“God is a circle whose center is everywhere and whose circumference is nowhere.”

The circle is associated with perfection, cyclicality, and the superiority of the divine, but also with instability and motion. In nature, soap bubbles are spherical, and the growth rings of trees are circular. Legend has it that Giotto’s “O” was a perfect circle, while perfection becomes tangible in Michelangelo’s Doni Tondo and Botticelli’s Madonna and Child. King Arthur’s knights gathered around a round table to symbolize their equality—just as today we gather in circles to make decisions or watch a performance.

In this extraordinary little encyclopedia, Bruno Munari collects and describes dozens of uses of this fascinating and mysterious shape throughout the centuries—at once as unstable as it is hieratic.

Together with The Square and The Triangle, it is part of a special trilogy dedicated to these shapes, their history, meanings, and uses.

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The artist Fausto Gilberti takes us by the hand to discover the art of Jackson Pollock, a brilliant and restless painter. One who didn’t like standing still in front of the easel, with brushes and palette in hand, but who found his own unique way of painting: he dripped, splattered, and let the paint flow, roaming around the unrolled canvas with the energy and grace of a dancer.

In the same series, where the artist Gilberti tells us, with intelligence and a playful eye, the works of great figures in contemporary art, we find the stories of Yves Klein, Piero Manzoni, Marcel Duchamp, Lucio Fontana, Yayoi Kusama, and Banksy.

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Catalogue of the exhibition held in the park of the Royal Palace of Caserta. from 26th May- to 30th September 2000.

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"On a day in May many years ago, the artist Piero Manzoni placed his feces in a metal can, thus creating his most famous work..."

This is a true story. It’s the story of Piero Manzoni. Born in Soncino on July 13, 1933, and lived in Milan until February 1963. Piero left us works full of irony and a wonderful sense of the absurd, playful and light-hearted like a child’s game. Fausto Gilberti tells us these stories just as they are, without burdening them with unnecessary explanations, managing to convey his passion for this great 20th-century artist who made art his life and his life a work of art.

In the same series, in which the artist Gilberti tells us, with intelligence and a playful eye, the works of great figures in contemporary art, we find the stories of Yves Klein, Jackson Pollock, Marcel Duchamp, Lucio Fontana, Yayoi Kusama, and Banksy.

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Lupetti Editore, 1999

My name is Marina Abramović, and before I tell you my story, I want you to close your eyes with me for a few seconds.

For Marina Abramović, who has been passionate about art since childhood, painting was not enough.

She was fascinated by the possibility of creating with anything, with fire, with air, with smoke, and even with the human body. So she began to perform in front of audiences with performances all over the world coming to be seen by millions.

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Boxed set of catalogues relating to the two exhibitions held in Summer 1995 in Rimini at the Museo della Città and at Cesena at the Rocca Malatestiana and the Ex Pescheria Art Gallery. Critical texts by the curator Renato Barilli.

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From Japan to America and back: in his new book, Fausto Gilberti gives the floor to Yayoi Kusama, who tells her story in the first person.

Born in Matsumoto, Yayoi has loved drawing since she was a child (even things that others don’t see) and she flies to New York to become an artist.

Her art astonishes the audience with always new ideas: Yayoi fills large canvases with grids of dots, uses her happenings to deliver important messages, and designs clothes to be worn by two people... Creating her works makes her feel good, no matter their form: from the famous pumpkins to rooms full of lights and mirrors that reflect everything infinitely.

After the books dedicated to Piero Manzoni, Yves Klein, Jackson Pollock, Marcel Duchamp, and Lucio Fontana, the series grows with Yayoi Kusama, 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 Arnaldo Pomodoro's exhibition held in Orta (July 06 - November 09, 2008).

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Mr. Duchamp's works of art were strange and unusual. They weren't paintings and they weren't sculptures, yet they were undoubtedly art. From an artist who, laughing and joking, pushed the boundaries of art a little further.

After the books dedicated to Piero Manzoni, Yves Klein, and Jackson Pollock, the series of books grows, 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 Arnaldo Pomodoro's exhibition held at MMMAC in Paestum (July 09 - August 31, 2005).

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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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The catalogue of the exhibition held at Palma de Mallorca in 1999. Critical essays by Armando Ginesi and Francisco Jarauta.

Ilonja. Casal Balaguer.

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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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"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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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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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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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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Catalogue of exhibition held in Marlborough Monaco from June 24 to September 30, 2004.

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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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