Yesterday on the terrace of Galleria Carla Sozzani the presentation
of the new volume “SOTTSASS” published by Electa-Phaidon.
At the presence of Barbara Radice, Emilia Terragni, editor of Phaidon, the architects Andrea Branzi and Michele De Lucchi evoked the genius of
Ettore Sottsass, one of the keynote figure of contemporary design.

Barbara Radice and Carla Sozzani with Phaidon and Electa

celebrate the new monograph 




Andrea Branzi, Michele De Lucchi and Emilia Terragni 

will attend the presentation on Tuesday 10th June 2014? from 6.30 pm.

A selection of Ettore Sottsass’ works, chosen by Ernest Mourmans will be exhibited

until July 31st 2014 at the Galleria Carla Sozzani.


Posted on: Thursday, June 5th, 2014

Mit Inge Fotos Feltrinelli

die Welt erobern / to conquer the World

by Inge Feltrinelli

”Awful! What a catastrophe! Stop taking pictures of ships in the harbour.

You have to photograph people.”



 Wednesday  12th March, 2014  at 6 pm 

Booksigning with Inge Feltrinelli at the Galleria Calleria Sozzani



On the cover of this lavish book, a beautiful young Inge Feltrinelli smiles with Ernest Hemingway, while holding a giant swordfish. This is the first of many engaging images taken of, as well as by, this surprising young woman with a huge appetite for life who globe trotted with her camera during the middle of the 20th century.

“I grew up in the post-war period, hungry to see the world. That is why I moved from Göttingen to Hamburg in 1950. I learnt the basics of photography, and as I was quite smart-looking, I could earn a little bit of money working as a model. When I drove my bike through Pöseldorf, a fancy white car stopped right next to me. The driver pointed at my camera and asked whether I was a photographer. It was Hans Huffzky, the founder of the women’s magazine Constanze. When he saw my photographs, he said: ”Awful! What a catastrophe! Stop taking pictures of ships in the harbour. You have to photograph people.” Huffzky became my Professor Higgins and introduced me to the publishers Rudolf Augstein and Axel Springer. Both were still on their way up and very easy-going. In those times, it was easy to reach for the stars and conquer the world.”

From the artists and intellectuals of Europe to the glamour of Hollywood,

Inge’s camera disarmed and captured them all.

From Marc Chagall who pulled a pleasant face for her, to a happy Simone de Beauvoir, to the Hollywood actor who continued to get drunk while encouraging her to keep shooting, she snapped the talents and celebrities of her time in rich tones of black and white revealing the candid, amicable rapport she had with life.


Mit Inge Fotos Feltrinelli

die Welt erobern / to conquer the World

by Inge Feltrinelli

Steidl publisher, 2013

24,5 x 33,5 cm, pp. 280, € 42

German edition

on sale at Galleria Carla Sozzani Bookshop

Posted on: Saturday, March 1st, 2014

Ronan & Erwan Bouroullec Drawing

“The fact that we can discuss everything openly and honestly

with each other is important because often creativity does not come

from a rational point of view but an emotional one.” Erwan Bouroullec



Known for unusual forms and materials, it should not surprise that the Bouroullec brothers – who introduced the LED lighting to Versailles with the Gabriel chandelier – would confound and delight their fans with the same sensibility in a new book. Published with the French Museum of Decorative Arts, it is neither an exhaustive inventory, nor an elite selection of the two brother’s work, but a compilation of sketch books and drawings completed in the years between 2005 and 2012. Both finished work and seminal ideas, it clearly presents a visual process, as much as design object.  The volume follows diverse criteria: reproducing a vast number of personal drawings in the context of the designers’ body of work, it is organized chronologically; the layout and materials giving a cohesiveness to this format. Cornel Windlin, the multi-award winning graphic designer oversaw this massive volume

of 864 pages in the beautiful and thinnest “Bible” paper.

There are no texts, apart from the introduction; no titles, not even a date or a description, only a concise one page biography at the end.

The book reveals the private and intimate way the brothers work together. Their visuals are more generous with information than photographs, less precise than technical blueprints, and all their drawings look to the inner language

of the project at hand, under a wise graphic eye.


Ronan and Erwan Bouroullec Drawing

by Cornel Windlin

JRP Ringier publisher, 2013

20,5 x 28 cm, pp. 864, € 38

on sale at Galleria Carla Sozzani Bookshop

Posted on: Wednesday, February 5th, 2014

Taryn Simon

Birds of the West Indies

I see them as these interchangeable elements that construct this idealized, powerful Western male figure who is invincible and ageless and seductive.



Working with a large format camera, Taryn Simon, an American artist (b.1975) captures images both clinical and mythical that by themselves are open to wide interpretation.  She then joins images with texts of such exacting and lengthy detail that, as she said in a recent TED talk , “ text tethers the ethereality of the image to a very particular reality.” The point of her artistic exploration focuses on the space between text and image and what new realities that might bring to light. Simon is known for her 2003 photography project involving death row inmates released through DNA evidence, and her visually unsettling project she initiated in the days following 9/11.  Titled “An American Index of the Hidden and Unfamiliar” , it catalogued unheard of events and objects that make up the American discourse. Her latest project is a series of photographs and videos of the women and weaponry  that constitute the successful and long-lived  James Bond Formula.  While living in Jamaica, Ian Fleming came across a book, “Birds of the West Indies” written in 1936 by a James Bond. Fleming named his suave British agent the same.  Asked about the name later, Fleming said it was “brief, unromantic, Anglo-Saxon and very masculine”. The many components of this construct (beyond the actors who played Bond), the vehicles and gadgetry now found in private collections, auction houses and museums, and the Bond girls themselves,  now living in London, Paris, New York and Rome  are the basis for Simon’s latest work. “Birds of the West Indies” explores the interchangeable nature of these variables that went on to generate an enduring economic and emotional value through repetition in a series of films that still go on.

Taryn Simon: Birds of the West Indies

440 pp., 210 ills. Hatje Cantz

20.50 x 29.60 cm?, clothbound, 74.00 euro


On sale at 10 Corso Como Bookshop

Posted on: Thursday, December 19th, 2013

Piero Fornasetti

One hundred years of practical madness

by Barnaba Fornasetti


I also consider myself the inventor of the tray, because at some point in our civilisation we no longer knew how to hand out a glass,

a message, a poem. I was born into a family of the worst good taste and I consider

the worst good taste as the key to liberate the imagination. Piero Fornasetti


Multifaceted and unconventional, Piero Fornasetti had an extremely rich and complex personality. Painter, engraver and printer, designer, collector, stylist, refined craftsman, art gallery manager and exhibition promoter, his world was animated by the rigour of the project, of art and craftsmanship, but also by unbridled fantasy, surrealist invention, and poetry. Fornasetti created one of the largest visual libraries of designs and objects in the 20th century.  He designed and manufactured approximately 13.000 objects and decorations, real “memories of the future” like “open door to new possibilities”. His works took their origin from a cultivated eye that studied the roots of the classical past, as Gio Ponti, his mentor and friend well knew. Fornasetti’ s strong imagination along with an elegant and mystical sense of humour involving creatures, scenes of the natural universe, and human anatomy, are perfectly represented in this catalogue curated by his son, Barnaba Fornasetti.  It accompanies  the exhibition “One Hundred Years of Practical Madness” now running at the Triennale Design Museum in Milan.


Piero Fornasetti

One Hundred Years of Practical Madness

by Barnaba Fornasetti

Texts by Ginevra Quadrio Curzio, preface by Patrick Mauriès

Corraini Edizioni, Triennale Design Museum

21 x 26 cm, pp. 198, 34 euro

English/Italian ed.

on sale at 10 Corso Como Bookshop

Posted on: Thursday, December 12th, 2013

Erwin Blumenfeld

“Our pictures are the essence of a page and every page has to have its own face, its own spirit, to catch millions of eyes or it’s only a scrap of printed matter”.


An exhibition of the works of Erwin Blumenfeld is now installed at the Jeu de Paume in Paris after an extensive world tour. Available with the show is an essential catalogue on Blumenfeld curated by Francois Cheval, director of the Musée Nicephore Niepce. Named for the French inventor of the photographic process, the Musée Niepce is a gem of a museum in France dedicated exclusively to photography and its history. Consequently, M. Cheval brings an aesthetic sensitivity in presenting these unforgettable color plates, but also brings an exceptionally well educated eye in writing of the inner characteristics of the photographic methods of emulsion development and the digital reproductions used by Blumenfeld in his New York studio in the 1940’s and 50’s when color was in its infancy. Thus he writes: “Blumenfeld loved perfection of form, and also its duplicity. Faithful to his pre-war gestures, he takes his same themes and alters them slightly. An image duplicates itself: a figure is multiplied, solarized, superimposed..”, both gesture and technique are fully explored with the help of Folkwang Museum and Blumenfeld Archive. Blumenfeld, born in Berlin in 1918, had a successful career in photography in Amsterdam and Paris. He spent the war in a concentration camp. Moving to America after the war, he opened a photography studio at 222 Central Park South in New York, where his work pioneered newer processes of color technique, presented here.


Erwin Blumenfeld 

Blumenfeld Studio – Color, New York, 1941-1960

Musée Nicéphore Niépce, Chalon-sur-Saône – Museum Folkwang, Essen

Steidl publishing

23 x 28 cm, pp. 208,  40.00 euro

On sale at Galleria Carla Sozzani Bookshop

Posted on: Thursday, October 24th, 2013

A printmaker’s document by Jim Dine

Dine Printmaker’s document is a print flavouring book. Inspired by a semi-autobiographical book by the mid-20th century German printmaker Hap Grieshaber, Dine used his idea to create a story of fifty years as a printmaker. But more about Jim Dine and his work can be found since the preface: “You’ve got about prints. You’ve got to care about woodcuts, litographs and etchings. You can’t care about whether they sell or wether anyone feels the way you do about your images. I love printmaking so much I try not to care about anything beyond my ego. I keep going because, like the woman who swallowed the knives and nails, I can’t stop. I’ve put my life into it.” Jim Dine was Born in 1935 in Cincinnati, Ohio, and is a prolific painter, draughtsman, print-maker and photographer. Initially associated with the Pop movement, Dine’s career spans over forty years and his work is held in numerous private and public collections. And, as he writes: still…printing!


Jim Dine

A printmakers document by Jim Dine

Steidl, 2013

pp. 280, 20 x 29 cm, clothbound hardcover, euro 40

on sale at Galleria Carla Sozzani Bookshop

Posted on: Wednesday, October 9th, 2013

Steve Mc Queen


Steve Mc Queen is one of the most acclaimed British contemporary artists and movie directors  of our times, from Hunger (2008) to Shame (2010) and his recent triumph “Twelve Years a Slave” shown at the Toronto Festival, but there are only a very few publications available about his work.

This catalogue, published two years after his recent solo show by Shaulager gives a great opportunity to know his work more intimately.

To explore Mc Queen’s way of working is illuminated here in many ways.

 The interview he did with Adrian Searle highlights the hard logic in his works.  The extreme consciousness of his path since the very beginning, with works like Bear and Exodus in 1992 attest to the scope and intensity of his career:

“Once you put down your flagpole, or you’ve made the first step, it says a lot about who you are, what you are, and where you want to go”.

This catalogue comprises essays by Cameron Bailey, artistic director of Toronto International Film Festival (TIFF), Okwui Enwezor, director of the Haus der Kunst in Munich, James Rondeau, curator of contemporary art at The Art Institute of Chicago, art theorists Georges Didi-Huberman, from the École des Hautes Études en Sciences Sociales in Paris, and Jean Fisher, and a conversation between Steve McQueen and Adrian Searle, art critic for the British newspaper The Guardian will no doubt become an immediate collector’s piece.

Steve Mc Queen


Schaulager Publishing, 2013

22 x 28 cm, hardcover, pp. 248, 43 €

on sale at Galleria Carla Sozzani Bookshop

Posted on: Tuesday, October 1st, 2013

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