La collezione dei bronzi del Museo Civico Medievale di Bologna
San Casciano V. P., 2017; paperback, pp. 402, col. plates, cm 21,5x30.
cover price: € 150.00
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Books included in the offer:
La collezione dei bronzi del Museo Civico Medievale di Bologna
San Casciano V. P., 2017; paperback, pp. 402, col. plates, cm 21,5x30.
FREE (cover price: € 150.00)
Petrosa. Un insediamento dell'età del bronzo a Sesto Fiorentino
Vinci, 1994; paperback, pp. 114, 29 b/w ill., 16 col. ill., cm 17x24.
FREE (cover price: € 15.49)
Bronzi e Pietre Dure nelle Incisioni di Valerio Belli Vicentino
Edited by Tubi Ravalli C.
Ferrara, 2004; bound, pp. 215, b/w and col. ill., cm 26x31.
FREE (cover price: € 100.00)
L'industria artistica del bronzo del Rinascimento a Venezia e nell'Italia settentrionale
Atti del Convegno Internazionale di Studi, Venezia - Fondazione Giorgio Cini, October 23 - October 24, 2007.
Edited by Avery V. and Ceriana M.
Translation by Ermini G.
Trento, 2008; paperback, pp. 480, b/w ill., cm 21,5x29.
(Pubblicazioni del Comitato Nazionale per le celebrazioni del 550° anniversario della nascita di Tullio Lombardo).
FREE (cover price: € 44.00)
Eel Soup. Federico Clavarino & Tami Izko
Federico Clavarino - Izko Tami
Witty Kiwi Books
Design by Tommaso Tanini, Federico Clavarino, Tami Izko.
English Text.
Torino, 2022; paperback, pp. 160, ill., cm 25x29,5.
EAN13: 9791280177124
Subject: Collections,Photography
Languages:
Weight: 1 kg
Like the visible bits of the viscous animals you have just imagined, the objects presented in this book are fragments of an ephemeral reality. By carefully observing spaces and body parts as they twist, press, open, close, bend and touch, photography and clay have become Federico Clavarino and Tami Izko's means to reinterpret a series of meaningful connections. The resulting series ultimately tells a story of coexistence, one that is largely built around the lingering images left behind by otherwise vanishing intersections.
The book version of this work, which has been exhibited on multiple occasions, weaves together several of its ramifications: installation views, images of the studio the artists shared in Milan, photographs of the sculptures and sculptures made out of photographs. The book also documents its own coming into existence by featuring images of the wall that was used to work on its sequencing, as well as interviews the artists conducted with one another. The book itself, like a bowl full of eel soup, challenges our faculty of telling things apart from each other, be they people, artworks or other forms of life.