Gli eccidi nazifascisti come radice della Carta Costituzionale

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Centro Di

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Casa Editrice Leo S. Olschki

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Bollati Boringhieri

Le biotecnologie che alimentano correntemente un ottimismo pari soltanto a quello informatico, non si limitano a venderci fantasmi di perfezione terapeutica e d'immortalità attraverso la clonazione. Esse hanno cominciato a imporre nell'agricoltura degli organismi geneticamente modificati, promettendo ogni sorta di benefici per le popolazioni e per l'ambiente. Questo pamphlet rifiuta ogni cauto distinguo tra disseminazione di OGM ed eventuali applicazioni terapeutiche delle biotecnologie. Sono le biotecnologie stesse oggetto di critica in quanto riducono la sorprendente varietà dei fenomeni del mondo organico alla comune realtà della modificazione genetica sulla quale l'uomo interviene senza conoscere tutte le conseguenze delle sue azioni.

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Edizioni Sidera

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Electa

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Grafiche step editrice

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Istituto Universitario di Bergamo

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Edizioni Boscolo Etoile

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Paolo Ripamonti Carpano

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Phaidon Press

At last - the next instalment in the popular Vitamin series - the world's hottest painters, selected by international experts

Since the publication of the first Vitamin P in 2002, painting has continued to evolve and excite, with new generations responding to its historic importance and taking it in unexpected directions. A central pillar of artistic practice, painting also has enduring appeal, dominating the art market. Vitamin P3 takes the conversation forward, spotlighting more than 100 outstanding artists who are engaging with - and pushing the boundaries of - the medium of paint.

Artists include: Etel Adnan, Michael Armitage, Matt Connors, Genieve Figgis, Helen Johnson, Sanya Kantarovsky, Ella Kruglyanskaya, Oscar Murillo, Imran Qureshi, Nicolas Party, Mary Ramsden, Rosie Wylie.

International experts include: Iwona Blazwick, Benjamin Buchloh, Marlene Dumas, Laura Hoptman, Geeta Kapur, Alex Katz, Tim Marlow, Sarah McCrory, Hans Ulrich Obrist, Beatrix Ruf, Nancy Spector.

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Rizzoli - Skira

Known for her life-size sculptures made entirely of beads, Liza Lou has had audiences and critics spellbound since her debut exhibition fifteen years ago. Liza Lou's sculptures, room-size installations, and performances have been at the center of the art world's bewilderment and awe since the unveiling of her first masterpiece, Kitchen, in 1996. A true-to-size replica of a kitchen in the midst of a museum gallery would hardly cause a stir, were it not for one important fact: the work is made entirely of beads. Eschewing the well-traveled path in art school to embrace the traditional mediums of painting or sculpture, Lou embarked on forging a body of work unlike any that had been seen before in the art world. In the nearly fifteen years since her auspicious debut, Lou's work has developed from realistic room-size tableaux taken from everyday life—such as Backyard and Trailer, among others—to works no less monumental in construction and more sober in their themes, such as Security Fence and Cell. In this comprehensive volume devoted to her work, illustrated with two hundred photographs, writers, critics, and scholars explore her work in depth.