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Cover of Robida 10: Correspondences

Associazione Robida

Robida 10: Correspondences

Robida ed.

€25.00

Robida is a situated, multilingual cultural magazine published by Robida collective. Each issue explores a topic connected and generated by Topolò/Topolove, the village on the border between Italy and Slovenia where the collective is based.

The chosen topic is thrown into the world and interpreted by people who have never been to Topolò. What people send back after the open call is not only a contribution to the exploration of a defined theme but also a new interpretational tool to explore the collective’s relation to Topolò.

The tenth issue of Robida magazine, which celebrated its tenth year of existence, is made of correspondences, conversations, interviews and letter exchanges where the magazine becomes the pretext to establish new relationships or deepen existing ones. While writing and other creative activities can often be solitary endeavours, this year, Robida’s core purpose was decidedly tangible and hands-on: to go out there and talk, discuss, meet, write to each other, organise and create — together.

The issue contains correspondences about, among other things, fire, bread, dreams, wild tongues, public space, local architecture, community gardens, reading practices, sky, bees, postcards, type design, resistance, be-longings, regenerative agriculture, coding, radical equality and more.

〰️

CONTRIBUTORS
Adele Dipasquale ↔︎ Madison Bycroft, Alice Alloggio ↔︎ Alia Mascia, Antônio Frederico Lasalvia ↔︎ Cécile Malaspina, Anya Jasbar ↔︎ Chris Rocchegiani
Caterina Santullo ↔︎ Neva Zidić, Lukas Horn, Chiara Pavolucci ↔︎ Enrico Malatesta, Else/Xun ↔︎ Ahed Al Kathiri, Emma Verhoeven, Erika Mayr ↔︎ Aljaž Škrlep, Erin Honeycutt ↔︎ Priyam Goswami Choudhury, Tara Habibzadeh, Eva Garibaldi ↔︎ Eva Bevec, Gaja Pegan-Nahtigal, Ana Laura Richter, Lea Topolovec, Francesca Lucchitta ↔︎ Teo Giovanni Poggi
Garance Maurer ↔︎ Elise Boutié, Tonì Casalonga, Alice Cuenot, Daniel Parnitzke, Club de Bridge, Alona Rodeh, Giorgia Maurovich, Giulia Soldati ↔︎ Eline Ex, Suzanne Bernhardt, Agnese Podgornik, Salvatore Ceccarelli, Alysha Aggarwal, Ingeborg van Houwelingen, Sara Vande Velde, Sasha van Aalst, Greta Biondi ↔︎ Vittoria Rubini, Hannah Segerkrantz ↔︎ Mia Tamme
How Melnyczuk, Janja Šušnjar ↔︎ Marjetica Potrč, Karin K. Bühler ↔︎ Raimundas Malašauskas, Kim Kleinert ↔︎ Polina Lobanova, Kirsten Spruit ↔︎ Benjamin Earl, Lalie Thébault Maviel, Laura Cull Ó Maoilearca ↔︎ Rajni Shah, Linsey Rendell ↔︎ Gemma Copeland, LinYee Yuan, Madeleine Reinhart ↔︎ Greta Veresani, Michael Minnis ↔︎ Áine Nic Giolla Coda, Nai-Syuan Ye ↔︎ Merle Findhammer, Nolwenn Vuillier, Ola Korbańska, Ola Lewczyk, Paula König ↔︎ Aida Fernandes, Rachele Daminelli, Rita Gaspar ↔︎ Shams, Rossella Famiglietti ↔︎ Rocco Pisilli, Giuseppe Defilippis, Daniele Pirozzi, Alessandro Bosco, Sarah Marlene Sammito ↔︎ Rūta Žemčugovaitė, Leonardo Sammito, Soph Boobyer ↔︎ Annie Box, Sophie Mak-Schram ↔︎ Katherine Marie Agard, Esyllt Angharad Lewis, Vida Rucli, Alejandra Santillana Ortiz, Jeanne van Heeswijk, Tadej Urh ↔︎ Eva Bevec, Teresa Frausin ↔︎ Anne Kaivo-oja, Vida Rucli ↔︎ Donatella Ruttar, Yiannis I. Andronikidis ↔︎ Mojca Radkovič

Published in 2024 ┊ 304 pages ┊ Language: English

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Cover of Robida 11 - on orchards

Associazione Robida

Robida 11 - on orchards

€25.00

The eleventh issue of Robida magazine, is collection of essays, photographic explorations, visual narratives, art projects, and poetic texts all centered on the orchard as landscape and fruit trees as powerful metaphors and living archives of stories and memories.

Robida is a situated, multilingual cultural magazine published by Robida collective. Each issue explores a topic connected and generated by Topolò/Topolove, the village on the border between Italy and Slovenia where the collective is based.
The chosen topic is thrown into the world and interpreted by people who have never been to Topolò. What people send back after the open call is not only a contribution to the exploration of a defined theme but also a new interpretational tool to explore the collective’s relation to Topolò.

CONTRIBUTORS
Alessandra Saviotti, Alja Piry, Aljaž Škrlep, Alessandra Faccini, Anastasia Kolas, Andrea Martinelli, Andreina Trusgnach, Angelica Calabrese, antonisotzu, Antônio Frederico Lasalvia, Cassidy McLeod McKenna, Companion–Platform, Danijel Losic, Derek Scott Russell, Dora Ciccone, Eda Aslan, Elena Braida, Elena Rucli, Emmy Elvira Wassén, ERBA, Francesca Farris, Francesca Battaglia, Francesca Lucchitta, Giovanni Aloi, Giulia Bertuletti, Gregor Božič, Greta Biondi, ife collective, Jana Kiesser, Jannete Mark, jean ni, Jennifer Shin, Jessica Hollis, Jip van Steenis, Julina Vanille Bezold, Kristína Mičová, Lalie Thébault Maviel, Laura Savina, Lina v. Jaruntowski, Lindsay Buchman, Luca Vettori, Luca Battista, Ludovica Battista, Luigi Coppola, Luisa Gastaldo, Maria Elena Vecchio, Marta Pagliuca Pelacani, Martina Havlová, Martina Motta, Mia Frances LaRocca, Michael Marder, Nataša Kramberger, Ola Korbańska, Paolo Bosca, Rachele Daminelli, Rosie Ellison-Balaam, Sasha Arutyunova, Serena Abbondanza, Silvia Mascheroni, Stephanie Rebonati-Cannizzo, Teresa Carretta, Terry Cueball, Vesna Liponik, Victoria King, Vida Rucli, Vittoria Rubini

Languages: English (mainly), Italian, Slovene, French, German + local, minoritarian lan(d)guages and dialects from the regions of Benečija, Valchiavenna, Abruzzi, Bari, su Logudoru, Corsica, Gorenjska, Cetuna and the White Carpatians region.

Cover of Devenir minéral | L’éditeur du dimanche

Avarie Publishing

Devenir minéral | L’éditeur du dimanche

Giuliana Prucca

Essays €38.00

Echoing Jean Dubuffet's idea that thought must arise from material in artistic practice, Giuliana Prucca, through this essay, reinterprets a moment in the history of 20th-century art using materials such as stone, sand, earth, and dust. She employs the mineral to illustrate that the creative act would be a trace of the body's disappearance. The loss of humanity and the deconstruction of the subject objectify themselves in the image. In other words, art resides in the tension between representation and its loss, ultimately leaving nothing but an image.

Drawing from the influential figure of Antonin Artaud, she weaves critical and poetic connections between the texts and works of various artists, writers, and thinkers, ranging from Jean Dubuffet to Jan Fabre and Anselm Kiefer, Yves Klein and Gutaï, Joë Bousquet to Camille Bryen and Francis Ponge, Gaston Bachelard to Gilles Deleuze, and Georges Bataille to Aby Warburg.

The material is not merely a thematic pretext; it is an active and explosive catapult that questions the arbitrary linearity of a conventionally assimilated art history. Following Ponge's example, Prucca applies the principles of poetry to criticism, starting from Artaud's material, the most undisciplined of poet-artist-thinkers of the modern era. This results in a critically inventive approach dangerously suited to its object, celebrating an anti-critique. The chosen writing materials, stonepaper for the cover and recycled paper for the pages, is consistent, intending to give the impression of being covered in dust.

The essay disrupts traditional reading habits and shatters the conservatism of art criticism by inhabiting writing space differently, presenting a physically engaging interaction. This is an essay in the literal sense, an experience where form never contradicts content, urging readers to take the risk of thinking deeply and embracing a new rhythm. A complex and challenging design invites them to choose different reading options, ultimately treating criticism as one would poetry.

Giuliana Prucca [Paris | Berlin] is an independent curator, researcher, and writer. She is the founder and art director of the publishing house AVARIE, specialising in contemporary art books that explore the relationships between text and image, body and space.

Graphic design, art direction by Vito Raimondi

Cover of Initiales #05 — Andrea Fraser

École nationale supérieure des beaux-arts de Lyon

Initiales #05 — Andrea Fraser

Claire Moulène, Emmanuel Tibloux

Periodicals €15.00

Le cinquième numéro de la revue d'art et de recherche « rétro-prospective » est consacré à l'artiste et performeuse Andrea Fraser, figure clé de l'art des années 1990 et 2000 et du courant de la « critique institutionnelle » (une monographie complétée par une grande enquête sur l'espace critique réalisée auprès d'une cinquantaine d'artistes, critiques et philosophes internationaux).

Avec contributions de Kader Attia, Eva Barto, Sophie Bonnet-Pourpet, Marie de Brugerolle, Gregory Buchert, Daniel Buren, Marie Canet, Gregory Castéra, Inès Champey, Thierry Chancogne, Claire Fontaine, François Cusset, Judith Deschamps, Paul Devautour, Philippe Durand, Joao Enxuto & Erica Love, Andrea Fraser, Nicolas Frespech, Dora García, Romain Grateau, Emmanuel Guez, Thomas Hirschhorn, Aliocha Imhoff & Kantuta Quirós, Béatrice Josse, Franck Larcade, Ju Huyn Lee, Sven Lütticken, Fabrice Mabime, Bartomeu Mari, Chus Martínez, Gwenael Morin, Claire Moulène, Jean-Luc Moulène, Yan Moulier Boutang, Vincent Normand, François Pain, Gerald Petit, Anne Querrien, Thierry Raspail, Sinziana Ravini, Delphine Reist & Laurent Faulon, Christophe de Rohan Chabot, Phillippe Roux, Jean-Baptiste Sauvage, Thomas Schlesser, Ida Soulard, Fabien Steichen, Michel Surya, Emmanuel Tibloux, Vier 5, Ulf Wuggenig, Italo Zuffi.

Cover of Sustaining the Otherwise

Archive Books

Sustaining the Otherwise

Amal Alhaag, Selene Wendt

Sustaining the Otherwise is a collaborative research and artistic project about restitution, reparation and transformation taking place in multiple locations over several years. Initiated and conceptualized by researchers and curators Amal Alhaag & Selene Wendt, it offers a space for artists, activists, scholars and writers to be in dialogue and to explore the topic of restitution in relation to both material and immaterial culture, through a program that frames restitution within the context of contemporary art practice.

Edited by Amal Alhaag & Selene Wendt

Featuring an introduction by Amal Alhaag & Selene Wendt as well as provocations, reflections, and essays by Barby Asante, Michael Barrett, Quinsy Gario, Sana Ginwalla, Aude Christel Mgba, Lennon Mhsishi, Ogutu Muraya, in addition to a sonic contribution by Robert Machiri. 

Cover of Forensic Architecture: Violence at the Threshold of Detectability

Zone Books

Forensic Architecture: Violence at the Threshold of Detectability

Eyal Weizman

In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.

Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

Cover of The Mollino Set

Rollo Press & Cabinet Books

The Mollino Set

Lytle Shaw

Design €18.00

New York-based professor Lytle Shaw journeys to Italy in this adventurous exploration of the life and work of architect, designer, and photographer Carlo Mollino (1905–1973). In 1933 the young Mollino received a commission from Mussolini’s regime for his first building: an administrative centre in Piedmont. Later works include furniture and interior design, a book on photography, and an asymmetrical car that raced at Le Mans in 1955.

The book centres around Shaw’s realisation that this prolific talent’s conflicted legacy offers a unique window on the role that post-war Italian politics and culture played in the country’s reimagining of itself as a victim, rather than a proponent, of fascism.