BERNARDI ILARIA – Prinp Editoria d'Arte

Ilaria Bernardi – Silvia Fabro LUCIANO FABRO

Dario — Sun, 05 Jul 2026 11:33:07 +0000

Among the most important artists from the postwar period, Luciano Fabro (Turin, 1936 – Milan, 2007) is known for his in-depth and innovative research into sculpture and space, as well as for his intense theoretical thinking and commitment as a teacher. Less is known about his parallel activity on paper, which he carried out from the early 1960s to his death in 2007.
This publication aims to delve deeper into the production on paper by Fabro, presenting a critical interpretation on it accompanied by a group of works that exemplify his ways understood drawing and the links of the drawing with the other types of works by the artist.

Ilaria Bernardi WALL EYES

Dario — Mon, 28 Oct 2019 18:50:13 +0000

he book documents the group show Wall Eyes. Looking at Italy and Africa, curated by Ilaria Bernardi and travelling to Johannesburg, Cape Town and Rome between October 2019 and January 2020, is part of the integrated promotion program Italy, Cultures, Africapromoted by the Ministry of Foreign Affairs and International Cooperation. Organized by the Italian Cultural Institute of Pretoria, “Wall Eyes” aims to spark the dialogue between the following young Italian and African artists on shared themes: Lhola Amira, Rä di Martino, Silvia Giambrone, Jared Ginsburg, Rodan Kane Hart, Bronwyn Katz, Andrea Mastrovito, Elena Mazzi, Luigi Presicce, Marta Roberti, Marinella Senatore, Eugenio Tibaldi, Gian Maria Tosatti, Luca Trevisani, Jessica Webster, Neill Wright. The book includes an essay by the curator Ilaria Bernardi, contributions by Paolo Cuculi, Ambassador of Italy in South Africa and Fabio Troisi, director of the Italian Institute of Culture in Pretoria.

Ilaria Bernardi GIULIO PAOLINI

Dario — Wed, 06 Sep 2017 13:50:27 +0000

This volume is the first study dedicated to the works on paper created by Giulio Paolini (Genoa, 1940), one of the best known and most successful Italian artists on an international level. With reference to his activity, the term “works on paper” designates a corpus of drawings and small and medium-sized collages, hitherto unexplored, largely unpublished and never the subject of scientific research, or publications, or reasoned cataloging. This first monograph on the subject investigates the actual creative process of the artist, bringing to light for the first time his distinctive gestures, iconographic and conceptual sources, as well as the value of the materials used. He focuses on his first twenty years of activity on paper, from 1960 to 1980, as, unlike the subsequent activity, it constitutes a more independent laboratory from the other types of production he made in the same years – that is paintings, sculptures, installations and graphic editions -, revealing at the same time a gestural repertoire that underlies the value he attributes to drawing. Numerous and unpublished statements by Paolini collected by the author complete the reading of the works examined and constitute an important testimony for the present and for the future.