The book investigates the use of colour in art through artistic movements and research that stand apart from canonical histories on colour and abstraction, with multiple accounts relating to memory, politics, spirituality, storytelling, psychology and synesthesia By analysing the different colour theories that gradually took shape in the turbulent socio-political context that characterised the 20th century, Emotions of Color in Art reflects on a perspective that considers light, its vibrations and the world of emotions, while challenging the standardisation of the use of colour in the modern age (synthetic colours) and the digital era (RGB colours offered by various online palettes), a levelling that considerably reduces our ability to distinguish colours in the real world.

Over the last four decades video art has undergone numerous transformations. If in its early years, during the mid sixties, video was used by artists to record performances created in an isolated studio, it also offered an important creative environment which defined new spaces and an alternative language to the mass codes used by television. In the `80s video took on the form of a projected image that was capable of defining a totally new type of space inside which spectators could move while surrounded by a hypnotic electronic embrace. More recently with digital technology artists can compete with the magic of cinema and develop a singularly fertile exchange with it that has been fundamental in developing the poetic language of video works today.

The art of the up-and-coming South African artist Candice Breitz draws on contemporary mass culture, devising new systems for understanding reality. Published in association with the Castello di Rivoli, this book documents Breitz's new work "Mother + Father". Exploding the terrain of representation, Candice Breitz employs a variety of darkly humorous and often disturbing tactics to strike out at stereotypes and visual conventions as presented and accepted in the media and popular culture. Breitz appropriates photographs and visual fragments and recontextualises these in bold, sometimes tasteless-seeming images, which radically challenge conventional wisdom and question currently accepted assumptions. Considering herself a "symptom" of her own time, Breitz has articulated her artistic practice by acting directly inside pop culture, opening up, unhinging, and fragmenting its apparent solidity, and devising a sort of creative intervention that transforms her from mute spectator into an active, critical voice. Conceived specifically for Castello di Rivoli, "Mother + Father", 2005, represents one of the artist's most complex projects to date. The work is developed in two distinct installations. The protagonists in the first installation, entitled "Mother", are Hollywood actresses Faye Dunaway, Susan Sarandon, Meryl Streep, Diane Keaton, Julia Roberts, and Shirley MacLaine. In "Father" the six father figures have the well-known faces of actors who include Tony Danza, Dustin Hoffman, Harvey Keitel, Steve Martin, Donald Sutherland, and Jon Voight. Suspended in a void made up only of words, facial expressions, and body language, the new interactions of these actors and actresses give rise to the theatrical space of Breitz's work. Digital simulacra, the mothers and fathers devised by the artist are hostages, trapped within a specific emotional repertoire that questions the canons according to which the media - television and Hollywood - have taken over the role of parenting, training the public to experience, through the screen, circumstances that, instead, pertain to real life. Candice Breitz has participated in numerous exhibitions including Re-animations, Modern Art Museum, Oxford, Remix: Contemporary Art and Pop, Tate Liverpool. She has been invited to participate in the exhibition Experience of Art at this year's Venice Biennale.

Nature or culture? Nature and culture? The Swedish artist Henrik Hakansson walks a tightrope between these two poles. He brings them together, allows them to intermingle, collide with each other, and yet remain distinct. His latest work represents a kind of culmination of this process. This book follows and extends an exhibition at KODE Art Museum and Composer Homes in Bergen in Norway, where a tree has been dried out and dissected into 101 parts, to be put on display like a forest of sculptures. The natural entity becomes a work of art as a shared, fragmented environment. The publication captures a special atmosphere of meditative calm and vibrant diversity of meaning, and connects the Bergen piece to a selection of earlier works.