Culture erranti. Sviluppo e processi migratori in America Latina: il caso del Venezuela.

Caserta, Ipermedium Libri 2007, cm.16x23, pp.129, brossura Collana Opzioni.

Caserta, Ipermedium Libri 2013, cm.17,24, pp.445, brossura Collana Manuali,15.

Caserta, Ipermedium Libri 2004, cm.13x22, pp.132, brossura Collana Materiali.

Caserta, Ipermedium Libri 2017, cm.13x21, pp.315, brossura, cop.fig.a col. Collana Società Moderna,21. Albert Camus sosteneva che l’Assurdo non fosse un concetto ma una sensazione, un sentimento. Pertanto, più che una filosofia o una riflessione basata su paradigmi e nozioni teoriche, la sua analisi richiederebbe il contributo di diversi linguaggi, di diverse discipline artistiche: della letteratura innanzitutto, ma anche del cinema, del teatro, della pittura. Una riflessione sociologica sull’Assurdo può in questo senso contribuire a rendere conto, se non altro, del legame esistente tra l’emergere e il diffondersi di un tale sentimento in settori sempre più ampi della società occidentale moderna, e le trasformazioni nei modi in cui le diverse arti hanno provato a descriverlo e rappresentarlo.

Traduit de l'allemand par Guy Fritsch-Estrangin, avec la collaboration de Marie-Louise Audiberti, Michel Demet et Lily Jumel. Paris, Gallimard 1973, 2 voll. di 2, cm.15x22, pp.XVI,526,(2); 541,(11), 130 ill. in 64 tavv. in nero ft., brossura, copertine fig. con bandelle.

Illustrations de Patrick Deubelbeiss. Casterman 1989, Paris, cm.13x22,5, pp.119,(1), numerose ill. a uno e a 4 vol. nt., brossura, copertina fig, a colori con bandelle. Collana Moi, Mémoires.

Villa Manin, PAssariano di Codroipo, 2011-2012. Treviso, Linea D'Ombra Libri 2011, cm.28x31, pp.216, illustrazioni in bianco e nero e a colori, tavole in bianco e nero e a colori. legatura editoriale cartonata copertina figurata a colori.

Introduction by Mark Rosenthal. New York, Guggenheim Museum 1997, cm.25x32,5, pp.148 illustrato a colori. brossura con copertina figurata a colori. From the Introduction: "An exhibition of Robert Delaunay's series is an idea full of resonance for the Guggenheim Museum. We are particularly rich in the holdings of this pioneering artist of Modernism. Indeed, with one example from the 'Saint-Severin' series, two from 'The City,' three from 'The Eiffel Tower,' and two from 'The Windows,' we were able to approach our colleagues and private collectors during the planning stages of this exhibition with the firm knowledge that a thorough examination of the subject would be mounted. Delaunay's achievements have always been related to those of his Cubist colleagues, but this exhibition should help to individualize his contributions. He not only added a coloristic dimension to the structural innovations of Cubism, but he also produced imaginative views of the modern city of Paris conveyed in a modern art style. In contrast to most of his fellow Cubist painters, he willingly accepted the ramifications of Cubism by exploring pure abstraction. Delaunay's advances were eagerly applauded and followed by artists in Germany, who then carried forth the mission of abstraction. Thus, Delaunay was not simply a member of the Cubist orbit, but a highly accomplished artist who created new directions during a time when many competing tendencies abounded."