CURA. 30

CURA. 30


Ryan McNamara, Untitled (I Look Like I Sound & I Sound Like I Feel), 2018. Courtesy Ryan McNamara.

March 7, 2019

CURA. 30
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Issue 30 officially marks the start of the celebrations for CURA.’s 10th anniversary.

There isn’t a better moment than this to look back at our past, look into the future and include long-term contributors, new sections, artists’ interventions, friends, curators, and special contents, all gathered together to produce the 250+ pages of a rich, iconic and unmissable issue.

To start, we refreshed our look with a brand new logo and design thanks to a collaboration with Studio Yukiko, who kept CURA.’s radical design.

We invited the iconic performance artist Ryan McNamara to make the cover and to engage in an intimate conversation with artist/writer Hannah Black, followed by two critical texts by Melissa Anderson and Catherine Damman. On this occasion, McNamara’s work reveals itself in all its conceptual and material facets.

Hans Ulrich Obrist gifted us with a 48-page atlas of re-published images, selected scrolling CURA.’s issues of the past 10 years and filtered through the lenses of “Art, Science, and Technology.” If “artists are always antennae,” as Nam June Paik once said, “the Paiks of our time” are probably going to reveal the future potential.

Massimiliano Gioni continues his collection of private memories by compiling a few more pages of his curator’s diaries—highlighting this time Anri Sala’s iconic work time after time (2003), presented on the occasion of the 4th Berlin Biennale that Gioni curated with Ali Subotnick and Maurizio Cattelan in 2006.

A special focus is also dedicated to our beloved artist and friend Fabrice Hyber, who by talking with Chiara Parisi recalls the origins of his “La Vallée,” which continuously nourishes his omnivorous curiosity towards nature and its cycles, the world and new forms of collectivity, creativity and productivity.

Complex systems are also investigated in the in-depth critical essay by Flora Katz, which highlights the recurrent themes of Dora Budor’s practice, between past and future, presence and absence, and cinematographic references. “To open up to the future, it is necessary to dig into the folds of the present, give it depth and expand it: what happens here has consequences elsewhere. What happened yesterday is still here today.”

We’ve been invited to look into Laure Prouvost anticipations of her upcoming Venice Biennale’s project, through a visual essay that mixes images and words, into a collaboration with curator Martha Kirszenbaum.

In the “new now” investigation of CURA., we look for the artists of tomorrow, focusing on some of the cutting-edge protagonists of the new generations: Ivana Bašić is introduced by Courtney MalickDaiga Grantina by Ingrid Luquet-GadHayden Dunham by Ceci MossRochelle Goldberg by Kari RittenbachJustin Fitzpatrick by Paul ClintonEmanuel Rossetti by Mark von Schlegell; and Aviva Silverman by Whitney Mallett. But also Ebecho Muslimova, who dedicated to CURA. an awesome visual essay introduced by Natasha Stagg and Mandy El Sayegh presented by Piper Marshall’s 25 questions.

CURA. 30 will be presented at ARMORY New York, MIART Milan, and Frieze New York.

You can also find it in the best bookshops and museums’ stores around the world. And if you’re lazy, just click here and receive it at your doorstep.

Last but not least, we want to thank all the artists, curators, friends, writers, advertisers, collaborators, supporters and partners who turned these 10 years into a long love story!

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March 7, 2019

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