Silvana Editoriale, Milano 2021
Since its first appearance, the ready-made has imposed a “compulsion to repeat”, both in contemporary art and art criticism. The structural recovery of myths that have deep implications on art, this book suggests, can help us break out of this hypnosis. The two essays in this book focus on two main topoi found in classic philosophy and modern technology, Recognition and Electricity, and the illuminating insights they give into the contemporary art world. Against the “cut and paste” trends of our time, Sortir Du Champ, Art Criticism Outside the Ready Media points to a way out of the exponential multiplication of ready-mades, in support of art and theories that do not claim Duchamp as an alibi for their lack of consistency.oss different cultures. 📄
Skira, Milan 2019.
“Landscape” is the art genre that best helps us understand the artist’s gaze. A Landscape springs from the artist’s desire to shape to the world and to grasp its essence. Naturans. Landscape in contemporary art analyzes this gaze in a historical glimpse – from the second half of the nineteenth century to Twentieth century, up to the present day – during which, through creation artistic, the landscape is transformed into a model to verify the complexity of art through different media and across different cultures.
DuePunti, Palermo 2011.
The economic nature of art is not an issue rooted in the finance. Art has its own economy. The book was written before the International economic crisis provoked by the Lehman brothers crack (2008). Analyzing the economic nature of art, “Sadiesfaction” analyzes the qualities of the Economy of Art and offers also a possible way to rethink the whole idea of indutrial economy.
Paolo Balmas, Angelo Capasso (curators), Electa, Milan 2011.
A rich collection of essays on various disciplines, from art criticism, to theater, philosophy, epistemology, architecture and science. An overview on the present cultural scene which includes essays by International authors such as Massimo Cacciari, Fernando Castro Flórez, Germano Celant, Arthur Danto, Renato De Fusco, Rudi Fuchs, Massimiliano Fuksas, Giulio Giorello, Lóránd Hegyi, Jan Hoet, Koichi Kawasaki, Jean-Jacques Lebel, Giovanni Lista, Giacomo Marramao, Alessandro Mendini, Viktor Misiano, Lu Peng, Francesco Poli, Norman Rosenthal, Umberto Silva, Angelo Trimarco, Vincenzo Trione, Gianni Vattimo, Paul Virilio (…). The book was published to celebrate Achille Bonito Oliva’s retirement from his Academic work as Professor of Contemporary Art History at the University “La Sapienza”, Rome.
Skira, Milan 2008.
Luigi Di Sarro (Lamezia Terme 1941 – Rome 1979) is one of the most complex figures of the Roman art scene of the sixties and seventies. He conducted his research in a solitary and autonomous way, preferring the discretion of the work done in the studio to the glamor of the public scene. Premature death interrupted a path that critics have tried to reconstruct through the tools of a posteriori investigation. This book provides a new interpretation of Di Sarro’s work, analyzing aspects so far overlooked by the vast critical bibliography, with the aim of providing a wide angle able to fully restore us the artist’s thought and visual work in the wake of the research of the avant-garde of the twentieth century. In filigree, through the history of Di Sarro, Capasso lets emerge not only his artistic life, but also the history and the Roman and Italian cultural life in that span of time, between 1968 and 1979, which remains the most controversial of the history of Italy since the war.
Silvana Editoriale, Milan 2008.
The sky is the absolute space to which Satoshi Hirose has dedicated his photographic work, presented in the pages of this volume. Images of skies captured at various times of the day, memories of trips made in different places in the world, fragments of a vastness that the artist has fixed in the film, during the last ten years. This book is introduced by a long essay by Angelo Capasso who gives a wide insight in the artist’s work.
Meltemi, Rome 2007.
The work of art speaks in silence. But what happens if a critic tries to strike up a dialogue with the artist, be it a conceptual artist, a photographer, a neo-expressionist painter, a performer, a director or a rocker? The reactions are the most diverse: from skepticism to distrust, from shyness to irony. The books contains a collection of dialogues that Capasso shared with International artists such as: Lou Reed, Wim Wenders, Jimmie Durham, Luigi Ontani, Jorge Molder, Enzo Cucchi, Thorsten Kirchhoff, Yang Jiechang, Wang Du, Avish Khebrehzadeh, Dennis Oppenheim, Jannis Kounellis, Roman Signer, Marc Quinn, Rebecca Horn, Kendell Geers, Gilbert & George, Georgina Starr, Maurizio Cattelan, Urs Luthi, Fabio Mauri, Michele Zaza (…).
Edizioni DMG, Rome 2006.
The misteries of an art collection are hidden in the territory of the desire. This book analyzes a private art collection investigating the different drives the move its collector.
Monti, Rome 2004.
This book is inspired by E. H. Gombrich’s book “Shadows” and is meant as its ideal continuation. While Gombrich’s research on the “shadows” in art ends with the historical vanguards, Capasso continues the research to the present day, where shadows mingle with ghosts.
MME, Roma 2002 (ASIN: B075R3D3X3).
Art for art’s sake—the usual English rendering of l’art pour l’art, a French slogan from the early 19th century—is a phrase that expresses the philosophy that the intrinsic value of art, and the only ‘true’ art, is divorced from any didactic, moral, political, or utilitarian function.
Skira, Milano 2001.
This book sprouts from the first exhbition on an art critic. “ABO, le arti della critica” is the exhibition (San Benedetto del Tronto, 2000) that mixed the ideas and boundaries between art and art criticism. Absolute protagonist of the Capasso exhibition: Achille Bonito Oliva. A man, a brand (ABO, in fact), a body, an installation or rather a performative element established at the center of the art world during the last five decades. An inventor of languages, of movements, a tamer of artists. These are all the aspects that emerge from the reading of ‘A.B.O. The arts of criticism ‘, the book. All the attitudes and behaviors that characterized Bonito Oliva’s activity are not neglected: how can we forget the Achille strip in the magazine Frigidaire or the reiterated figure of the ‘narcissus critic’ who stands as an indispensable and demiurgic element of the system of art?
ZowArt, Rome 2000.