Böcker av Roberta Tenconi

Catalog of an exhibition held at the Pirelli Hangar Bicocca, Milan, Italy, September 15, 2022-February 26, 2023.

Over four decades of atmospheric installation worksSince the late 1970s, Belgian artist Ann Veronica Janssens (born 1956) has been using ephemeral elements such as light to investigate the sensory perception of reality. Her works create situations that disorient viewers, breaking down their conventional perceptive mechanisms. This catalog, accompanying an exhibition at Pirelli HangarBicocca in Milan, retraces the artist's entire career across sculpture, video and installation.

Taking the solo show at Pirelli HangarBicocca as its starting point, the monograph casts new light on the Welsh artist's installations of light and sound.The monograph presents a significant selection of works, from the earlier sculptures to complex monumental installations and new productions, in an overview of the career of Cerith Wyn Evans, winner of the Hepworth Prize for Sculpture in 2018. Together with exhibition views at Pirelli HangarBicocca and a series of photographs selected by the artist on the theme of light, the book includes three previously unpublished essays. The art historian Briony Fer addresses the more conceptual and material aspects of the Neon Forms (after Noh) series, the philosopher and theoretician Éric Alliez provides a broad overview of the complex references in the artist's work, and Alexander García Düttmann captures the peculiarity of his oeuvre through a loop of different beginnings entitled False Starts. The catalogue also includes an introduction by the curators, a series of entries with detailed descriptions of all the exhibited works and an illustrated chronology of all the artist's solo shows.After starting out as a filmmaker, Cerith Wyn Evans (Llanelli, Wales, 1958) switched in the 1990s to sculpture, performance and site-specific works characterized by the use of ephemeral materials and elements like light and sound as well as the key importance of the temporal dimension in the viewer's experience. In their formal poise and elegance, Evans's works draw on a complex web of references and citations - encompassing literature, music, philosophy, photography, poetry, the history of art, astronomy and science - addressed in wholly new forms through a structured process of montage. This operation is performed both through the use of textual materials, which are decontextualized and translated into a language of light, and through the transposition of the imaginings of historic artists like Marcel Duchamp into sculpture

The first complete compendium of Mullican's photographs from the 1960s to the present.Focusing on a medium the artist incessantly used from his debut to the late 1960s, but never analysed in depth by critics, the catalogue Mullican. Photographs comprehensively documents the entire photo oeuvre of Matt Mullican (Santa Monica, California, 1951. He lives and works in New York and Berlin), publishing a compendium of all his analogue photos taken between the 1960s, 1970s and 1980s up to his recent digital images and series, including images made by "That Person" - the artist's alter ego that emerges during states of hypnosis and trance - plus computer-generated images - in his initial experiments of virtual reality in the 1980s and 1990s - and a portfolio of exhibition views at Pirelli HangarBicocca, the biggest retrospective to date on Mullican, exceptionally photographed by the artist himself. In addition to an extraordinary collection of 2,000 images, this publication also contains various relevant texts: a conversation on photography between Matt Mullican and the artist/photographer James Welling; a critical essay on the use of images by Anne Rorimer, art historian and author of essays on the Picture Generation and the catalogue The Forest of Sign (1995); an excursus on the artist's digital photography and images by Tina Rivers Ryan; a conversation between Mullican and the exhibition curator Roberta Tenconi; finally, an essay by the philosopher Marie-Luise Angerer that explores the meaning of the show's title, "Matt Mullican. The Feeling of Things", the idea of "feeling", of perceiving things.