Koala Lamphura

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Diamond Dogs, Officina post industriale
1984—1987 Napoli
Toty Ruggieri

Diamond Dogs, Officina post industriale,1984—1987 Napoli, probes the flooded imagery of Italian underground, talking about Naples and specifically about a unique and symbolic place: the Diamond Dogs.
The volume reproduces, for the first time, the complete archive of Neapolitan photographer Toty Ruggeri who followed the local stage in his activities from 1984 to 1987. The author’s visual language doesn’t leave room for any photographic formalism and leads us in the first person in the artistic community of Naples; the DD becomes a symbol, a little volumetric space, in which the human presence, the gestures, the look, are trenchant signs of the change that was happening in those years. While the attention of television and newspapers was focused on urban disrepair (decline) and on the social ills of the city, dozens of artists of all types and discipline (musicians, painters, writers, poets, actors and directors) were starting the new cultural rebirth of Naples. The Diamond Dogs was their hangout, a place that welcomed the needs of that generation, enhancing them and taking care of them, hosting live concerts, performances and experimental theater performances, becoming the focal point of Naples’ underground and new artistic avant-garde of the city after the 1980 earthquake. The book features an essay by journalist and writer Paolo Pontoniere.

“…fragments of suburban proletariat avant-garde with morphine’s brothers and sisters. That I encounter in the petrified city’s magma, more at the world’s center of nothing. The sunset of proletariat’s circles, p38 and futureless down, with a foot in Acerra before the incinerator, and a maimed eye toward Berlin. What day was that in Berlin? If then in Naples mother’stit co-existed with an already faraway atomic bomb. How atrociously beautiful was that wall! with the Brandenburg’s quadriga westward s/butting…heroes just for one night. Davidboo-ee…nuwev…postmodern, lsd at diddi.
Lucky, great anarchical spirit, worked at the National Library. Who knows…he may be still working there. But is more likely that he fled who knows where, seeking for who knows what. He hid the ‘CHE’s’, t-shirt, under his librarian attire, and when-if-you went visiting he would wearily show it. Mat…PARTENOPEAN PUNK WITH THE HEART eternally in Berlin..RIP ON THE ROCKS! Leopold…acerra-noo yawk-paradise one way with the sho’men and jemsbroun in the legs diddì Diamondó uber alles.
Love pizza Caravaggio and diamondogs…”
Salvio Cusano

17x24cm
256 pages
Ita/Eng
Hard cover
Offset
l.e. 300 copies

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Antonio Amato

Genova 1981-1983 is the first monograph by Italian photographer Antonio Amato. The volume contains 112 images (all previously printed, photocopied and scanned for offset printing) that guide us through the Genoa punk scene of those years, telling about attitude, habits and gestures of people who have been part and created the scene. “..the Genoese scene was founded in 1980 and in 1981 it was already drammaticaly different: first, each of us was punk on his own account, then we started to meet in the street and recognize each other.” Post Brigate Rosse, post terrorism, post ’77 movement Genoa, a city where new generation, who no longer identified themselves into the Communism of their fathers, where the road is a place of socialization and designated to big laboring march protests but also a space for clash and guerrilla. This was the city context between 1978-1979 – and as it happened to many girls and boys in the whole peninsula, thanks to the RAI television programmes broadcasted at the end of ’77 – where the punk made its entrance: “..years, in short, where everything happened in Genoa even if there are practically no testimonies of that scene which was so alive”.

“Amato gives us back a raw, full-frontal body of work where he doesn’t use to put the formal speculation first, his interest is to describe something is absolutely part of his life, here all is tender, wild and engaging. “The ones that committed to punk in that first confused historical phase were absolutely influenced by what came from America and England–nihilism, art schools, Situationism–at the same time, however, they brought with them the ideological (although non–political) experience acquired within the Movement, the working Autonomy, anarchism and squats. Many Genoese punks grew up in the realm of the extra–parliamentary left wing, and it was when they decided to leave politics for this new subculture that the first large (in some cases very violent) fractures with their former fellows begun. Just to be clear, the first Genoese punks were not accepted nor by their companions or by the fascists.” Diego Curcio

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22,5x33cm
234 pages
Uncoated paper 80gr
Soft cover
Paperback twist-stitching
Offset
Ita/Eng

Limited edition 300 copies

25,00 €

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Linguaggio è guerra – Fabio Mauri

Linguaggio è guerra è la prima ristampa anastatica del libro d’artista di Fabio Mauri, pubblicato nel 1975.

Il libro è composto di foto non dell’autore del libro. Sono dettagli di riviste di guerra. Timbrate, vi è aggiunto un senso. Accade un’appropriazione indebita. Prima scattate dai fotografi, presenti agli eventi, riprodotte in contesti di propaganda come comunicazioni di parte, quindi raccolte sotto forma più neutra di storia, di nuovo tolte da contesti archeologici, tagliate, cioè riviste secondo una nuova tesi, equamente divise tra i segni del linguaggio e l’uomo di quei segni, e riproposte in sequenza che esprimono un’idea interpretativa in modo linguistico, l’uso delle foto, solo apparentemente pacifico. «Language is war» discute del linguaggio in stato di guerra. E lo fa, criticamente aggressivo, con spirito linguistico, cioè ideologico.

Le stesse immagini, tratte da riviste inglesi e tedesche, sono state esposte in serie, come un’installazione presentata in diverse occasioni.
Fabio Mauri è uno dei maestri dell’avanguardia italiana del secondo dopoguerra. Vive tra Bologna e Milano fino al 1956, poi si trasferisce a Roma. Nel 1942 fonda con Pier Paolo Pasolini la rivista Il Setaccio.
Ha insegnato per 20 anni Estetica della sperimentazione all’Accademia di Belle Arti dell’Aquila. È stato invitato alla Biennale di Venezia nel 1974, 1978, 1993, 2003, 2013, 2015 e nel 2012 a dOCUMENTA(13) a Kassel.

Tutti i diritti d’autore dell’opera Linguaggio è guerra di Fabio Mauri sono di proprietà degli eredi dell’autore. Courtesy the Estate of Fabio Mauri and Hauser & Wirth.

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Language is war is the first anastatic reprint of Fabio Mauri’s artist book, initially published in 1975.

The book is composed of pictures that were not taken by the author. These are details of war magazines. By stamping them, meaning is added via an undue appropriation. First taken by photographers who were present at the events, then reproduced in a context of propaganda as biased communication, thus collected into a more neutral history, again misplaced from the archeological contexts, edited, reviewed according to a different thesis, equally divided between the signs of language and the man of those signs, and reintroduced in sequences expressing an interpretative idea in a linguistic mode, the only apparently peaceful use of the photos. Language is war discusses language at war. And it does this in a critically aggressive way, with linguistic spirit, thus ideologically.

The same images, taken from English and German magazines, have been collected in a series, and presented as an installation, in several occasions.
Fabio Mauri is one of the masters of post World War II Italian avant-garde. He lived between Bologna and Milan until 1956, when he moved to Rome. In 1942, he founded Il Setaccio magazine with Pier Paolo Pasolini. He was a professor in Experimental Aesthetics at the academy of Fine Arts in L’Aquila. He was part of the Venice Biennale in 1974, 1978, 1993, 2003, 2013, 2015, and of dOCUMENTA(13) in Kassel in 2012.

All the rights of Language is War by Fabio Mauri are reserved to the authors’ heirs. Courtesy the Estate of Fabio Mauri and Hauser & Wirth.

Shipping from Thursday 20 December 2018

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17x24cm
128 pages
Soft cover
Insert included
Edition of 1000 copies

25.00 €

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