Publishing

Le Brûle-fougères est un recueil de poèmes écrits par Anjela Duval (1905-1981), figure majeure de la littérature bretonne du XXe siècle. Sa poésie est l’expression d’une intimité profonde avec son environnement, une connexion avec la nature et les cycles de la vie paysanne. Le caractère intemporel et universel de ses vers réside dans cette capacité à transcender le quotidien pour toucher à l’essentiel : la solitude, la mort, l’amour de sa terre. Écrite en langue bretonne, la langue de son quotidien, sa poésie a fait l’objet de peu de traductions. Il s’agit là d’une traduction inédite de près de quatre-vingts poèmes écrits entre 1961 et 1980, d’autant plus nécessaire que sa poésie résonne avec des préoccupations d’une brûlante actualité. Elle nous offre ainsi une vision précoce de ce que pourrait être une écologie poétique. En tant que poétesse paysanne, elle a également brisé les barrières sociales et culturelles de son époque. Son écriture n'est pas seulement le reflet d’une paysanne, mais d’une femme qui pense, qui ressent, qui résiste. Ses poèmes sont ici accompagnés dans cette édition d’illustrations du peintre Corentin Canesson, qui prolongent les textes et leur donnent une nouvelle résonance visuelle.

Condensing the Infinite recounts Michele Ciacciofera’s work from a geographical perspective. It is a project that evokes the artist’s travels: from Sardinia, he journeys through the Alps, reaches Brittany, and finally arrives in Scotland, in search of those archetypal forms that underlie the cults and identities of archaic peoples who, through sculptural practices, aspired to establish a dialogue between Earth and Sky, between the human finite and the absolute infinite.

The book documents a series of exhibitions held between 2023 and 2024 in various cultural institutions that have looked at and studied the work of Michele Ciacciofera, starting with the MA*GA Museum in Gallarate, in dialogue with SEA – Malpensa Airport, the BUILDING gallery in Milan and Passerelle Centre d’art contemporain in Brest. In keeping with the artist’s poetics and language, this volume unfolds by focusing on the landscapes, movements, and geographies dear to the artist.

This volume is structured as a dialogue between several voices, an ideal poetic conversation in which geographical locations become veritable magnifying glasses for a close reading of Ciacciofera’s work in connection with archaeology, poetry, the history of philosophy, and anthropology. The critical texts that delve into theoretical and aesthetic aspects are followed by five sections, in which brief reflections, poetic fragments and archive photographic material alternate with views of works and installations.

Condensing the Infinite therefore moves through these different chapters, directly citing geographical locations capable of encapsulating different approaches: from Mediterranean waters to island archipelagos, from Alpine mountain ranges to Scottish marshes, until it condenses into that desire— literally a distance from the stars—for infinity for which humans, from every time and place, have always yearned through the experience of art.

Condensing the Infinite recounts Michele Ciacciofera’s work from a geographical perspective. It is a project that evokes the artist’s travels: from Sardinia, he journeys through the Alps, reaches Brittany, and finally arrives in Scotland, in search of those archetypal forms that underlie the cults and identities of archaic peoples who, through sculptural practices, aspired to establish a dialogue between Earth and Sky, between the human finite and the absolute infinite.

The book documents a series of exhibitions held between 2023 and 2024 in various cultural institutions that have looked at and studied the work of Michele Ciacciofera, starting with the MA*GA Museum in Gallarate, in dialogue with SEA – Malpensa Airport, the BUILDING gallery in Milan and Passerelle Centre d’art contemporain in Brest. In keeping with the artist’s poetics and language, this volume unfolds by focusing on the landscapes, movements, and geographies dear to the artist.

This volume is structured as a dialogue between several voices, an ideal poetic conversation in which geographical locations become veritable magnifying glasses for a close reading of Ciacciofera’s work in connection with archaeology, poetry, the history of philosophy, and anthropology. The critical texts that delve into theoretical and aesthetic aspects are followed by five sections, in which brief reflections, poetic fragments and archive photographic material alternate with views of works and installations.

Condensing the Infinite therefore moves through these different chapters, directly citing geographical locations capable of encapsulating different approaches: from Mediterranean waters to island archipelagos, from Alpine mountain ranges to Scottish marshes, until it condenses into that desire— literally a distance from the stars—for infinity for which humans, from every time and place, have always yearned through the experience of art.

Condensing the Infinite recounts Michele Ciacciofera’s work from a geographical perspective. It is a project that evokes the artist’s travels: from Sardinia, he journeys through the Alps, reaches Brittany, and finally arrives in Scotland, in search of those archetypal forms that underlie the cults and identities of archaic peoples who, through sculptural practices, aspired to establish a dialogue between Earth and Sky, between the human finite and the absolute infinite.

The book documents a series of exhibitions held between 2023 and 2024 in various cultural institutions that have looked at and studied the work of Michele Ciacciofera, starting with the MA*GA Museum in Gallarate, in dialogue with SEA – Malpensa Airport, the BUILDING gallery in Milan and Passerelle Centre d’art contemporain in Brest. In keeping with the artist’s poetics and language, this volume unfolds by focusing on the landscapes, movements, and geographies dear to the artist.

This volume is structured as a dialogue between several voices, an ideal poetic conversation in which geographical locations become veritable magnifying glasses for a close reading of Ciacciofera’s work in connection with archaeology, poetry, the history of philosophy, and anthropology. The critical texts that delve into theoretical and aesthetic aspects are followed by five sections, in which brief reflections, poetic fragments and archive photographic material alternate with views of works and installations.

Condensing the Infinite therefore moves through these different chapters, directly citing geographical locations capable of encapsulating different approaches: from Mediterranean waters to island archipelagos, from Alpine mountain ranges to Scottish marshes, until it condenses into that desire— literally a distance from the stars—for infinity for which humans, from every time and place, have always yearned through the experience of art.

Ideas, her first monograph, brings together sketches, installation shots and a wealth of documentation, as well as an in-depth analysis of her practice. The publication highlights her unique process of making art, from the conception of an idea to the finished work, and from the deconstruction and re-assembling of her characters’ identities to the relentless creation of different worlds. The extensive visual content is complemented by a critical essay by curator Fernanda Brenner, a reflective essay by curator Loïc Le Gall, and an interview with curator Guilherme Blanc, in an endeavor to provide a comprehensive overview of Mesquita’s output and frame of reference.

Monograph entirely dedicated to the drawing production of the artist Alan Fertil, who died prematurely in 2015.

Frédéric Teschner est un graphiste français dont les créations ont marqué le monde de la création graphique. Le livre donne à voir une sélection précise des différents projets conçus par Frédéric Teschner au cours de sa carrière. Son travail est présenté par un dispositif original et inédit grâce à une série de photographies de Morgane Le Gall mettant en scène 48 affiches et de nombreux objets (livres, affiches, identités visuelles, etc.). Pour appréhender son œuvre et sa démarche, treize textes ont été commandés à des personnalités du monde culturel ayant collaboré ou accompagné Teschner au cours de sa carrière. Un échantillon d’affiche imprimé en sérigraphie à l’échelle 1 sur du papier affiche au dos bleu est inséré en fin de cahier, rendant chaque exemplaire du livre unique.

Cet ouvrage est publié en co-édition avec Passerelle, centre d’art contemporain. Il a bénéficié du soutien à l’édition du CNAP, Centre national des arts plastiques et de l’École supérieure d’art et de design d’Amiens ainsi que de la participation de Jean-Yves Grandidier et Lézard Graphique.