Born in France into a family of tapestry restorers, Louise Bourgeois loved studying mathematics and helping her mother with her work as a weaver. She enjoyed drawing so much that, over time, she decided to become an artist.

A dream come true in New York, the city where she would move and live for the rest of her life: here, Louise became the first sculptor to have an exhibition at MoMA. Louise sculpted slender figures representing her loved ones left behind in France, filled entire sheets of paper with words, just like in school, and used objects she had kept from childhood to create her works... She even built a giant spider! And if spiders scare you, after reading this book, you might look at them with different eyes.

After Piero Manzoni, Yves Klein, Jackson Pollock, Marcel Duchamp, Lucio Fontana, Yayoi Kusama, and Banksy, the book dedicated to Louise Bourgeois adds to the series in which the artist Fausto Gilberti tells us, with intelligence and a playful eye, the works of great figures in contemporary art.

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Catalogue published on the occasion of the exhibition "The Falseness of Holes by Aleksandra Domanović", winner of the fifth edition of the Arnaldo Pomodoro Sculpture Prize (12/11/2019 - 06/01/2020, Galleria d’Arte Moderna, Milan). It contains a long interview by Mason Leaver-Yap with Aleksandra Domanović, which tells the genesis and the sense of The Falseness of Holes, an augmented reality app that interacts with the Portinaia by Medardo Rosso (1883-1884), reflecting on the potential inherent in the threshold that separates real and virtual.

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Edited by Francesco Leonetti, Feltrinelli editore, Milano, 1982

A book on the debate that arose around the project for a new cemetery in Urbino, which—after its "victory" in the 1973 public competition—was later suspended and ultimately abandoned. It documents the arguments for and against the project, including both the criticisms and reservations expressed as well as the favorable evaluations, with contributions from critics, writers, architects, and scholars (among them Argan, Aymonino, Benevolo, Risset, Vergine, Volponi, and Zevi). The book also includes the proceedings of the public assembly held in Urbino in 1979 and a wide selection of articles published in the press over the course of approximately eight years.

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In this book, Bruno Munari describes, with great seriousness and attention to detail, machines... useful or useless, but certainly unusual: machines to predict the aurora, a lizard-powered engine for tired turtles, a machine to tame alarm clocks, a tail-wagger for lazy dogs...

Le Macchine di Munari is a poetic and ironic book that stands out for its inventiveness and creativity. Here, Munari showcases his ability to blend art, design, and education, presenting a series of imaginary machines inspired by the famous American cartoonist Rube Goldberg. Each machine, though entirely a product of fantasy, is designed with a sense of realism and functionality, reflecting Munari's deep understanding of the world of design.

Munari’s Machines – collected in this book first published by Einaudi in 1942 and now available again in the Corraini Edizioni catalog – are inventions as precise as they are impossible. Described and illustrated in the finest detail, they follow their own fantastic mechanics and, to our great delight, rebel against the obligation of having to serve a purpose.

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Book that documents, trough the images by Carlo Orsi, the monumental exhibition held at the Forte Belvedere in Florence in 1984. Introduction by Italo Mussa and critical texts by Giulio Carlo Argan.

Edizione in Italiano oppure in Inglese, selezionare la lingua in fase di acquisto.

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Catalogue published on the occasion of the exhibition held at the Foundation: "La Collezione Permanente" (September 29, 2007 - March 09, 2008) curated by Giorgio Verzotti and Angela Vettese.

This volume presents 120 works on permanent exhibition in the Foundation - sculptures, paintings, and drawings - by Arnaldo Pomodoro and by other artists that belong to his private collection.

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"The travel sculptures were originally created as small pieces (some even pocket-sized) to carry around or to have a piece of one’s own culture in an anonymous hotel room. Later, they became large ‘travel’ sculptures in steel, five or six meters tall. One was exhibited for a few months in Cesenatico, others along the seafront in Naples. Still others rest among tall trees in South Tyrol." - Bruno Munari, Bruno Munari Group Exhibition

This is how Bruno Munari described his famous 'travel sculptures', which American illustrator and designer David A. Carter has reinterpreted in this pop-up book.

Carter himself describes it this way: "The book you are holding explores a particular aspect of Munari’s work: the travel sculptures. Munari was an extremely experimental artist, and I believe he created these sculptures by experimenting with paper and the many ways it can be folded. Most of these works are made of paper, like modern pop-up books, while others are made of wood, with leather inserts, and still others in metal. I hope you’ll love Bruno Munari’s travel sculptures as much as I do. And don’t forget to take this book with you on your travels."

Munari’s Travel Sculptures is a tribute to Bruno Munari’s creativity and his innovative approach to the book as a vehicle of communication—not only through text, but also through format, paper, and color.

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Catalog of the exhibition held at the Hakone Open-Air Museum, Hakone, 1994.

With texts by Giovanni Carandente and Sam Hunter.

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Catalogue published on the occasion of the exhibition held at the Foundation: "La scultura italiana del XX secolo" (September 24, 2005 - January 22, 2006) curated by Marco Meneguzzo.

This catalogue features the most significant moments of twentieth-century Italian sculpture as presented in the exhibition which inaugurated the new seat of the Fondazione Arnaldo Pomodoro in Milan. The exhibition presented a survey of the works by those artists who made a major contribution to the renewal of the vocabulary of twentieth-century Italian sculpture, from Medardo Rosso to the present.

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Guarda! is a book without text, suitable for manipulation and play.

Contained in a box, it opens accordion-like, there is no beginning or end but a succession of colors between pages that play hide-and-seek.

To add fun, a material simulating a mirror has been included!

The format of the book is suitable for the grasp of small hands and encourages the child to make it his own: the book opens, folds, you can look at it from both sides, you can lay it on the floor, on your lap...

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Monologo by Leben des Galilei in German, Italian, French, and English. Text set by Rodolfo Campi on Garamond c 14 printed on Amatruda pure cotton 200 g (50 x 35 cm) by T. I. F. and an acrylic paint (38x28 cm) signed by Giorgio Griffa. Binding by Sandro Francescon.

35 exemplars Arabic numerals + XV roman numerals

Edizioni Proposte d'Arte Colophon, Belluno

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Volume published on the occasion of the donation of the Sfera con sfera sculpture (1991) to the United Nations. It documents the project, the creation, assembly and installation of the work in New York in front of the UN Building, in 1996. It contains an introductory text by Sam Hunter and gives an account of the evolution of the ‘sphere’ in Arnaldo Pomodoro’s work.

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Unpublished poetries by Gillo Dorfles and two graphics (pochoir) of the same Author, numbered and signed. Text set in Garamond by Rodolfo Campi, Rozzano and printed by Tipoteca Italiana Fondazione, Cornuda, on Graphia Sicars 250g.

40 exemplars Arabic numerals

Edizioni Proposte d'Arte Colophon, Belluno

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A new concept of travel book: a coloring booklet, in dialogue with the original drawings of Giuseppe Di Lernia and Daniele Morganti, and a guide to read to discover curiosities and news on the most beautiful cities in Italy.

A project by Officina Libraria in collaboration with Officine Buena Vista MiMaster, Milan 2016

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Introduction by Paolo Di Stefano and poems by Nanni Balestrini, Guido Ballo, Tonino Guerra, Emilio Isgrò, Francesco Leonetti, Jean Michel (in art Dangelo), Aldo Nove, Frank O'Hara, Roberto Sanesi, Evelina Schatz, Miklos N. Varga dedicate to Arnaldo Pomodoro from 1964 to 2016.

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The best monologue of theT heater’s History – in original and translated on Italian, French, Spanish and German- with an estroflessione on paper by Agostino Bonalumi, numbered and signed by the artist.

Text set by Rodolfo Campi on Garamond c 14 printed on Amatruda pure cotton 200 g (50 x 35 cm) by T. I. F. Estroflessione printed by Fabio Reolon. Binding by Sandro Francescon.

Edizioni Proposte d'Arte Colophon, Belluno

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The Epic of Gilgamesh is the oldest epic poem known to humanity, the earliest form of writing ever discovered, dating back over 4,000 years. The deeds of the Sumerian hero, inscribed on clay tablets, were uncovered in Iraq—ancient Mesopotamia—the land of rivers where the first human civilizations were born, and where, in the ancient city of Nineveh, the first library in history was established.

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Catalogue of the exhibition presented at the Musée d'art moderne de la Ville de Paris in 1976.

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Gianni Rodari and Bruno Munari have always paid close attention to the world of childhood, united by a shared desire to free images and words, helping us discover the joy of invention, imagination, and creativity.

By combining seemingly opposite and distant elements, imagining unexpected syntheses and solutions, they gave new meanings to letters and signs, pursuing parallel paths for years that also converged in books such as Filastrocche in cielo e in terra, Favole al telefono, Il pianeta degli alberi di Natale, Il libro degli errori, La torta in cielo, Il gioco dei quattro cantoni, and C’era due volte il barone Lamberto.

In the illustrations created for Rodari, Bruno Munari manages, with his lightness and unmistakable style, to recreate the same poetry found in Rodari’s stories and rhymes, enriching their fantastical side and their ability to amaze.

In this book, a rich selection of Munari’s “signs” is accompanied—not only by quotes from various Rodari books—but also by a testimony from Antonio Faeti and unpublished texts by Riccardo Falcinelli and Marco Belpoliti. These texts explore how Munari’s drawings fit into the history of children’s illustration, focusing on their reception and their nature as “doodles.”

A book to read and look at, to complete with your own “crooked signs and scribbles” or, on the contrary, to use as a starting point to invent new stories, letting yourself be inspired by the images.

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Original Japanese text – No¯ Theater, XV Century – and Italian traslation by Luca Milasi with a brass sheet collage by Hidetoshi Nagasawa, numbered and signed by the Artist, with techincal partnership by Roberto Giudici and Tomaso Grillini. Texts composed by Rodolfo Campi on Garamond 14 pt and printed by Tipoteca Italiana Fondazione on Amatruda pure cotton 200g. Binding by Sandro Francescon. 

Edizioni Proposte d'Arte Colophon, Belluno

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First critical study that distinguishes and analyses the work of the 2 Pomodoro brothers.

English edition: From the poetics of the sign to continous presence. Arnaldo and Giò Pomodoro, Luigi Maestri editore, Milano, 1962

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Texts in original photoetching, and Italian, English (by Th. Hobbes), German, French, Spanish, Catalan, composed by Rodolfo Campi on Garamond 14 pt printed on Amatruda pure cotton 200g by Tipoteca Italiana Fondazione. Each copy with two original etchings by Davide Benati, numbered and signed by the Artist, printed by Roberto Giudici. Binding by Sandro Francescon.

Monologue by Leben des Galilei in German, Italian, French, and English. Text set by Rodolfo Campi on Garamond c 14 printed on Amatruda pure cotton 200 g (50 x 35 cm) by T. I. F. and an acrylic paint (38x28 cm) signed by Giorgio Griffa. Binding by Sandro Francescon.

Edizioni Proposte d'Arte Colophon, Belluno

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First complete survey about the work by Arnaldo Pomodoro through voices and critical interpretations. It cointains essays by Guido Ballo, Alberto Boatto, Gillo Dorfles, a presentation by Sam Hunter, a long conversation  of the artist with Francesco Leonetti. Images are by Ugo Mulas.

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Carla Accardi was one of the most important figures in international contemporary art.

She was the only woman among the founders of the Forma 1 group, a protagonist of the Italian Femmist movement, and contributed to the development of Abstractism in Italy.

This volume takes us on a journey to discover the continuous and multifaceted artistic experimentation of this great painter, who used colour, shapes, signs and innovative materials - such as sicofoil - to create works into which we literally enter, let ourselves be enveloped by light, colours, shapes and signs and set off on a new adventure and exploration of the self.

This book is in Italian.

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