Bruno Cora – författare

The book documents the formal research of Italo-Persian artist Bizhan Bassiri, who in 1986 wrote the Manifesto of Magmatic Thought. Here he refers to the work of art as the effect of an intuition that arrives within from without but after acquiring substance and form is manifested externally again, in the hope that, ideally, it will last forever.The word 'Noor' clearly refers to the natural light which will put the sculpture Specchio Solare in touch with the space surrounding it, freeing it from its basic function as a reflecting surface to turn it into a place where light becomes shape.Text in English, Italian and Persian.

Documents a collaborative project by Vincenzo Agnetti and Paolo Scheggi that remained unfinished due to Scheggi’s untimely death in 1971: The Temple. Birth of Eidos.

The first monograph dedicated to the artistic journey of Sicilian-born Antonino Bove (b.1945), one of Italy’s most multifaceted contemporary artists, and his research into the sphere of dreaming and death. Text in English and Italian.

A monograph on Sicilian post-war and contemporary artist Vittorio Messina (b.1946), who is known for his striking cell-like installations, sculptures, and videos.

Catalogue of the exhibition dedicated by La Galleria Nazionale di Roma to Vasco Bendini on the occasion of the 100th anniversary of his birth, which opened in March 2022. Text in English and Italian.

The book, edited by Bruno Corà and accompanied by a rich apparatus of images, highlights the affinities and divergences of four Calabrian artist who trained during the 1970s: Francesco Correggia, Luigi Magli, Rocco Pangaro and Giovanni Vatrella.

This volume presents the artistic career of German/Italian artist Klaus Münch through a selection of his work. Text in English and Italian.

Accompanies an exhibition dedicated to the relationship between the arts, examining the career of Giuseppe Ungaretti, a very important exponent of the Italian literary world.

Through a selection of thirty works created in a twenty-year time span (1972–92), including some unpublished and never before exhibited canvases from Italian private collections, this volume offers a perspective on the expressive outcomes that marked Alberto Burri’s practice after the 1950s and 1960s, at a time in which he had already gained international critical acclaim. Cellotex, which the artist had long used as a support for his compositions, became the “work” itself. Through a gradual process of stripping down, Burri reached the basic underlying element, i.e. the material that had previously been approached in view of something else. As is the case with his more iconic cycles (such as Sacchi, Legni and Combustioni plastiche), matter here continues to be the undisputed protagonist, capable of setting the rules and fixing compositional balances.

Examines Vincenzo Agnetti's close relationship with Manzoni and Castellani, which shaped his artistic evolution.