Four Calabrian artists who trained during the 1970s, four different poetic paths and a communion of intentions. After Marginalia, the first group exhibition held in 1979, their path split across Italy, to reunite in 2021 in an exhibition bearing the same title. Francesco Correggia held the chair of Decoration Department in Brera Academy of Fine Arts in Milan. He initially focused on performances and site- specific actions, before turning to painting. Luigi Magli lives in Cosenza. He’s interested in semiotics and the language of art, investigating matter and its expressive possibilities through his ‘personal expressionism’. Rocco Pangaro lives in Rende. He teaches Artistic Anatomy at the Academy of Fine Arts in Catanzaro. His research is wedged in the relationship between the artistic intervention and the place that hosts it. Giovanni Vatrella moved to Gorizia. He incorporates reality in his works, showing and concealing it at the same time behind thin canvases. The book, edited by Bruno Corà, highlights the affinities and divergences of these artists. It is accompanied by a rich apparatus of significant archive images.

This volume presents the artistic career of Klaus Münch through a selection of his work, ahead of an exhibition opening in Spoleto, Italy in October 2023. Born in Freiburg, Germany, after attending the Academy of Fine Arts in Carrara, where he graduated in sculpture, he studied in Munich, specialising in painting. Since then, he has chosen to live and work in Italy, where he pursues his personal artistic investigation of the world. His work moves in the fertile furrow between sculpture and painting. Starting from the examples of Mario and Marisa Merz, Gilberto Zorio, Giovanni Anselmo and comparing himself with artists of the same age such as Vittorio Messina and Eduard Winklhofer, Münch analyses the complex relationship between creation and space, between colour and shape. Includes essays by Marco Tonelli, Ivo Iori and the curator Bruno Corà himself. Text in English and Italian.

Jan Jedlicka is a painter, draftsman, graphic artist, photographer and filmmaker, but also a wanderer, observer and explorer. His paintings are primarily a record of what he experiences as he walks through the landscape and engages with its changes. Combining different techniques and media, he creates multi-layered images of places he observes, usually over long periods of time. Formative for him were his sojourns in the Italian Maremma, Prague, and some areas in the British Isles. The publication opens up Jedlicka's work in its entirety – not chronologically, but as a mapping of the artist's movements through the landscape and along the paths of his various artistic strategies.

Tornabuoni Art Paris opens 2023 with an exhibition dedicated to the relationship between art and poetry, examining the case of Giuseppe Ungaretti, on the 110th anniversary of his arrival in Paris, a defining moment in his literary career. The catalogue, with texts by Alexandra Zingone, literary critic and curator of the exhibition, tackles the analysis of the art of the 'short century' with a global view, taking into consideration the constant dialogue between the various exponents of the cultural world. Through passages from critical texts by Ungaretti as an interpreter of art, the volume follows the exhibition among the many works by contemporary artists, including Giacomo Balla, Alberto Burri, Giuseppe Capogrossi, Carlo Carrà, Giorgio de Chirico, Piero Dorazio and others. Throughout his multidisciplinary career, Ungaretti found himself indiscriminately analysing various genres, including Futurism, Metaphysical, Informalism, Socialist Realism and Expressionism of the Roman School. The exhibition develops around the poet's pieces, in some cases in the form of original manuscripts and first editions. Accompanying the volume is an extremely rich iconographic and archival apparatus accompanies the reader in discovering a virtuous example of the links that have always existed between literature and the visual arts.

Between 1970 and 1971, Italian artists Paolo Scheggi and Vincenzo Agnetti worked together on a project they called The Temple. Birth of Eidos. Due to Scheggi's untimely death in 1971 at the age of 31, the project remained unfinished. These previously unpublished preparatory sketches, drawings, and notes, which were shown at the Museo Novecento in Florence, are examined in essays by Ilaria Bignotti and Bruno Cora and texts by Germana Agnetti and Cosima Scheggi, daughters of the two artists and directors of their respective archives. The concept of the project was to create a sacred place, a temple, to contain linguistic objects representing primary forms of community, subjectivity and power, linking these with the artistic and theoretical research the two artists were conducting at the time. Agnetti died 10 years after his friend and colleague. His research followed a new route but remained closely linked with that idea born in 1968, that "any work, any artistic object, any gesture is a critical reminder of reality and our existence". (Germana Agnetti).

The first monograph dedicated to the artistic journey of Sicilian-born Antonino Bove (b.1945), one of Italy's most multifaceted contemporary artists, and his research into the sphere of dreaming and death. In the early 1960s, Antonino Bove began using a photographic camera to produce prints, and assembled images and texts, integrating materials like wax, tar, gauze, and different pigments into his paintings in addition to small objects and glass. His work is charged with an ethereal, psychological, and metaphysical sense of poetry. During the following decade, this orientation was intensified with deeper research into ethno-anthropology, characterised by social, political and historical elements. But the artist's principal source of fascination was his utopian artistic project aimed at saving mankind from physical death, and at the same time, saving the universe itself. Text in English and Italian.

A distinctive feature of Alberto Burri's artistic imagery: the treatment of black in his Cellotex works. Through a selection of thirty works made in a twenty-year time span (1972-92), the volume offers a perspective on the expressive outcomes that marked Alberto Burri's language after the 1950s and 1960s, at a time in which he had already gained international critical acclaim. Cellotex, which the artist had long used as a support for his compositions, became the "work" itself. Through a gradual process of stripping down, Burri reached the basic underlying element, i.e. the material that had previously been approached in view of something else. As is the case with his more iconic cycles (such as Sacchi, Legni, and Combustioni plastiche), matter here continues to be the undisputed protagonist, capable of setting the rules and of fixing compositional balances.

The book documents the formal research of Italo-Persian artist Bizhan Bassiri, who in 1986 wrote the Manifesto of Magmatic Thought. Here he refers to the work of art as the effect of an intuition that arrives within from without but after acquiring substance and form is manifested externally again, in the hope that, ideally, it will last forever. The word 'Noor' clearly refers to the natural light which will put the sculpture Specchio Solare in touch with the space surrounding it, freeing it from its basic function as a reflecting surface to turn it into a place where light becomes shape. Text in English, Italian and Persian.