Inventario is the unique company magazine from Corraini Edizioni, an Italian publishing house and art gallery who supply many of our most interesting titles. Corraini Edizioni also functions as a space for experimentation and research, a so-called 'publishing workshop'. It's a platform open to artists, illustrators and designers from both Italy and abroad to create books and art and design projects. It's work and a process that has been developing for five decades, an era they call '50 years of encounters, bandying between art and books, in search of new languages, contaminations, free experimentation.' About Issue 19 from the publisher: Inventario 19 opens with a cover dedicated to the palette — an artist’s tool and the symbol of a certain way of making art — accompanied by an exceptional text by Franco Toselli.Marta Elisa Cecchi recounts Exercises in style of the German conceptual artist Florian Slotawa and his work Garden Tools, a reflection on the ready-made and on the potential of serial variation. Stefania Di Maria offers an extensive reflection on the frame, interpreting this device as a threshold, an architectural element, and a field of free artistic experimentation. In parallel, Andrea Pinotti examines the work of Cecé Casile, who for over forty years has been designing and crafting frames in close relation to the artworks they will hold, in particular photographs by masters such as Luigi Ghirri and Arno Hammacher. Chiara Fauda Pichetrecalls the poetic project of the sugar cube Le Bateau Ivre, conceived by Enrico Azzimonti and Jordi Pigem. The Absolutes section features a critical contribution by Alessia Righi on Armando Testa’s masterpiece Segno Croce, and one by Mario Piazzaretracing Armando Milani’s celebrated peace posters. Michele Calzavarareconstructs the original professional trajectory of the studio Diller Scofidio + Renfro, while Giulio Iacchetti describes and sketches a series of table clocks. Martina Costa gathers a series of Judicious Pairings revolving around the sign X, and Damiano Gullì explores the expressive freedom of Nathalie Du Pasquier’s painterly research.
