The Dark Side is a project that solicits the public on the 'dark side' that is in each of us, which manifests itself in ancestral fears such as the fear of the dark ( to which this first volume is dedicated), the fear of loneliness, the fear of time. These fears require a pause, a reflection: they destabilise, but at the same time ignite new possibilities, new thoughts, new perspectives. This volume Who's Afraid of the Dark? investigates the theme of physical and metaphorical darkness, and consequently the relationship with its opposite, light. It includes works ranging from installations, multi-sensory experiences, mixed media and large scale-works from 13 of the most important international artists such as Gregor Schneider, Robert Longo, Hermann Nitsch, Tony Oursler, Christian Boltanski, James Lee Byars up to the new protagonists of the contemporary art scene such as Monster Chetwind, Sheela Gowda, Shiota Chiharu and, among Italian artists, Gino De Dominicis, Gianni Dessi, Flavio Favelli, Monica Bonvicini. The artistic perspective is countered with the interventions by theologian Gianfranco Ravasi, physicist-theorist Mario Rasetti, psychiatrist Eugenio Borgna and philosopher Federico Vercellone, who offer a polyphonic look of great intellectual interest on this theme. The Dark Side project inaugurates Musja, a new museum in the city of Rome, which is proposed as a reference for the most innovative trends in the contemporary art scene. Text in English and Italian.

This volume travels through the most important moments and crossroads in the lifetime and career of Christian Boltanski, which have led him into reflecting upon the outcome of some historical events during the twentieth century and on the need to reconsider appropriate representation methods. History, histories and the statute of the image are the fulcrum of the conversation being proposed. In particular, this conversation deals with some fundamental themes: the difference between collective memory, recollection and oblivion; relations between the individual and the crowd; the entity of absence, intended as proof of a destroyed presence, but also as device for the reactivation of memory; the incidence of an isolated glance, that of the observer, upon whose primacy the history of western art has constructed its foundations.

This catalogue offers an exciting journey inside the poetics and the world, the many worlds, of one of the masters of contemporary art: Michelangelo Pistoletto (Biella, 1933). An infinity of ways of making art, an infinity of ways of seeing, of changing perspective, of reading reality. At the centre a single artist but in his many possibilities of being, of transforming, of depicting and representing himself, of telling. The volume covers almost Pistoletto’s entire career, from the 1960s with the mirror paintings, Metrocubo di Infinito, Venere degli Stracci, Orchestra di stracci and Labirinto, the 1970s with L’Etrusco and the series of Porte Segno Arte along with Autoritratto di Stelle to more recent works. In the 1990s the Libri, in the 2000s the mirror paintings in addition to projects related to the formula of creation, Love Difference-Mar Mediterraneo and Neon, to the Third Paradise. “A collective exhibition of a single artist,” in the words of the curator, because “in diversity I multiplied myself,” as the artist declares. That is why, at the Chiostro del Bramante, Michelangelo Pistoletto is INFINITY: because art is limitless. Text in English and Italian.