mario mainetti (110 Ergebnisse)

paperback. Zustand: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

paperback. Zustand: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Paperback. Zustand: Very Good. Lightly edge worn. Clean and solid. ; Color Photographs; 12mo; 541 pages.

Hardcover. Zustand: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Soft cover. Zustand: New. 260pp. Colour illustration. Italian/English text.

paperback. Zustand: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Hardcover with plastic dustjacket 742 + pages, in English with Italian at rear; very good condition, no internal marks, clean and crisp. Foreign shipping may be extra.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. A fine fresh copy in like jacket. This volume accompanies the latest exhibition from Berlin-based artist duo Elmgreen & Dragset, which explores how bodies lose their centrality to everyday experience in our postindustrial age.

paperback. Zustand: Acceptable. Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. PAPERBACK Standard-sized.

Paperback. Zustand: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized. PAPERBACK.

paperback. Zustand: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Zustand: NEW.

Soft cover. Zustand: Fine. 556 pages. English text. Unread unmarked copy in excellent condition.

Brossura. Zustand: 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.

Zustand: NEW.

Brossura. Zustand: 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.

Zustand: New.

Zustand: New.

paperback. Zustand: Very Good. Covers and edges show some light scuffing and shelf wear. Interior is clean and unmarked.

Zustand: As New. Unread book in perfect condition.

Zustand: New.

Zustand: NEW.

Paperback. Zustand: New.

Paperback. Zustand: new. Paperback. TV 70 is a project by artist Francesco Vezzoli (born 1971) developed in collaboration with Rai, Italy's national broadcasting company. With archival material and testimonials, it explores 1970s TV production. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Soft cover. Zustand: New. 320pp. colour and b&w photography.

Hardcover. Zustand: Brand New. Hardcover.Width: 13 cm. Height: 17cm. 448 pages. English text.

Zustand: new.

Paperback. Zustand: new. Paperback. Utilizing mediums as diverse as mechanized flip-flops and animated film, Bennani takes a playful, ultra-contemporary approach to the representation of global cultures on social mediaThis publication documents, analyzes and comments on new works by New York-based Moroccan artist Meriem Bennani (born 1988) in relation to her previous production and the cultural context in which she works. Bennani's works explore 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 and animation. Throughout her career, she has developed a shape-shifting practice of films, sculptures and immersive installations questioning contemporary society and its fractured identities, gender issues and dominance of digital technologies. Combining a new site-specific, large-scale installation with an art film codirected with Orian Barki, the project documented here, her most ambitious, explores ways of being together in public and intimate sociopolitical settings. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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

Brossura. Zustand: 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 TaïaCombining 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.