CURA.

by Francesco Stocchi
In conversation with Margot Norton
When Deller’s art deals with music, it seems to describe a world I knew well in my teens: a more or less alternative scene, where the itch for independence often went hand in hand with a sense of melancholy and loneliness, of not fitting in, which was also a political statement of nonconformity and rebellion. Text by Massimiliano Gioni
by Anna Gritz
In conversation with Vincent Honoré
Special commission CURA.29
In conversation with Vincent Honoré
In conversation with Lena Saraj
by Piper Marshall
Made using a combination of digital photography, 3D scanning, sculpting, and printing technologies, the work is the fourth in a series of figurative sculptures that Benson has been producing for the last thirteen years. Text by Olivian Cha
by Francesca Gavin
In conversation with Hans Ulrich Obrist
In conversation with Rebecca Lamarche-Vadel
In conversation with Margot Norton
in conversation with Anna Gritz
Text by Whitney Mallett
CURA.28
by Kat Herriman
by Travis Diehl
by Nikki Darling
CURA.28
CURA.28
CURA. 28
In conversation with Venus Lau
There’s something of the Gothic in this impulse to “make explicit,” too. Gothic architecture made aesthetic the surfacing of its inner-scaffolding. Several of Jacoby’s projects likewise surface, through inversions of function or structure, otherwise invisible systems.
Sculptures become actions with titles like Positioner, Objectifier, Muter, and Penetrator.
The body never belongs entirely to ourselves but is instead the interface in which subject and collectivity meet and the scenario in which the relationship between the two elements is negotiated.
I think art is energy, it’s my definition of art. I had a lot of energy breaking out of a traditional role, finding a new sense of freedom.
Special commission
Tsang’s strategies of expanding the fourth wall confront the viewer with the gaze the camera casts on protagonists, but also with their own involvement in cinematic situations and the roles these usually prescribe. By Noemi Y. Molitor
CURA.27
Issue 27
in conversation with João Mourão and Luís Silva
Lou Dallas has been ambling around New York City since 2013, though her officious history starts in 2016 with Spring/Summer 2017 Fashion Week—a first formal showing.
Calame’s works are not placed in empty space and do not comply with aesthetic and formal parameters.
by Ciara Moloney
by Anna Gritz
in conversation with Adriana Blidaru
by Cecilia Alemani
by Liam Considine
by Loïc Le Gall
in conversation with Margot Norton
By Frances Loeffler
“Finally, a big group show. This is the largest exhibition the Wattis institute has ever…
After his introductory text, Anthony Huberman invited Robert Snowden, New York-based writer and curator, to…
A machine is too big of a word. It brings to mind an impossibly vast range of images – gears, steel, steam, molded plastic, blinking lights, switches, screens, and so much more.
by Daniel S. Palmer
“THE CONCEPT OF ‘ANTI’ IN ANTI-MUSEUM SHOULD BE UNDERSTOOD AS THE DEMOLITION OF THE PHYSICAL…
by Frédéric Bonnet
by Anna Gritz
in Conversation with David Lê
by Liam Gillick