacità di proporsi come osservatore dell'immaginario collettivo, "Belligerent Eyes", il progetto di Fondazione Prada documentato nel libro "5k Confinement", si impegna a introdurre nuove prospettive didattiche nello studio della produzione cinematografica e delle sue discipline. Un gruppo di intellettuali e professionisti provenienti da diverse realtà e parti del mondo, insieme a quindici partecipanti, sono stati chiamati a sviluppare e condividere una serie di iniziative accademiche per ridefinire il futuro delle immagini in movimento. Con l'obiettivo di sfidare le norme educative tradizionali e analizzare sul campo le attuali trasformazioni socio-culturali, il vasto approccio multidisciplinare esamina gli aspetti più discordi e significativi della produzione contemporanea di immagini. Libro.…

Condición: As New. Solid spine; clean inside. Slightest corner/edge rub.

Brossura. Condición: new. A cura di Celant G.Milano, Fondazione Prada, 14 aprile - 5 giugno 2011.Testo Italiano e Inglese.Milano, 2011; br., pp. 80, ill. b/n e col., cm 16x24. Libro.

Soft cover. Condición: Very Good. Paperback. Condition: Very Good. Paperback.Width: 15 cm. Height: 24cm. 334 pages. English text. This particular book was previously owned by the late fashion designer Karl Lagerfeld - not inscribed.

Brossura. Condición: new. Venezia, Ca' Corner della Regina, 26 maggio - 25 novembre 2018. A cura di Roelstraete D. With italian translations. Testo Italiano e Inglese. Milano, 2018; br., pp. 546, 255 ill. col., cm 12,5x17,5. Fondazione Prada presenta la mostra "Machines à penser", a cura di Dieter Roelstraete, un progetto che esplora la correlazione tra le condizioni di esilio, fuga e ritiro e i luoghi fisici o mentali che favoriscono la riflessione, il pensiero e la produzione intellettuale. "Machines à penser" si focalizza su tre fondamentali figure della filosofia del XX secolo: Theodor W. Adorno (1903 -1969), Martin Heidegger (1889 - 1976) e Ludwig Wittgenstein (1889 -1951). Gli ultimi due filosofi hanno condiviso nel corso della loro vita la necessità di creare un proprio luogo di isolamento intellettuale: Heidegger ha trascorso lunghi periodi della sua maturità in una baita a Todtnauberg nella Foresta Nera in Germania, mentre Wittgenstein si è ritirato in più momenti della sua esistenza in un rifugio situato in un fiordo a Skjolden in Norvegia. Nel caso di Adorno è analizzata, invece, la condizione di esilio che il filosofo tedesco sperimenta, a causa dell'affermazione del nazismo in Germania, prima a Oxford e poi a Los Angeles, dove scrive "Minima moralia", un insieme di aforismi che indagano tra gli altri temi quello del destino di un'emigrazione forzata. Seguendo queste riflessioni l'artista e poeta scozzese Ian Hamilton Finlay ha realizzato nel 1987 Adorno's Hut, un'installazione centrale all'interno della mostra insieme alle ricostruzioni architettoniche dei luoghi di ritiro di Heidegger e Wittgenstein. Esposte negli spazi di Ca' Corner della Regina, queste riproduzioni accolgono a loro volta documenti e opere che trattano il tema dell'archetipo architettonico della capanna come luogo di fuga e di ritiro. Come sostiene Dieter Roelstraete: "in questi spazi i tre protagonisti della mostra hanno partorito i loro pensieri più profondi. L'isolamento, sia che sia stato scelto sia che sia stato imposto, sembra averne decisamente influenzato il pensiero. Nel corso degli anni le loro abitazioni si sono dimostrate una fonte d'ispirazione inesauribile per molte generazioni di artisti attratti dalla fantasia del ritiro, materializzata in questi elementari archetipi architettonici". Libro.…

Brossura. Condición: new. Milano, Fondazione Prada, February 21 - July 27, 2020.Edited by Kittelmann U.English Text.Milano, 2020; paperback in a case, pp. 448, b/w and col. ill., cm 13x17. "K" presenta la celebre opera di Martin Kippenberger "The happy end of Franz Kafka's "Amerika"" in dialogo con l'iconico film di Orson Welles "The trial" e l'album di musica elettronica "The castle" dei Tangerine Dream. Concepita da Udo Kittelmann come una trilogia, la pubblicazione rimanda ai tre romanzi incompiuti di Franz Kafka (1883-1924) "Amerika" (America), "Der Prozess" (Il processo) e "Das Schloss" (Il castello), pubblicati postumi tra il 1925 e il 1927. La natura incompleta di questi libri consente letture multiple e aperte e il loro adattamento in un progetto espositivo, che esplora i soggetti e le atmosfere dei romanzi attraverso allusioni e interpretazioni soggettive. Libro.…

Rilegato. Condición: new. A cura di C. Costa e Tuymans L.Testo Italiano e Inglese.Milano, 2018; ril., pp. 240, ill. b/n e col., cm 21x28. "Sanguine" è una lettura personale del Barocco, costituita da accostamenti inediti e associazioni inaspettate tra lavori di artisti contemporanei e opere di maestri del passato. Senza seguire un rigido ordine cronologico o un criterio strettamente storiografico, Tuymans elude la nozione tradizionale di Barocco e invita a rileggere l'arte seicentesca, ma anche quella contemporanea, mettendone al centro la figura dell'artista e il suo ruolo nella società.Seguendo la lezione di Walter Benjamin, secondo il quale il Barocco segna l'inizio della modernità, Tuymans indaga in questa mostra la ricerca di autenticità, il valore politico della rappresentazione artistica, il turbamento indotto dall'arte, l'esaltazione della personalità dell'autore e la dimensione internazionale della produzione artistica, riconoscendo nel Barocco l'interlocutore privilegiato dell'arte di oggi. "Sanguine" non solo forza i confini abituali della nozione stessa di Barocco, estendendone la durata fino al nostro presente, ma dimostra anche come gli artisti abbiano contribuito, nel corso degli ultimi due secoli, a ridefinirla, dall'accezione negativa attribuita dalla critica d'arte del tardo Settecento, fino alla rivalutazione attuata dal pensiero post-moderno e alla riaffermazione di un'espressività barocca e figurativa nell'arte degli ultimi anni.Il titolo della mostra - una parola che identifica il colore del sangue, il temperamento violento e ricco di vitalità di una persona, ma anche una tecnica pittorica - suggerisce una molteplicità di prospettive attraverso le quali si possono interpretare le opere esposte in cui convivono violenza e simulazione, crudeltà e teatralizzazione, realismo ed esagerazione, disgusto e meraviglia, terrore ed estasi.Nella visione di Luc Tuymans, Caravaggio - presente in mostra con Fanciullo morso da un ramarro (1595-96) e Davide con la testa di Golia (post 1606) - grazie al realismo psicologico espresso dal suo innovativo linguaggio pittorico, supera per primo la tradizione classica e manierista, incarnando lo spirito dell'artista barocco e la volontà di comunicare con il pubblico attraverso la forza della rappresentazione.Il confronto con Peter Paul Rubens, il pittore di Anversa ritrattista dei potenti e uomo politico, rivela l'ambiguità formale caratteristica della pittura barocca e la complessità delle relazioni che gli artisti hanno sviluppato nell'Europa della Controriforma e dell'insorgere della borghesia mercantile.L'arte barocca del Sei e Settecento è la prima corrente artistica ad assumere una dimensione mondiale, pur mantenendo specificità e caratteri legati alle diverse culture locali e alle sensibilità personali testimoniate in mostra, tra gli altri, da Guido Cagnacci e Andrea Vaccaro, Anthony van Dyck e Jacob Jordaens, Francisco de Zurbarán e Johann Georg Pinsel. All'interno del nostro mondo ancora più globalizzato e connesso, suggestioni, dinamiche e temi tipici dell'arte barocca si possono individuare nei lavori di autori contemporanei lontani tra loro e riuniti da Luc Tuymans in "Sanguine".Il percorso espositivo di "Sanguine", che si sviluppa negli spazi della galleria Nord, del Podium e del Cinema della Fondazione Prada, è completato dai lavori di Nick Andrews, John Armleder, Carla Arocha e Stéphane Schraenen, Fred Bervoets, Jacques-André Boiffard, Michaël Borremans, Adriaen Brouwer, Pavel Büchler, Jake e Dinos Chapman, Vaast Colson, Njideka Akunyili Crosby, Roberto Cuoghi, Berlinde De Bruyckere, Thierry De Cordier, Willem de Rooij, Cornelis de Vos, Lili Dujourie, Marlene Dumas, Zhang Enli, Luciano Fabro, Giuseppe Gabellone, Marcel Gautherot, Isa Genzken, Joris Ghekiere, David Gheron Tretiakoff, Franciscus Gijsbrechts, Pierre Huyghe, Jonathan Johnson, On Kawara, Zlatko Kopljar, Dominik Lejman, Ives Maes, Maestro dell'Annuncio ai Pastori, Mark Manders, Diego Marcon, Kerry Jam. Libro.…

Brossura. Condición: new. A cura di Mainetti M. Milano, Fondazione Prada, 15 September - 8 January 2017. English Edition with Italian translations of the essays. Testo Italiano e Inglese. Milano, 2016; br., pp. 320, ill., cm 17x22,5. Fondazione Prada presents the exhibition "Uneasy Dancer", a comprehensive survey of work by Betye Saar (Los Angeles, 1926). This exhibition, hosted at the Nord Gallery, opens to the public from 15 September 2016 through 8 January 2017. Curated by Elvira Dyangani Ose, "Betye Saar: Uneasy Dancer" is the first exhibition of the American artist in Italy, and brings together over 80 works including installations, assemblages, collages and sculptures produced between 1966 and 2016. "Uneasy Dancer" is an expression Betye Saar has used to define both herself and her artistic practice. In her own words, "my work moves in a creative spiral with the concepts of passage, crossroads, death and rebirth, along with the underlying elements of race and gender." This process implies "a stream of consciousness" that explores the ritualized mysticism present in recovering personal stories and iconographies from everyday objects and images. Several key elements lie at the center of her artistic practice: an interest in the metaphysical, the representation of feminine memory, and African-American identity which, in her work, takes on takes on evocative and unusual forms. As Saar has said about her work, "It was really about evolution rather than revolution, about evolving the consciousness in another way and seeing black people as human beings instead of the caricatures or the derogatory images." Through her confident usage of found objects, personal memorabilia and derogatory images that evoke denied or distorted narratives, Saar developed a powerful social critique that challenges racial and sexist stereotypes deeply rooted in American culture. In the 1970s, her assemblages began to grow in scale, ultimately becoming substantial installations and immersive environments that speak to an approach uniting spiritual beliefs and faiths of all kind - from the intimate and the mysterious to the universal - alongside politicized convictions. Curator Elvira Dyangani Ose notes, "Saar's works blur boundaries between art and life, between physical and metaphysical. Spirituality in her work, does not only resides in the works with which she addresses her concerns and her knowledge on a myriad of traditions. On the contrary, it is to be found in the artistic exercise of transforming common material in a sort of evocative new imagery, involving the viewer in reminiscent fabulations of the real." "Uneasy Dancer" expands holistically on fundamental tenants of Saar's practice including memory, mysticism and the construction of socio-political identifiers. This is none so much apparent than in the seminal work The Alpha and the Omega (2013-2016), a circular environment alluding to the initiatory journey and the experience of human life. This installation was specifically conceived for "Uneasy Dancer", and will include a number of newly created elements denoting the idea of representing the whole of anything, from beginning to end. Earlier assemblages involving objects inserted within boxes or suitcases, like Record for Hattie (1975) and Calling Card (1976), take on a performative dimension even when rendered in an intimate scale. Sculptural floor works utilizing cages, such as Domestic Life (2007) and Rhythm and Blues (2010), simultaneously represent the physical and metaphorical condition of segregation, and the increased need for resistance and survival. These works specifically reference African-American folklore, combining a political dimension with a spiritual vision that draws on a multiplicity of traditions stemming from Africa, Asia, America and Europe. The exhibition additionally highlights a series utilizing work tools and elements of domestic life, such as washboards and scales, alongside either found or inherited photographs, a. Libro.…

Brossura. Condición: new. Milano, Fondazione Prada, 7 Novembre 2015 - 10 Gennaio 2016. Testo Italiano e Inglese. Milano, 2015; 3 voll., br., pp. 396, ill. b/n e col., cm 24x29. La ricerca di Piacentino si avvia in un contesto culturale e artistico caratterizzato da un crescente distacco dall'enfasi posta sulla dimensione soggettiva che aveva animato l'Action Painting e l'Informale e dallo sviluppo di un nuovo linguaggio visivo tra l'attenzione all'immaginario popolare e consumistico e l'apprezzamento per forme geometriche e primarie. Il suo fare non si inscrive però in nessuna delle due tendenze allora dominanti - Pop art e Minimal art - ma opera, secondo la lettura inedita di questa pubblicazione, un'osmosi tra le due. Libro.…

Brossura. Condición: new. Milano, Fondazione Prada di Milano, 29 ottobre - 18 dicembre 2003.English Text.Milano, 2003; paperback, pp. 300, b/w and col. ill., tavv., cm 15,5x24. Curated by Germano Celant in collaboration with the artist, the exhibition comprises around fifty works executed between 1960 to 1972: coming from various public and private collections, these are displayed together for the first time.The historical and theoretical basis of the exhibition may be found in a project for an installation entitled Ipotesi per una mostra (?Hypothesis for an Exhibition?) conceived by Paolini in 1963. This retrospective focuses on the artist?s output from his solo show in Rome in 1964 until the one in New York in 1973, when the first monograph providing an in-depth analysis of his work was published.?It should be pointed out that the works in this exhibition date from the earliest period of my long career? ? Paolini has to say ? ?but this doesn?t mean that the installation simply reflects what has already been seen: some of the stylistic features underlying this show seem to be outside time (or out of place). In particular, while, on the one hand, these works seem to find their voice here, on the other they seem to arrange themselves around the silence and void of a central primary nucleus. The works on display really rotate round something that doesn?t exist or seems not to exist yet: I?m referring to the project for what was to have been my first solo show, Ipotesi per una mostra in 1963 (a project that at the time, for practical reasons, wasn?t realized and that has now been made visible here).? Ipotesi per una mostra is located in the centre of the exhibition space so as to become a continuous point of reference for visitors as they walk around it. Like a sort of kaleidoscope in which the images surrounding it are reflected, this work ? composed of four large transparent surfaces on which human figures dressed in black are reproduced with the silk-screen technique ? continuously, as if by magic, attracts the spectator?s attention. The surfaces surround an empty space, interposing themselves between the visitor and the ?central nucleus?, which is, in any case, inaccessible: ?The object is there, but it?s not visible, we?re not allowed to see it: certainly we can look at it, draw it, make our comments. but we?re guests, not judges of what we confine ourselves to observing [?]. Libro.…

Brossura. Condición: nuovo. prima edizione. Copia ancora sigillata. Still sealed.

Rilegato. Condición: new. Milano, Fondazione Prada, 6 aprile - 5 agosto 2019. A cura di C. Costa. Testo Italiano e Inglese. Milano, 2019; ril., pp. 460, ill. col., tavv. col., cm 17x23. Il volume approfondisce la ventennale collaborazione tra Fitch e Trecartin, iniziata nel 2000, e documenta il progetto "Whether line", attraverso il quale i due artisti indagano il concetto di "nuova" terra promessa e l'instabilità intrinseca all'appropriazione territoriale. Libro.…

Hardcover. Condición: Gut bis sehr gut. 1. Auflage. B : 120 pages - This instantly collectible exhibition catalogue for German artist Tobias Rehberger's exhibition at Milan's Fondazione Prada includes two brightly colored volumes bound together by four colored, custom-made elastic bands. Once these are pulled from the set, two very independent pieces are revealed. The first is an exhaustive reconstruction of Rehberger's solo exhibitions from 1990 to 2007, reproduced in glossy color, with installation views and details of his architecture-based sculptures and other works. The second volume is a more concise artist's book, including an interview with prominent curator and art historian Germano Celant. In this second, slimmer book, which presents his audacious film and installation project, On Otto (featuring work by Kim Basinger, Willem Dafoe, Danny DeVito, Ennio Morricone and others), Rehberger investigates the dynamics of filmmaking by reconstructing the process itself, going backwards. This book, imaginatively designed by Double Standard, includes texts by Miuccia Prada, Celant and Ina Blom.…

Condición: COME NUOVO. Milano, Progetto Prada Arte cm.17x23, pp.660, 1572 illustrazioni a colori. legatura editoriale in tutta mezza tela, con legatura aperta in tela verde. Testo Inglese. Il volume è suddiviso in sette sezioni, ciascuna introdotta da un testo dell'artista che accompagna il lettore attraverso le diverse fasi della sua ricerca. Le sezioni Farming, Rice e Cotton documentano il lavoro sul campo in Asia attraverso fotografie, materiali d'archivio, interviste e saggi che indagano il rapporto tra umanità, agricoltura, tecnologia e spiritualità. Le sezioni dedicate a Dash includono immagini del video omonimo, una storia di fantascienza scritta da Cao Fei e lo sviluppo di un videogioco in realtà virtuale. Infine, la sezione Dash (Exhibition) presenta la mostra attraverso un saggio critico, materiali di produzione, costumi, disegni e la checklist delle opere. Interviste di Ai Haipeng, Wu Chongqing, Justin Gong, He Xiongkui, Hu Lian, Ju Xi, Anucha Mangkhalang, Mangkorn Sakdarak, Mann Ou, Sang Phan, To Kosal, Qui Tran, Tong Wei, Paricat Veesom, Wen Tiejun, Xiao Yanqiang, Shi Yan, Zheng Tao A cura di Mario Mainetti.…

brossura paperback. Condición: Fine. cl5volume ancora confezionato. Book.

Brossura. Condición: new. Venezia, Ca' Corner della Regina, May 9 - November 23, 2026. Edited by Nancy Spector. Foreword by Miuccia Prada. With Italian translations. English Text. Milano, 2026; paperback, pp. 436, 180 col. ill., cm 17x23. Libro.

Soft cover. Condición: Near Fine. Book is in near fine condition. 384pp with colour photographs.

Brossura. Condición: new. Milano, Fondazione Prada, October 31, 2024 - February 24, 2025. By Mario Mainetti, Niccolò Gravina. Introduction by Miuccia Prada. Graphic Design by Tiffany Malakooti. English Text. Milano, 2024; paperback, pp. 260, 272 col. ill., cm 17x22,5. With Italian translations. Conversation between Orian Barki, Meriem Bennani, Niccolò Gravina, Mario Mainetti Texts by Daniel Arnold, Maïa Tellit Hawad, Chrissie Iles, Norman M. Klein, Emily LaBarge, Lars LaLa and Abdellah Taïa Combining a new site-specific, large-scale installation with an art film co-directed with Orian Barki, this project explores ways of being together in public and intimate socio-political settings. This project is the most ambitious work Bennani has ever done both in terms of complexity, size and the length of the creative process, which took more than two years to complete. It is part of a line of programming that Fondazione Prada has been pursuing for more than thirty years, involving collaborations with international artists to create utopian projects that are both conceptually and aesthetically complex. Meriem Bennani (Morocco, 1988) explores the potential of storytelling while amplifying reality through a strategy of fantastical imagery and humor, juxtaposing and mixing the language of YouTube videos, reality TV, documentaries, animation, and high-production aesthetics. Throughout her career, she has been developing a shape-shifting practice of films, sculptures and immersive installations, composed with a subtle agility to question our contemporary society and its fractured identities, gender issues, and ubiquitous dominance of digital technologies. As Bennani explains, "A central theme of 'For My Best Family' is how to be together, questioning where we start and stop as people. It unfolds in the two levels of the Podium, the main exhibition building of the Milan headquarters. Combining a new site-specific, large-scale installation with an art film co-directed with Orian Barki, "For My Best Family" explores ways of being together in public and intimate socio-political settings. This project is the most ambitious work Bennani has ever done both in terms of complexity, size and the length of the creative process, which took more than two years to complete. It is part of a line of programming that Fondazione Prada has been pursuing for more than thirty years, involving collaborations with international artists to create utopian projects that are both conceptually and aesthetically complex. Bennani is developing a multi-sensory environment for Fondazione Prada. It unfolds in the two levels of the Podium. On the ground floor, Sole crushing is a large mechanical installation that animates 192 flip-flops and slippers into a ballet-symphony-riot and musical composition. The soundtrack was composed in collaboration with music producer Reda Senhaji aka Cheb Runner. This kinetic and complex system is designed as an archipelago of polyphonic groups in which a multitude of flip-flops are arranged in different conformations: two "orchestras," two spiral sculptures and a central island. Each item is connected to a pneumatic system that makes it mobile, alive, and breathing and to a drum surface made of various materials that amplify the sound of the object that hits it. This humorous and organic space will evoke states of collective catharsis, chaotic and organized collective rituals like traditional Moroccan musical forms such as the deqqa marrakchia, architectures of spectacle like stadiums, states of delirium or hallucination, and protest. The first floor of the Podium will host a cinema-like space to screen For Aicha, a new art film directed by Meriem Bennani and Orian Barki under the creative production of John Michael Boling and Jason Coombs. Set between New York, Rabat and Casablanca, in a world populated by anthropomorphic animals and suspended between realism, autobiography, and fiction, this artwork is the culmination of a long creative process. Libro. …

Cartonato. Condición: new. Venezia, Ca' Corner della Regina, 9 maggio - 13 settembre 2015. Milano, Fondazione Prada, 9 maggio - 24 agosto 2015. A cura di Anguissola A. e Settis S. Prefazione di Miuccia Prada e Patrizio Bertelli. Testo Italiano e Inglese. Milano, 2015; cartonato, pp. 392, 388 ill. col., cm 21x28. The exhibition 'Serial Classic', open in Milan from 9 May to 24 August 2015 (preview days: 2-8 May), focuses on classical sculpture and explores the ambivalent relationship between originality and imitation in Roman culture and its insistence on the circulation of multiples as an homage to Greek art. We tend to associate the idea of classical to that of uniqueness, but in no other period of western art history the creation of copies from great masterpieces of the past has been as important as in late Republican Rome and throughout the Imperial age. The exhibition comprises more than 70 artworks and opens with an in-depth analysis of lost originals and their multiple copies, represented by two particularly renowned series such as the Discobolus and the Crouching Venus. Two other important sections are devoted to the materials and the colours of classical bronzes and marbles. The Kassel Apollo, for instance, is presented in two recent plaster casts which reproduce the original bronze surface of the lost Greek original and the colours of its Roman marble copies. Another area in the exhibition illustrates the technologies and methods used in the making of the copies, presenting two essential moments such as the creation of the plaster cast and the translation of proportions and measurements on the new block of marble. Two famous series are also featured in the exhibition, the Penelope, and the Caryatides, on the prototype of the Athenian originals from the Erechtheion. The exhibition 'Portable Classic', presented in Venice from 9 May to 13 September 2015 (preview days: 5-8 May), explores the origins and functions of miniature reproductions of classical sculptures, showcasing more than 90 artworks. Both in ancient Rome and modern Europe a true 'canon' of sculptures was created, considered as an undisputed peak of excellence of a given subject. Their prestige was so high that, since it was almost impossible to acquire the originals, their reproductions, even on a small scale, were eagerly sought for by well-read audiences. An example of this is the Farnese Hercules, exhibited in a series of smaller-scale reproductions-measuring 20 to 150 cm-in marble, bronze and terracotta. Some classical small-scale masterpieces are presented along with Renaissance multiples, through the examples of the Ignudo della Paura and the Bathing Venus. Another section of the exhibition is devoted to important art collectors from the 1500's. In a selection of paintings by Lorenzo Lotto, Tintoretto and Bernardino Licinio, the subjects are portrayed among classical sculptures and plaster casts from their personal collections. Starting from the emblematic cases of the Belvedere Torso and the Laocoön, the exhibition illustrates how Renaissance artists employed small-scale copies to elaborate hypotheses on the missing portions of the classical originals. Libro. …

Cartonato. Condición: new. Milano, Fondazione Prada, 9 maggio - 24 settembre 2017. A cura di C. Costa. Testo Italiano e Inglese. Milano, 2017; cartonato, pp. 764, 110 ill. col., cm 13,5x17,5. Forewords by Miuccia Prada and Patrizio Bertelli, Monica Maggioni and Antonio Campo Dall'Orto; texts by Maria Pia Ammirati, Lucia Annunziata, Massimo Bernardini, Klaus Biesenbach, Nicolas Bourriaud, Simon Castets, Germano Celant, Carolyn Christov-Bakargiev, Chiara Costa, Nicholas Cullinan, Umberto Eco, Giosetta Fioroni, Carlo Freccero, Flavia Frigeri, M/M (Paris), Lauren Mackler, Hans Ulrich Obrist, Cecilia Penati, Raffaella Perna, Cristiana Perrella, Gianni Pettena, Letizia Ragaglia, Marco Senaldi, Lynn B. Spigel, Francesco Vezzoli, Linda Yablonsky. Libro.…

Brossura. Condición: new. Milano, Fondazione Prada, 10 aprile - 13 giugno 2003.Testo Italiano e Inglese.Milano, 2006; br., pp. 224, ill. b/n e col., cm 15x24. The exhibition comprises a number of projects, from Christmas illuminations and traps to television films and constructions, created expressly for the occasion, and produced using a host of different materials and techniques. The project for this exhibition, as devised by Slominski for the Fondazione Prada, is not limited to the internal space but extends beyond to the urban territory through the execution of certain events. Thus the exhibition becomes a collection site, the final act of different processes initiated in different time phases: a fluid ensemble of large and small traps interwoven with videos of events that have already taken place in Milan, operations on walls and windows and actions that actually happen during the inauguration.The show displays traps based on the models of those used for capturing such animals as rodents, birds, dogs and cats. Some of the constructions presented, such as Vogelfangstation (Birdstation, 1998-2002) and Falle für Kampfhunde (Trap for combat dogs, 2001-2002), can be extremely large and have a very aggressive appearance, while other smaller formats, such as Vogelfalle (Bird trap, 2000-2001), look like everyday objects and often actually seem like toys, such as a small model car or a rocking horse ? Lieferwagen für Mäuse (Van for mice, 2001) and Mausefalle (Mousetrap, 2003) ?, or are inspired by musical instruments:Bass für Mäuse (Double bass for mice, 2002). Each trap is the result of a mixture between playful object and dangerous instrument, and was designed for the capture of specific kinds of animal, such as leopards, snow-grouses, goshawks and marmots.These objects are arranged on the floor of the space, which becomes a sort of minefield that compels visitors to tread with care. Dominating the entire arrangement is a piece that hangs from the ceiling, Merry Christmas from Belfast (2003), a series of Christmas illuminations and decorations that provide another trap, this time mental, because of their playful yet threatening associations which surprise visitors, catching them unawares with the combination of festivity and tragedy. Libro.…

Rilegato in Tela. Condición: new. Edited by Nicholas Cullinan. Graphic Design: Naomi Mizusaki, Supermarket, New York. With italian translations. English Text. Milano, 2023; clothbound, pp. 448, 175 col. ill., cm 17x22,5. Texts by Thomas Aquilina, Nancy Berliner, Francesca Berry, Nicholas Cullinan, Whitney Davis, Frank Feltens, Wu Hung, Ido Misato, Paul B. Preciado, Ana Zabía e Siegfried Zielinski Interviste di Nicholas Cullinan, Niccolò Gravina, Mario Mainetti a Tony Cokes, Cao Fei, Wade Guyton, Anthea Hamilton, William Kentridge, Shuang Li, Goshka Macuga, Kerry James Marshall, Chris Ofili, Laura Owens, Betye Saar, Tiffany Sia, John Stezaker, Keiichi Tanaami, Wu Tsang, Luc Tuymans and Francesco Vezzoli. Libro. …

brossura Copertina flessibile. Condición: Ottimo (Fine). In italiano ed in  inglese. Copertina flessibile 9788887029673 Ottimo (Fine) .

Brossura. Condición: new. Milano, Fondazione Prada, April 3 - July 14, 2025. Edited by Pfeffer S. Introduction by Miuccia Prada. Texts by Benjamin Buchloh, Tom Holert and Renée Mussai. Graphic Design: Zak Group. With Italian translations. English Text. Milano, 2025; paperback, pp. 320, 384 col. ill., cm 21x28. "Typologien" is an extensive study dedicated to 20th-century German photography. The exhibition, hosted within Podium, the central building of the Milan headquarters, is curated by Susanne Pfeffer, art historian and director of the MUSEUM MMK FÜR MODERNE KUNST, Frankfurt. The project attempts to apply the principle of "typology," which originated in 17th- and 18th-century botany to categorize and study plants, and appeared in photography in the early 1900s, affirming itself in Germany throughout the 20th century. Paradoxically, the given formal principle allows for unexpected convergences of German artists spanning different generations and the manifestation of their individual approaches. The exhibition path will follow a typological rather than a chronological order, bringing together more than 600 photographic works by 25 established and lesser-known artists essential for recounting a century of German photography, including Bernd and Hilla Becher, Sibylle Bergemann, Karl Blossfeldt, Ursula Böhmer, Christian Borchert, Margit Emmrich, Hans-Peter Feldmann, Isa Genzken, Andreas Gursky, Candida Höfer, Lotte Jacobi, Jochen Lempert, Simone Nieweg, Sigmar Polke, Gerhard Richter, Heinrich Riebesehl, Thomas Ruff, August Sander, Ursula Schulz-Dornburg, Thomas Struth, Wolfgang Tillmans, Rosemarie Trockel, Umbo (Otto Umbehr), and Marianne Wex. A system of suspended walls will create geometric partitions in the exhibition space, forming unexpected connections between artistic practices that differ from each other, but are united by a common principle or intention of classification. As stated by Susanne Pfeffer, "Only through juxtaposition and direct comparison is it possible to find out what is individual and what is universal, what is normative or real. Differences are evidence of the abundance of nature and the imagination of humans: the fern, the cow, the human being, the ear; the bus stop, the water tower, the stereo system, the museum. The typological comparison allows differences and similarities to emerge and the specifics to be grasped. Unknown or previously unperceived things about nature, the animal, or the object, about place and time become visible and recognizable." In photography, employing typologies means affirming an equivalence between images and the absence of hierarchies in terms of represented subjects, motifs, genres, and sources. Despite this, typology remains a highly challenging and complex notion. It operates in a paradoxical regime: on the one hand, this approach can lead to a systematic recording of people and objects based on extreme objectivity; on the other hand, typology corresponds to an individual and arbitrary choice, revealing itself as a disturbing and potentially subversive act. The hypothesis that photography plays a key role not only in fixing distinctive phenomena but also in organizing and classifying a plurality of visible manifestations remains a vital force in today's artistic efforts to navigate the complexity of our social and cultural realities. With the spread of digital imagery and practices, the concept of typology continues to be questioned and re-defined by contemporary photographers and artists. Libro. …

Brossura. Condición: new. Milano, Fondazione Prada, 24 marzo - 17 luglio 2023. A cura di Mainetti M. Introduzioni di Miuccia Prada, Marco Benvenuti. Testo Italiano e Inglese. Milano, 2023; br., pp. 556, 195 ill. col., cm 17x23. An exhibition conceived in collaboration with La Specola, which is part of the Museum of Natural History and Museum System of the University of Florence, and the Canadian film director and screenwriter David Cronenberg. The exhibition is the latest iteration of a research project with which Fondazione Prada reveals collections of great value from 'guest museums', offering unexpected interpretations and visions of cultural heritage by including a historical collection in a contemporary cultural context. La Specola, currently closed to the public for redevelopment works of its historic venue, was created in 1775 and is one of the oldest science museums in Europe. It contains over 3.5 million animals, the world's most extensive collection of eighteenth-century anatomical waxes and the unique collection of Sicilian wax modeller Gaetano Giulio Zumbo (1656-1701). 1.400 pieces of the extraordinary collection of anatomical waxworks were made between the late eighteenth and early nineteenth century to obtain an actual educational-scientific treatise that, without the need to resort to the direct observation of a corpse, would illustrate the anatomy of the human body. This project develops in two complementary parts. An exhibition features a selection of thirteen eighteenth-century ceroplastic works from the renowned collection of the Florentine museum, and a series of seventy-two exhibition copies of anatomical drawings gathered in nine vitrines. In particular, "Cere anatomiche" features four reclining female figures, including one of the most relevant works of La Specola's collection, the so-called Venus, a rare model with detachable parts famous for its beauty. An unprecedented short movie titled Four Unloved Women, Adrift on a Purposeless Sea, Experience the Ecstasy of Dissection, realised by David Cronenberg in the spaces of La Specola, provides an alternative gaze on the four female wax models on display, exploring themes such as the fascination with the human body and its potential mutations and contaminations. Cronenberg's film reveals the vivid and unexpected dimension of the ceroplastics, so far known for their static and severe nature, to generate a plurality of new emotional responses, intellectual impressions, and intense feelings. As stated by the film director, "The wax figures of La Specola were created primarily as teaching tools that unlocked the mysteries of the human body for those who could never access the relatively rare corpse dissection sessions of universities and teaching hospitals. But in their effort to create certain partially dissected full figures whose body language and facial expressions did not display pain or agony, did not suggest they were undergoing torture or punishment or even surgery, they happened to produce living characters who seemed to be in the throes of ecstasy. It was this startling choice on the part of the sculptors of these figures that captured my imagination: what if it was the dissection itself that induced that ecstasy, that almost religious rapture?" The exhibition "Cere anatomiche" takes the form of a double contribution in which the scientific narrative and the artistic one are shaped in two independent set-ups designed by the creative agency Random Studio. On the upper floor of the Podium, the main exhibition space of Fondazione Prada, La Specola's waxes are displayed with a scientific museum-like approach. In contrast, on the ground floor, the same works merge with the director's imagery and become the protagonists of an enigmatic process of metamorphosis. Libro.…

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Brossura. Condición: new. Venezia, Ca' Corner della Regina, May 10 - November 24, 2025. Edited by Mario Mainetti. Introduction by Miuccia Prada. With Italian translations. Graphic Design: Irma Boom. English Text. Milano, 2025; paperback in a case, pp. 448, 369 col. ill., cm 21x28. Conversation between Rem Koolhaas and Katya Inozemtseva Texts by Alberto Cairo, Kate Crawford, Theo Deutinger, Sietske Fransen, Scott Reinhard, Philippe Rekacewicz, Sandra Rendgen, Malkit Shoshan and Kohei Sugiura "Diagrams" is an exhibition project conceived by AMO/OMA, the studio founded by Rem Koolhaas, for the Fondazione Prada Venice venue, Ca' Corner della Regina, investigating the visual communication of data as a powerful tool for constructing meaning, comprehension or manipulation and a pervasive instrument for analyzing, understanding and transforming the surrounding world. It seeks to foster dialogue and speculative reflection on the relationship between human intelligence, scientific and cultural phenomena, and the creation and dissemination of knowledge. The exhibition, on view on the ground and first floors of the 18th-century Palazzo Ca' Corner della Regina, gathers more than 300 items, including rare documents, printed publications, digital images, and videos, spanning from the 12th century to the present day and related to various geographical and cultural contexts. This material is displayed according to a thematic principle that reflects not only contemporary world urgencies but also, de facto, demonstrates the diagram's transversal and diachronic nature. The exhibition system, designed by AMO/OMA according to the "now urgencies" principle, is structured according to nine primary topics: Built Environment, Health, Inequality, Migration, Environment, Resources, War, Truth, and Value. These themes are illustrated in the central room of the first floor in a series of vitrines arranged in parallel to one another. The project benefits from the extensive research conducted by Fondazione Prada in close collaboration with Rem Koolhaas and Giulio Margheri, Associate Architect at OMA. The expertise of Sietske Fransen, Max Planck Research Group Leader, Bibliotheca Hertziana - Max Planck Institute for Art History, was instrumental. As stated by Rem Koolhaas, "In my view, the diagram has been an almost permanent tool. For example, in the early stages of our research, we discovered three-dimensional diagrams from South Africa dating back to 40,000 BCE, as well as wood-carved maps of the Greenlandic coastline made on the island of Ammassalik. This demonstrates that the diagram is an enduring form of communication that adapts to whatever medium exists at the time. Regardless of the medium, a diagram serves didactic (explanatory) or suggestive (persuasive) purposes. This means that it not only exists by default in any new medium but can also be applied to virtually any area of human life. Fashion, religion, or the history of social inequality can be interpreted as a diagram. I deeply enjoy this interdisciplinary aspect of the diagram, its invariable attribute-its independence from language (words) makes it one of the most effective forms of representation." The continuous interplay between the ancient and the modern, which defines the exhibition's narrative, fosters a reflection that intertwines the form and content of diagrams. Infographic communication formally evolved in the 20th century, influenced by historical avant-gardes. Modernism's significant contributions to visual communication enable a retrospective reassessment of the formal, aesthetic, and artistic qualities of ancient and pre-modern infographics. Central to the exhibition is also AMO/OMA's design practice, which has integrated diagrammatic forms as architectural tools since the 1970s. As Koolhaas explains, "Complex ideas are almost an intellectual or sometimes artistic pleasure, and they became a driving element in what we were trying to do. In this context, diagrams were incredibly h. Libro.…

Brossura. Condición: new. Venezia, Ca' Corner della Regina, 20 maggio - 26 novembre 2023.A cura di Roelstraete D.Testo Italiano e Inglese.Milano, 2023; br., pp. 448, 161 ill. col., cm 17x23. "Everybody Talks About the Weather" is a research exhibition exploring the semantics of "weather" in visual art, taking atmospheric conditions as a point of departure to investigate the emergency of climate crisisThe project is conceived by curator Dieter Roelstraete for the historic palazzo of Ca' Corner della Regina, Fondazione Prada's Venetian venue. More than fifty works by contemporary artists and a complementary selection of historical artworks trace the various ways in which climate and weather have shaped our histories and how humanity has dealt with our everyday exposure to meteorological events. The exhibition design created by New York-based studio 2x4 entwines the artistic dimension of the project with a series of in-depth scientific spotlights developed in collaboration with The New Institute Centre For Environmental Humanities (NICHE) at Ca' Foscari University in Venice.As stated by Miuccia Prada, President of Fondazione Prada, "the project arose from the idea of taking weather as a starting point to highlight the urgency of climate change, empirically equating meteorology and climatology, and using the tools of art and science together. The goal is to understand the environmental crisis and its undeniable impact on our lives by drawing attention to, representing, and analyzing meteorological phenomena. Climate is a global issue that influences the actions and destinies of people worldwide. Talking about the weather today therefore means talking and worrying about everyone's future."Following the exhibitions "Human Brains: It Begins with an Idea", Venice, and "Cere anatomiche: La Specola di Firenze | David Cronenberg", Milan, this project represents another attempt to address broader cultural challenges with the conjoined tools of science and artistic creation: from the evolution of the study of human thought and the changing meanings of bodies in our societies to the current climate crisis. Through these activities, Fondazione Prada intends to disseminate new knowledge and share the latest results of academic and scientific research with a larger audience."Everybody Talks About the Weather" develops on two levels of Ca' Corner della Regina, intertwining the two dimensions of research, the artistic and the scientific. On the ground floor, a large LED wall loops weather forecasts from a plurality of traditional and online media worldwide. In the first-floor rooms, historical artworks space with recent or new works, establishing an ideal continuity between past, present and future or triggering a short circuit between opposing visions and discordant notions. The exhibition reveals artists' long-standing interest in "talking about the weather", from allegorical and en plein air paintings to recent multimedia installations and transnational activism.A series of "research stations" features more than five-hundred books, scientific publications and articles, and video materials and interviews with scholars and activists. They allow the audience to freely consult the various bibliographic sources of the extensive research behind this project and delve deeper into the scientific and cultural issues addressed by the exhibition. The artists Sophia Al-Maria, Giorgio Andreotta Calò, Shuvinai Ashoona, Anonymous Veneto, Ursula Biemann, Nina Canell, Vija Celmins, Paolo Cirio, Gustave Courbet, Vittore Grubicy de Dragon, Jason Dodge, Ayan Farah, Theaster Gates, Beate Geissler & Oliver Sann, Antony Gormley, Hans Haacke, Ichoryusai Hiroshige, Katsushika Hokusai, Jitish Kallat, Anne-Christine Klarmann, Zden?k Kosek, Goshka Macuga, Iñigo Manglano-Ovalle, Santu Mofokeng, Plinio Nomellini, Carlo Francesco Nuvolone, Alix Oge, Richard Onyango, Chantal Peñalosa, Dan Peterman, Nick Raffel, Raqs Media Collective, Gerhard Richter, Thomas Ruff, Tiffan. Libro.…