I Love Ferrari brings together the unique, fascinating story of the Ferrari myth and the emotion of its fans

The first monograph on the many-faceted career of Ed Ruscha.

Come si struttura l’attuale Unione europea? Quali sono le sue caratteristiche e come deve modificarle se vuole compiere davvero un salto di qualità per portare a compimento il disegno originario di una terra che sia culla di nazioni diverse ma vicine, per diventare una Europa unita e rappresentativa degli Stati e dei cittadini, in una parola, Federale? L’Europa di oggi è una grande porta con tante serrature, ma per trovare l’Europa del futuro e guardare oltre bisogna aprirle tutte e di tutte trovare le chiavi. Ecco il perché di questo libro che fotografa alcuni dei principali aspetti che caratterizzano la nostra Europa attuale, ognuno dei quali è una serratura da aprire e quelle che proponiamo sono per noi le chiavi giuste. Le chiavi di una Federazione europea. How is the European Union structured? What are its features and how should it change to take that qualitative step and achieve the original idea of a land that is the cradle of different, but close nations, and turn itself into a united Europe which represents the States but also the citizens. In one word, a Federation? Today’s Europe is a great door with many locks; to discover the Europe of the future and look ahead of us, we need to find all the keys and open all these doors. This is why we wrote this book, which takes a picture of some of the main features of today’s Europe, each one of which is a lock that needs to be opened, and for which we try to suggest the right keys. The keys of our European federation.

An analysis of the vanguard artist's politically and formally trailblazing art.

In 1952 an Umbrian artist scandalized art critics worldwide with burned wood, flame-red paintings, dramatic combustions of plastics, and a black that was the color of tar: his name was Alberto Burri (Citta di Castello 1915 - Nice 1995), one of the greatest artists of all times. This book sets out to reveal many of his works that have remained unknown until today.

This series offers a wide forum for work on contact linguistics, using an integrated approach to both diachronic and synchronic manifestations of contact, ranging from social and individual aspects to structural-typological issues. Topics covered by the series include child and adult bilingualism and multilingualism, contact languages, borrowing and contact-induced typological change, code switching in conversation, societal multilingualism, bilingual language processing, and various other topics related to language contact. The series does not have a fixed theoretical orientation, and includes contributions from a variety of approaches.

A recurrent theme that characterizes the work of Dennis Oppenheim (Electric City, Washington, 1938), one of the most unusual and adventurous of contemporary American artists, is the encounter between art and nature. His first work using land, in Oakland, was produced in 1967. From the beginning of the Seventies, his work began to take a wide variety of forms, from performance art to installations, from video to the production, at the end of the decade, of the machine pieces, three-dimensional structures animated by mechanical devices. In 1986, the work of the artist took another turn: his works, enormous imaginary objects, mutant and distorted, are all pervaded by a new violent and playful irony. This book presents Oppenheim's sculptural upside-down church Device to root out evil. Produced for Venice, this glass and aluminum sculpture, 12 metres high, 6 metres long, and 4 metres deep, balances only on the tip of the bell-tower.