Catalogues – Prinp Editoria d'Arte

MI CASA TU CASA

Dario — Tue, 02 Jun 2026 16:07:56 +0000

“Tu casa mi casa. La casa degli artisti” (Your Home, My Home. The Artists’ Home) is an exhibition project that recounts, through the works of nine artists, Davide Bramante’s encounter with Turin in the 1990s, when he arrived in the city to study at the Albertina Academy of Fine Arts. It features encounters with artists, art critics, gallery owners, and collectors. Among the numerous acquaintances and collaborations of those years, Bramante chose artists who were particularly important to him and with whom he shared many aspects of his private and professional life: Maura Banfo, Domenico Borrelli, Dario Colombo, Daniele Galliano, Paolo Grassino, Francesco Lauretta, Turi Rapisarda, and Alessia Zuccarello, with a tribute to Alfredo Romano. The exhibition opened in December 2025 at San Sebastiano Contemporary / Casa Bramante in Palazzolo Acreide (SR), and runs until June 30, 2026, at the Museo delle Genti d’Abruzzo in Pescara.

Ezio Gribaudo MERAVIGLIA

Dario — Mon, 25 May 2026 08:24:51 +0000

This art catalogue documents Ezio Gribaudo’s retrospective solo exhibition, held in the stately spaces of Villa della Regina in Turin and curated by Sara Lyla Mantica, Valeria Amalfitano, and Roberto Mastroianni in collaboration with the Gribaudo Archive, on the occasion of the sixtieth anniversary of his participation in the Venice Biennale. This exhibition, the first in a series of events that will travel to the cities of Turin, Milan, Copenhagen, Paris, and Venice, focuses on Ezio Gribaudo’s relationship with wonder, memory, fantasy, and discovery—themes explored in relation to nature, architecture, urban contexts, and real and imaginary journeys. It establishes a dialogue between some of his most iconic works and the spaces of Villa della Regina. Gribaudo’s works interact with the spaces of Villa della Regina, creating an exhibition that pays tribute to the artist’s history and poetics while also highlighting the architectural and historical-cultural heritage of the Savoy Residence.
Ezio Gribaudo was an undisputed protagonist of the history of international art in the second half of the twentieth century. Driven by a profound intellectual curiosity combined with evident technical mastery, he developed an extremely distinctive and recognizable stylistic signature and poetics, which allowed him to transcend disciplinary boundaries, mastering diverse techniques, content, and mediums in an original way. An internationally renowned artist, art publisher, and tireless cultural promoter, Gribaudo was an iconic figure in Turin, the cultural and industrial capital of a nation that, in the second half of the twentieth century, occupied a central position despite remaining peripheral to major movements and socio-historical transformations. This centrality became a biographical element and a defining characteristic of his artistic expression.

Ioannis Melanitis LEDA MELANITIS

Dario — Sun, 24 May 2026 07:47:55 +0000

This art catalog documents the solo exhibition of Ioannis Melanitis, one of the most important and experimental contemporary Greek artists.
Spread across two venues, the Padiglione dei Solinghi at Villa della Regina and the Library of the Albertina Academy of Fine Arts in Turin, the exhibition presents oil paintings and digital sculptures that stage a dialogue between architectural heritage, the history of philosophy, and the history of art; and transgenic butterflies that dialogue with books and ancient taxidermy.
Curated by Roberto Mastroianni, Sara Lyla Mantica, Valeria Amalfitano, and Alessandro Botta, the exhibition aims to reflect on the relationship between humanity and nature and nature and culture and the transformations brought about by digital technologies and the biotechnological revolution.

Elena Re GENIUS LOCI

Dario — Tue, 24 Mar 2026 15:25:28 +0000

Art critic and independent curator Elena Re encounters Castello di Perno and its history. But she also encounters Letizia Cariello and Maurizio Donzelli, their poetics and their work. From all this her story emerges, one unfolding amid memory and the present, amid text and imagery. Genius Loci: a tale of friendship, of creativity, of a love for art and for a place immersed in the sheer magic of the Piedmont landscape.

Elena Re LETTERA #1

Dario — Sun, 22 Mar 2026 14:33:54 +0000

LETTERA is a project hosted by Giulia Colussi inside her home in Venice. It all began when Giulia – a passionate collector – met Elena Re – an independent art critic and curator. Giulia seeks out talented young artists and, together with Elena, explores their work, sharing the choice of works, their display and the general desire to promote them. She then calls upon a specially chosen person to ‘enter’ the space with their own viewpoint and write her a letter, to describe what they encountered inside and leave a trace of their passing. The home, the artists, the works, and this letter written each year by a different figure from the world of art, science or culture, in the very truest sense of the word.
In this first issue, Elena herself leads the way, traversing a place dense with dreams and emotions. This project embraces a workshop dimension, that of an ever-evolving experience. A tale that unfolds, from one letter to the next.

India Evans CORPI RITROVATI

Dario — Fri, 20 Mar 2026 13:03:19 +0000

India Evans’s collages are complex places, landscapes that generate both anxiety and desire, composed of bodies, fragments of images, architecture, and materials arranged like traces of a layered memory.
The female bodies that populate India Evans’s works come from clippings of old photographs and art books. The artist explains that it all began in Rome, at the Porta Portese market, with the discovery of a shoebox filled with black-and-white photographs of 19th-Century nudes—images that, in her words, “seemed to beg to be brought back into visibility”. From then on, even after returning to New York, the search for images became a constant practice for Evans: archives, libraries, and markets as places to intercept figures “waiting to be reinserted into the present”.

INTERLUDI

Dario — Mon, 16 Mar 2026 17:44:37 +0000

Etymologically, the term interlude, from the Latin inter- ‘between’ and ludus ‘game’ or ‘spectacle’, properly means ‘in the midst of the spectacle’.
In the world of theater and music, interludes are short compositions that separate two scenes of a performance or two parts of a concert. They can consist of simple musical pieces or actual, self-contained performances, extremely short in length and stage presence. In other words, the interlude is an interlude: this idea, outside the world of music and theater, takes on the general connotations of a pause.
In philosophy, the interlude can be compared to the phenomenological epoché—suspension of judgment. It is not a passive void, but an act of will with which one decides to stop “productive time” to observe the world without the obligation to react to it. (…)
Interludes can therefore be considered spaces, parentheses, or simple variations in the usual daily flow. Here, they become three paths that suggest personalities, narratives, and sharing, creative signs, aimed at delineating parallel worlds and new perspectives.
Chen Li, a traveling artist-calligrapher, while waiting, notes with ink and brush, on notebooks and loose sheets of paper, what she encounters, in a continuous discovery of places, people, and architecture: a consoling art that trains the gaze and catalyzes positive energy. Psychotherapist Germana De Leo, drawing on the pages of a notebook during sessions, conveys the emotional intensity of listening during her work with her patient. Finally, Mon, a figure involved in the welfare sector, combines her professional activity with an original aesthetic investigation, creating complex arabesques with multiple meanings in pen. (From the text by Elena Inchingolo)

Eleonora Roaro LA NUBE

Dario — Sat, 21 Feb 2026 16:59:56 +0000

Massa – Italy 17 July 1988: two explosions at 6:10 and 6:15 am at the Farmoplant plant, a subsidiary of the Montedison group, triggered a fire that affected a tank containing the Rogor insecticide. From it, a toxic cloud developed that affected the entire area for an area of 2,000 km2. It is one of the most debated episodes in the local news but above all engraved in the collective memory of the citizens who remember it as “the Chernobyl of the Apuan Alps”, an apocalyptic moment in their lives in which they sought refuge in homes and cellars or fled towards the mountains. THE CLOUD (2025) is also the title of the project that Eleonora Roaro created for mudaC | Carrara Museum of Arts, drawing on historical, archival, and oral documentation of the event to create a collaborative and comprehensive exhibition that engages political forces, residents, groups from various countercultures, and other artists. She also produced a unique video installation that captures her personal artistic work. A fluorescent green cloud, toxic, expansive, intense, penetrating, and surprising, it becomes the perfect metaphor for the survey this catalog seeks to produce of the artist’s fifteen years of activity. (From the text by Cinzia Compalati)

Marco Cordero SUITE PER UN GIRASOLE

Dario — Wed, 17 Dec 2025 20:15:29 +0000

This volume documents the exhibition by artist Marco Cordero, held in the evocative spaces of the Savoy Residence, Villa della Regina, in Turin.
“Suite per un girasole” (Suite for a Sunflower) is an immersive journey through art, memory, and architecture, where each intervention is designed to resonate with the history and beauty of Villa della Regina. The artist presents a selection of works alongside site-specific installations that engage with the residence and traces of its past, transforming the residence into a laboratory of visual and sensorial storytelling. The heart of the exhibition is the room that once housed the famous Piffetti Library, a masterpiece of 18th-century cabinetmaking. Moved in 1879 to the Quirinale Palace in Rome by order of Queen Margherita, the Library is brought back to life today thanks to a meticulous reconstruction in augmented and virtual reality, accessible via apps, tablets, and headsets. Of the Library, designed by Pietro Piffetti as a total intervention, all that remains is the extraordinary inlaid wooden floor, from which Cordero’s work comes to life: a sculpture-installation that echoes the sunflower-shaped decoration on the floor, projecting it three-dimensionally into space. Through his sculptures made from books, the artist mends absences and restores presences. The engraved volumes, transformed into living, pulsating matter, become the support for sculpted words, traces of knowledge that emerge like roots in time. In his works, which intertwine the themes of landscape, spirituality, and culture, the book—a symbol of collective knowledge—becomes form, gesture, and reflection. The exhibition unfolds in a visual narrative in which paper, writing, and the book become a bridge between past and present. A poetic interweaving of the historical identity of the Savoy residence and the languages of contemporary art, in which the material of the word becomes a vehicle for new connections and visions.

Paolo Gubinelli NON SONO UN POETA…

Dario — Wed, 17 Dec 2025 19:21:42 +0000

The volume documents Paolo Gubinelli’s exhibition “Non sono un poeta, amo incidere la mia parola” (I’m Not a Poet, I Love Engraving My Word), held in the evocative spaces of the Savoy Residence, Villa della Regina, in Turin.
The exhibition is conceived as a silent dialogue between light, matter, and words, leading visitors into the artist’s lyrical and experimental universe. A journey through the multiplicity of materials he uses, with a special focus on paper. The exhibition focuses on the search for a balance between image and word, between visual sign and written text, in the exceptional context of Villa della Regina. The works offer a close-up look at this creative exploration: the “Engravings” on folded paper bring light into dialogue with the material and the residence’s decorative elements; the watercolor and powdered “Scratches” evoke the fragile beauty of the place; the circular cards are intended to recall the hand-painted fabric or paper fans that adorned the walls of the so-called Gabinetto delle Ventaglyne in the 18th century. A section is dedicated to works that intertwine artistic expression with the verses of great poets, creating a profound synergy between visual arts and writing. Alongside the works on paper, there is also space for painted ceramic reliefs, ideally paired with the precious porcelains that once enriched the villa’s historic collections. Completing the narrative are the authoritative voices of important Italian critics—particularly from Turin—such as Giulio Carlo Argan, Mirella Bandini, and Paolo Fossati, whose reflections illuminate Gubinelli’s poetics and creative journey.