"Il Casanova di Fellini ieri e oggi 1976-2016", con molti documenti anche di Fellini - lettere, disegni, foto, testi da archivi e collezioni private ― celebra quarant'anni dell'opera dove il regista affronta le sue ombre più profonde. Il film, ispirato ai "Mémoires" dello scrittore veneto, non è una ricostruzione del Settecento alla Kubrick, che lo stesso anno gira "Barry Lindon". Ma Fellini dipinge comunque un mirabile quadro della disfatta dell'illuminismo alla vigilia della rivoluzione. Simenon lo definì «il più bell'affresco della storia del cinema» e «una vera e propria psicanalisi dell'umanità». È «un tuffo vertiginoso nelle profondità umane». La figura di Casanova vi incarna sia il rischio dell'artista, sia il rovescio della medaglia dei pregi dell'italiano proiettati nell'attualità. «Il ritratto psicologico dell'artista», che recita sempre una parte in preda alla vertigine del vuoto, si fonde con la mediocrità elevata a eccellenza e con la compulsione sessuale del seduttore per antonomasia, perfino del vitellone attaccato a un piacere adolescenziale: un edonismo poi, di civiltà dei consumi. Allo specchio del personaggio, Fellini vede l'archetipo di se stesso e dell'italiano tipico. Ha paura del Pinocchio che non diventa mai uomo, del «baco da seta che si agita... freneticamente nel suo bozzolo, non diviene mai farfalla»."

The raft is an imaginative, indispensable object that in human history has represented in various forms the ability to adapt, the attachment to life or the desire to go elsewhere.
Making the raft an allegory of the ability to design, Francesco Faccin collects in this book ten emblematic and inspirational stories that remind us of the importance of intuition and the ability to break the rules when necessary.

Thor Heyerdahl's journey across the Pacific Ocean in 1947, the balsas built by Cubans to escape Fidel Castro's regime, the boats of fishermen in Cameroon composed entirely of plastic bottles, the hot air balloon with which a bricklayer and a mechanic in 1979 crossed the East German border. Ten different stories to remind us that designing is a primal human need and therefore an act that must be cultivated as an antidote to alienation: "Designing not to be projected" as Enzo Mari teaches.

Italian graphic design has and continues to influence the visual and cultural sector at home and abroad: Italian Types. Graphic Designers from Italy in America, curated by Patricia Belen, Greg D'Onofrio and Melania Gazzotti, is dedicated to the history and achievements of Italian designers who have lived and worked in the United States. From the arrival of Fortunato Depero in New York in 1928 to the work done by Unimark International between 1950 and 1970, the enthusiasm and experimentation of Italian graphic designers working in the United States won them some important clients, leading to them creating a number of iconic projects.
The advertisements, posters, magazines, albums, book covers and corporate identity projects presented in Italian Types give an overview of the results obtained by Italians in the field of graphic design in America, exploring their unique graphic language.
Featuring previously unpublished contributions by Steven Heller, Greg D'Onofrio and Patricia Belen, Alessandro Colizzi and Alexander Tochilovsky which explore the theme from different perspectives, and biographical profiles and some representative pieces from the likes of Fortunato Depero, Paolo Garretto, Costantino Nivola, George Giusti, Leo Lionni, Albe Steiner, Roberto Mango, Romaldo "Aldo" Giurgola, Erberto Carboni, Giovanni Pintori, Bruno Munari, Franco Grignani, Bob Noorda, Giulio Cittato, Heinz Waibl and Massimo Vignelli. A story that recounts the uniqueness and richness of a mosaic of different experiences, the results of which we can still see before our eyes today.

This succinct catalogue features wonderful cover and interior spread reproductions of a selection of the most important and influential artist's books of the twentieth century. Beginning with Stéphane Mallarmé's 1914 Un Coup de Dés Jamais N'Abolira le Hasard, now yellowed and slightly frayed around the edges, it includes works by Kokoschka, Kandinsky, Marinetti and other Futurists, Constructivists like El Lissitzky and such Dadaists as Schwitters, Tzara, Ernst and Duchamp. Photo experimentation by Maholy-Nagy is followed by Matisse's Jazz. There are Fluxus books by aa.vv., Daniel Spoerri and George Maciunas, mid-60s offerings by Ettore Sottsass, Dieter Roth and Andy Warhol, and Minimalist and Conceptual works by Carl Andre, Lawrence Weiner, Allan Kaprow, Vito Acconci and Bruce Nauman, followed by Arte Povera books and others from the 80s and 90s. Includes a gem-like illustrated bibliographies for all genres of artist's books, from the Futurists to books on typography.

Tanka L'autobus arrive Un zazou à chapeau monte Un heurt il y a Plus tard devant Saint-Lazare Il est question d'un bouton Cette brève histoire est racontée quatre-vingt-dix-neuf fois, de quatre-vingt-dix-neuf manières différentes. Mise en images, portée sur la scène des cabarets, elle a connu une fortune extraordinaire.

A tear-off calendar for 2024 by Dutch graphic designer Karel Martens. For each day of the year, Martens has created a unique arrangement, originally constructed using his signature method of printing letterpress monoprints from found metal forms, and then digitized to comprise 365 compositions in total. Every day is a new day!

Dans sa dernière publication «Les plus beaux bâtiments 1975-2000», Patrimoine suisse présente des ouvrages remarquables choisis dans toute la Suisse: églises, ponts, parcs, musées et ensembles d’habitation. Des réalisations iconiques mais aussi des objets peu connus jusqu’à présent – tous représentatifs de la diversité de la culture du bâti dans le dernier quart du XXe siècle.