top of page


url SPRINT22_Making Waves02.jpg

25.11  |  6–9.30PM  |  opening exhibition  +  screening  [9.30–11.30PM > access until full capacity, come early]

26–27.11  |  11AM–9PM28.11–10.12  |  2–6PM 

↘  Dropcity  |  via Sammartini 60  |  exhibition ↘ 


 MAKING WAVES- Conjuring of New Forms

in Publishing - From the Whole Earth Catalog experience to

the How to manuals by‭ ‬كيف‭ ‬تـ‭ ‬Kayfa ta

The exhibition curated by SPRINT, through more than 80 volumes traces an oblique and rhizomatic path between the experience of the Whole Earth Catalog [WEC 1968-1972] and the contemporary manual How to by كیف تـ Kayfa ta.


The first edition of the Whole Earth Catalog appeared in the fall of 1968, conceived by its founder Stewart Brand, under the editorial direction of Lois Jennings, as a user-curated selection of the best hardware and ideas for living beyond the limits of suburban and corporate America. With its slogan Access to Tools, the iconoclastic, visionary and widely influential catalog soon became a symbol of thinking that looked at self-organization, do-it-yourself, ecology, alternative education, low-tech methods, holism, with contradictory sides that over the years have led to its identification as an aide to the development of Silicon Valley's techno-libertarian spirit, as is well dissected by Tool Globalism* texts by Simon Sadler on display [*from Global Tools 1973–1975, 2018, curated by Valerio Borgonuovo and Silvia Franceschini, published by NERO].

Through analogies and points of contact, the exhibition connects WEC legacy - charting the social and cultural revolutions of the period - to the present day, gliding in a new shape of complexity and intersectional vision, till the contemporary publishing house كیف تـ Kayfa ta, a non-profit Arab initiative base between Cairo and Amman, founded in 2012 by the artists/curators Maha Maamoun and Ala Younis, using the popular form of the how-to manual [how=kayfa, to=ta] to respond to present-day needs.

url_WEC_1968_F_whole eart catalog_cover.jpg
Canadian Whole Earth Almanac [1972] editor Ken Coupland, published by Canadian Whole Earth
Schermata 2022-11-13 alle 22.13.36 copy.png

Some of the titles present in the Making Waves exhibition as originals, facsimiles, bootlegs

url_SPRINT22_Making Waves03.jpg

Making Waves catalog produced during THE RISO CLUB Workshop curated by Eilean Friis-Lund & Alice Vodoz. Print on GMUND Hanf Paper made form 100% European hemp

The exhibition move around eight stretchy categories identify transitions, triangulations, overlaps, course changes and cross evolutions between the titles presented:



~ SAME TIME SAME WAVE   |  1970–1975



~ RESEARCH & ANALYSIS ON WEC  |  from 2004

~ NEW WAVES  |  from 1985

~ EXPANDED MATERIAL  |  from 1154

~ SONIC WAVES  |  from 1956



A wide-ranging journey through original copies, facsimiles, bootlegs, maps and ephemera that address sustainability of resources, self-building and visionary architecture, interspecies inclusiveness, struggles for survival and social rights, to keep asking: 


How do we live together?


​Pages become waves, bonds are in motion, multiple stories cross each other.


Making Waves catalog was produced during SPRINT's annual Risograph printing Workshop - The Riso Club - curated by Swiss graphic designers Eilean Friis-Lund & Alice Vodoz. The processed material has been extracted from the editions displayed in the exhibition, accompanied by a feature text, bibliographic/ephemeral list.

↘  Screening linked to Making Waves program:


25.11  |  9.30–11.30PM  |  We Are As Gods Screening

↘ Dropcity  |  via Sammartini 60


25.11  |  9.30–11.30PM  |  Drop City

↘ Afterimage  |  LINK HERE ACTIVE FROM 25 NOV TO 10 DEC

url_Schermata 2022-11-19 alle 11.09.55.png
Schermata 2022-11-19 alle 11.08.32.png

Whole Earth Catalog headquarter, 1971, Menlo Park, California. PH by Richard Drew / AP  |  Back cover of the 1# Whole Earth Catalog FALL 1968


25.11  |  9.30–11.30PM  [access until full capacity, come early]

↘  Dropcity  |  via Sammartini 60  |  screening ↘ 


WE ARE AS GODS[2022, 1'34'', US, v.o. ENG s.t. ENG]  –  EUROPEAN PREVIEW   Documentary Directed by David Alvarado & Jason Sussberg, Original Score by Brian Eno



The documentary delves into the visionary figure of Stewart Brand, founder of the Whole Earth Catalog, the legendary publication that Steve Jobs called Google in paperback form, 35 years before Google existed quoting also its sentence Stay hungry. Stay foolish!


With his optimistic approach Brand was able to be at the center of cultural and technological shifts, from the 1960s back-to-the-land attitude to the cyberculture and the modern environmental movement.


Now his case for so-called de-extinction receives pushback, from various scientists and activist who regard the notion of reviving woolly mammoths with the droll skepticism of Jeff Goldblum in Jurassic Park and who believe he’s gone too far in his approach to future recalling him to consider that:

Pessimists serve a purpose too!

A testimony about Brand's multiple trajectories and his legacy to wonder: how use technology on this planet, in relation to the bodies that inhabit or have inhabited it and to the landscape that already preserves intrinsically the notion of time...

↘  Screening linked to Making Waves program:

Exhibition ↘

25.11  |  6–9.30PM  |  Making Waves Opening

26–27.11  |  11AM–9PM  |||  28.11–10.12  |  2–6PM

↘ Drop City  |  via Sammartini 60


25.11  |  9.30–11.30PM  |  Drop City

↘ Afterimage  |  LINK HERE ACTIVE FROM 25 NOV TO 10 DEC

url_Why haven't we seen a photograph of the whole Earth yet_ [1967, facsimile] by Stewart

Replica of Brand's botton originally made in 1963

[note of insights] ↘ 

Whole Earth Catalog philosophy and its creation, officially began in 1963, when Stewart Brand [biologist, photographer] and Lois Jennings [mathematician, member of the Ottawa tribe] were drove around the US with their Whole Earth Truck Store to sell equipments to outlying communities, likewise Access Mobile, an alternative library and an itinerant micro-education service.


In 1966 when Stewart Brand had an epiphany after a revealing LSD trip, and began to wonder:


Why haven’t we seen a photograph of the whole Earth yet?

he started selling buttons with this slogan on the streets of San Francisco, to spur people to reflect on the idea of the planet as home and as a place to be preserved. 


Two years later, the NASA photograph of the whole earth appeared on the cover of the Catalog, frequently described as one of the most influential publications of recent decades: mediated between psychedelia and computer culture, analogic romantics and technology geeks and thus triggered defining impulses for the environmentalist movement and the rise of the digital network culture.


The Whole Earth Catalog was published several times a year between 1968 and 1972, and occasionally thereafter, until 1998. The magazine featured essays and articles, but was primarily focused on product reviews, without selling directly. The vendor’s contact information was listed alongside the item and its review, creating the need of numerous editions to keep price and availability information up to date, asking for feedback from the public and suggestions on products and books.


Surrounded by motivated collaborators, as Lois Jennings [director], the editors Kevin Kelly [later Wired co-founder] and Lloyd Kahn [later Shelter Publications founder], Stewart created WEC by recasting an alchemy of references, inspired by the title of the book Spaceship Earth [1968] by Barbara Ward, the popular L. L. Bean Catalog of outdoor stuff [mentor of what will later become the country WASP 'n' Preppy style], the manual Dome Cookbook [1968] by Steve Baer, from whom he took inspiration for paper type and tabloid format. 

Additionally he decided to open the first WEC issue with the phrase:



We are as gods and might as well get good at it


stolen from A Runaway World? By British anthropologist Edmund Leach [1968]. A particular attitude of putting things together, whose theoretical core are the writings of Norbert Wiener, B.Fuller and Marshall McLuhan, fueled by Stewart’s experience inside multimedia group USCO [co-founded by Gerd Stern and Michael Callahan as in Us Company or Us Co.] and Merry Pranksters the famed cabal of devotees who are the subject of Tom Wolfe’s book The Electric Kool-Aid Acid Test, associated with author Ken Kesey, for which Brand co-produced the Trips Festival [1966] in San Francisco, working just few years later with Douglas Engelbart on The Mother of All Demos  who in 1968 introduced hypertext, email and the mouse.


This Conjuring of new forms, as the CATALOG describes itself in the CATALOG [quoting David Senior], became a generational benchmark and was benefited by the the US National Book Award [1972], won for the first time by this typology of  format, carrying with it those insights and idiosyncrasies of a generation.

url_01_Whole Earth Catalog [Fall 1968], editor Stewart Brand, published by Portola Institu
url_01_Whole Earth Catalog [Fall 1968], editor Stewart Brand, published by Portola Institu

Double pages and extract from the Whole Earth Catalog [1868–1972]


25.11 –10.12  |  H24

↘  Afterimage  |  digital platform dedicated to moving images by Spazio Maiocchi  |  streaming ↘ 

DROP CITY[2012, 82’, US, o.v. ENG s.t. ENG]  –  ITALIAN PREVIEW  –  
Documentary Directed by Joan Grossman


As a link to the Making Waves exhibition investigating experiences that gave rise to publishing projects SPRINT presents on Afterimage the documentary DROP CITY a testimony of one of the first rural DIY communes of the 60s, founded by artists with ties to the legendary Black Mountain College, inspired by Buckminster Fuller and Steve Baer’s architectural ideas and became known for their self-constructed geodesic domes/zome made out of recycled materials, experimenting on solar technology and anticipating sensitivity to energy conservation and waste. 

Drop City has been a pivotal place in the history of the Whole Earth Catalog and other projects, such as the self-publication Dome Cookbook [1968] by Steve Baer or the eponymous chronicle book [1971] by Peter Rabbit, aka Peter Douthit, poet and former Black Mountain College student, who chronicles its evolution through his own personal growth and change.


[extract from Afterimage's introduction text by Elena Bertacchini]

Coming from a milieu where the common tendency was to work within the system and surrender to the psychological fatigue caused by the profligacy promoted by consumerism, the Droppers decided to overcome the social abjection by retiring themselves in a scrubby desert land at the edge of Colorado, in Trinidad. Here they instituted a clinical space for recovery and a lab for social and architectural experimentation under the name of Drop City, both a conceptual trope and a physical place, that during its 7 years lifetime [1965-1972] offered a space where to: try out the first civilian use of geodesic domes and zomes - achieve an existence immersed in nature - express creative dissidence - choose a communitarian living out of the advanced capitalism’s panorama.

↘  Streaming linked to Making Waves program:

Exhibition ↘

25.11  |  6–9.30PM  |  Making Waves Opening

26–27.11  |  11AM–9PM  |||  28.11–10.12  |  2–6PM

↘ Drop City  |  via Sammartini 60


25.11  |  9.30–11.30PM  |  We Are As Gods Screening

↘ Dropcity  |  via Sammartini 60

Drop City [1971] book by Peter Rabbit [aka Peter Douthit], published by The Olympia Press Inc. [NY, US]


26–27.11  |  11AM–9PM

↘  Superattico  |  via Eustachi 40  |  exhibition ↘ 





by Giorgia Rachel Donnan

An unpublished selection of drawings and installation inspired by suburban figures/environments and the tradition of B-horror movie, among deformed bodies, hallucinated gazes in the background of a distorted Milan in its nuances. All the human and inhuman around us and vice versa.

Quoting the American writer Kathy Acker [1947–1997]




– Born in 2000 from a multicultural family, Giorgia Rachel Donnan defines her growing path ranging from drawings to photography, from fashion to paintings. Her work explores the relationship between grotesque and sexy. Influenced by suburban cultures and mundane situations, she brings life to her vision of beauty. The freshness of her attitude, the attention to detail, carved on the sheets by pencils that look like blades, make her work among the most interesting on the present Italian scene. 

url_sprint22_fontana_flyer_A5 _A copia-1.jpg

26–27.11  |  11AM–9PM

↘  Artifact c/o Spazio Maiocchi  |  via Maiocchi 5  |  exhibition ↘ 




curated by Félicité Landrivon [Ventoline fanzine FR]

& Gaspare Balducci [Editions Biceps FR]

Like frantic gushes, the works in the exhibition converse by elective affinities linked by experimental typography and lettering research in a complicity of reverberations, with works by:

Virginia Genta [ITA]

Julien Gobled [FR]

Rudy Guedj & Nora Steenbergen [FR/NL]

Ayasha Khan [FR/BE]

Hélène Marian [FR]

Nadja Meier [FR]

Camille Potte [FR]

Jules Rousselet [FR/BE]

Ventoline series by Félicité Landrivon is a fanzine project launched in 2020, featuring women from the amateur or professional music scene who are still underrepresented in the industry

Biceps Edition run by Gaspare Balducci is a publishing project in development that brings together several graphic artists


26–27.11  |  11AM–9PM

↘  Spazio Maiocchi  |  via Maiocchi 5

29.11–10.12  |  2–6PM

↘  Dropcity  |  via Sammartini 60  |  exhibition ↘ 





The competition The Most Beautiful Swiss Books is an instrument of the Federal Office of Culture that rewards the quality of book design in Switzerland and brings it closer to the public. The competition is open to exponents from the fields of design, publishing and printing. Every year, around 400 titles are submitted to the Federal Office of Culture. A five-member international jury selects the most beautiful Swiss books of each year from these entries. The competition records trends and identifies tendencies in contemporary book design and production, while at the same time creating a historical memory that goes back a long way.

What is a Swiss book?

A product is considered a Swiss book if it meets at least one of the following three criteria: The book was designed by a Swiss designer, the publishing house has its headquarters in Switzerland, or the printing house has its headquarters in Switzerland.

On the occasion of SPRINT the 23 titles selected will be installed in an inflatable site-specific geodesic structure that will then migrate from Spazio Maiocchi [26-27.11] to Dropcity [29.22-10.12]


url_IS_744KM_by VOLUPRINT, Istituto Svizzero.jpg

26–27.11  |  11AM–6PM

29.11–10.12  |  2–6PM

↘  Istituto Svizzero  |  via del Vecchio Politecnico 3  |  exhibition ↘ 



744 Km


by VOLUME [Zurich]

744 kilometers, that is the length of the border between Italy and Switzerland, which runs through the High Alps but also the lowest point in Switzerland. This physical and mental border metabolizes the shared histories and frictions between the two territories. Publications from artists, independent, academic and mainstream publishers of the last decades, tell us some of these different stories, projections and ideologies embedded within the topography.


VOLUMES is a non-profit organization created in Zurich in 2013 and run by Anne- Laure Franchette, Patrizia Mazzei and Gloria Wismer. The collective aims to support and investigate publishing practices through a series of events and an ongoing research agenda. VOLUMES was awarded the Jan Tschichold Award 2022

↘  Linked to 744 Km program:

03.11  |  from 5PM  |  Talk  |  ↘ Istituto Svizzero

Trajectories, boundary dynamics & ways of operating

a discussion with Maria Iorio & Raphaël Cuomo, Salvatore Vitale, SPRINT, VOLUMES [Zurich] 

Schermata 2022-11-20 alle 11.15.19.png

26–27.11  |  11AM–9PM

↘  Spazio Maiocchi  |  via Maiocchi 5  |  award ↘ 




Launched for the first year SURPRIZE award is dedicated to publishing experimentation aimed at those realities involved in the 10th edition of SPRINT—Independent Publishers & Artists’ Books Salon 2022.


Three projects under development – to be published in 2023 by single artists or small houses – will receive funds support for production and research, to nurture pathways and new imagery.


Saturday 26 and Sunday 27, November the winning titles will be announced during SMABF at Spazio Maiocchi.



A                CHE         PUNTO SIAMO
DELLA     NOTTE          ?


26.11 |  11PM–04PM

↘  Dropcity  |  via Sammartini 60  |  fundraising party ↘ 

Admission on a minimum donation of 10€ at the door




Saturday 26 November, SPRINT FUNDRAISING PARTY - A CHE PUNTO SIAMO DELLA NOTTE ?  from 11pm to 4am at Dropcity, curated by TOMBOYS DON'T CRY with DJ sets by:



Forests, megacities, Andean cosmovision, diaspora, deserts, desolation - Rome-based Italian-Peruvian duo exploring new contemporary music from the other hemisphere


ALIENI  [London/Milano]

Photographer and part of the transfeminist queer conglomerate TOMBOYS DON’T CRY fuses rich rhythms to pop culture and sonic experimentation


SONORA  [London]

Spanish-born Performer and DJ based in London, composes magnetic techno sets accompanied by choreographies in which she activates lysergic laser devices



French DJ and Producer who experiments with the clutch of nervous sonic tangents, to express an existential impatience, an intimate universe colliding against sustained rhythms for syncopated dancing, in a journey between sound as a confession

url_2 Alex Martinis Roe, A story from Circolo  della rosa, high definition video still of

29.11–10.12  |  2–6PM

↘  Dropcity  |  via Sammartini 60  |  screening ↘ 





film by Alex Martinis Roe

accompanied by a booklet with text by

art historian Camilla Paolino

A story from Circolo della Rosa [2014] is narrated by Martinis Roe through a voiceover, which takes the form of a letter addressed to a close colleague to tell a story about two women. The film weaves together fragments from Martinis Roe’s oral history research with members of the Milan Women’s Bookstore Collective and her experiences of their collective activities, as well as her exploration of related spaces, archives and texts.


The film traces the story of two experimental historians who began working together on feminist pedagogical experiments in the late 1980s and explores the nature of their relationship, which can be described as one of affidamento [entrustment]. Affidamento is a social-symbolic practice exercised and theorized by the Milan Women’s Bookstore Collective and is a reciprocal relationship of entrustment between two adult women. By referring to one another, each gives the other authority in her spheres of political practice by acknowledging her desires, competences and differences.


This practice of acknowledgement involves a commitment to one another; a commitment to each other’s sexual difference. Working with the differences between women affirms the sexual difference of each member of the collective, which becomes its actual mode of organisation. Martinis Roe explored the lived history of this practice as a way to narrate her own political relationships, and as a way to imagine feminist futures located in networks and affiliations across different times and places.


It was an unusual way of doing politics there were friendships,

loves, gossip, tears, flowers...


– Alex Martinis Roe is an artist researching genealogies of feminist political practices of difference. Her projects seek to foster solidarity between different positions and generations as a way of participating in the construction of feminist histories and futures. Recent exhibitions include: Coming Home, Perth Institute of Contemporary Art, Alliances, GfZK – Museum of Contemporary Art Leipzig, Fabriques de contre-savoirs, Frac Lorraine [Metz], and Sex, Taxispalais - Kunsthalle Tirol. Her project To Become Two [2014-2018] was co-commissioned as a series of solo exhibitions by If I Can’t Dance [Amsterdam], Casco Art Institute [Utrecht], The Showroom [London] and ar/ge kunst [Bolzano] and has also been exhibited at Badischer Kunstverein [Karlsruhe] and Samstag Museum [Adelaide]. In 2018, To Become Two was presented at the Centre George Pompidou, Paris, was the recipient of the Kunstpreis Europas Zukunft [Future of Europe Art Prize] and Archive Books [Berlin, Milan, Dakar] published her monograph To Become Two: Propositions for Feminist Collective Practice. Alex is Head of Drawing and Printmaking at the Victorian College of the Arts. 

– High definition video including material courtesy of Laura Minguzzi and Marirì Martinengo and the Libriria delle donne di Milano Archive, duration 08:18, 2014


✺ access until full capacity

26.11  |  2–7PM  |  ✺ access until full capacity 

↘  Spazio Maiocchi  |  via Maiocchi 5  |  talk ↘



↘ talk  |  26.11  |  2–3PM  |  ENG  |  Spazio Maiocchi


Feria de Arte Impreso Buenos Aires

with Luis Juárez, founder of MIGRA, Rivista Balam and curator of the editorial section of the Archivo de la Memoria Trans Argentina. MIGRA It is a collective based in Buenos Aires that arises from the need to generate a community space for containment, support and growth that allows the representation and visibility of emerging and established projects within the panorama of publications, visual arts and photography. With an inclusive approach and support for dissident minorities, spreading its wings at the Migra Fair, Migra School, Migra Interviews and Balam Magazine. This embrace between MIGRA and SPRINT >< MIGRA in a 'back2back' movement will extend until 2023 SUPPORTED BY FONDAZIONE MARCELO BURLON

↘ talk  |  26.11  |  2–3PM  |  ENG  |  Spazio Maiocchi


An anthropology of the otherwise considers forms of life that run counter to

dominant modes of being under late settler liberalism

Antopologist Elisabeth A. Povinelli [live on streaming] will talk about her new title Routes/Worlds published by e-flux Books/Sternberg Press, in conversation with Barbara Casavecchia [in presence],

Elizabeth A. Povinelli maps the creation and dismantling of worlds formed by the twinning of historical progress and settler colonialism—as a unity in events and a contradiction in ideology. Even if corporations and nation-states now collude in the same Ponzi schemes, they still continue to transform space and time. At the receiving end of the ideological exhaust pipe, where transformation is inherited as deformation, the diagram flips to place brutality and existential exhaustion at the beginning. But the beginning of what? How about a new beginning, starting with modes of survival and persistence against, and within, a world built from deferred promises? This is a world that many in the imperial hemisphere are only starting to realize they've known for longer than they want to admit. Routes/Worlds rearticulates large-scale systems of power and affect, even as—or precisely because—those systems stage increasingly novel forms of neglect. Today, it only becomes clearer that struggles to survive day-to-day challenges are most often struggles against sedimented raw deals whose disastrous logic needs to be traced over large expanses of space and time to become perceptible. In this constant struggle, Povinelli provides weapons as well as inspiration.

Elizabeth A. Povinelli is Franz Boas Professor of Anthropology and Gender Studies at Columbia University. Her books include Geontologies: A Requiem to Late Liberalism [2016], Economies of Abandonment: Social Belonging and Endurance in Late Liberalism [2011], and The Cunning of Recognition: Indigenous Alterities and the Making of Australian Multiculturalism [2002]. She is also a founding member of the Karrabing Film Collective.

– Barbara Casavecchia is a freelance writer, independent curator and educator based in Venice and Milan.  Contributing editor for Frieze, her features and essays – often focused on Italian contemporary art, visual cultures, and feminisms – have appeared in Art Agenda, Art Review, Flash Art, South/documenta 14, Spike, among others, as well as in several artist books and catalogues. In 2021-23, she is leading The Current III Mediterraneans: Thus waves come in pairs [after Etel Adnan] for TBA21-Academy.


↘ talk  |  26.11  |  6–7PM  |  ITA  |  Spazio Maiocchi


Habitat [Tredozio FC], Landescape [Alcamo TP], Robida [Topolò UD], present their paths related to Italian local territories and strategies of imaginative and cultural survival.

– Habitat is a permanent cult[r]ural settlement and collective workshop carrying participatory practices of living [and publishing] within and beyond the local scale.  A project curated by Jacopo Lega, Enrico Tarò, Ilaria Marzolla, Federico Poni. In partnership with Comune di Tredozio [FC], Rocca San Casciano [FC], Portico e San Benedetto [FC].

– Landescape is a mediterranean association that acts in the Sicilian territory and promotes the reactivation of the cultural, social and economic fabric through an interdisciplinary approach that integrates contemporary art, local tradition and alternative teaching methods to reverse the impoverishment processes affecting southern Italy.

– Robida is a collective that works at the intersection of written and spoken words – with Robida Magazine and Radio Robida – and spatial practices developed in relation to the village of Topolò/Topolove, where the collective is based. Robida is a curatorial group for long term projects connected to landscape and the place of Topolò. Robida is commitment, dedication, concreteness, care and responsibility. Robida Fam are: Dora, Janja, Laura, Vida, Aljaž, Elena, Tanja, Maria, Cate

27.11  |  2–7PM  |  ✺ access until full capacity 

↘  Spazio Maiocchi  |  via Maiocchi 5  |  talk ↘


↘ talk  |  27.11  |  2–3PM  |  ENG  |  Spazio Maiocchi


Paul Casio from Santiago [Chile] will talk about Se Imprime and Fleyrchileno, an editorial project documenting the Chilean techno rave scene of the 90s, including the book preview: Euforia. Cuando Santiago era una Fiesta. Se Imprime, through the zine Flyerchileno, is also the protagonist of a billboard in the courtyard of Spazio Maiocchi.

↘ talk  |  27.11  |  4–5PM  |  ENG  |  Spazio Maiocchi


the non-profit  Space for Publishing as Artistic Practice based in The Hague [NE] introduced by the founder Sébastien Tien

– Page Not Found is a non-profit space whose aim is to promote publishing as artistic practice, and to make artists’ publications and related writings accessible to a wider audience,  combining a bookstore and a cultural platform for artists’ talks, performances, lectures and workshops. The bookstore is specialized in artist-made publications and printed matter. The cultural platform produces a program of public events which focuses on introducing contemporary and independent publishing practices to the public. The platform invites artists, designers and writers to reflect on and share their publishing practice. 

↘ talk  |  27.11  |  6–7PM  |  ENG  |  Spazio Maiocchi


Erin Honeycutt will talk about the English language bookstore and publishing house in Berlin, centering non-western & diasporic, a space for seduction and indecipherability

It had to be named after a book. I chose Hopscotch [after Julio Cortázar’s 1963 novel] for two reasons. First, it’s a game I heard kids play daily in Harlem, where I lived for 20 years, and where I first wanted to open a bookshop. Second, it’s a book in the modernist tradition set in Paris about the way people move through time and space, which could definitely also serve as a guide to moving through this collection. I want people browsing in the philosophy section to hop from popular names in European thought to the Middle Eastern section on the next shelf, where few of the authors will be familiar to our customers.  \  Siddhartha Lokanandi founder of Hopscotch interviewed by Patrick Kurth for FRIEZE

url_Schermata 2022-11-21 alle 10.08.46.png
Talk Sophie

29.11 |  from 6PM

↘  Dropcity  |  via Sammartini 60  |  talk ITA ↘



Tracce di un movimento interdisciplinare

Researcher Medea Hoch [ZHdK] will trace the relationships between Sophie’s artistic research and the avant-garde movements of the beginning of the century, in the context of the Monte Verità utopian community in Ascona [Canton Ticino, CH].

Starting point of the discourse is the book Sophie Taeuber-Arp. Briefe 1905 – 1942 [part of the Most Beautiful Swiss Books] edited by Medea Hoch, Walburga Krupp, Sigrid Schade and published by NIMBUS. Kunst und Bücher AG, Wädenswil [CH].

Three volumes containing almost 500 letters from Sophie Taeuber-Arp [1889–1943] add up to an impressively rich assembly of materials, prompts a re-reading of her reception in art history, previously based almost exclusively on the recollections of Hans Arp and other associates. The research project explores her conceptions of what it means to be an artist, the points where she situates herself between applied, free and representational art, abstraction procedures, and gender assignments in their reception. It yields insights into aspects not previously illuminated by research and into her transdisciplinary oeuvre, particularly regarding the impetus generated by technical and media innovations.

Talk 744
url01_Figura 2.jpg

03.12 |  from 5PM

↘  Istituto Svizzero  |  via del Vecchio Politecnico 3  |  talk ITA/ENG ↘


744 Km

Trajectories, boundary dynamics & ways of operating

A discussion with artists Maria Iorio & Raphaël Cuomo, photographer Salvatore Vitale, SPRINT, VOLUMES [Zurich]

744 kilometers, that is the length of the border between Italy and Switzerland, which runs through the High Alps but also the lowest point in Switzerland. This physical and mental border metabolizes the shared histories and frictions between the two territories. Reflections, ideas and viewpoints from two sides of the chain, through cultural and artistic practice.


– Maria Iorio and Raphaël Cuomo are two artists and filmmakers. Favouring a collaborative praxis and long-term research, their recent projects engage with past and present global mobilities and unfold the entangled histories shaped by those movements of life, (post)colonial encounters, migrating forms and sounds. Investigating the conditions under which hegemonic historical narratives are produced and can be challenged, their films manifest unheard voices, diasporic experiences, resistant subjectivities. 

– Salvatore Vitale is a Swiss-based visual artist, editor and educator. In his multi-layered artistic practice and research, Vitale’s work focuses on the development and complexity of modern societies exploring power structures, impression management and simulations, social cosmologies and technological mediation, whilst making use of expanded documentary analysis, including elements of fiction, speculative storytelling and the use of multiple visual forms.

VOLUMES is a non-profit organization created in Zurich in 2013 and run by Anne- Laure Franchette, Patrizia Mazzei and Gloria Wismer. The collective aims to support and investigate publishing practices through a series of events and an ongoing research agenda. VOLUMES was awarded the Jan Tschichold Award 2022

↘  Linked to the exhibition 744 Km:

26–27.11  |  11AM–6PM

29.11–10.12  |  2–6PM

↘ Istituto Svizzero

bottom of page