Böcker utgivna av Fondazione Prada

A stunning showcase of elegant folding screens from the 17th to 21st centuriesThis volume gathers an exceptional selection of decorative folding screens, exploring the history and semantics of the form by tracing trajectories of cross-pollination between East and West. At their core, folding screens embody liminality and the idea of sitting at the threshold of two conditions, both literally and metaphorically. They cross barriers between different spaces, disciplines, cultures and worlds. Taking that notion as a starting place, this volume follows processes of hybridization between different art forms and functions, collaborative relationships between designers and artists, and the emergence of newly created works.This gorgeous catalog features more than 70 examples of folding screens, including valuable historical objects and more recent works from international museums and private collections, plus a selection of new creations commissioned from more than 15 international artists specifically for this project.

At the heart of Machines à penser lies an artistic encounter with three titans of 20th-century philosophy, each of whom experienced a place of retreat or exile as decisive for their work: Ludwig Wittgenstein, who built himself a hermitage in Norway; Martin Heidegger, who regularly retreated to a custom-built hut in the Black Forest; and Theodor Adorno, who was forced into exile in Los Angeles in the late 1930s. The titular "machines for thinking" are the modest dwellings with which these philosophers have become associated: a nondescript bungalow, a mountain hut and a peasant's cabin. Here, works by Alec Finlay, Susan Philipsz, Mark Riley, Anselm Kiefer, Alexander Kluge, Goshka Macuga, Mark Manders, Ian Hamilton Finlay, Iñigo Manglano-Ovalle, Gerhard Richter and others are placed in dialogue with documentation and models of Wittgenstein, Heidegger and Adorno's respective dwellings.

In no other period of Western art history was the creation of copies from great masterpieces of the past as important as in late Republican Rome and throughout the Imperial Age. Certain Greek and Roman sculptures were established as canonical, their prestige so high and their acquisition so impossible that their reproductions--even on a small, portable scale--became sought-after commodities among the well-read populace of ancient Rome and modern Europe. With almost 400 duotone illustrations, a wealth of explanatory and groundbreaking scholarship and beautiful, delicate paper changes, Serial / Portable Classic examines this culture of the copy. Published to accompany the Fondazione Prada exhibitions Serial Classic in Milan and Portable Classic in Venice, whose display has been conceived by OMA/Rem Koolhaas, it is bound to be treasured by the student of art history and casual reader alike.