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Whichever you need, \u003cem\u003eCookbook #5: Herbs \u0026amp; Spices\u003c\/em\u003e has you covered—this year with illustrations by US artist Zebadiah Keneally.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan class=\"s1\"\u003eApartamento Cookbook #5: Herbs \u0026amp; Spices\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003eFeaturing: Charles Perry, Dalad Kambhu, David Zilber, Enrique Olvera, Fanny Singer, Helina Tesega, James Henry, Jekka McVicar, Kouki Watanabe, Lowena Hearn, Maria Solivellas, Omar Koreitem \u0026amp; Moko Hirayama, Stephen Harris, Sunita Kohli, Tara Thomas, and Tiberi Club.\u003cbr\u003ePublished by Apartamento Publishing S.L.\u003cbr\u003eNovember 2020\u003cbr\u003eFirst edition\u003cbr\u003eDimensions: 170 x 240mm\u003cbr\u003ePages: 44\u003cbr\u003eBinding: hard cover + dust jacket\u003cbr\u003eISBN: 978-84-09-24687-8\u003cbr\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003c\/div\u003e","brand":"Apartamento","offers":[{"title":"Default Title","offer_id":43922159173897,"sku":"0439","price":25.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/products\/apartamento-cookbook-5-herbs-spices.jpg?v=1672805221"},{"product_id":"apartamento-cookbook-6-somehow-salads","title":"Apartamento Cookbook #6: Somehow Salads","description":"\u003cbr\u003e\n\u003cdiv class=\"layoutArea\"\u003eThe sixth annual Apartamento cookbook, this time dedicated, somehow, to salads. 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It's small square size was inspired by the Pixi children's books and by the Nupuset series from Petomies. Illustrator Adam Higton is best known for his images of psychedelic, folkloric characters, drawn in his distinctive, nostalgic style. 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These effects are both visual and tactile, as in: we see them and we want to touch them.)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe compositions can speak because they are alive, masses of ceramic breathing in a metal atmosphere, on a planet that is strange but inviting. Like other languages, Bouroullec’s seems to have a grammar. Forms repeat and the palette is consistent, like a dialect. Where there are slight variations, the works prove the rule. Some compositions get repeated and flipped upside down. Bouroullec’s process is also inherently syntactical: while the finished works have the appearance of precise composition, they’re arranged ex post facto from separately formed elements. Bouroullec assembles the reliefs only after the individual elements are fired; some inevitably break in the kiln. Like sentences, Bouroullec’s compositions are sequences of fixed parts. Like poetry, they’re subject to randomness.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn a photo from Bouroullec’s studio, he leans over a makeshift table on which he’s rolled out a thick slab of clay. It’s dark; he’s holding a kitchen knife – later it will be caked with residue from the material he’s using it to carve. To his left is a pile of thin scraps that have been trimmed from the larger whole; the ceramic retains a feeling of paperiness in the finished works. This has something to do with figure and ground, the glazed ceramic forms (marked with cracks, bubbles, and the traces of tools) buoyed by contrast with the flatness and sharpness of the synthetic surface on which they’ve been arranged. The sense of découpage – careful composition with paper cutouts – goes deeper than the formal similarity with Bouroullec’s earlier drawings and design.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBouroullec has other precursors. Artists longing for new alphabets in abstraction, or those preoccupied with simple forms and chance operations. At its core, though, this work seems to carry out an older project – the Suprematist project of Kazimir Malevich. In Malevich’s manifesto on Suprematism, Malevich writes of “a ‘desert,’ where nothing is real except feeling.” Malevich believed that he had discovered the grammar of this non-objective world. Bouroullec has re-discovered it – and renewed it for our time. This is why the works seem to have a primal resonance. They short circuit our hard-wired symbolic understanding, whisper of other landscapes. They remind us that mass and atmosphere are forms of pleasure, and ask us to be pleased. Josh Ascherman\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBas-Reliefs\u003cbr data-mce-fragment=\"1\"\u003eRonan Bouroullec\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn collaboration with Galerie kreo\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e24 Pages\u003cbr data-mce-fragment=\"1\"\u003e19.5 x 25.5 cm\u003cbr data-mce-fragment=\"1\"\u003eColor Offset\u003cbr data-mce-fragment=\"1\"\u003eFirst Edition 2022\u003cbr data-mce-fragment=\"1\"\u003eISBN 978-3-907179-44-4","brand":"Nieves","offers":[{"title":"Default Title","offer_id":45045567127817,"sku":"0797","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Bas-Reliefs-Ronan-Bouroullec-Nieves-01.png?v=1707747884"},{"product_id":"fievre-ronan-bouroullec","title":"Fièvre - Ronan Bouroullec","description":"Ronan Bouroullec has always drawn daily. A pure artistic practice that he considers autonomous from the profession for which he is internationally recognized. But if there is a porosity between these two sides of his activity which feed each other, Ronan Bouroullec considers drawing as essential to his balance. Fièvre coincides with the exhibition Dessins Quotidiens at l’Hôtel des Arts in Toulon, France. With nearly 300 works (drawings, bas-reliefs and notebooks) presented in the exhibition, he reveals a small part, still little known, of his creative talent. A tiny part compared to the thousands of drawings he all keeps, but rich enough to illuminate this very intimate facet of the personality of one of the most talented French designers of his generation.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRonan Bouroullec (born 1971) and Erwan Bouroullec (born 1976) have been working together for more than twenty years now. Their collaboration is a permanent dialogue nourished by their distinct personalities and a shared notion of diligence with the intention to reach more balance and fineness. Their work has covered many fields ranging from the design of small objects as jewellery to spatial arrangements and architecture, from craftsmanship to industrial scale, from drawings to videos and photography. They have collaborated with leading companies such as Vitra, Cappellini, Issey Miyake, Magis, Ligne Roset, Habitat and Kréo Gallery. Ronan and Erwan Bouroullec’s designs are part of the permanent museum collections of the Museum of Modern Art in New York, Centre Pompidou in Paris, the London Design Museum, the Lisbon Design Museum and the Boijmans van Beuningen Museum of Rotterdam.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e16 Pages\u003cbr data-mce-fragment=\"1\"\u003e19.5 x 25.5 cm\u003cbr data-mce-fragment=\"1\"\u003e5 Color Offset\u003cbr data-mce-fragment=\"1\"\u003eFirst Edition 2023\u003cbr data-mce-fragment=\"1\"\u003eISBN 978-3-907179-58-1","brand":"Nieves","offers":[{"title":"Default Title","offer_id":45045623226633,"sku":"0798","price":19.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Fievre-Ronan-Bouroullec-Nieves-01.png?v=1707748674"},{"product_id":"les-fleurs-louise-bourgeois","title":"Les Fleurs - Louise Bourgeois","description":"Louise Bourgeois (1911 Paris – 2010 New York) grew up near Paris, where her parents ran a business restoring tapestries. Her childhood was marked by a complicated relationship to her father, who cheated on Bourgeois' mother with the British nanny. This traumatic experience haunted her throughout her life and was the major source of inspiration for her art. \u2028After pursuing studies in mathematics, Bourgeois attended a number of art schools in Paris. In 1938 she married the New York art historian Robert Goldwater (1907–1973) and moved to New York, where she raised three sons with him.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the beginning, Bourgeois was focused on painting and printmaking. It was not until the late 1940s that she began to work as a sculptor. However, her almost obsessive writing, as well as drawing, always remained central forms of expression. After the death of her father in 1951, she became intensely involved in psychoanalysis.\u0026nbsp; \u2028Bourgeois varied the proportions and unusual materials of her work as much as its forms, which oscillated between abstraction and figuration. Strong emotions such as loneliness, jealousy, anger, and fear make up the common thread throughout her work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first major retrospective of Bourgeois' work was held at the Museum of Modern Art in New York when she was 70. Subsequently, she created her monumental spider sculptures and the famous and uncanny \"Cells\" – structures she enlivened with hanging fabric dolls and other objects. Art was her means of working through the past and practicing a kind of exorcism.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first edition or this publication was released in 2022 as a two color Risograph print.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e28 Pages\u003cbr data-mce-fragment=\"1\"\u003e19.5 x 25.5 cm\u003cbr data-mce-fragment=\"1\"\u003eColor Offset\u003cbr data-mce-fragment=\"1\"\u003eSecond Edition 2023\u003cbr data-mce-fragment=\"1\"\u003eISBN 978-3-907179-70-3","brand":"Nieves","offers":[{"title":"Default Title","offer_id":45045660909833,"sku":"0799","price":19.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Les-Fleurs-Louise-Bourgeois-Nieves-01.png?v=1707749361"},{"product_id":"vases-andreas-samuelsson","title":"Vases - Andreas Samuelsson","description":"\u003cp\u003e\"Over time I have collected forms. Studied details and small shifts in lines and proportions. My interest in a unique object is endless. From an everyday object to a more advanced form that, at first glance, I hadn't thought of before. Communicating in forms is a big part of my life. It summarises words, feelings and impressions at the same time and gives the viewer the opportunity to think for himself. Although I basically prefer the simple, something happens in the meeting between more advanced and living forms and something stripped down when you put them together in a series. The living expression is highlighted next to the pared down.\"\u0026nbsp;\u003ci data-mce-fragment=\"1\"\u003eAndreas Samuelsson\u003c\/i\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003eAndreas Samuelsson is a visual artist based in Göteborg, Sweden. He graduated in 2004 from Berghs School of Communication in Stockholm and has been working as a freelance artist ever since. Working with cut paper collage mixed with watercolor and computer graphics in sharp colors. His ideas tend to turn into geometric forms, stilistic symbols and handwritten letters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"info\"\u003e\u003cspan\u003e24 Pages\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e19.5 x 25.5 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eb\/w Risograph Print\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst Edition 2024\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e200 Copies\u003c\/span\u003e\u003c\/p\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":45045709635849,"sku":"0800","price":19.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Vases-Andreas-Samuelsson-Nives-01.png?v=1707749984"},{"product_id":"caramelle-archivio-personale-di-caramelle-italiane-olimpia-zagnoli","title":"Caramelle | A personal archive of Italian candies - Olimpia Zagnoli","description":"\u003cdiv id=\"show_info\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrom the Polo candy ‘the hole with the mint around it’ to ‘Boom! Sting! Fzzzz!’ from Selz Soda to the unmistakable design of Rossana with its transparent paper, \u003cstrong data-mce-fragment=\"1\"\u003eOlimpia Zagnoli\u003c\/strong\u003e gives us \u003cstrong data-mce-fragment=\"1\"\u003ea personal archive of Italian candies\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA gallery of graphics and memories where we can lose ourselves in sweetness and nostalgia, and where each page is like a candy to be unwrapped. Olimpia makes us feel the rustle of the paper and the taste as it melts in our mouths, shows us the colours and shapes, invents amusing and bizarre anecdotes and invites us into \u003cstrong data-mce-fragment=\"1\"\u003ea world as kaleidoscopic and surprising as her illustrations\u003c\/strong\u003e. And after all, what could possibly unite us more than a piece of candy? We all know that sometimes Just a spoonful of sugar helps the medicine go down....\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA book that collects and expands on the texts published in Olimpia Zagnoli's 2024 column in Il Sole 24 Ore \u003cem data-mce-fragment=\"1\"\u003e‘Caramelle non ne voglio più’ (I don't want any more sweets)\u003c\/em\u003e, but with many more sweets and with all the unpublished illustrations.\u003c\/p\u003e\n\u003cp class=\"more-info-p\"\u003e\u003cspan scope=\"row\" class=\"col label\"\u003eisbn:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"isbn\" class=\"col data\"\u003e9791254931561\u003cbr\u003e\u003c\/span\u003e\u003cspan scope=\"row\" class=\"col label\"\u003eSpecial process:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"Special process\" class=\"col data\"\u003epadded cover with embossing\u003cbr\u003e\u003c\/span\u003e\u003cspan scope=\"row\" class=\"col label\"\u003eLanguages:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"Languages\" class=\"col data\"\u003eItalian and English\u003cbr\u003e\u003c\/span\u003e\u003cspan scope=\"row\" class=\"col label\"\u003eBinding:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"Binding\" class=\"col data\"\u003ehardcover\u003cbr\u003e\u003c\/span\u003e\u003cspan scope=\"row\" class=\"col label\"\u003ePages:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"Pages\" class=\"col data\"\u003e96\u003cbr\u003e\u003c\/span\u003e\u003cspan scope=\"row\" class=\"col label\"\u003eWidth:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"Width\" class=\"col data\"\u003e12\u003cbr\u003e\u003c\/span\u003e\u003cspan scope=\"row\" class=\"col label\"\u003eHeight:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"Height\" class=\"col data\"\u003e16,5\u003cbr\u003e\u003c\/span\u003e\u003cspan scope=\"row\" class=\"col label\"\u003eEdition:\u0026nbsp;\u003c\/span\u003e \u003cspan data-th=\"Edition\" class=\"col data\"\u003e2025\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Corraini Edizioni","offers":[{"title":"Default Title","offer_id":54982590136585,"sku":"0889","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/caramelle-olimpia-zagnoli-libro-corraini-01.jpg?v=1742215121"},{"product_id":"a-curious-catalogue-michael-leon","title":"A Curious Catalogue - Michael Leon","description":"\u003cp\u003e\u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003ci\u003eA Curious Catalogue\u003c\/i\u003e is a skateboard product catalogue of pencil drawn anti-graphics, spin-art wheels, and slalom gemstones. It was designed to take a romantic and fantastic vision of a skateboard company and make it ‘real’. Michael Leon was inspired by the naïve wonder he experienced as a young skateboarder, which he juxtaposes with an elegant, yet dry, catalogue sales format. The result is a carefree and poetic narrative carried by a range of imagined products.\u003cbr\u003e\u003cbr\u003eMichael Leon was raised in late 80's, early 90's skateboard culture. His work lives in a unique place between the worlds of art and art direction. He often uses the language of graphic design to create meaning through sculpture, paintings, videos, and editions. While still in high school, Michael designed his first pro model skateboard for New Deal Skateboards. 19 years later, he continues to design for his skateboard company Stacks, as well as creating artwork and art directing collaborative projects.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e28 pagine\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e19,5 x 25,5 cm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eColor offset\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003ePrima edizione 2010\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eISBN 978-3-905714-92-0\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\n\u003cdiv class=\"kO6q6e\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":56669335617801,"sku":"0911","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/A-Curious-Catalogue-MichaelLeon-Nieves-01.png?v=1765225275"},{"product_id":"lausanne-ronan-bouroullec","title":"Lausanne - Ronan Bouroullec","description":"\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\n\n\u003cp\u003e Born in Quimper (Brittany) in 1971, Ronan Bouroullec studied at the École Nationale Supérieure des Arts Appliqués et des Métiers d'Art. In 1996, his Soliflore vase became part of the permanent collection of the Centre Pompidou. Giulio Cappellini noticed his work at the Salon du Meuble in Paris in 1997, giving Ronan the opportunity to create his first industrial design pieces, and he was awarded the Grand Prix du Design by the city of Paris.\u003c\/p\u003e\n\n \u003cp\u003eShortly thereafter, Ronan was joined by his brother Erwan, and together they began collaborations with international design brands around the world, which continue to this day. In 1999, Ronan founded his own Paris-based design studio with his younger brother Erwan. For over two decades, the internationally renowned duo has co-created iconic designs for brands such as Vitra, Hay, Flos, Cassina, Ligne Roset, Magis, Mutina Established \u0026amp; Sons, and Kvadrat. Their designs are part of some of the world's most coveted permanent collections, and they have held exhibitions dedicated to them and published monographs cataloging some of their most extraordinary creations.\u003c\/p\u003e\n\n \u003cp\u003eIn addition to the joint award, Ronan's drawings have been exhibited in numerous solo exhibitions, including Giorgio Mastinu Fine Art (Venice, 2018), Galerie kreo (Paris, 2019), Licht Gallery (Tokyo, 2021), and Casa Mutina (Milan, 2021–22), as well as in group exhibitions such as \"Objects of Desire - Surrealism and Design 1924–Today\" (Vitra Design Museum, Weil am Rhein, Germany, 2019; CaixaForum Barcelona, ​​Spain, 2020; CaixaForum Madrid, Spain, 2020–21) and \"Un printemps incertain, invitation à 40 créateurs\" (Museum of Decorative Arts, Paris, 2021). His drawings are held in numerous important private and international collections, notably the Art Institute of Chicago. Ronan Bouroullec is represented by Galerie kreo, in Paris and London.\u003cbr\u003e \u003cbr\u003eWhile the Bouroullecs' collaborative projects involve a rigorous and complex process of research and experimentation, Ronan's personal work is free of interference and pre-established plans. Drawing, an activity he has practiced regularly since early childhood, plays an important role in his daily life. Today, his drawings are instinctive and exude freedom.\u003c\/p\u003e\n\n\u003cp\u003e On the occasion of the exhibition Dessins Quotidiens by Ronan Bouroullec\u003cbr\u003e From March 13th to May 5th at the Galerie ELAC of ECAL in Lausanne\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e \u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\n\n \u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e16 pages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e19.5 x 25.5 cm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eColor offset\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eFirst edition 2024\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eISBN 978-3-907179-73-4\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\n\u003cdiv id=\"ow1680\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\n\n\u003cdiv class=\"kO6q6e\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"XL3Kf XExWNc\"\u003e\n\n\u003cdiv class=\"a8FIud X0rvP\"\u003e\n\n\u003cdiv data-show-delay-ms=\"250\" data-append-to-body=\"false\" data-propagate-tooltip-mouseover-events=\"true\" data-anchor-corner=\"bottom-end\" data-enable-skip-handler=\"false\" data-popup-corner=\"top-end\"\u003e\n\n\u003cdiv\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"XL3Kf XExWNc\"\u003e\n\n\u003cdiv class=\"a8FIud X0rvP\"\u003e\n\n\u003cdiv data-show-delay-ms=\"250\" data-append-to-body=\"false\" data-propagate-tooltip-mouseover-events=\"true\" data-anchor-corner=\"bottom-end\" data-enable-skip-handler=\"false\" data-popup-corner=\"top-end\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"ebT7ne VOLvac sMVRZe\"\u003e\n\n\u003cdiv class=\"F0pQVc\"\u003e\n\n\u003ca class=\"dWI6ed\" href=\"https:\/\/translate.google.it\/details\"\u003e\u003c\/a\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"VO9ucd\"\u003e\n\n\u003cdiv class=\"aJIq1d\" dir=\"ltr\" data-language-code=\"it\" data-language-name=\"Italiano\" data-text=\"Potremmo guardare i bassorilievi in ceramica di Ronan Bouroullec e vedere le tracce di un linguaggio che riconosciamo: le sagome di oggetti familiari, i contorni di paesaggi conosciuti. Potremmo essere tentati di considerare l’opera come un alfabeto di semplici cose, di pensare ai pezzi “oggettivamente”. Ma come tableaux, i rilievi non sono del tutto corretti: uno ha un bordo che va troppo lontano, un altro un cerchio che è decentrato e sul punto di rotolare, e un altro ancora, una massa rosata che potrebbe ribaltarsi.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Il lavoro di Bouroullec è molto gratificante se lo ascoltiamo perché richiede un linguaggio completamente nuovo. Le lingue sono sempre nate dall'argilla (si pensi ai sigilli cuneiformi); è facile credere che Bouroullec stia sviluppando il suo. Per lo meno, questi pezzi – da qualche parte all’intersezione tra pittura, scultura e design – richiedono nuovi verbi, parole come “smussare” e “disintegrare”. (Ed è possibile, dicono le opere, che non ci sia niente di più bello di un bordo smussato: il modo in cui si assottigliano è come una carezza. Il modo in cui si dissolvono su uno sfondo sembra digitale e anche profondamente analogico. Questi effetti sono sia visivi che tattili , come in: li vediamo e vogliamo toccarli.)\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Le composizioni sanno parlare perché sono vive, masse di ceramica che respirano un'atmosfera metallica, su un pianeta strano ma invitante. Come altre lingue, quella di Bouroullec sembra avere una grammatica. Le forme si ripetono e la tavolozza è coerente, come un dialetto. Dove ci sono leggere variazioni, le opere confermano la regola. Alcune composizioni vengono ripetute e capovolte. Il processo di Bouroullec è anche intrinsecamente sintattico: sebbene le opere finite abbiano l’apparenza di una composizione precisa, sono organizzate ex post facto da elementi formati separatamente. Bouroullec assembla i rilievi solo dopo la cottura dei singoli elementi; alcuni inevitabilmente si rompono nel forno. Come le frasi, le composizioni di Bouroullec sono sequenze di parti fisse. Come la poesia, sono soggetti alla casualità.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In una foto dello studio di Bouroullec, si appoggia su un tavolo improvvisato su cui ha steso una spessa lastra di argilla. È buio; ha in mano un coltello da cucina: più tardi sarà incrostato di residui del materiale che sta usando per intagliare. Alla sua sinistra c'è una pila di ritagli sottili che sono stati ritagliati dall'insieme più grande; la ceramica conserva una sensazione di cartaceo nelle opere finite. Ciò ha qualcosa a che fare con la figura e lo sfondo, le forme di ceramica smaltata (segnate da crepe, bolle e tracce di strumenti) sostenute dal contrasto con la piattezza e la nitidezza della superficie sintetica su cui sono state disposte. Il senso del découpage – un’attenta composizione con ritagli di carta – va più in profondità della somiglianza formale con i primi disegni e progetti di Bouroullec.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bouroullec ha altri precursori. Artisti che desiderano nuovi alfabeti nell'astrazione, o che si preoccupano di forme semplici e operazioni casuali. Fondamentalmente, però, questo lavoro sembra portare avanti un progetto più antico: il progetto suprematista di Kazimir Malevich. Nel manifesto di Malevich sul Suprematismo, Malevich scrive di “un ‘deserto’, dove nulla è reale tranne il sentimento”. Malevich credeva di aver scoperto la grammatica di questo mondo non oggettivo. Bouroullec lo ha riscoperto – e lo ha rinnovato per il nostro tempo. Ecco perché le opere sembrano avere una risonanza primordiale. Cortocircuitano la nostra comprensione simbolica innata, sussurrano altri paesaggi. Ci ricordano che la massa e l'atmosfera sono forme di piacere e ci chiedono di compiacerci. Josh Aschermann\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bassorilievi\u0026lt;!--nl--\u0026gt;Ronan Bouroullec\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In collaborazione con Galerie Kreo\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;24 pagine\u0026lt;!--nl--\u0026gt;19,5 x 25,5 cm\u0026lt;!--nl--\u0026gt;Compensazione colore\u0026lt;!--nl--\u0026gt;Prima edizione 2022\u0026lt;!--nl--\u0026gt;ISBN 978-3-907179-44-4\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Tutti i titoli di Ronan Bouroullec\" data-crosslingual-hint=\"en\" data-location=\"2\" data-enable-toggle-playback-speed=\"true\" data-results-count=\"1\" data-result-index=\"1\"\u003e\n\n\u003cspan data-irrelevant-id=\"ucc-78\"\u003e\u003c\/span\u003e\n\u003cdiv class=\"m0Qfkd\"\u003e\n\n\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cp\u003e \u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cspan data-irrelevant-id=\"ucc-79\"\u003e\u003c\/span\u003e\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/p\u003e\n\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\n\n\u003cdiv class=\"kO6q6e\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":56877763952905,"sku":"0924","price":19.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Lausanne-Ronan-Bouroullec-Nieves-Book-00.png?v=1773239823"},{"product_id":"inchiostri-ronan-bouroullec","title":"Inchiostri - Ronan Bouroullec ","description":"\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\n\u003cp\u003eProduced in Murano in collaboration with master glassmaker Simone Cenedese, each vase is composed of four elements: two blocks of cast glass (in four different sizes and two thicknesses, 6 or 7 centimeters), a blown glass tube (in two different heights), and a small, shallow blown glass dish that can be stacked on top of the tube. Each element features a different hue, chosen from a palette of eleven colors.\u003c\/p\u003e\n\u003cp\u003eFrom the almost infinite number of possible combinations offered by these basic forms, Ronan Bouroullec has selected twenty unique compositions. Through them, he continues to explore themes essential to his work. First, the question of assembly: in this case, joining objects without fastenings, simply by contact, through an essentially reversible process. Then, the question of balance: the arrangement of empty space and solid forms, of molten and blown glass, of fragile objects inserted within sturdy ones. And the notion of paradox: the possibility of elevation that resides in the very weight of things, the effect of verticality through horizontality, and the luminosity achieved through darkness, as evidenced by the name of the vases, Inchiostri (Inks).\u003c\/p\u003e\n\u003cp\u003eExcerpt from the text by Martin Bethenod\u003cbr\u003e(Translated from French by Lucas Faugère)\u003c\/p\u003e\n\u003cp\u003eIn collaboration with Giorgio Mastinu\u003cbr\u003eIncludes the Inchiostri Supplement\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e20 pages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e19.5 x 25.5 cm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eColor offset\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eFirst edition 2025\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eISBN 978-3-907179-89-5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"XL3Kf XExWNc\"\u003e\n\u003cdiv class=\"a8FIud X0rvP\"\u003e\n\u003cdiv data-show-delay-ms=\"250\" data-append-to-body=\"false\" data-propagate-tooltip-mouseover-events=\"true\" data-anchor-corner=\"bottom-end\" data-enable-skip-handler=\"false\" data-popup-corner=\"top-end\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"ebT7ne VOLvac sMVRZe\"\u003e\n\u003cdiv class=\"F0pQVc\"\u003e\u003ca class=\"dWI6ed\" href=\"https:\/\/translate.google.it\/details\"\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"VO9ucd\"\u003e\n\u003cdiv class=\"aJIq1d\" dir=\"ltr\" data-language-code=\"it\" data-language-name=\"Italiano\" data-crosslingual-hint=\"en\" data-location=\"2\" data-enable-toggle-playback-speed=\"true\" data-results-count=\"1\" data-result-index=\"1\"\u003e\u003cspan data-irrelevant-id=\"ucc-78\"\u003e\u003c\/span\u003e\n\u003cdiv class=\"m0Qfkd\"\u003e\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cspan data-irrelevant-id=\"ucc-79\"\u003e\u003c\/span\u003e\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\n\u003cdiv class=\"kO6q6e\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":56877867041033,"sku":"0925","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Inchiostri-Ronan-Bouroullec-Nieves-Book-00.png?v=1773244495"},{"product_id":"punctuations-jean-jullien","title":"Punctuations - Jean Jullien","description":"\u003cdiv dir=\"ltr\" class=\"lRu31\"\u003e\n\n\u003cp\u003e Punctuations brings together a series of paintings that epitomize surfing on big waves, transforming the human element into visual punctuation against the immense aquatic backdrop. Created for Studiolo, the artist's first institutional European solo exhibition, at the Millennium Iconoclast Museum of Art (MIMA) in Brussels in 2023.\u003c\/p\u003e\n\n \u003cp\u003eJean Jullien (1983) is a French artist living and working in Paris. Originally from Nantes, he graduated from Central Saint Martins in 2008 and the Royal College of Art in 2010. Jullien's creative output spans painting, illustration, installation, photography, and video, as well as costumes, books, posters, and clothing. He has exhibited his work worldwide in museums and galleries in Paris, London, Brussels, Los Angeles, New York, San Francisco, Berlin, Tokyo, Seoul, Melbourne, Singapore, and elsewhere. His work has appeared in the New York Times, the New Yorker, the Guardian, National Geographic, SZ Magazin, Télérama, and elsewhere, and he has collaborated with several global brands. In 2016, he launched NouNou with Jae Huh, a Korea-based brand that produces a range of products featuring the artist's distinctive imagery.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n \u003cdiv dir=\"ltr\" class=\"lRu31\"\u003e\n\u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e16\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003epages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e11.2 x 17.8 cm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eColor offset\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eFirst edition 2024\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eISBN 978-3-907179-78-9\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003c\/div\u003e\n\n\u003cdiv data-location=\"2\" class=\"UdTY9 WdefRb\" aria-hidden=\"true\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"XL3Kf XExWNc\"\u003e\n\n\u003cdiv class=\"a8FIud X0rvP\"\u003e\n\n\u003cdiv data-popup-corner=\"top-end\" data-enable-skip-handler=\"false\" data-anchor-corner=\"bottom-end\" data-propagate-tooltip-mouseover-events=\"true\" data-append-to-body=\"false\" data-show-delay-ms=\"250\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"ebT7ne VOLvac sMVRZe\"\u003e\n\n\u003cdiv class=\"F0pQVc\"\u003e\n\n\u003ca href=\"https:\/\/translate.google.it\/details\" class=\"dWI6ed\"\u003e\u003c\/a\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"VO9ucd\"\u003e\n\n\u003cdiv data-result-index=\"1\" data-results-count=\"1\" data-enable-toggle-playback-speed=\"true\" data-location=\"2\" data-crosslingual-hint=\"en\" data-text=\"Potremmo guardare i bassorilievi in ceramica di Ronan Bouroullec e vedere le tracce di un linguaggio che riconosciamo: le sagome di oggetti familiari, i contorni di paesaggi conosciuti. Potremmo essere tentati di considerare l’opera come un alfabeto di semplici cose, di pensare ai pezzi “oggettivamente”. Ma come tableaux, i rilievi non sono del tutto corretti: uno ha un bordo che va troppo lontano, un altro un cerchio che è decentrato e sul punto di rotolare, e un altro ancora, una massa rosata che potrebbe ribaltarsi.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Il lavoro di Bouroullec è molto gratificante se lo ascoltiamo perché richiede un linguaggio completamente nuovo. Le lingue sono sempre nate dall'argilla (si pensi ai sigilli cuneiformi); è facile credere che Bouroullec stia sviluppando il suo. Per lo meno, questi pezzi – da qualche parte all’intersezione tra pittura, scultura e design – richiedono nuovi verbi, parole come “smussare” e “disintegrare”. (Ed è possibile, dicono le opere, che non ci sia niente di più bello di un bordo smussato: il modo in cui si assottigliano è come una carezza. Il modo in cui si dissolvono su uno sfondo sembra digitale e anche profondamente analogico. Questi effetti sono sia visivi che tattili , come in: li vediamo e vogliamo toccarli.)\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Le composizioni sanno parlare perché sono vive, masse di ceramica che respirano un'atmosfera metallica, su un pianeta strano ma invitante. Come altre lingue, quella di Bouroullec sembra avere una grammatica. Le forme si ripetono e la tavolozza è coerente, come un dialetto. Dove ci sono leggere variazioni, le opere confermano la regola. Alcune composizioni vengono ripetute e capovolte. Il processo di Bouroullec è anche intrinsecamente sintattico: sebbene le opere finite abbiano l’apparenza di una composizione precisa, sono organizzate ex post facto da elementi formati separatamente. Bouroullec assembla i rilievi solo dopo la cottura dei singoli elementi; alcuni inevitabilmente si rompono nel forno. Come le frasi, le composizioni di Bouroullec sono sequenze di parti fisse. Come la poesia, sono soggetti alla casualità.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In una foto dello studio di Bouroullec, si appoggia su un tavolo improvvisato su cui ha steso una spessa lastra di argilla. È buio; ha in mano un coltello da cucina: più tardi sarà incrostato di residui del materiale che sta usando per intagliare. Alla sua sinistra c'è una pila di ritagli sottili che sono stati ritagliati dall'insieme più grande; la ceramica conserva una sensazione di cartaceo nelle opere finite. Ciò ha qualcosa a che fare con la figura e lo sfondo, le forme di ceramica smaltata (segnate da crepe, bolle e tracce di strumenti) sostenute dal contrasto con la piattezza e la nitidezza della superficie sintetica su cui sono state disposte. Il senso del découpage – un’attenta composizione con ritagli di carta – va più in profondità della somiglianza formale con i primi disegni e progetti di Bouroullec.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bouroullec ha altri precursori. Artisti che desiderano nuovi alfabeti nell'astrazione, o che si preoccupano di forme semplici e operazioni casuali. Fondamentalmente, però, questo lavoro sembra portare avanti un progetto più antico: il progetto suprematista di Kazimir Malevich. Nel manifesto di Malevich sul Suprematismo, Malevich scrive di “un ‘deserto’, dove nulla è reale tranne il sentimento”. Malevich credeva di aver scoperto la grammatica di questo mondo non oggettivo. Bouroullec lo ha riscoperto – e lo ha rinnovato per il nostro tempo. Ecco perché le opere sembrano avere una risonanza primordiale. Cortocircuitano la nostra comprensione simbolica innata, sussurrano altri paesaggi. Ci ricordano che la massa e l'atmosfera sono forme di piacere e ci chiedono di compiacerci. Josh Aschermann\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bassorilievi\u0026lt;!--nl--\u0026gt;Ronan Bouroullec\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In collaborazione con Galerie Kreo\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;24 pagine\u0026lt;!--nl--\u0026gt;19,5 x 25,5 cm\u0026lt;!--nl--\u0026gt;Compensazione colore\u0026lt;!--nl--\u0026gt;Prima edizione 2022\u0026lt;!--nl--\u0026gt;ISBN 978-3-907179-44-4\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Tutti i titoli di Ronan Bouroullec\" data-language-name=\"Italiano\" data-language-code=\"it\" dir=\"ltr\" class=\"aJIq1d\"\u003e\n\n\u003cspan data-irrelevant-id=\"ucc-78\"\u003e\u003c\/span\u003e\n\u003cdiv class=\"m0Qfkd\"\u003e\n\n\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cp\u003e \u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cspan data-irrelevant-id=\"ucc-79\"\u003e\u003c\/span\u003e\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/p\u003e\n\n\u003cdiv data-location=\"2\" class=\"UdTY9 WdefRb\" aria-hidden=\"true\"\u003e\n\n\u003cdiv class=\"kO6q6e\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":56877982449929,"sku":"0926","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Punctuations-Jean-Jullien-Nieves-Book-00.png?v=1773247985"},{"product_id":"going-to-love-you-mark-gonzales","title":"Going to Love You - Mark Gonzales ","description":"\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\n\n\u003cp\u003e This new series of works features paintings depicting characters with heart-shaped heads in various emotional states and situations, sometimes teetering between the ordinary and the extraordinary. From tender moments of love to unexpected skateboarding scenes, the work is filled with a new iteration of the emotional \"schmoo\" characters.\u003c\/p\u003e\n\n \u003cp\u003eMark Gonzales is an American artist and professional skateboarder best known for his profound contribution to the development of street skateboarding from the mid-1980s onwards. Gonzales's creative vision is evident in his ability to perform inventive new tricks using existing urban architecture such as handrails, stairs, and ledges. His art stems from the skateboarding scene itself and includes illustrating fanzines, often featuring surreal and humorous characters, as well as producing and collaborating on projects with Harmony Korine and Spike Jonze. Born on June 1, 1968, in South Gate, California, he began skateboarding at age 13 and founded the company Blind Skateboards in 1989. While pursuing his sporting career, the artist began drawing in his spare time and created graphics for Krooked Skateboards. Since then, he has collaborated with clothing brands Supreme and Adidas, among others. He currently exhibits his work at the Brooklyn Museum, where 40 of his magazines are featured in the exhibition “Copy Machine Manifestos: Artists Who Make Zines.” He lives and works in New York.\u003c\/p\u003e\n\n \u003cp\u003eExhibition at HVW8 Gallery\u003cbr\u003e \u003ci\u003eGoing to Love You\u003c\/i\u003e by Mark Gonzales\u003cbr\u003e February 24th – April 7th, 2024\u003c\/p\u003e\n\n\u003cp\u003e Nieves in Collaboration with HVW8\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e \u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e180\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003epages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e10.5 x 10.5 cm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eColor offset\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eFirst edition 2024\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eISBN 978-3-907179-74-1\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003c\/div\u003e\n\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"XL3Kf XExWNc\"\u003e\n\n\u003cdiv class=\"a8FIud X0rvP\"\u003e\n\n\u003cdiv data-show-delay-ms=\"250\" data-append-to-body=\"false\" data-propagate-tooltip-mouseover-events=\"true\" data-anchor-corner=\"bottom-end\" data-enable-skip-handler=\"false\" data-popup-corner=\"top-end\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"ebT7ne VOLvac sMVRZe\"\u003e\n\n\u003cdiv class=\"F0pQVc\"\u003e\n\n\u003ca class=\"dWI6ed\" href=\"https:\/\/translate.google.it\/details\"\u003e\u003c\/a\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"VO9ucd\"\u003e\n\n\u003cdiv class=\"aJIq1d\" dir=\"ltr\" data-language-code=\"it\" data-language-name=\"Italiano\" data-text=\"Potremmo guardare i bassorilievi in ceramica di Ronan Bouroullec e vedere le tracce di un linguaggio che riconosciamo: le sagome di oggetti familiari, i contorni di paesaggi conosciuti. Potremmo essere tentati di considerare l’opera come un alfabeto di semplici cose, di pensare ai pezzi “oggettivamente”. Ma come tableaux, i rilievi non sono del tutto corretti: uno ha un bordo che va troppo lontano, un altro un cerchio che è decentrato e sul punto di rotolare, e un altro ancora, una massa rosata che potrebbe ribaltarsi.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Il lavoro di Bouroullec è molto gratificante se lo ascoltiamo perché richiede un linguaggio completamente nuovo. Le lingue sono sempre nate dall'argilla (si pensi ai sigilli cuneiformi); è facile credere che Bouroullec stia sviluppando il suo. Per lo meno, questi pezzi – da qualche parte all’intersezione tra pittura, scultura e design – richiedono nuovi verbi, parole come “smussare” e “disintegrare”. (Ed è possibile, dicono le opere, che non ci sia niente di più bello di un bordo smussato: il modo in cui si assottigliano è come una carezza. Il modo in cui si dissolvono su uno sfondo sembra digitale e anche profondamente analogico. Questi effetti sono sia visivi che tattili , come in: li vediamo e vogliamo toccarli.)\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Le composizioni sanno parlare perché sono vive, masse di ceramica che respirano un'atmosfera metallica, su un pianeta strano ma invitante. Come altre lingue, quella di Bouroullec sembra avere una grammatica. Le forme si ripetono e la tavolozza è coerente, come un dialetto. Dove ci sono leggere variazioni, le opere confermano la regola. Alcune composizioni vengono ripetute e capovolte. Il processo di Bouroullec è anche intrinsecamente sintattico: sebbene le opere finite abbiano l’apparenza di una composizione precisa, sono organizzate ex post facto da elementi formati separatamente. Bouroullec assembla i rilievi solo dopo la cottura dei singoli elementi; alcuni inevitabilmente si rompono nel forno. Come le frasi, le composizioni di Bouroullec sono sequenze di parti fisse. Come la poesia, sono soggetti alla casualità.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In una foto dello studio di Bouroullec, si appoggia su un tavolo improvvisato su cui ha steso una spessa lastra di argilla. È buio; ha in mano un coltello da cucina: più tardi sarà incrostato di residui del materiale che sta usando per intagliare. Alla sua sinistra c'è una pila di ritagli sottili che sono stati ritagliati dall'insieme più grande; la ceramica conserva una sensazione di cartaceo nelle opere finite. Ciò ha qualcosa a che fare con la figura e lo sfondo, le forme di ceramica smaltata (segnate da crepe, bolle e tracce di strumenti) sostenute dal contrasto con la piattezza e la nitidezza della superficie sintetica su cui sono state disposte. Il senso del découpage – un’attenta composizione con ritagli di carta – va più in profondità della somiglianza formale con i primi disegni e progetti di Bouroullec.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bouroullec ha altri precursori. Artisti che desiderano nuovi alfabeti nell'astrazione, o che si preoccupano di forme semplici e operazioni casuali. Fondamentalmente, però, questo lavoro sembra portare avanti un progetto più antico: il progetto suprematista di Kazimir Malevich. Nel manifesto di Malevich sul Suprematismo, Malevich scrive di “un ‘deserto’, dove nulla è reale tranne il sentimento”. Malevich credeva di aver scoperto la grammatica di questo mondo non oggettivo. Bouroullec lo ha riscoperto – e lo ha rinnovato per il nostro tempo. Ecco perché le opere sembrano avere una risonanza primordiale. Cortocircuitano la nostra comprensione simbolica innata, sussurrano altri paesaggi. Ci ricordano che la massa e l'atmosfera sono forme di piacere e ci chiedono di compiacerci. Josh Aschermann\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bassorilievi\u0026lt;!--nl--\u0026gt;Ronan Bouroullec\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In collaborazione con Galerie Kreo\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;24 pagine\u0026lt;!--nl--\u0026gt;19,5 x 25,5 cm\u0026lt;!--nl--\u0026gt;Compensazione colore\u0026lt;!--nl--\u0026gt;Prima edizione 2022\u0026lt;!--nl--\u0026gt;ISBN 978-3-907179-44-4\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Tutti i titoli di Ronan Bouroullec\" data-crosslingual-hint=\"en\" data-location=\"2\" data-enable-toggle-playback-speed=\"true\" data-results-count=\"1\" data-result-index=\"1\"\u003e\n\n\u003cspan data-irrelevant-id=\"ucc-78\"\u003e\u003c\/span\u003e\n\u003cdiv class=\"m0Qfkd\"\u003e\n\n\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n \u003cp\u003e\u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cspan data-irrelevant-id=\"ucc-79\"\u003e\u003c\/span\u003e\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/p\u003e\n\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\n\n\u003cdiv class=\"kO6q6e\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":56878038319369,"sku":"0927","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Going-to-Love-You-Mark-Gonzales-Nieves-Book-00.png?v=1773249880"},{"product_id":"knigi-english-benjamin-sommerhalder","title":"Knigi (English) - Benjamin Sommerhalder","description":"\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\n\n\u003cp\u003e When the little ghost Knigi reaches the age when human children learn to read, his ancestors give him a special birthday gift: a book. But something's wrong: the book is completely empty, containing nothing but blank pages. Determined to solve the mystery, Knigi embarks on a whimsical journey to discover the magic of reading. Knigi's story celebrates curiosity, creativity, and the power of imagination.\u003c\/p\u003e\n\n\u003cp\u003e Second adapted and expanded edition, first published in 2011. \u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"lRu31\" dir=\"ltr\"\u003e \u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e28\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003epages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003e16 x 22.5 cm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eColor offset\u003cbr\u003e Second edition adapted and expanded 2025\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"jCAhz ChMk0b\"\u003e\u003cspan class=\"ryNqvb\"\u003eISBN 978-3-907179-36-9\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e \u003c\/div\u003e\n\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"XL3Kf XExWNc\"\u003e\n\n\u003cdiv class=\"a8FIud X0rvP\"\u003e\n\n\u003cdiv data-show-delay-ms=\"250\" data-append-to-body=\"false\" data-propagate-tooltip-mouseover-events=\"true\" data-anchor-corner=\"bottom-end\" data-enable-skip-handler=\"false\" data-popup-corner=\"top-end\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"ebT7ne VOLvac sMVRZe\"\u003e\n\n\u003cdiv class=\"F0pQVc\"\u003e\n\n\u003ca class=\"dWI6ed\" href=\"https:\/\/translate.google.it\/details\"\u003e\u003c\/a\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"VO9ucd\"\u003e\n\n\u003cdiv class=\"aJIq1d\" dir=\"ltr\" data-language-code=\"it\" data-language-name=\"Italiano\" data-text=\"Potremmo guardare i bassorilievi in ceramica di Ronan Bouroullec e vedere le tracce di un linguaggio che riconosciamo: le sagome di oggetti familiari, i contorni di paesaggi conosciuti. Potremmo essere tentati di considerare l’opera come un alfabeto di semplici cose, di pensare ai pezzi “oggettivamente”. Ma come tableaux, i rilievi non sono del tutto corretti: uno ha un bordo che va troppo lontano, un altro un cerchio che è decentrato e sul punto di rotolare, e un altro ancora, una massa rosata che potrebbe ribaltarsi.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Il lavoro di Bouroullec è molto gratificante se lo ascoltiamo perché richiede un linguaggio completamente nuovo. Le lingue sono sempre nate dall'argilla (si pensi ai sigilli cuneiformi); è facile credere che Bouroullec stia sviluppando il suo. Per lo meno, questi pezzi – da qualche parte all’intersezione tra pittura, scultura e design – richiedono nuovi verbi, parole come “smussare” e “disintegrare”. (Ed è possibile, dicono le opere, che non ci sia niente di più bello di un bordo smussato: il modo in cui si assottigliano è come una carezza. Il modo in cui si dissolvono su uno sfondo sembra digitale e anche profondamente analogico. Questi effetti sono sia visivi che tattili , come in: li vediamo e vogliamo toccarli.)\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Le composizioni sanno parlare perché sono vive, masse di ceramica che respirano un'atmosfera metallica, su un pianeta strano ma invitante. Come altre lingue, quella di Bouroullec sembra avere una grammatica. Le forme si ripetono e la tavolozza è coerente, come un dialetto. Dove ci sono leggere variazioni, le opere confermano la regola. Alcune composizioni vengono ripetute e capovolte. Il processo di Bouroullec è anche intrinsecamente sintattico: sebbene le opere finite abbiano l’apparenza di una composizione precisa, sono organizzate ex post facto da elementi formati separatamente. Bouroullec assembla i rilievi solo dopo la cottura dei singoli elementi; alcuni inevitabilmente si rompono nel forno. Come le frasi, le composizioni di Bouroullec sono sequenze di parti fisse. Come la poesia, sono soggetti alla casualità.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In una foto dello studio di Bouroullec, si appoggia su un tavolo improvvisato su cui ha steso una spessa lastra di argilla. È buio; ha in mano un coltello da cucina: più tardi sarà incrostato di residui del materiale che sta usando per intagliare. Alla sua sinistra c'è una pila di ritagli sottili che sono stati ritagliati dall'insieme più grande; la ceramica conserva una sensazione di cartaceo nelle opere finite. Ciò ha qualcosa a che fare con la figura e lo sfondo, le forme di ceramica smaltata (segnate da crepe, bolle e tracce di strumenti) sostenute dal contrasto con la piattezza e la nitidezza della superficie sintetica su cui sono state disposte. Il senso del découpage – un’attenta composizione con ritagli di carta – va più in profondità della somiglianza formale con i primi disegni e progetti di Bouroullec.\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bouroullec ha altri precursori. Artisti che desiderano nuovi alfabeti nell'astrazione, o che si preoccupano di forme semplici e operazioni casuali. Fondamentalmente, però, questo lavoro sembra portare avanti un progetto più antico: il progetto suprematista di Kazimir Malevich. Nel manifesto di Malevich sul Suprematismo, Malevich scrive di “un ‘deserto’, dove nulla è reale tranne il sentimento”. Malevich credeva di aver scoperto la grammatica di questo mondo non oggettivo. Bouroullec lo ha riscoperto – e lo ha rinnovato per il nostro tempo. Ecco perché le opere sembrano avere una risonanza primordiale. Cortocircuitano la nostra comprensione simbolica innata, sussurrano altri paesaggi. Ci ricordano che la massa e l'atmosfera sono forme di piacere e ci chiedono di compiacerci. Josh Aschermann\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Bassorilievi\u0026lt;!--nl--\u0026gt;Ronan Bouroullec\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;In collaborazione con Galerie Kreo\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;24 pagine\u0026lt;!--nl--\u0026gt;19,5 x 25,5 cm\u0026lt;!--nl--\u0026gt;Compensazione colore\u0026lt;!--nl--\u0026gt;Prima edizione 2022\u0026lt;!--nl--\u0026gt;ISBN 978-3-907179-44-4\u0026lt;!--nl--\u0026gt;\u0026lt;!--nl--\u0026gt;Tutti i titoli di Ronan Bouroullec\" data-crosslingual-hint=\"en\" data-location=\"2\" data-enable-toggle-playback-speed=\"true\" data-results-count=\"1\" data-result-index=\"1\"\u003e\n\n\u003cspan data-irrelevant-id=\"ucc-78\"\u003e\u003c\/span\u003e\n\u003cdiv class=\"m0Qfkd\"\u003e\n\n\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cp\u003e \u003cspan class=\"HwtZe\" lang=\"it\"\u003e\u003cspan class=\"jCAhz\"\u003e\u003cspan class=\"ryNqvb\"\u003e\u003cspan data-irrelevant-id=\"ucc-79\"\u003e\u003c\/span\u003e\u003cspan data-is-tooltip-wrapper=\"true\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/p\u003e\n\n\u003cdiv aria-hidden=\"true\" class=\"UdTY9 WdefRb\" data-location=\"2\"\u003e\n\n\u003cdiv class=\"kO6q6e\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":56878051328265,"sku":"0928","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0664\/0864\/4873\/files\/Knigi-English-Benjamin-Sommerhalder-Nieves-Book-00.png?v=1773251164"}],"url":"https:\/\/soulstudio.store\/en\/collections\/illustration.oembed?page=3","provider":"Soul Studio","version":"1.0","type":"link"}