Nero is a publishing house specialized in the production of artist's books, editions, and catalogues commissioned by museums, foundations and private collections. Based in Rome, Nero also works in curating, art direction and consulting for cultural projects and contemporary art.
Artist designer Canedicoda built a a temporary tailor's atelier, where clothes were build directly onto the visitors' bodies. Conceived halfway between a journal and an inventory, this publication documents each phase of the project, collects pictures of the 100 actual garments, as well as participants' feedbacks.
Cicoria is a visual essay conceived as a stream of images of the Alessandro Cicoria's past and current artworks, put together with apparently no visual coherence by Cicoria himself. A dialogue between the artist and curator Luca Lo Pinto is the map to understand the peculiar attitude behind his work and vision.
Opened to the public since 2005, Codalunga is a section of Nico Vascellari's studio in Vittorio Veneto devoted to experiments in visual and sound art. This publication documents a project which has been going on for a decade now, gathering artists from all around the world.
Set behind the scenes of Badlands Unlimited, an artist-run, New York-based publishing company, this three- act play follows the characters as they launch an erotic novella, deal with internal conflicts, and imagine the promise and threat of technology between the pages and in our lives. Badlands Unlimited is a comedy of errors that morphs into a deeper meditation on art and mortality.
The first overview on the work of Italian artist Alessandro Piangiamore, with commissioned texts, a comprehensive portfolio of artworks, and the artist's visual references. All the repertoire of Piangiamore speaks of his need to conceive form as something that's open and mutual, and sculptures as objects capable of revealing an absence, a negative trace of that constant passage of state.
A survey of the eponymous project, which materialized between 2012 and 2017 in different remote places around the world—an annual gathering initiated by artist Angelo Plessas for a community of cultural practitioners concerned with our post-technological life.
This publication stems from the 2018 edition of ARCO – Madrid international contemporary art fair. Taking as a point of departure the exploration of the concept of “future,” Chus Martínez, Elise Lammer, and Rosa Lleó wrote essays discussing different topics (art fairs, human evolution, and experimental education). These texts are illustrated by works by nineteen artists featured at the Madrid fair.
A collection of visual incursions by Italian artist Emilio Prini in dozens of exhibition catalogues and print publications over the course of five decades. Meticulously researched, and yet necessarily incomplete, this book is a glimpse into the subtlety with which Prini turned each engagement with the world of ideas into a joust for mastery over space, time, and form.
An intimate diary in the shape of an apparently cold, monochromatic book, Negative Book collects a series of eighty-four black-and-white photographs taken by Grzeszykowska following a very particular procedure, which is both visual and performative.
A companion to his previous book, Colour in Contextual Play, Joseph Kosuth's Neon in Contextual Play continues the artist's investigation of the interplay between language and reality, words and objects, color and light. Within these pairings, early neon works by Kosuth interact with those by Arte Povera artists who also used the industrial medium.
This artist's book is based on a namesake project of video installations and art objects exploring the transformation of the image within time and space. With texts and drawings by curator
In a junction of artist's book, illustrated sci-fi story, and a glossary of sculptural objects Ludovica Carbotta explores the concept of “fictional site-specificity” through different media, authorships, and descriptive strategies: a site-oriented practice that considers imaginary places, or real places within fictional contexts, to recover the role of imagination in the process of constructing knowledge.
Fifty years of graphic and editorial production of one of the most visionary artists of his generation—Enzo Cucchi. The catalogue includes more than a hundred plates, ordered chronologically, photographic reproductions, detailed information, and a series of essays by reknowned contributors.
Designed by the founder of Conceptual Art, this elegant and precious artist's book—and exhibition catalogue—serves as a visual analysis of the conceptual structures that interrogate the nature of color, form, space, and time, where the works and writings of Post-war artists such as Castellani, Fontana, Manzoni, and Klein, converse with Kosuth's statements, and the theoretical as well as personal account of curator Cornelia Lauf.
The unfinished works of Sergei Eisenstein are traversed by aesthetic, anthropological, and political questions. Focusing on the anthropology of rhythm that the Soviet director developed in his Mexican project, Que viva Mexico!, this book also extends its analysis to the film projects Bezhin Meadow and The Great Fergana Canal.
This artist's book reactivates a press controversy which took place in 1970s London and affected the Tate Galleries' collecting strategies—in particular, the acquisition of Equivalent VIII, a work by minimalist artist Carl Andre made in firebrick.
The Painter is a robot programmed to paint and to improvise and generate unexpected narratives—in response to visitors entering. It is center piece of a larger project lead by Italian artist Piero Gola at the Kunsthaus Baselland—documented in this publication. Includes a text by Ines Goldbach, and an interview with the artist by Jonathan Monk.
Publication gathering a selection of materials—texts and artworks—produced during a series of discussions and workshops on contemporary painting held at the Istituto Svizzero di Roma. Artists of different generations, areas of meaning and geographical origins were brought together to debate around the value of painting today and its role in today's society.