The line of water
Sara Palmieri
168 Pages
23 x 31 cm
Soft cover with dustjacket
Design and edit by Fiorenza Pinna
Published in April 2025
ISBN 979-12-80177-45-2
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First 30 copies at special price.
Shipment expected early April.
The Line of Water explores memory as a shifting, fluid entity, where trauma is not just a wound but a catalyst for transformation. Through a poetic and metaphysical reflection on transience and loss, the project examines how the territory—both physical and emotional—absorbs, reshapes, and transmits traces of the past, generating new languages of remembrance and creation.
Sara Palmieri, a visual artist working primarily with photography, investigates the material and symbolic potential of images. Her practice extends into sculpture and performance, using experimental processes to explore how territory and personal narratives shape collective memory, questioning the ways in which images construct and deconstruct reality.
Inspired by the Polesine flood of 1951—the most devastating in Italian history—the project considers the territory as an archive of memory, where water, earth, and inherited stories act as living agents of
transmission. The image itself becomes a perceptive surface where opposites merge: visible and invisible, past and present, submerged and emerged. The book-object, curated by Fiorenza Pinna, expands this exploration into a spatial, visual, and tactile experience. The material shifts, transparencies, and overlays disrupt the reading flow, mirroring the instability of history and perception. In this interplay between image and matter, the book itself becomes a territory of creation, where memory takes on new forms and new languages emerge from the fractures of the past.
Borderland
Filippo Barbero
104 Pages
23,5 x 28 cm
Hard cover
Design by Ilaria Miotto
Edit and art direction by Tommaso Parrillo
Text by Aaron Schuman
Published in April 2025
ISBN 979-12-80177-46-9
Preorder here︎︎
First 50 copies at special price and comes with free print.
Shipment expected early April.
Go to the special edition
“All things in life that once existed tend to re-create”.
“Borderland” represents an intimate research in a familiar place where I grew up since my tender years. Here I would find refuge in my grandparents’ house and feel a strong love coming from them, nature and all the living creatures in the land those silent hills where I felt free to express myself. To me everything is bordered in this rural village on Tuscan-Emilian Apennines, and it is this dimension of indefiniteness that pushes me to a relentless pursuit for the traces of a time that I have not lived enough or that I have lived too much.
My past blends with my present and suggests my future steps. I do not know whether I should listen to it or let myself be carried away by the fresh wind the same one that accompanied me and my grandfather and our conversations about existentialism during hot summer nights, while marvelling at the beauty of the constellation, lying downhill on a wet meadow.
Everything that surrounds me wants to get close to me, just like then, rethinking the legacy of a relationship created in time: with this aim, begins a process of interpreting reality without a celebratory, symbolist nor documentary intent. Rather, it turns out to be an evolution aimed at a deep redemption of my past and present being, producing at the same time an emotional tension that, just as on an extremity, hovers between joy and pain.
In such research, which aims to establish a reality and dream, I try to retrace over time fragments of an existence regarding family, growth and belonging.
Our Own Roof
Andrés Mario de Varona
96 Pages
15x30 cm
Soft cover
Art direction Tommaso Parrillo
Graphic design by Giulia Boccarossa
With the support of FOLIO, a masterclass by PhMuseum
Published in November 2024
ISBN 979-12-80177-41-4
€27
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Our OwnRoofis a collection of images from two separate yet intertwining projects: Contact and Trials made over the course of 7 years from 2016-2023. Mymother’s auto-immune disease in 2016 began my obsession to re-invite death back into our home. I wanted to build a connection to death; hold space for it ceremonially instead of understanding it as a mistake, which I feel is often the way American/Western culture handles death. Moving to New Mexico my obsession with death morphed into an obsession for life. My chosen family indirectly helped me let my mother go. The outcome was a visual record of testimonies; each image representing a standalone saga in that individual’s life. Just as my mother’s body became a battleground for survival, my desert studio became a battleground for personal peace. All collaborators (including myself) are pictured as a living memorial. I consider these images to be victories and acts of defiance against the natural hardships that stem from being human- of being mortal, fallible, and “wrong”.
A Study on Waitressing
Eleonora Agostini
168 Pages
23x28 cm
Soft cover
Editing Tommaso Parrillo
Graphic design by Massimiliano Pace
Text by Joanna Walsh
Published in November 2024
ISBN 979-12-80177-42-1
€38
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Eleonora Agostini's A Study on Waitressing is a multi-layered investigation on waitressing used as a metaphor to explore ideas of gender behaviours, societal expectations, and performing in and for the public.
The work scrutinizes the fictionalized image of the ‘waitressing woman’, by exploring the stage, the backstage, and the performative aspects of this role.
Agostini looks at mundane gestures and postures, commonplace objects and materials, strategies and visual codes of the service industry context to reflect upon power and gender dynamics, labour, representation, and the gaze.
Central to the project is the figure of Agostini’s mother, whose postures, movements, and behaviours serve as a focal point. This figure becomes a vehicle to explore the visible and hidden aspects of identity, emphasizing the social roles performed in daily interactions. The restaurant setting acts as a microcosm where the body mediates between observer and observed, highlighting the theatricality inherent in everyday life.
A Study on Waitressing delves into the relationship between labour and personal life, between vulnerability and strength, between the public and private, between the observer and the observed, and between a mother and daughter.
Best photobook 2024
Lensculture
Press
Internazionale
La Teoria del Vuoto
Tommaso Bonaventura
Alessandro Imbriaco
Fabio Severo
208 Pages
24x32 cm
Soft cover
Design by Mauro Bubbico and Roberto Lenza
Texts by Alessandro Carrer, Clemente Miccichè, Valerio Aiuti, Rossana Gnasso and Rocco Sciarrone
With the support of Fondazione Garuzzo
Published in October 2024
ISBN 979-12-80177-36-0
35€
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With support of Ministero della Cultura – Direzione Generale Creatività Contemporanea. Winner of the public contest “Strategia Fotografia”.
La Teoria del Vuoto (The Void Theory) originates from a photograph depicting a scene of everyday life in Buccinasco, a suburb near Milan. Years ago, in that quiet rural setting, some weapons were found, hidden or abandoned by unknown people. This discovery gave rise to a web of episodes, places, and people that spread across Italy, reaching as far south as Platì, a small town near Reggio Calabria whose history has been intertwined with the one of Buccinasco for decades. The photograph stems from Corpi di Reato. Un’archeologia visiva dei fenomeni mafiosi nell’Italia contemporanea, a photographic project by Bonaventura, Imbriaco, and Severo, presented for the first time in 2012. Corpi di Reato explored the Italian landscape in search of the traces left by the mafia, grappling with the invisibility of this widespread and ever-changing presence, which has transitioned from violent massacres to silent infiltration. La Teoria del Vuoto picks up this investigation, taking it in new directions where the central question becomes how photography can continue to narrate and document today. The void serves as a metaphor for the expansion methods of organized crime: void can be understood as the permeability of territories unprepared for the criminal threat, the ease with which clans establish themselves; a void is also what they carve out in the social fabric, eroding legality. Lastly, the void also reflects the gap between the surface image and the deeper reality of places like Buccinasco
and Platì: the former appears to be an orderly town in Northern Italy, while the latter is a hidden stronghold in the Aspromonte mountains.
