Bøger udgivet af Hatje Cantz

Reena Saini Kallat's practice evolves around the tension between the concept of barriers in a world fundamentally shaped by mobility and interaction. Exploring the divisive narratives around national and geopolitical borders and their impact on identity and self-image for people and their immediate environment, she is also concerned with social and psychological barriers. That barriers give way, and can be subverted, is an idea that is pronounced in Kallat's work using electric cables twisted to resemble barbed wire. She uses the paradox of the existence of technology for free flow of information and restriction on movement. In order to expose the ambiguity of national narratives, the figure of the hybrid has come to hold symbolic potential in her practice, as a truant against dividing lines: Kallat creates hybrids of animals and plants that are strongly associated with national identity, only to show that nature defies the violent cleaving through land and nature, and uses the motif of the river, which is often both, border and lifeline to both sides. Kallat's work reveals the idea of isolation as an illusion, and instead suggests to embrace a pluralism of cultures.REENA SAINI KALLAT (*1973, Delhi) is one of the most acclaimed contemporary artists from India. Having studied painting in Mumbai, where she also lives today, her practice spans drawing, sculpture and installation, photography and video. Her interest in political and social borders resonates with the continuing aftershocks of the Partition in India, which her paternal family experienced. Her work is widely exhibited at international institutions including the Museum of Modern Art, New York, and Tate Modern, among many others.

To say that Meredith Monk is an outstanding singer, composer, choreographer and filmmaker says a lot and yet too little. Monk works seamlessly across disciplines-pushing the boundaries of music, theater, dance, video, and installation, and is considered a pioneer of site-specific performance. At the center of her oeuvre is the suggestive power of the human voice: the body becomes a resonating space for a universal language for which there are no words. Monk was the first artist to create a performance for the rotunda of the Guggenheim Museum, she performed in public car parks and on opera stages. This catalogue presents the first career encompassing, in-depth analysis of her work. Featuring never-before-published archival material, musical notations, drawings, and photographs, as well as an insightful conversation with the artist, the essays underscore Monk's lasting influence and affirm the relevance of her work for the present. MEREDITH MONK (*1942, New York City) began to explore the spectrum of the human voice through abstract vocal expressions in the early 1960s. She developed what became known as "extended vocal technique" in numerous solo performances, using the three-octave range of her voice. In 1968 she founded The House to promote interdisciplinary performance and ten years later the Meredith Monk & Vocal Ensemble. Monk is an award-winning filmmaker and has received numerous honors such as the National Medal of Arts.

Mixing seemingly deadpan architectural portraiture with poetically frozen moments of daily life, photographer Kris Graves reveals the living history of racism and elitism in the United States.In Privileged Mediocrity, Graves shows us both the brutality and beauty of American life. Each image of a person or a place tells its own complex, moving story and cumulatively capture a longing for the unfulfilled promise of a true democracy. Racism can be seen in infrastructure and planning nationwide, from the human and built environment impacts of redlining and unsustainable public housing; to spaces where homeless communities are able to exist temporarily before they are dismantled. This book seeks to explore the subtleties of the built realities and the planned experience across racial, class, and gender lines. It explores how racism, capitalism, and power have shaped the country and how that can be seen and experienced in everyday life.KRIS GRAVES (*1982, New York) is a photographer and publisher based in New York and California. Using a mix of conceptual and documentary practices, he photographs the impact of systemic unfairness on the built environment. Graves received his BFA in Visual Arts from S.U.N.Y. Purchase College and has been published and exhibited globally, including MoMA, New York; Getty Institute, L.A.; and National Portrait Gallery in London.

In her artistic practice, Andrea Büttner combines art history with social and ethical issues. Since the early 2000s, she has been exploring a wide range of themes such as work, poverty, shame and care in monastic forms of coexistence, but also on arts and crafts as a political field. Examining the ambivalent tension between aesthetics and ethics, the internationally renowned artist uses various conceptual methods. Best known for her large-scale woodcuts, Büttner has since used a variety of media, including etching, painting, photography and video installations, glass art and textiles. For her publications and exhibitions, Büttner composes her works thematically to create site-specific installations that can be experienced as gradually unfolding narratives.German artist ANDREA BÜTTNER (*1972, Stuttgart) studied fine arts, philosophy and art history in Tübingen and Berlin. Focussing on the relationship of shame and art, she received her PhD from the Royal College of Art in London in 2010. She took part in dOCUMENTA 13 and was shortlisted for the Turner Prize in 2017. Büttner currently is Professor of Art in Contemporary Context at the Kunsthochschule Kassel. She lives and works in Berlin.

The exhibition A War in the Distance, the central project of the 2022 edition of steirischer herbst festival, took place at Neue Galerie Graz / Universalmuseum Joanneum and invited visitors to engage with historical and contemporary works directly or indirectly about wars past and present. Confronting lesser-known 19th- and 20th-century paintings from Neue Galerie Graz's collection with works made by artists today, it uncovered hidden stories from the uncomfortable past. This richly illustrated publication documents this exhibition as well its surrounding festival program. Throughout, Russia's war of aggression in Ukraine was ever present, like a filter, impossible to erase or forget.Every year for a month, STEIRISCHER HERBST, one of the oldest interdisciplinary festivals of contemporary art in Europe, turns the city of Graz and the province of Styria in Austria into a parcours of installative and performative works. Since 1968, the festival has offered a platform for public debates, critical positions, and dialogues between the arts.

Since the 1990s, painter and filmmaker Sarah Morris has created a body of work that has been inspired by her interest in the psychology of urban environments. Her complex abstractions, that derive their vivid colors from each city's unique vocabulary and palette, trace the social and bureaucratic topologies of contemporary cities to reveal the architecturally encoded politics. In her films-a parallel practice intimately intertwined with her painting-Morris further explores the psycho-geography and the dynamic nature of cities in flux through multi-layered and fragmented narratives. She purposely leaves her work open for interpretation, conveying a heightened sense to the viewer of both our complicity in a larger system and an increasingly disorienting experience of modern urban existence.Featuring more than 50 paintings, impressions of her filmic work, drawings, and models for on-site installations as well as an in-depth interview with the artist, the catalogue offers the first comprehensive overview of Morris' oeuvre.New York-based artist SARAH MORRIS (*1967, Sevenoaks/UK) is internationally known for her geometric abstractions and non-narrative films. Influenced by her degree in Philosophy and Semiotics at Brown University in 1989, she started to create paintings using bold text inspired by newspapers and advertisements. In the mid 1990s, she began to deconstruct architectural landscapes in order to explore concealed structures of power.

Anthony Amies' paintings assert a classical conception of painting. From the mid 1970s, the British artis pursued a radical counter-concept to the art of his time with a stylistically peculiar landscape painting. They are calm and enigmatic pictures that do without any scandal. In large-scale drawings and oil paintings, he plays with the "blot" technique: Amies abstracts the landscapes to convey an idea rather than a realistic image. The reduction to land and sea is a reflection on England and the loss of its individual landscapes to the monotony of industrial and urban proliferation and sprawling housing estates. In this idiosyncrasy¿the assertion of the genre of landscape painting and in the painterly quality of the works as a contribution to the assertion of painting in art¿lies the importance of this English painter.ANTHONY AMIES (1945, Norwich-2000, London) was educated at Great Yarmouth College of Art in the 1960's and later at London's Slade School of Fine Art. Refusing to conform to the zeitgeist, he found his visual language inspired by Cozens' blot technique in the early 1970s, and would persist with it until his untimely death in 2000. Amies received the Arts Council Award in 1977 and worked teaching art in Camden from 1973-1995 at the Camden Institute and the Camden School of Art.

John Isaacs gilt weithin als einer der einflussreichsten Künstler seiner Generation. Diese umfangreiche Publikation ist der erste umfassende Überblick über sein Werk von den 90er Jahren bis in die Gegenwart.

Ted Stamm's paintings, drawings and performative works show the New York artist's constant engagement with his time and his tireless experimental way of working. He developed a minimalist visual language that often appears strictly geometric and simple, yet conveys a great sense of freedom. His iconic works and cross-media conceptual approaches went on to influence a wide range of artists in the generation that followed. This new monograph on the work of the American artist is the most comprehensive published to date. Examining Ted Stamm's series and artistic language through essays by renowned scholars that place his work in the context of its time and discuss his contribution to the art historical canon, it provides an in-depth insight into Stamm's multifaceted oeuvre.

In 1980 Peter Halley painted his first 'prisons', re-deploying the language of geometric abstraction in response to physical and bureaucratic environments. Radically deconstructing the language of abstraction, he re-imagined it not as a utopian source of liberation, but as dystopian symbols of the regulation of physical and social space and the impact of technology on contemporary life. As he wrote in 1990: "I wanted to draw attention to this geometricised, rationalised, quantified world. I saw it as a world characterised by efficiency, by regimentation of movement, bureaucracies, whether in the corporation, government, or university."Working in the era of the mass adoption of personal computers and the advent of the Internet, he developed a tightly organized system of discrete, geometric forms that he refers to as 'prisons', 'conduits', and 'cells'. Adopting non-traditional materials such as Roll-A-Tex, a paint additive that provides a readymade texture, and Day-Glo fluorescent colors, he evoked a pervasive mechanization of the human touch and referenced the presence of technology in the ersatz postmodern environment. Set within the context of a prolific period of painting and critical writing in the 1980s, this catalogue traces the development of Halley's singular pictorial vocabulary.

Willkommen in der Werkstatt der Lithografin! Schritt für Schritt lüftet sie die Geheimnisse der Kunst des Steindrucks: Einer Drucktechnik, die so verblüffen kann, dass sie fast wie Zauberei erscheint. Hier wird erklärt, wie sich Wasser und Fett abstoßen, wie Zeichnungen verschwinden und später wieder auftauchen. Hier wird gezeichnet, getuscht, geätzt, gewalzt und mit Sand geknirscht bis magische Bilder gedruckt werden können. Dieses wunderbare Bilderbuch ist im Stil einer Lithografie illustriert - in Blau, Rot und Gelb - und nimmt uns mit zu den Anfängen dieser faszinierenden Reproduktionstechnik. Es erzählt von den vielen Versuchen, die der Erfinder Alois Senefelder vor mehr als 200 Jahren unternahm, um Gedanken, Musiknoten und Kunst leichter vervielfältigen zu können. Er experimentierte wie ein Chemiker, bis es ihm gelang, den Steinen ein Gedächtnis zu verleihen. Die Lithografie ist bis heute eine besondere Kunst, zugleich sind aus ihr die Verfahren hervorgegangen, mit denen bis heute Bücher, Zeitungen und Plakate gedruckt werden.GABY BAZIN (*1992) lebt in Pantin. Sie wuchs an der französischen Mittelmeerküste auf. Während des Studiums in Paris an der Kunstgewerbeschule entdeckte sie ihre Liebe zum Buch und seiner Herstellung. Heute arbeitet sie als Grafikerin, Illustratorin und Druckerin. und ist Mitglied des Kollektivs La Briche Foraine in Saint-Denis.

Dynamische geometrische Muster von Emilio Pucci - farbig-kecken Dessins von Fioruccio -, schillernden Trompe-l'oeil-Effekte von Roberta di Camerino - die Pop-Sensibilität von Gianni Versace oder Franco Moschino - die auffälligen Streetstyle-Drucke von Iuter und Sunnei - mit diesen und unzähligen anderen Innovationen spielt das italienische Design eine führenden Rolle in der Geschichte der Textilien des 20. Jahrhunderts.Dieses Buch stellt eine attraktive Geschichte italienischer Textilien seit Beginn des 20. Jahrhunderts bis heute zusammen und erzählt deren Entwicklung mit Bezug auf die vorherrschenden Stile anderer Epochen. Eine Geschichte, die tief verwoben ist mit der Geburt des »Made in Italy«-Konzepts, da die Stoffe wesentlich zum internationalen Ruf Italiens als Hochburg für hochwertige Mode und Design beigetragen haben. Zahlreiche italienische Künstler*innen, Mode-, Produktdesigner*innen und Unternehmen haben Pionierarbeit geleistet und eine breite Palette von Herstellungsverfahren populär gemacht, die lokale Stoffe und innovative Techniken beinhalten.Designs von: Fede Cheti, Enrico Coveri, Roberta di Camerino, Dolce & Gabbana, Salvatore Ferragamo, Lucio Fontana, Piero Fornasetti, Mariano Fortuny, Gucci, Iuter, Franco Moschino, Bruno Munari, Gio Ponti, Prada, Emilio Pucci, Ken Scott, Ettore Sottsass, Sunnei, Valentino und VersaceVITTORIO LINFANTE ist Art Director und Professor für Modedesign, Branding und Kommunikation, Textil- und Druckdesign für Mode am Milano Fashion Institute und der Universität Bologna. Er ist Textildesigner für verschiedene Modehäuser, darunter Coccinelle, Marni und Moleskine.

Hannah Höch ist vor allem als Vertreterin der Dada-Bewegung und mit ihren Fotocollagen seit den 1910er-Jahren bekannt. Dieses Buch zeigt eine andere, privatere Hannah Höch: Landschaften, Aquarelle und Miniaturen, malerisch nacherzählte Erinnerungen, Porträts und Pflanzenstücke, in denen ihre Philosophie von Werden und Vergehen zum Ausdruck kommt. Die Sammlung des Berliner Museums Reinickendorf, zu der auch ihre kunsthandwerklichen Arbeiten und eigene gesammelte Raritäten gehören, dokumentiert wichtige Bereiche ihres Lebens und gibt Einblicke in ihre persönlichen Beziehungen. In der Zeit des Nationalsozialismus zog sie sich als »Kulturbolschewistin« diffamiert vom Kulturleben zurück. Ein kleines Holzhaus in Heiligensee im Norden Berlins bot ihr und ihrer Kunst in dieser Zeit radikaler Vereinsamung Zuflucht. Hier überlebte sie Krieg, Hunger und Einsamkeit und fand nach 1945 zu einem Neuanfang.HANNAH HÖCH (1889, Gotha - 1978, Berlin) gehörte zum Kreis der Berliner Dadaisten um Raoul Hausmann, George Grosz und John Heartfield. Zeitlebens am Experiment interessiert, prägte ein progressives, emanzipatorisches Bewusstsein ihre künstlerische Arbeit.

Since the advent of modernity, art has been associated with freedom, provocation and courage. In 1972, art was to unfold its potential as an emancipatory and creative force as part of the Gesamtkunstwerk of the XX. Olympic Games in Munich-that was the grand vision of its planners. The international avant-garde of the time, including Walter de Maria, Gerhard Richter, Andy Warhol and Dan Flavin, enthusiastically developed revolutionary concepts. Much remained a draft. After the tragic assassination of Israeli athletes, concepts such as the "Spielstraße" were canceled. This publication is the first to give an impression of the playful, participatory cultural programme of 1972. In the second part of the book, a multitude of voices from all over the world look to the future. International authors and artists use contemporary examples to convey the importance of the arts in shaping the democratic society of the future.

Plastic is everywhere. It permeates our everyday lives, is inexpensive and available worldwide. Thanks to their literally astonishing plasticity, plastics soon began to fascinate artists as well-both as a symptom and a symbol of mass culture. In the brief history of the "Plastic Age" the versatile substance transformed though: from the epitome of progress, utopian spirit, and democratization of consumerism into a threat. Plastic World offers a broad panorama of the artistic use of plastic and a position towards a matter that matters to us all. Through more than 100 objects, assemblages, installations, environments and films by some 50 international artists, this catalogue explores a spectrum ranging from the euphoria of pop culture in the 1960s and the futuristic influence of the space age, to the "trash" works of Nouveau Réalisme and the ecocritical positions of today. FEATURED ARTISTS SUCH AS: Monira Al Qadiri, Archigram, Arman, Lynda Benglis, César, Christo, Öyvind Fahlström, Haus-Rucker-Co, Eva Hesse, Hans Hollein, Craig Kauffman, Kiki Kogelnik, Gino Marotta, James Rosenquist, Pascale Marthine Tayou and Pinar Yoldas.

Where is Charles Simonds? Throughout the 1970s, hisdiminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumblinginfrastructure of downtown New York. Preoccupied withthe relationship between the grown and the built, thearchaeological and the urban, Simonds shared friendshipand ideas with Gordon Matta-Clark and Robert Smithson.Like Lucy Lippard, with whom he lived during that decade,Simonds believed in combining art and activism, alwayspreferring what he called the "real world" to the art world.Yet despite taking part in many of the seminal exhibitionsand art events of 1970s New York, Simonds has left fewtraces on art history. In order to explain Simonds's absencewhile simultaneously arguing for his central place within it,Jules Pelta Feldman reconsiders the decade's self-conception, finding that Simonds exemplifies much of what hasbeen ignored in 1970s art¿and much of what establishesit as a unique period of experimentation and possibility.

¿ One of the great artists, ahead of her time¿ Rebelled against social and political conventions¿ Unconventional view of her work

Industrial factories are major contributors to air pollution, toxic spills, and the emission of greenhouse gasses into the atmosphere. Manufacturing remains critically important to both the developing and the advanced world, but it must change. Fast. In 2020, the Norwegian design furniture manufacturer Vestre decided to prove that another future of industrial production is possible. Together with the Danish architects of Bjarke Ingels Group (BIG) they worked out plans for a green factory while preserving the surrounding recreational Norwegian forests: The Plus. The wooden building has been planned to achieve the world's highest sustainability rating, BREEAM Outstanding, as well as to be a public space, a destination for people to visit and enjoy. Thus began a challenging yet exciting journey toward building "the world's most environmentally friendly furniture factory." Making The Plus takes readers through the construction process of the world's most environmentally friendly furniture factory, documented from the very beginning by renowned photographer Einar Aslaksen. It also broadens our view on how architecture, industry, nature, and public space must be completely intertwined in our move toward a sustainable future. It aims to be a manifesto forthe "green shift."VESTRE is an Oslo-based urban furniture maker with offices all over the world. For more than 75 years, the family-owned company has been driven by the mission to create social and caringpublic meeting places for millions of people. It is committed to the UN's Sustainable Development Goals.

3D technology is not uncommon-we encounter it in cinema and in the virtual reality of video games. But even though creating an optical illusion of spatial depth, where there is none, is one of the oldest techniques in photography, stereoscopy receives little attention in contemporary photography. Unjustly so, as Sebastian Cramer's timelessly fascinating works show. It is a unique aesthetic experience that these seemingly alien plants in cyan and red have to offer, which-when viewed through the enclosed 3D glasses-unfold into voluminous photo- graphic sculptures. Two Views on Plants is a book about our visual perception of space that is fundamental to our human experience.Two Views on Plants is a Tête-bêche book and comes with two 3D glasses.SEBASTIAN CRAMER (*1962, Berlin) is a German director, cinematographer, and photographer. An acclaimed 3D expert, he has worked on several major film productions with directors like Wim Wenders and Michel Comte. He has received numerous awards for his artistic works and technical inventions. In 2013 Cramer began the Two Views project, a contemporary expression of traditional stereo photography.

Yasser Alwan photographed in and around Cairo, recording encounters with people in the streets, at the racetrack, in cafes, and in places of work-tanneries, quarries, bookshops, or potteries. His portraits of workers living in conditions of unimaginable poverty and political dispossession are remarkable for their refusal of the clichés of social documentary and photojournalism. They show people between anger, pride, and perseverance, yet convey a sense of trust toward the photographer. Complementary to his intimate images of friends and family form a collective portrait of the middle class seen in the relaxed informalities of daily life. This collection of Alwan's photographs offers an unprecedented and unique picture of Egyptian society, introducing an outstanding body of work in contemporary photography from the Arab world.YASSER ALWAN (*1964, Lagos - 2022, Cairo) was born in Nigeria to Iraqi parents. He studied and worked in Lebanon, Iraq, the United States, Sudan, and Jordan before moving to Egypt in 1993. He taught photography at various institutions, including the German University in Cairo. His photographs have been exhibited internationally.

Strict non-violence, the renunciation of possession and universal tolerance are the guiding principles of Jainism - a religious community that is found around the world, yet which is hardly known outside India. Combining masterpieces of Jain art from the collection of the Museum Rietberg, richly illustrated essays, and interviews with Jains from Europe, the US, and India, Being Jain: Art and Culture of an Indian Religion provides impressive insights into the unique lifestyle and ethical values cultivated by Jainism over many centuries. The catalogue explores the contributions that the living tradition of contemporary Jainism can make to deal with the fundamental challenges the world faces today: climate change, rampant consumerism, ethnic and religious intolerance, and social inequality. A board game inside the book encourages readers to reflect on their own everyday behavior and to venture out in new directions.

Nocturnal forest scenes and fantastic narratives, illuminated through spotlights that allude to Berlin's neonlit nightlife-the latest paintings, VR installations, and poems by American artist Brandon Lipchik offer glimpses into his very own surreal dreamscape. Like a director in a theater, he stages his digitally composed mythical and uncanny scenes full of erotic allusions, transforming them into a collage-like physcial presence on canvas. Between dense foliage reminiscent of Henri Rousseau and the computer game aesthetic of the 1990s, Lipchik creates a unique visual language. This richly illustrated publication is both: an exhibition catalog and a survey of the artist's oeuvre to date. A separately designed section presents Lipchick's VR works and provides insights into the post-digital practice of the emerging artist.BRANDON LIPCHIK (*1993, Erie, PA) studied painting at the Rhode Island School of Design and at Brown University. He has had solo exhibitions in New York, Berlin, Santa Monica, Amsterdam and Paris; this is his first institutional solo show. He lives in New York and Berlin.

André Bauchant, Camille Bombois, Séraphine Louis, Henri Rousseau, and Louis Vivin had no artistic training, yet these five painters left a lasting mark on the Paris art scene of the early 20th century. Decisive for their discovery was their contact with German art dealer Wilhelm Uhde and his joint exhibition The Painters of the Sacred Heart in 1928 that brought together the stylistically diverse artworks of these self-taught artists. In their individual techniques and motifs, often borrowed from nature or their immediate surroundings, he saw a unique emotionality, a radiating freshness and accessibility, which he felt was lacking in the theory-laden discourse of academically trained modernist artists. Having since fallen into oblivion, this book is a joyful rediscovery of a chapter of art history that only recently has found new appreciation.

The Prix Ars Electronica is the world's longest-running media art competition. Richly illustrated, and with texts and statements by the jury, this book brings together the winners of 2022 selected out of 2.338 projects submitted from 88 countries in the categories Computer Animation, Interactive Art +, Digital Communities and u19-create your world. What is more, the volume also provides insights into the work of Laurie Anderson, this year's recipient of the Golden Nica for Visionary Pioneer of Media Art.Also included is a best-of of the STARTS Prize, commissioned by the European Commission. The focus of this highly remunerated competition was on innovative projects at the intersection of science, technology and art (= Science, Technology and ARTS).

Neither naïve escapism into virtual worlds, nor the technological utopia of space colonization will save us from facing the big, uncomfortable questions. With this year's theme Welcome to Planet B, Ars Electronica is an invitation to take part in an exciting thought experiment: What if we had already mastered the great challenges of the 21st century? How would we live (together)? And most importantly: What would our path there have looked like?We will need every bit of technology, but the biggest innovation project has to be ourselves, our ability to rise to the challenge as a global community-a reinvention of humanity!Planet B is not the second chance for another place where we can continue as before, it is the cipher for the indispensable, new, and in many forms completely different life and action on this only planet that exists for us.

Remains-Tomorrow: Themes in Contemporary Latin American Abstraction offers a thought-provoking perspective on the dynamic field of contemporary abstraction in Latin America. It proposes abstraction as an expanded field of reality in direct dialogue with life, and as a strategy for critically examining social, political, and cultural concerns. Featuring 280 artists, the book explores different manifestations of post-1990s Latin American abstraction and their underlying relationships to and differences from modern abstraction. Essays by Cecilia Fajardo-Hill and Juan Ledezma, 28 texts by participating artists, as well as biographies and over 700 illustrations, examine issues such as gender, interculturality, and popular culture. The unique polyphony and almost infinitely artistically diverse positions make this an indispensable reference book on Latin American abstraction.CECILIA FAJARDO-HILL is a British/Venezuelan art historian and curator who specializes in Latin American and Latinx art. She is known for the exhibition Radical Women: Latin American Art 1960-1985 at the Hammer Museum, Los Angeles, 2017, that presented experimental works of female artists.

LIKE THIS. Natural Intelligence As Seen by Art brings together a series of specific commissions by ten internationally renowned artists for der TANK, the exhibition space of the Institute Art Gender Nature at the heart of the FHNW Academy of Art and Design's campus in Basel. Curated by Chus Martínez and supported by [N.A!] Project, the artistic projects conceived between 2016 and 2021 by Mathilde Rosier, Julieta Aranda, Cecilia Bengolea, Eduardo Navarro, Ingela Ihrman, Teresa Solar, Beatriz Santiago Muñoz, Raffaela Naldi Rossano, Alessandro De Francesco, and Gil Pellaton all share a common denominator: their interest in exploring the multilayered dimensions of our relationship with nature, and the slow but continuous change of the art system's perception and engagement with the natural world.The book, however, is not a closing chapter, but evidence of an art practice that empathizes with all forms of life, that focuses on nature as the very substance that allows for a shared experience of life with mutual responsibilities, and that embraces the coexistence of ancient knowledge and modern science.

Unlimited, Art Basel's pioneering exhibition platform for projects that transcend the classical art-show booth, has been a vital part of the most important art fair since 2000. Every year, more than 70 artists are invited to contribute to this exceptional platform. The concept of this large exhibition is unique and popular with both collectors and visitors, showing oversized works to their best effect in a gigantic, 17,000 square-meter hall, including massive sculptures and paintings, video projections, large-scaled installations, and live performances. Like its predecessors, the 2022 edition of Unlimited promises to attract considerable attention. All contributing artists and their works shown are presented in the Unlimited catalog."Anyone who missed the big special show Unlimited at Art Basel can get an impression of it through this illustrated volume. This large, museum-quality exhibition has been expanding the boundaries of art since the year 2000."- Bücher Magazin.ART BASELJune 16-19, 2022