The public works of Eduardo Chillida, present in numerous cities in the world, figure among the most intense and telling creations of contemporary monumental-scale sculpture.
  In most cases, these works involve architectural, urban or landscape aspects, and the problem that the artist must face is the organization of the works in the space, whether in relation to the external environment in which the work is placed –– as in Wind Combs, in struggle with the aggressive Cantabrian Sea; in the idyllic peace of the Gure Aitaren Etxea (House of our Fathers), in Guernica; or in the Eulogy to the Horizon, in Gijón ––, or to interior space, closed and sometimes hermetic, which for the artist has a value that is both stimulating and creative.
  Throughout his essay, Giovanni Carandente analyzes, in addition to the artistic, stylistic and environmental aspects, the profound ethical implications of Chillida's work; from steles dedicated to intellectuals, thinkers and friends, to tributes in recognition of poets and artists –– from Goethe and Khayyam to Hokusai and Miró.

  This volume also includes a wide selection of the Basque artist's writings that bring us closer to his desire to "define the hollow three-dimensional through the full three-dimensional, establishing at the same time a kind of dialogue between them ... The dialogue between the forms, whatever they may be, are much more important than the forms themselves.


Photographs by David Finn
Remarks on Works by Dena Merriam


>> Giovanni Carandente(1920-2009) has been one of the most renowned specialists in contemporary sculpture. From his influential exhibition Sculpture in the City, in 1962, in Spoleto, he curated important exhibitions on Picasso, Moore and Calder.

>> David Finnis a photographer with a career focused on the art world, from ancient Egypt to classical Greece, through the main protagonists of the Renaissance –– Donatello, Miguel Angel –– and modern sculpture.



Open-Air Sculptures
Edited by Giovanni Carandente
Writings by Eduardo Chillida. UPDATED AND EXPANDED EDITION.
304pp./ 24x29.5cm./ 326il./ Hardcover



Portada del libro.


Carlos Bunga’s sculptural and painterly structures propose architecture as body and mindscape. Using only cardboard and paint, Bunga fantastical buildings, furniture-like sculptures and paintings as immersive environments. His works combine a powerful materiality with the evocation of psychic states.  This book surveys his actions and performances; and documents over a decade of installations including major new works created for his survey exhibition at MAAT and Carmona e Costa Foundation in Lisbon.  Enacting cycles of construction and destruction, Bunga explores states of dispossession and nomadism; the nature of spatial experience; and the creative and symbolic potential of ruin.

"I am interested in the temporal, emotional and intuitive aspects of space; and whether the imposing character of architecture may exist as experimentation… I try to maintain a physical and mental relationship with space as it is wrapped in its history… The contradictory nature of permanence and impermanence is a relation that exists in the work and is part of its structure."



A collaboration with MAAT – Museum of Art Architecture and Technology


The Architecture of Life

Environments, Sculptures, Paintings, Drawings and Films
Edited by Iwona Blazwick
Essays by Iwona Blazwick, Carlos Bunga, Nuno Faria, Inês Grosso and Antony Hudek. english/ portugues
176pp./ 17x24cm./ 143il./ Hardcover



Portada del libro.


   The Italian artist Medardo Rosso (1858-1928) is, without a doubt, the great pioneer of modern sculpture. His achievement has been recognized – in spite of an historiographical blindness that persisted for decades – by the artists of his time and by leading figures in the art of the twentieth century. Degas, Boccioni (who made him a lodestar of Futurist sculpture), Brancusi, Giacometti, Fontana, Anselmo, Thomas Schütte and Juan Muñoz have all acknowledged the lasting significance of his legacy.

   By means of an important selection of his sculptures, almost all of his photographs and drawings, his writings and a number of his letters, this complete monograph highlights the complexity of Rosso’s creative process, and especially his exploration of the limits of form and materiality, which resulted in his making different versions of his own works.

   Rosso was not a sculptor in the traditional sense. Eschewing wood and stone, he worked with soft materials such as plaster and wax, which lent themselves to the representation of ephemeral effects and subtle forms. He produced multiple versions of his works, continually varying the forms and materials. For Rosso, sculpture and the visualization of sculpture were inextricably linked, and photography, which came to constitute the definitive movement from the point of view of the spectator, enabled him to arrive at his ultimate goal: the attaining of insubstantial form.

   As Luciano Fabro observed, in an illuminating interview he gave in April 1996, ‘[till then] sculpture had been about taking away from or adding matter to a nucleus; Rosso goes further by proposing that when the gaze passes over something, remove or add matter, remove and add subject.’


>> Gloria Moure is a renowned freelance curator and editor. Over the last ten years, she has curated exhibitions and edited referential monographs on key contemporary artists, such us Sigmar Polke, GordonMatta-Clark, Dan Graham, Marcel Broodthaers, and Michael Snow.


Medardo Rosso

Pioneer of Modern Sculpture
Gloria Moure
Essay by Gloria Moure/ Writings by Medardo Rosso/ Contributions: Umberto Boccioni, Dirk Braeckman, Johan de Smet
380pp./ 16.5x22cm./ 382il./ Paperback with flaps

9788434313767 English


Portada del libro.