I libri di Katsumi Komagata

 38,00

Katsumi Komagata’s ‘Book of Books’, an essential work by the author published in 2013 by Les Trois Ourses, now appears for the first time in a bilingual Italian and English version, in a revamped and updated edition. Komagata needs no introduction: it suffices to mention the two instances with which he revolutionised children’s publishing. Starting from an interweaving of his life with his young daughter Aï and the plastic experiments that characterised his training, Komagata manages to forge a new artistic sensibility through the extreme simplification of shapes and colours.

In his books, the author accounts for the infant’s point of view on the world and, following his growth processes, he follows the development of his perception, realising a true study that is not only pedagogical but also anthropological. Moreover, his way of understanding children’s publishing is revolutionary in that the volumes themselves are true design objects: pop-up techniques, the Japanese art of origami or the tangram are just some of the many examples with which the author recovers the material value of any book, in a rich encounter of colours, shapes and sensory stimuli. In doing so, the sensitivity that transpires from his books cannot but broaden the audience, reaching even adults.

In the 192 pages of this monograph, more than 100 illustrations offer a comprehensive view of his works. The book is aimed at all admirers of the figure of Komagata and what he represents for publishing, design and the graphic arts worldwide. The new edition in Italian and English also includes the titles published by One Stroke, the author’s agency and publishing house, over the last 5 years.

Preface by Stefano Salis
Texts by Kazumasa Nagaï, Élisabeth Lortic and Katsumi Komagata
Book design by Bunker

22 × 28 cm
192 pages
Paperback
Italian/English
Isbn 978-88-98030-33-0
First published April 2019

Description

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    Lorenzo Mattotti, an internationally renowned illustrator, much loved by the public, has always looked to the seventh art as an inexhaustible source of inspiration.

    This book, produced on the occasion of the 2021 edition of the Festival International du Film de La Roche-sur-Yon, which has dedicated an unprecedented exhibition to the artist, aims to highlight the double thread that links Mattotti’s work to cinema. This double thread has led him over the years to design the posters of films and major film festivals, until signing in 2019 the highly successful animated feature film The Famous Invasion of the Bears in Sicily, which was presented at the Cannes Film Festival.

    The volume is divided into four sections: Film festival posters, from the image of numerous festivals in the 1990s, to the prestigious commission for Cannes, to the Venice Film Festival; Editorial illustrations, commissioned by “The New Yorker” during its long collaboration with the famous American magazine; Film posters, including Eros, for which he drew the poetic interludes that open the three episodes directed by Wong Kar-wai, Michelangelo Antonioni and Steven Soderbergh; and finally, animated films, from the very first Bluebeard, through Pinocchio to the aforementioned The Famous Invasion of the Bears in Sicily, accompanied by unpublished sketches and storyboards.

    The volume concludes with a long and impassioned interview with Lorenzo Mattotti by the Festival’s artistic director Charlotte Serrand, who traces the stages of his journey into the seventh art, which began in his great-uncle’s cinema, Cinema Mattotti.

    Edited by Melania Gazzotti
    With the collaboration of Charlotte Serrand
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    19.5 × 26 cm
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    “What is a sigh made of?”
    A mother’s sigh is made of worries and tiredness, but the little ones do not know what it is, otherwise they would be… big! What can they do then to make this sigh lighter? And what can daddy do?

    This volume stems from the need to recount in pictures the affection between children and their parents, leaving, as is the artist’s custom, the few words associated with the evocative power of images to communicate to us the profound sense of this relationship. The eleven illustrated plates that make up this work tell of small and essential emotions waiting to be discovered.

    Lazy Dog’s first book for very young children is dedicated to all mothers and the weight they are able to carry on their shoulders, but also to all the families who bend over backwards to share it.

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    Caleidoscopica takes us on a journey through the last ten years of the career of Olimpia Zagnoli, an internationally renowned illustrator whose sinuous and colourful images have quickly conquered the worlds of publishing, fashion and communication. Her unmistakable stroke guides us through the 148 pages of this anthology in an overwhelming sequence of works – drawings, prints, neon, textiles and sculptures – that are juxtaposed by free association or by clear affinities of theme, colour and form.

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    Since the beginning of her career as a visual artist in the early 1980s, Emi Ligabue has focused her research on everyday objects, from everyday utensils to the icons of modernity and design, first creating sculptures and installations and then two-dimensional works, preferring the technique of collage. Taking and recontextualising images is his signature style and has allowed the artist to freely experiment with mixing genres, and to reflect on the increasingly blurred boundaries between visual and applied arts.

    In the 65 collages of La settimana bianca (The White Week), the title of the exhibition curated by Melania Gazzotti at the Mutty cultural centre and its catalogue, Emi Ligabue measures himself against a different visual imagery: the mountain, as a relatively recent holiday and winter sports destination. This time, therefore, the subject of investigation is no longer the artefact itself, but rather the visual ensemble of snow-covered peaks, skis, snowshoes and plastic poses, placed within a collective phenomenon of custom – which began in the 1960s and is now consolidated – that thanks to artistic elaboration and interpretation becomes evocation and takes on an iconic perspective, anything but free of irony and provocation, as is the artist’s custom.

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I libri di Katsumi Komagata

 38,00