“THANK YOU BYE was born out of a need to put down somewhere what I have experienced over the last five years. Although it gives the impression of a veil being lifted, it is simply a record of my personal experience. The intention, through these hundreds of photos, is to transcribe the absurd, crazy and little-known world of modelling, by means of an unpublished souvenir album of my time spent in fashion. The result is THANK YOU BYE, which owes its name to the phrase uttered by casting directors every time you walk in front of them. It recounts my moments of sadness, my anxieties, my unease, my questions, but also our laughter, our travels, our togetherness, our mutual support. Five years during which I fought not to lose myself. Thrown at the age of 18 at a speed I found hard to manage into a dimension that was not my own, I embrace all the models who ‘pose’ in this book and who, without realising it, helped me to escape. What you hold in your hands is none other than the last chance to prove that I was still worth something. When you turn the last page, you’ll know that I’ve resigned and can finally say that I’m happy.” – Clémentine Balcaen

I’m Showing How Big the Sky Is is Martina Bacigalupo’s tribute to her former nanny, Chiou Taur Wu, a Taiwanese woman who lived over three decades in Italy. Despite a harsh life—from working in fields and factories to managing her husband’s gambling debts — Chiou remained resilient. At almost 70, she returned to Taiwan, resumed her studies, took dance classes, and began traveling.

Through hundreds of photos from Chiou during ten years of correspondence, Bacigalupo presents a story of extraordinary resilience. Told in the first person, with Chiou’s images and words, the book is a celebration of freedom, humor, and poetry.

This major retrospective catalogue accompanies the first institutional exhibition focusing on the visual works of art by Stanley Donwood and Thom Yorke. The majority of the paintings, drawings and digital works were specifically made for Yorke’s internationally celebrated band Radiohead, formed in Oxford in 1985. The book is beautifully designed in the same size as a record cover and features iconic artworks from the 1980s until today, relating to Radiohead albums, their covers and promotional band images, as well as sketchbooks and rare materials from their archives that have never before been published. It offers fresh views on the art of album covers, exploring the complex relationship between visual art and music.

Radiohead was formed in Abingdon, Oxfordshire, in 1985. The collaboration with the artist Stanley Donwood began in 1994 when the band was developing their second album, The Bends, which was released on 13th March, 1995. 2025 is therefore the 40-year anniversary of the band and the 30-year anniversary of the release of The Bends. The catalogue’s focus is upon the art produced by both Stanley Donwood and the band’s lead vocalist, Thom Yorke presented chronologically. Radiohead’s popularity has never waned and they have a strong core following and new fans (many of who are the children of ‘original’ fans).

The high-quality reproductions are complemented by exclusive interviews with the artists, and essays by Alex Farquharson, Nico Kos Earle, Benjamin Myers, James Putnam and Jennifer Ramkalawon.

A major retrospective is held at the Ashmolean Museum from August 2025 to January 2026.

Birmingham (UK) born and based Ben Sadler’s colorful painted portraits of imaginary people are full of personality, eclectic states of mind, and varying degrees of intrigue. They are also sometimes evocative, emotive, and amusing. The publication features two bodies of work: You and I (2024) and Exclamations! (2023), both of which present small paintings corresponding to each letter of the alphabet (though the letters U and I are curiously missing from the series You and I). The starting point was the idea of visitors to an imaginary exhibition––who are they, what kinds of people are they, and what thoughts are going through their minds? Such questions are explored in celebrated Birmingham-based author Catherine O’Flynn’s text commissioned for the publication, along with a foreword by Deborah Kermode, Chief Executive and Artistic Director of Midlands Arts Centre (MAC), Birmingham, and an interview by London-based creative coach, podcaster, and public speaker Ceri Hand.

“As enterprises embrace AI and automation, three challenges emerge: empowering employees as roles shift, enabling continuous reskilling without disruption, and creating real synergy between AI and human talent. Drawing from real-world transformation programs, this book offers a practical playbook to address these shifts – not with theory, but with actionable strategies, proven tools, and human-centric design. The new AI era demands more than technology; it demands a reimagined employee experience that fuels performance, personalizes learning, and strengthens coaching. When done right, this isn’t just adaptation. It’s transformation, helping people stay relevant, resilient, and ready for what’s next.” — Gal Rimon, Founder and CEO, Centrical

“With clarity and structure, this book turns the overwhelming topic of AI into the confidence leaders need to simply get started.” — Eline Lostrie, Co-CEO, nexxworks

AI Will Replace You shows how organizations can let go of their fear of AI and instead embrace this technology as a lever for growth. Using the practical and accessible AI Navigator framework, you’ll discover how to effectively embed AI into your strategy, get your employees on board, and prepare your organization to become an AI leader.

In interior design, color is one of the most potent instruments to create mood and personality. Whether the palette aims at quiet harmony or full-blown color contrast, a colorful home is always fun, uplifting and welcoming. Interior photographer Helenio Barbetta shows us the way, with 20 homes that stand out thanks to their purposeful use of color. Author Kurt G. Stapelfeldt investigates how these interiors are shaped by their hues, and how color choices reflect the personality of the inhabitants.  When used thoughtfully, color transforms any space into a personal sanctum. From floor-to-ceiling color to small bursts of color, from dark classic blue to bright citrus yellow: All You Need is Colour shows the many ways in which we can use color to liven up our living quarters.  

The conceptual art practice of Cerith Wyn Evans encompasses installations, sculpture, film and text, translating ideas from philosophy, art history, film and literature into lyrical, often monumental, site-specific exhibitions. This publication provides valuable insight into Evans’ wide-ranging practice, as well as a document to the artist’s 2025–26 exhibition of the same name – Forms in Space…through Light (in Time) – at Lisbon’s MAAT – Museum of Art, Architecture and Technology. Featuring specially commissioned photographs of Evans’ complex, captivating works in situ, the catalogue includes an introduction by exhibition curator Sérgio Mah, who also conducts an interview with the artist, and an essay by Professor Michael Newman.

Dual Language English and Portuguese.

“Seldom does a collection of art history essays leave readers yearning for a second volume…”—Barbara Wisch, Renaissance Quarterly

Roman church interiors throughout the Early Modern age were endowed with rich historical and visual significance. During the sixteenth and seventeenth centuries, in anticipation of and following the Council of Trent, and in response to the expansion of the Roman Curia, the chapel became a singular arena in which wealthy and powerful Roman families, as well as middle-class citizens, had the opportunity to demonstrate their status and role in Roman society. In most cases the chapels were conceived not as isolated spaces, but as part of a more complex system, which involved the nave and the other chapels within the church, in a dialogue among the arts and the patrons of those other spaces. This volume explores this historical and artistic phenomenon through a number of examples involving the patronage of prominent Roman families such as the Chigis, Spadas, Caetanis, Cybos and important artists and architects such as Federico Zuccari, Giacomo della Porta, Carlo Maderno, Alessandro Algardi, Pietro da Cortona, Carlo Maratta.

“Mesmerizing and unputdownable – a virtuoso translation of what must surely be one of the best Thai novels to make it into English.” – Lawrence Osborne, author of Hunters in the Dark and Only to Sleep

”At its core, this novel from Veeraporn Nitiprapha has a simple dynamic: the tension between two sisters, and the young man whose life interweaves with each of theirs. What makes this novel unique is its attention to the granular, whether it’s the music that several of its characters obsess over or its author’s tendency to fill in the history or future of a specific character at a moment’s notice.” – Words Without Borders, February 2019

Watchlist On the day Chareeya is born, her mother discovers her father has been having an affair with a traditional Thai dancer. From that moment, Chareeya’s life is fated to carry the weight of her parents disappointment. With her sister, Chalika, she grows up in an insular world, until joined by the laconic orphan, Pran, and together they navigate the labyrinth of their own making, each trying to escape their fate.

More than any other civilization, China is renowned for its long tradition of ceramic production, from its terracotta and stoneware works in ancient times to the imperial porcelain manufactured at Jingdezhen from the end of the fourteenth century. These works have been admired and collected over centuries for their outstanding quality and refinement. Now two hundred masterpieces from prominent private collections around the world have been brought together for the first time in a new book. The Baur Collections in Geneva, formed between 1928 and 1951, and the Zhuyuetang Collection (the Bamboo and Moon Pavilion in Hong Kong), which has been building since the late 1980s, reveal the elegance and variety of imperial monochrome porcelain wares produced during the Ming (1368-1644) and Qing (1644-1911) dynasties, which followed on from the Tang (618-907) and Song (960-1279) periods. These restrained pieces – both profane and sacred – exemplify the values of simplicity and modesty espoused by classical Chinese texts. With chapters devoted to the historical, cultural and technical contexts in which these pieces were made, this book will be a key reference on Chinese monochrome ceramics for all lovers of the subject, as well as students, researchers and connoisseurs.

Text in English and French with Chinese summaries.

Using the formalist conventions of an ironic heritage, William Ludwig Lutgens attains the expression of something sincere. Like the philosophical idiot who did his utmost best to unlearn all the fallacies he was acquitted with since birth and now only knows he knows nothing, the artist made the world into his own theater wherein he can stomp around like a bull in a china shop with the grace of a prima ballerina. Forcing a pathway to possible exits by presenting us with the alloy of his observations, imagination and scattershot references. Not merely asking questions, which seems to be the hype in contemporary art nowadays, he is unraveling the framework wherein these questions originate. The image deconstructed by the story of its creation, alternating between the power and impotence of the theatrical madness at the end of the world as we know it. William Ludwig Lutgens presents with his Comedy of Humours the dysfunctional family of man.

Text in English and Dutch.

Travel with nature and wildlife photographer Wouter Pattyn to explore 12 of the most beautiful nature reserves on the European continent. Along with photographs of stunning landscapes, Wild Places of Europe is a sourcebook of information for the adventurous traveler, including practical tips for booking your visit and taking the best photographs. Immerse yourself in these wonderful places and perhaps make plans to go to one yourself.

“If you really want to get under the skin of a city, the 500 Hidden Secrets series, which covers a number of cities from Havana to Ghent, all written by people who know the cities inside out, is ideal. It’s an innovative and refreshing take on the traditional travel guide.”- The Independent
The 500 Hidden Secrets of Brussels is a guide to the Brussels that no one knows. It takes you to undiscovered art museums, forgotten squares and secret shops. The book doesn’t mention everything there is to see. There are already more than enough guides that cover the familiar tourist places. This book goes one step further and lists the places the author would recommend to friends if they asked him where to go in Brussels. Here you will find the 5 best places to eat frites, the 5 small museums that no one should miss and the 5 best record shops in town. The aim is to take the reader to the unexpected places that give the city its charm, like the restaurant on the top floor of the national library, or the metro station that is decorated with 140 characters from Tintin albums, or the art cinema that seats just 20 people. You do not have to do everything listed in the book, but you are urged at the very least to drink a Gueuze beer in one of the 5 best Brussels bars, eat at one of the 5 best fish restaurants, and visit one of the 5 best independent cinemas. If you do, you will begin to discover a city that no one else knows.
The 500 Hidden Secrets of Brussels offers a practical guide to Brussels’ finest places, and Derek Blyth covers all bases to ensure no visitor to the city is ever anything short of captivated. Packed with accessible, easy-to-read information summarized in handy lists, maps, itineraries, sections on food & drink, accommodation, green spaces, museums, galleries and shops; this guide is an essential resource for the inquisitive traveler.

Animal liver, deer legs, sepia and cosmic dust are not usually amongst the preferred materials used by goldsmiths in the creation of pieces of jewellery. This is not the case for the Estonian group of artists õhuLoss, which means ‘Castle in the Air’. Its seven members make use of many organic materials in the design of objects which are on the border between applied and visual arts. They create confusing pieces of jewellery which appear to hover in time and space and play with these concepts. The lyrical creations of the seven artists evoke a past era, but their choice of materials is shocking enough to bring the viewer back to the present. The undisputed strength of the work lies in its suggestive power, which puts the viewer under its spell. The new Estonian jewellery of the õhuLoss group probes itself, the world and life. It is a medium for communication without words, expressing the ambivalence of the modern attitude towards life. The young Estonian jewellery artists show that especially intelligent jewellery, close to nature, is very powerful. This jewellery reveals the human feelings of the wearer. The purpose of this jewellery, according to Kadri Mälk, lies in the quiet support of its wearers and in the discrete revelation of their identity. Artists featured include Villu Plink, Eve Margus-Villems, Kristiina Laurits, Piret Hirv, Katrin Sipelgas, Tanel Veenre and Kadri Mälk. Contents:
Introduction by Kadri Mälk; sight/vaade; Castle in the Air | Rüdiger Joppien; The Touch of an Invisible Space | Saale Kareda; The Ultimate Castle in the Air | Karl Bollmann; Mart Raukas; The School and the Academy. Castle in the Air | Tamara Luuk; Homage to the Most Beloved | Lars Pahlman; jewellery/ethed; Kadri Mälk | Kristiina Laurits|Villu Plink | Eve Margus-Villems | Piret Hirv | Tanel Veenre | Karin Sipelgas; beyond/pilvevaatlus; lighthouse/tuletorn; post scriptum: chronology, bibliography, biographies. Text in English and Estonian.

The collection of British silver at the Ashmolean Museum has all, with one notable exception (a tankard of 1574 given in 1790), been acquired since shortly after World War II. In relation to other major museum collections, therefore, it is young. Yet amounting to over 550 objects, many of which are of spectacular quality and rarity, it is one of the most important collections of its kind in the world, equaled only for the ‘golden age’ of English silver by the Victoria and Albert Museum in London and the Museum of Fine Arts in Boston. The collection has never been fully catalogued and this will be the first time a complete catalogue has been published.

In keeping with an editorial strategy that aims to bring to public attention all of the various groups of works belonging to the Calouste Gulbenkian Collection, a book devoted to its drawings and watercolors has been published. Featuring texts by Manuela Fidalgo, who worked as a curator at the Calouste Gulbenkian Museum until her retirement, this edition is the product of several years of thorough research underpinned by technical and scientific rigor and the involvement of several international experts in the art of drawing.

This publication therefore plays an essential part in raising awareness of one of the Calouste Gulbenkian Museum’s least-well known collections, which includes works produced in the main centers of European art (France, Holland, Flanders, England and Italy) between the 16th and early 20th centuries by great masters such as Dürer, Watteau, Boucher, Turner and Sargent, among others. This book also gives us a clearer picture of Calouste Gulbenkian’s artistic sensibility as a collector: despite claiming not to be attracted to drawing, the beauty and quality of the works brought together here were such that he could not resist purchasing them.

While the foundations of the Josette and Jean-Claude Weill Collection lie in painting, their passion for seeking out exciting new forms soon led them to embrace the infinite diversity of tribal art. Expanded over the decades under the enthusiastic stewardship of their son Jean-Pierre, the collection now includes over 120 works of the very highest order, covering Africa, Oceania, and the Americas. Several large categories can be discerned, reflecting the Weill family’s liking for daring, expressionistic forms: Dogon and Tellem statues combining geometric shapes with textured surfaces, as well as Kongo powerful figures endowed with magic properties. The expressive arts of Nigeria, Cameroon, and Melanesia are also well represented in the collection. Among the more classic works there are pieces that have iconic status – such as the Bena Lulua statue that used to belong to Jacques Kerchache, Edward Robinson’s Fang reliquary figure, or the Biwat powerful flute plug from the Lemaire Collection – that testify to the sureness of the Weill’s taste and to the shrewd instinct that led them to appreciate this art from another world. An important group of finely carved small ivories makes up one-third of the whole collection. This book will provide an opportunity to unveil the Parisian collection shrouded in mystery, whose importance is matched only by its confidentiality. In order to enable the reader to capture the full richness and diversity of its contents, the works are all accompanied by notes written by experts, including Viviane Baeke (Africa Museum, Tervuren), Philippe Dagen (historian and art critic), Jean-Paul Colleyn (anthropologist), Bertrand Goy (author specializing in the Ivory Coast), Hélène Joubert (Musée du Quai Branly-Jaques Chirac), Hélène Leloup (historian and antiquarian), Sean Mooney (the Rock Foundation), and Philippe Peltier (formerly at Musée du Quai Branly-Jaques Chirac).

The Baptistery of San Giovanni is not only one of the most magnificent monuments in all Italy, but also a splendid anthology of great Florentine art in marble and stone, in mosaic and bronze, and the emblem of the religious and political ideals of Florence.

Mirabilia Italiæ is a unique series. It owes its existence to an innovative and ambitious project: an atlas of the great monuments of Italy that will display them in all their details, from the best known to the least. This series represents a completely new way of documenting art. Mirabilia Italiæ provides a guided tour of each monument, fully and accurately explained. Each atlas contains hundreds of color photographs, arranged in a precise topographical sequence and accompanied by diagrams showing the exact location of each detail. The atlas is complemented by a volume of texts edited by the premier scholars in the field, consisting of critical essays and descriptive notes. Essays examine the monument from the art-historical point of view, and record the alterations it has undergone over time. Descriptive notes analyze the content and significance of the images. Extensive cross-references link the essays and notes to the images, facilitating consultation of the work. The General Editor of Mirabilia Italiæ is Salvatore Settis, Director of the Scuola Normale Superiore in Pisa.

Text in English and Italian.

Founded probably in the 5th or 6th century, the Cathedral of Genoa was later rebuilt in Romanesque style and devoted to St. Lawrence the martyr. Money came from the successful enterprises of the Genoese fleets in the Crusades. After a fire in 1296, the building was partly restored, the inner colonnades rebuilt and matronei and frescoes added. In 1550 the Perugian architect Galeazzo Alessi was commissioned by the city magistrates to plan the reconstruction of the entire building, but the construction of the cathedral didn’t finish until the 17th century.

Among the artworks inside the church are ceiling frescoes, paintings and altarpieces by Luca Cambiaso, Federico Barocci, Lazzaro Tavarone and Gaetano Previati, while sculpture include works by Domenico Gagini, Andrea Sansovino, Giacomo and Guglielmo Della Porta. Impressive are also the works of art and silverware kept in the Museum of the Treasury which lies under the cathedral. One of the most important pieces is the Sacred bowl brought by Guglielmo Embriaco after the conquest of Cesarea and supposed to be the chalice used by Christ during the Last Supper.

Contributors include: Gianluca Ameri, Beatrice Astrua, Michele Bacci, Piero Boccardo, Antonella Capitanio, Marco Ciatti, Marco Collareta, Anna De Floriani, Clario Di Fabio, Grazia Di Natale, Gabriele Donati, Lucia Faedo, Marco Folin, Maria Flora Giubilei, Henrike Haug, Karin Kranhold, Anna Rosa Calderoni Masetti, Roberto Paolo Novello, Linda Pisani, Stefano Riccioni, Giorgio Rossini, Philippe Sénéchal, Carlo Tosco, Gerhard Wolf, Photographs by Ghigo Roli.

Text in English and Italian.

Taoism is perhaps the least understood of the world’s major religions and here, for the first time, is a concise introduction to its many-faceted beliefs. This book covers the key deities, temples, and sacred places, as well as Taoism’s core texts and scriptures.

In the third decade of the 21st century, we are witnessing an unprecedented exploration of female sexual power, while on the other hand reactionary cultural forces contrive to keep women as defenceless as possible. In this context, the work of photographer Alejandra Guerrero can be understood as a clarion call. Hers is a rarefied visual art that marks a turning point for female sexuality in erotica, her eloquent tableaux revealing the intricate ways in which women exert their erotic power. Here we see a future in which women dictate raw, yet refined desires. Each moment comes from the erotic fever dreams of the participants and the desires of the woman behind the camera.
Guerrero grew up against a backdrop of sleek automobiles. As a child she would sit in the driver’s seat of her mother’s Mercedes and dream of one day being in control of such an elegant machine. Her father was a mechanical engineer whose hobby was fixing up cool cars, and she would watch him at work, taking in the details of fins and fenders. It sparked a fascination, which became an adult passion, which eventually inspired an entire body of work. Auto Erotica is Guerrero’s second monograph with Circa and follows Wicked Women down the same electrifying road.