This book is based on a video installation about the everyday tragedy that is taking place in Israel and Palestine--through the words of the Israeli writer David Grossman, the Palestinian journalist El-Haddad and the Palestinian poet Mahmoud Darwish.

For the new edition of Performing PAC, the starting point is a reinterpretation of the exhibition ULTIME NEWS. Christian Boltanski, curated by Jean-Hubert Martin at the PAC in 2005. One of the main keys to interpreting Boltanski's work is precisely the analysis of the concept of "time", which inexorably flows and in which memory and remembrance become the signs, the traces, of man's fragile and unstable passage.0The 2023 exhibition is in fact dedicated to the relationship between contemporary art and historical memory, and the idea is to recount - through videos, photographs, installations, performances and a small "flashback" exhibition with material from the PAC Archive - how contemporary artistic practice and research has treated memory not as knowledge of history as an end in itself, but as a significantly and emotionally charged connection experienced between subjects and events that transcend their singularity.00With the participation of: Maja Bajevic, Yael Bartana, Christian Boltanski, Maurizio Cattelan, Clemencia Echeverri, Miguel Gomes, Douglas Gordon, Ottonella Mocellin e Nicola Pellegrini, Giulio Squillacciotti. 00Exhibition: Padiglione d'Arte Contemporanea, Milan, Italy (11.07. - 10.09.2023).

This book presents a psychotherapy intervention model called Multimodal Integrative Cognitive Stimulation Therapy (MICST). It is grounded in information processing and cognitive stimulation techniques and operates out of a positive psychology framework. This model, designed for group work with clients with schizophrenia, can be easily tailored to working with clients in individual therapy sessions. The three core MICST group activities include: 1) body movement-mindfulness-relaxation (BMR); 2) cognitive stimulation using group discussions; and 3) cognitive stimulation using paper-pencil cognitive exercises and self-reflection exercises. A chapter is devoted to each of these core areas with actual case vignettes to illustrate ways that these activities can be implemented in clinical practice. Homework recommendations are included at the end of each chapter, devoted to a core MICST group activity and providing suggestions on ways to practice various skills and exercises in between group sessions. Also provided are several handouts and worksheets which can be used with clients.

Scultore, disegnatore, scrittore, regista, editore: sono solo alcuni dei campi creativi investigati da Jan Fabre, un artista che da oltre trent'anni porta avanti un'intensa ricerca interdisciplinare e che presenta, in questo volume, l'opera installata presso Casa La Marrana di Ameglia (La Spezia), intitolata Il Rifugio (Per la Tomba del computer sconosciuto) e costituita da un ammasso di 100 croci di legno ricoperte di inchiostro blu Bic, su cui sono scritti nomi di insetti. Le immagini, scattate dal fotografo Aurelio Amendola, sono precedute da un saggio critico di Giacinto Di Pietrantonio, curatore dell'esposizione, e dai testi tratti da una conversazione tra Jan Fabre, Luigi Ficacci, Giacinto Di Pietrantonio e Alberto Garutti. Segue una postfazione di Achille Bonito Oliva. Edizione a tiratura limitata. Annotation Supplied by Informazioni Editoriali

Jan Fabre, born in Antwerp in 1958, is one of the most innovative and versatile artists of his generation. Over the past 30 years, he has produced work as a visual artist, performance artist, director and author, expanding the horizons of every genre. Homo Faber is the first comprehensive overview to deal with all aspects of Fabre's visual art. It discusses key themes and ideas in his performance, drawing, sculpture, installation, photography and film work, including the concept of metamorphosis, his use of human bones and echoes of the Old Masters in his work. This volume covers the whole of Fabre's artistic career, starting from works of the 1970s and 80s, when he exhibited himself in a shop window and staged performances in which he burned spectators' money and leading up to his most recent sculptural still lifes of owls' heads and Pushpin Men.