Bifo's essay is a critical examination of the current political situation that prevails in his homeland, Italy, where both media and politics have been under the influence of Prime Minister and media magnate Silvio Berlusconi for three decades now. The author draws an image of "Berlusconiland," where the Italian language-its collective imagination and its sensuousness-has been debased, and where the policies of -Mafia media moguls- take effect like a "psychopoison" that slowly destroys everything. Television and advertisement continuously become more pornographic and obscene, which has led to a form of false "pleasure expectations," self-hatred, and aggressive shame.
It's the sub-title - How Illustrators are ''Made'' - that gives the key to this unique book. The plates here are so beautiful that the book stands on its own for aficionados of cutting-edge illustration. But we've never seen a text like this, a collection of essays and dialogs teaching the art of illustration from the faculty of the esteemed Lucern School of Art & Design in Switzerland.
In a lifetime of work with farmers around the world, George Chan, the father of integrated farming, has been searching for a formula that would transform "waste into wealth". He brought together their ancient knowledge with new technologies and elaborated a theory based on circularity and sustainable recycling where farming can exist with zero input and zero emissions-the Integrated Farming and Waste Management System.
In 1988, Gerhard Richter created one of the most controversial and fascinating political painting-cycles of all time, with his Baader-Meinhof series. In 2002, he returned to the theme of media and political truth with his artist's book War Cut.
With her reading of a selection of works by Charlotte Salomon, Griselda Pollock offers a radically new, non-autobiographical interpretation of the oeuvre of an artist who was murdered in Auschwitz in 1943 because she was a Jewish woman. Already in 1940, Charlotte Salomon had been interned in the French concentration camp Gurs, after which experience she began to produce expressionistic gouaches with transparent overlays as a theatre of memory.