Tiempo cero is a book that proposes a singular alliance between the sequence of stills from an audiovisual produced by David Jiménez and a chapter from the novel Lo demás es aire by Juan Gómez Bárcena, which here adopts a kind of versified form. Both can be read sequentially or freely within the microcosm that unfolds in the book. In Tiempo cero, as in other project

On April 21 we will open a new exhibition in Rome, curated by our friends BACO - About Photographs, who will set up in the bookshop a selection of Fabio Sgroi's photographs featured in their new publication Archive Volume 1. At 7 pm there will be a presentation of the mentioned book. Palermo, 1984. The second Mafia war has ended with the confirmation of the Corleonesi, in July Giovanni Falcone flies to Brazil to talk to Buscetta,

Mor is a family fresco that unfolds through the history of four generations of women, between Sweden and Italy. As the events unfold, the author tells how unprocessed trauma can be passed from generation to generation, from mother to daughter, like a witness that passes from hand to hand. Psychological and sometimes physical violence spreads, generating depression, addictions, delusions of perfectionism, obsessions, blackmail, secrets… even generations apart. In the Swedish language “mor” means mother, �

Queer Pandèmia is a call that came out from a project of TWM Factory, and we at Leporello are happy to be partners of this project as a jury for the photographic projects section, participating in the creation of a dedicated space for publications within the ULTRAQUEER exhibition in Milan and with a dedicated book display in Leporello's spaces from May 31 until the end of July.The selection of titles on display, in c

“What happens to journalistic reportage photographs when the news is published, outdated and years of new news put distance between the shot and the life of the image?” This seems to be the question Gabriele Stabile asks himself when, after more than a decade, he reopens his archive and begins his creative journey with the photographs deposited there, transforming them into the plates you see as you leaf through the book. The photographer’