The Offing, 2017 On which fields of knowledge are you focused? My first interest was of course photography and all the possibilities of printing and making an image, especially the analogue and manual techniques. After a few years my interest shifted more generally to images and their visual dimensions which open to new possibilities of understanding. What is the object of your research?  Ambiguity of photographic im

Ėjzenštejn. Il montaggio come metodo compositivo (essay) Ėjzenštejn con un teschio di zucchero Aby Warburg nel 1929. The Warburg Institute Archive, London. Schizzi per la suite La morte del toro Tipizzazioni messicane. Studi per la sequenza del mercato di Tehuantepec dell’episodio Sandunga di Que viva Mexico! Donne messicane. Studi per la sequenza del mercato di Tehuantepec dell’episodio Sandunga di Que viva Mexico! Schizzo per la sistemazione d

Atlas of Emotion: Journeys in Art, Architecture, and Film, published by Verso, 2002 and Johan & Levi, 2015 Atlas of Emotion is a highly original endeavor to map the cultural terrain of spatio-visual arts. In an evocative blend of words and pictures, Giuliana Bruno emphasizes the connections between “sight” and “site” and “motion” and “emotion.” In so doing, she touches on the art of Gerhard Richter and Louise Bourgeois, the filmmaking of Peter Gree

Il filo dell’arazzo, 2020  Il filo dell'arazzo, preview Maddalena Parise projects involve both research and creation of visual tools.  Il filo dell’arazzo is an immersive and multilayered installation made out of diverse visual and sound devices: light boxes, slides, tracing papers, video projections, small sound amplifiers or earphones. The installation-atlas is a guide through the complex issue of extinction focusing on the mass ‘rarefaction’ that is affe

Andrè Malraux, Museum Without Walls, published by Granada Publishing, 1974 Over the last forty years of his life, Malraux would assemble, disassemble, and reassemble montages of photographic reproductions to create Le Musée imaginaire, which ranks as one the twentieth century’s seminal manifestations of the archive. Malraux’s idea of an imaginary museum, a “museum without walls” (which he first announced in 1947), is a prescient manifesto of the digital age that en