Curva Blu is INCURVA’s artist residency programme.
Curva Blu unfolds in the middle of the Mediterranean Sea, on the Island of Favignana, a diverse natural environment, a territory of possible exploration and discovery.
The project aims to offer a place for artists who search a totally unique condition, where geographical, historical, and social characteristics can become sources of inspiration, base for experimentation, new dialogues and exchange. Since its inception, Curva Blu, focuses on a dialogue between the participating artists and the territory.
Tania Pérez Córdova, Strike, 2019, Installation View. Curva Blu Open studio, Favignana, 2019. Courtesy the artist and INCURVA. Photo: Ilaria Orsini
Francesco Pedraglio, Curva Blu Open studio, Favignana, 2019. Courtesy the artist and INCURVA. Photo: Ilaria Orsini
Dominque White, Untitled (work and title in progress), 2019. Curva Blu Open studio, Favignana, 2019. Courtesy the artist and INCURVA. Photo: Ilaria Orsini
Margherita Raso, Bizarre (research in progress), 2019. Curva Blu Open studio, Favignana, 2019. Courtesy the artist and INCURVA. Photo: Ilaria Orsini
The fourth iteration of Curva Blu, held in June and July 2019, employs the concept of dialogue as a dialectical form of encounter and exchange. For 2019, the recipients of the research grant are: Francesco Pedraglio (Italy), Tania Pérez Córdova (Mexico), Margherita Raso (Italy) and Dominique White (UK).
The artists will use the time offered on the island to research and deepen themes and processes already present in their work, whilst being contaminated by communal living and the territory. By using personal artistic processes and discourses as creative point of departure we wish to initiate new forms of artistic production focused on collaboration, encouraging also new critical perspectives and visions.
Curated by Marianna Vecellio and Attilia Fattori Franchini
Wyn Evans’s research focuses on language and perception, and is characterized by the use of ephemeral elements such as light and sound, the use of montage as a compositional technique, and the imaginative potential of the word, as well as the centrality of the temporal and durational dimension in the experience of a work. At Pirelli HangarBicocca, Milan
For Standby Mice Station, with the full alliterative force of his deliberately nonsensical title, the artist has imagined just such an ensemble of new sculptures and images, the latter fashioned in that anachronistic technique of wood marquetry (mostly bygone in art, now more known in the realm of furniture making). at Kunsthalle Basel