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<!DOCTYPE html>
<html lang="en">
<!-- Required meta tags -->
<meta charset="utf-8">
<meta content="width=device-width, initial-scale=1, shrink-to-fit=no" name="viewport">
<meta content="" name="description">
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<link rel="stylesheet" href="style.css">
<!-- Bootstrap CSS -->
<link crossorigin="anonymous" href="https://stackpath.bootstrapcdn.com/bootstrap/4.1.3/css/bootstrap.min.css" integrity="sha384-MCw98/SFnGE8fJT3GXwEOngsV7Zt27NXFoaoApmYm81iuXoPkFOJwJ8ERdknLPMO" rel="stylesheet">
<link href="https://unpkg.com/bootstrap-table@1.13.3/dist/bootstrap-table.min.css" rel="stylesheet">
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if (screen.width <= 1235) {
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</head>
<body>
<section style="height: 5000px;">
<!-- ########################### HEADER ########################### -->
<section class="sticky-top" style="padding-top: 0.5%; font-family: Arial,Helvetica Neue,Helvetica,sans-serif; background-color: white;">
<div id="sidebar" style="position: fixed; width: 85vw;">
<div class="sidebar-header">
<div id="sidebar-title">Tommaso Speretta</div>
<div style="text-align: right;"><img src="assets/img/X.svg" id="sidebar-close"></div>
</div>
<p class="info-bio" style="padding: 1.5%; padding-right: 8%;">
<br><br>
Tommaso Speretta is a curator, writer and editor currently based in Venice, Italy.
He has curated projects independently as well as worked for art institutions such as the Venice Art and
Architecture Biennale, the Office for Contemporary Art Norway, the Henie Onstad Kunstsenter and
the DESTE Foundation for Contemporary Art. Tommaso is the author of the book <i>REBELS REBEL.
AIDS, Art and Activism in New York, 1979–1989</i> (Ghent: MER. Paper Kunsthalle, 2014).
He holds a Doctorate in Practice in Curating at the Zurich University of the Arts and the University of Reading.
<br>
<br>
<br>
For enquire or collaborations please get in touch <a class="link-mail" href="mailto:ts@tommasosperetta.com" target="_blank">ts@tommasosperetta.com</a>
</p>
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<p id="title">Tommaso Speretta</p>
</div>
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onkeyup="searchFunction()" type="text" value="Cerca">
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</section>
<!-- ########################### MAIN TABLE ########################### -->
<table class="tablesorter" style="padding: 1%;">
<!-- ########################### MAIN TABLE - HEADER ########################### -->
<thead class="table-header">
<tr id="project-title">
<th id="number-mobile"><span>#</span></th>
<th id="project-mobile"><span>Project</span></th>
<th id="year-mobile"><span>Year</span></th>
</tr>
</thead>
<!-- ########################### MAIN TABLE - BODY ########################### -->
<!-- ########################### ROW 71 ########################### -->
<tr href="#" class="toggle">
<td id="number">71</td>
<td id="project">
<div>Sharjah Biennial 15: Thinking Historically in the Present</div>
<div class="table-project_subtitlemobile">Sharjah Art Foundation<br>Editorial
</td>
<td id="year">2023</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Edited by</i>
Hoor Al Qasimi<br>
Softcover, 439 pages, 2023<br><br>
<i>Published by</i><br>Sharjah Art Foundation
<br><br> <!-- Project Description -->
Bringing together more than 150 artists from over 70 countries, Sharjah Biennial 15 was
conceived by the late Okwui Enwezor and curated by Hoor Al Qasimi. Titled <i>Thinking
Historically in the Present</i>, SB15 presented works that critique monolithic understandings
of nationhood, tradition, race, gender, body and imagination, which ultimately inform the
Biennial’s intersectional thematic. Concurrently, it addresses the mission of the
Sharjah Art Foundation in envisioning institutional models for exhibition making that stand
outside of the West in support of intercultural dialogue and the production and presentation
of contemporary art responsive to our post-colonial times. The accompanying publication
serves as both an exhibition catalogue and a navigation tool to give reader access to
the curatorial concept, the structure of the Biennial, participating artists and the works on view.
<br> <!-- Project Description -->
</div>
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<li data-target="#carouselIndicators71" data-slide-to="4"></li>
</ol>
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<img class="d-block w-100" src="assets/img/lightbox/71/SAF-1.jpg" alt="First slide">
</div>
<div class="carousel-item">
<img class="d-block w-100" src="assets/img/lightbox/71/SAF-2.jpg" alt="Second slide">
</div>
<div class="carousel-item">
<img class="d-block w-100" src="assets/img/lightbox/71/SAF-3.jpg" alt="Third slide">
</div>
<div class="carousel-item">
<img class="d-block w-100" src="assets/img/lightbox/71/SAF-4.jpg" alt="Fourth slide">
</div>
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<div style="text-align: center; padding-top: 5%; padding-bottom: 8%; font-size: 11px; text-shadow: 2px 2px 6px #3F3F3F;">
Ph. © Sharjah Art Foundation
</div>
</td>
</tr>
<!-- ########################### ROW 70 ########################### -->
<tr href="#" class="toggle">
<td id="number">70</td>
<td id="project">
<div>I am/We are</div>
<div class="table-project_subtitlemobile">Stavanger Art Museum<br>Curating
</td>
<td id="year">2022</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
Stavanger Art Museum, Stavanger<br>
February – April, 2022
<br><br> <!-- Project Description -->
In anticipation of the Queer Culture Year in Norway, Stavanger Art Museum presented “I am/We Are”,
a film program which through an artistic perspective highlighted issues concerning sex, gender, feminism,
black identity, race, queer culture and HIV/AIDS. The first in a series of three screenings was dedicated
to the life and work of artist David Wojnarowicz (1954–1992), on the 30th anniversary of his AIDS-related
death. The second evening celebrated the experiences shared by queer men of color during the HIV/AIDS
epidemic, through the films of Marlon T. Riggs, "Tongues Untied" (1989) and "Non, Je Ne Regrette
Rien (No Regret)" (1992). The third and last evening focused on the representation of the female body
and highlighted feminist perspectives in experimental filmmaking, with a screening of “Ricerche: two “
(2020) by Sharon Hayes followed by Barbara Hammer’s “Sisters!” (1973) and “I was / I am” (1973), from
which the program took its title.
<br> <!-- Project Description -->
</div>
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<img class="d-block w-100" src="assets/img/lightbox/70/2-Sharon-Hayes.jpg" alt="Second slide">
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</div>
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<img class="d-block w-100" src="assets/img/lightbox/70/4-David-Wojnarowicz.jpg" alt="Fourth slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/70/5-Marlon-T-Riggs.jpg" alt="Fifth slide">
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<div style="text-align: center; padding-top: 5%; padding-bottom: 8%; font-size: 11px; text-shadow: 2px 2px 6px #3F3F3F;">
Ph. © Stavanger Art Musuem
</div>
</td>
</tr>
<!-- ########################### ROW 69 ########################### -->
<tr href="#" class="toggle">
<td id="number">69</td>
<td id="project">
<div>Every Moment Counts. AIDS, and its Feelings</div>
<div class="table-project_subtitlemobile">Henie Onstad Kunstsenter<br>Curating
</td>
<td id="year">2022</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Co-curated with</i><br>Ana María Bresciani<br><br>
Henie Onstad Kunstsenter, Oslo<br>
February 17 – May 22, 2022
<br><br> <!-- Project Description -->
Taking its title from a series of color prints by photographer Rotimi Fani-Kayode (1955–1989),
<i>Every Moment Counts–AIDS and its Feelings</i> presents works from 1982 until today, including several
new productions. In addition to focusing on queer culture, the exhibition also assesses the contribution
of the arts to periods of intense social and political crisis. Curated according to a broad range of
differing “emotional qualities” the exhibition presents an entanglement of aesthetic research, political
activism, personal experiences, and theoretical analysis. The exhibited works manifest how artists
responded to the HIV/AIDS pandemic along the lines of themes including love and death, hope and
resignation, intimacy, and the body. Also rage and desire, care and healing, spirituality, and
protection, mourning and memory, vulnerability and power, sex, politics, and activism.
<br><br>
<i>Every Moment</i> Counts features works by: Soufiane Ababri, Patrick Angus, David Armstrong, Gretchen
Bender, Barton Lidice Beneš, Ross Bleckner, Tessa Boffin, Andrea Bowers, Nancy Brooks Brody,
Nancy Burson (with Kunio Nagashima), Feliciano Centurión, Elmgreen & Dragset, Pepe Espaliú,
Rotimi Fani-Kayode, Rafael França, Gang, General Idea, Nan Goldin, Felix Gonzalez-Torres, Gran Fury,
Catherine Gund, Sunil Gupta, Barbara Hammer, Keith Haring, Richard Hawkins, Romuald Hazoumé,
Hudinilson Jr., Peter Hujar, Lars Laumann, Matts Leiderstam, Zoe Leonard, Paul Maheke, Robert
Mapplethorpe, Liliana Maresca, Bjarne Melgaard, Donald Moffett, Mark Morrisroe, Cookie
Muller/ Vittorio Scarpati, Piotr Nathan, Bart Julius Peters, Jack Pierson, Karol Radziszewski,
Hunter Reynolds, Marion Scemama, Fin Serck-Hanssen, Kerstin Schroedinger and Oliver Husain, Sim
Simaro, Manuel Solano, Chrysanne Stathacos, Hugh Steers, Maître Syms, Tseng Kwong Chi, Zephania
Tshuma, Edilson de Carvalho Viriato, David Wojnarowicz and Martin Wong.
<br> <!-- Project Description -->
</div>
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<ol class="carousel-indicators">
<li data-target="#carouselIndicators69" data-slide-to="0" class="active"></li>
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<img class="d-block w-100" src="assets/img/lightbox/69/1-Bart-Julius-Peters.jpg" alt="First slide">
</div>
<div class="carousel-item">
<img class="d-block w-100" src="assets/img/lightbox/69/2-Bjarne-Melgaard.jpg" alt="Second slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/69/3-Soufiane-Ababri.jpg" alt="Third slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/69/4-Sunil-Gupta.jpg" alt="Fourth slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/69/5-GANG.jpg" alt="Fifth slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/69/6-Donald-Moffett.jpg" alt="Sixth slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/69/7-Manuel-Solano.jpg" alt="Seventh slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/69/8-Piotr-Nathan.jpg" alt="Eighth slide">
</div>
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<img class="d-block w-100" src="assets/img/lightbox/69/9-Patrick-Angus.jpg" alt="Ninth slide">
</div>
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<div style="text-align: center; padding-top: 5%; padding-bottom: 8%; font-size: 11px; text-shadow: 2px 2px 6px #3F3F3F;">
Every Moment Counts | Ph. © Øystein Thorvaldsen
</div>
</td>
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<td id="number">68</td>
<td id="project">
<div>HEDDA</div>
<div class="table-project_subtitlemobile">Loose Joints<br>Editorial
</td>
<td id="year">2021</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
Hardcover, 134 pages, 2021<br><br>
<i>Published by</i><br>Loose Joints, London and Marseille
<br><br> <!-- Project Description -->
Over the last five years, Norwegian artist Fin Serck-Hanssen followed and documented
the gender-confirming journey of close friend Hedda, who from her early twenties travelled
from Oslo to Buenos Aires and Bangkok to undergo cosmetic surgeries and a vaginoplasty.
Serck-Hanssen and Hedda’s images are made collaboratively to build a complex portrait of
both physical and psychological changes within a young person’s life and show with
unflinching honesty the realities of Hedda’s confirming, surgeries, and recovery.
Hedda reflects on the construction of identity in the 21st century, mixing her selfies
and curation of an online identity against Serck-Hanssen’s tender but direct portraiture
of her most vulnerable moments. Designed by Mevis and van Deursen, <i>HEDDA</i> finishes with
an immersive short fictional story by novelist Genevieve Hudson, exploring ideas of ambiguity,
transition and change.
<br> <!-- Project Description -->
</div>
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Fin Serck-Hanssen | Ph. © Loose Joints
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<td id="number">67</td>
<td id="project">
<div>Maurizio Cattelan: 2000 words</div>
<div class="table-project_subtitlemobile">DESTE Foundation for Contemporary Art<br>Editorial
</td>
<td id="year">2021</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Edited by</i><br>Massimiliano Gioni and Karen Marta<br><br>
Softcover, 128 pages, 2021<br><br>
<i>Published by</i><br>DESTE Foundation for Contemporary Art, Athens
<br><br> <!-- Project Description -->
Maurizio Cattelan’s subversive attitude has earned him several monikers in the art world:
court jester, prankster, and provocateur. His playful, satirical body of work—which includes
<i>Comedian</i> (2019), a banana duct-taped to the wall at ArtBasel Miami Beach, and <i>America</i> (2016),
the 18-karat gold toilet he later installed in the Guggenheim Museum’s restroom—reflects a
pointed critique of institutional and cultural norms in the society at large. “A true grandchild
of Marcel Duchamp and bastard nephew of Andy Warhol,” Cattelan is as sharply attuned to context –social,
institutional, cultural– as he is to gesture and expression.
<br><br>
<i>2000 Words</i> is a series of monographs conceived by Massimiliano Gioni, each of which combines a critical,
forthright essay with a survey of an artist’s works in the Dakis Joannou Collection.
<br> <!-- Project Description -->
</div>
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<div style="text-align: center; padding-top: 5%; padding-bottom: 8%; font-size: 11px; text-shadow: 2px 2px 6px #3F3F3F;">
DESTE Foundation for Contemporary Art and Maurizio Cattelan
</div>
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<td id="number">66</td>
<td id="project">
<div>EMPORIO</div>
<div class="table-project_subtitlemobile">Spazio Punch<br>Curating
</td>
<td id="year">2020</td>
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<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
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<i>Concept by</i><br>Augusto Maurandi<br><br>
Spazio Punch, Venice<br>
September 4 – December 21, 2020
<br><br> <!-- Project Description -->
Rethinking the historical tradition of the artists’ store, EMPORIO transforms Spazio Punch
into a multidisciplinary laboratory in constant transformation, a fluid space in which creativity,
production and performance interact in a sequence of objects, images, relationships and events.
By reconfiguring the visual language of Instagram, EMPORIO transports the viewer from digital
channel to physical space, where six collectives of young designers featuring more than thirty
creatives experiment with a new model of presentation and distribution of objects, ideas,
visions and new aesthetics.
<br><br>
EMPORIO features works by: maga*archivio, Premiata Ceramica Sperimentale, Venice is Burning per CQFP,
Verissima Fonderia Anonima, XMERON
<br> <!-- Project Description -->
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Spazio Punch | Ph. © Augusto Maurandi
</div>
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<div>SInce 1986</div>
<div class="table-project_subtitlemobile">Swiss Institute<br>Editorial
</td>
<td id="year">2020</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Edited by</i><br>Simon Castets and Karen Marta<br><br>
Hardcover, 456 pages, 2020<br>
<br><br> <!-- Project Description -->
With around 100 works ranging from 1909 to 1973 displayed in the historical Palazzo Reale in Milan,
the exhibition <i>de Chirico</i> explores recurring motifs in the artist’s oeuvre
such as mannequins, gladiators and illogical interiors.
Hailed as a visionary by the Surrealists for his unsettling Metaphysical
paintings,the Italian painter has become an enigma in the history of modern art.
Revisiting the artist’s prolific but baffling career trajectory,
this exhibition comes almost 50 years after the first major retrospective
the 81-year-old de Chirico was celebrated with in his home country in 1970.
<br><br>
Intriguing and enigmatic character, at the same de Chirico very often relished
the part of the agitator. His undisguised provocative behavior is reassessed by this exhibition
today as a calculated performance, a marker of the artist’s polemical genius
and contemporary sensibility.
<br> <!-- Project Description -->
</div>
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Swiss Institute | Ph. © Charlie Rubin
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<!-- ########################### ROW 64 ########################### -->
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<td id="number">64</td>
<td id="project">
<div>de Chirico</div>
<div class="table-project_subtitlemobile">Electa / Marsilio<br>Project Management
</td>
<td id="year">2019</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Curated by</i><br>Luca Massimo Barbero<br><br>
<br>Hardcover, 456 pages, 2020<br><br>
<i>Published by</i><br>Swiss Institute, New York, and Koenig Books, London
<br><br> <!-- Project Description -->
Since 1986, Swiss Institute has been a driving force for supporting experimental,
under-recognized and emerging art from around the world. A look back at its legacy,
<i>SInce 1986</i> presents a concise oral history of Swiss Institute as told by the artists
and curators who played a part in it. While contextualizing the institution within the
broader history of New York City’s independent art spaces, the book also provides a
complete visual timeline of SI’s groundbreaking art, architecture, design and performance
programs to date.
<br> <!-- Project Description -->
</div>
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Courtesy Palazzo Reale
</div>
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<td id="number">63</td>
<td id="project">
<div>ENCORE</div>
<div class="table-project_subtitlemobile">Art Genève<br>Curating
</td>
<td id="year">2019</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Curated by</i><br>Augustin Maurs<br><br>
<a class="link-mail" href="https://carlogoldoni.visitmuve.it/" target="_blank">Teatro Goldoni, Venice</a><br>
May 9, 2019
<br><br> <!-- Project Description -->
An evening of performances by: Saâdane Afif, Hsia-Fei Chang, Pierre Huyghe, Yutaka Makino, Jonathan Monk, Annika Larsson / Satch Hoyt and Anri Sala.
<br><br>
The project draws on the notion of “encore” –a repeated or additional performance called by the audience at the end of a concert. Often reflecting the momentary state of mind of musicians, encores can result in uniquely intimate
musical
renditions, or into moments of excessive extravaganza or pretense.
For the invited artists, the notion of encore serves as a social-ritualistic pattern and as an artistic scheme to explore different kinds of reiterations, mutations or changes. Music is perceived as convertible energy, often referring
to already existing works or to somewhat noisy political events such as Pierre Huyghe’s off-key response to John Cage’s iconic silent piece “4:33,” Hsia-Fei Chang’s Karaoke performance based on the real story of a political
assassination attempt or Jonathan Monk’s scrupulous rendition of “his Mother cleaning his father’s piano.”
<br> <!-- Project Description -->
</div>
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Courtesy Art Genève
</div>
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<td id="number">62</td>
<td id="project">
<div>Piero Manzoni: Life of the Artist</div>
<div class="table-project_subtitlemobile">Gagosian / Rizzoli International<br>Editorial
</td>
<td id="year">2019</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Written by</i><br>Flaminio Gualdoni
<br>Trade Paperback, 256 pages, 2019<br><br>
<i>Published by</i><br><a class="link-mail" href="https://gagosian.com/" target="_blank">Gagosian</a> and <a class="link-mail" href="https://www.rizzoliusa.com/" target="_blank">Rizzoli International</a>, New York
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Originally published in Italian in 2013, this new English-language biography of Piero Manzoni provides an exclusive look at the personal and artistic life of this groundbreaking Italian artist, making this book a must-read for any art
or Italian history enthusiast.
<br><br>
Manzoni’s brief career was one of the most radically inventive of the twentieth century, producing a body of work that continues to challenge the definitions of artistic sovereignty and virtuosity to
this
day. This newly-translated biography charts Manzoni’s evolution as both an artist and an individual, tracing a line from his youth and student days to his affiliation with Lucio Fontana to his untimely death in 1963.
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© Gagosian
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<div>Carlo Zinelli. Continous Vision</div>
<div class="table-project_subtitlemobile">Fondazione Palazzo Te<br>Curating
</td>
<td id="year">2019</td>
</tr>
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<td id="number"></td>
<div></div>
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<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
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<i>Curated by</i><br>Luca Massimo Barbero <br><br>
<a class="link-mail" href="https://www.centropalazzote.it/" target="_blank">Palazzo Te, Mantua</a><br>
March 16 – June 7, 2019
<br><br> <!-- Project Description -->
Artist Carlo Zinelli was sectioned to San Giacomo alla Tomba’s hospital in Verona after a period of strong inner anguish following the traumatic experience as a soldier during the World War II. In the three decades spent
in
the hospital, Zinelli continuously reinvented the time and space of his paintings, developing his own figurative motifs and subjects in the intersection of everyday life elements with dream-like magical visions. Resembling a <i>danse
macabre</i> at times or a sort of personal Kabbalah for the artist, Zinelli’s paintings are filled with a spontaneous and immediate exuberance as well as an unequivocally “pop” symbolism.
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Courtesy Fondazione Carlo Zinelli
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<div>Jeff Koons: 2000 words</div>
<div class="table-project_subtitlemobile">DESTE Foundation for Contemporary Art<br>Editorial
</td>
<td id="year">2019</td>
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<td id="number"></td>
<div></div>
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<i>Edited by</i><br>Massimiliano Gioni and Karen Marta
<br>Softcover, 140 pages, 2019<br><br>
<i>Published by</i><br><a class="link-mail" href="https://deste.gr/" target="_blank">DESTE Foundation for
Contemporary Art, Athens</a>
<br><br> <!-- Project Description -->
Jeff Koons explores how everyday items become works of art by reflecting our desires. Crafting a vast
aesthetic grammar from a language of kitsch, athleticism, and antiquity, his work elevates symbols of pop
culture and consumer goods into a realm of timeless self-realization. Methodologically, Koons has created
a prophecy fueled by the ecstasy of materialism, where the image or object becomes its own
ouroboros, consuming itself. This monograph contains an essay by Massimiliano Gioni with Natalie Bell
examining Koons’s parallels to Duchamp and the function of readymades over the course of his career.
<br><br>
<i>2000 Words</i> is a series of monographs conceived by Massimiliano Gioni, each of which combines a
critical,
forthright essay with a survey of an artist’s works in the Dakis Joannou Collection.
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© Jeff Koons
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<td id="number">59</td>
<td id="project">
<div>The Athens Dialogues: The Book</div>
<div class="table-project_subtitlemobile">DESTE Foundation for Contemporary Art<br>Editorial
</td>
<td id="year">2018</td>
</tr>
<tr class="tablesorter-childRow">
<td id="number"></td>
<div></div>
<td id="project">
<hr style="border-top: 1px solid black; margin-top: 1.25%; margin-bottom: 0.25%;">
<div style="text-align: left;">
<i>Edited by</i><br>Karen Marta<br>Softcover, 120 pages, 2018<br><br>
<i>Published by</i><br><a class="link-mail" href="https://deste.gr/" target="_blank">DESTE Foundation for
Contemporary Art, Athens</a>
<br><br> <!-- Project Description -->
Starring Hans Ulrich Obrist in conversation with Danai Anesiadou, James Bridle, Elizabeth Diller,
Apostolos Georgiou, Isaac Julien, Jeff Koons, Ranjana Leyendecker, Ari Marcopoulos, Charles Ray,
Shuddhabrata Sengupta, Christina Soulou,
Hito Steyerl, and Adrián Villar Rojas.
<br><br>
Whether celebrated, studied, or challenged, the past returns much like a ghost in <i>The Athens
Dialogues</i>.
Eleven artists, a writer, and an architect engage in conversation with Hans Ulrich Obrist, challenging