Cura Publishing – förlag

New York 117 AD One Hundred drawings brings together a series of a hundred of drawings byAlessandro Cicoria, realized in New York in April 2024. The china ink on paper picturesportray an instinctive and fragmentary narrative. Founded objects, views of the city,places and works of art are recognizable signs of the urban storyboard.The photographic memory and the drawings’ format recall the initial artist’s sketchbook,a visual library that could belong both to paper and to the screen of a smartphone.

"AFTERWARDS. Art in the Time of ChangeWhat is the role of the artist in shaping the future? How do artistic practices evolve inresponse to technological acceleration and societal transformation? These are the centralquestions explored in this book—a collection of essays and interviews reflecting on thefuture through the lens of artistic thought and action. Rather than offering definitive answers, this book presents a spectrum of perspectives from artists, curators, and thin-kers working at the intersection of art, science, and technology. It is an invitation to consider how imagination and critical inquiry can help us navigate the uncertainties ofwhat lies ahead."

This monographic catalogue is co-published by KW and CURA. on the occasion of MattCopson’s first institutional solo exhibition at KW Institute for Contemporary Art, Berlin.In his hybrid practice—drawing from pop culture, myths, ancient philosophy, andmedieval folklore—Copson explores existential questions and contemporarysubjectivity, which he sees as increasingly shaped by constant flux, spectacle, and theeconomies of attention. Copson’s installations often feel like environments,constructed spaces that invite viewers to step inside and inhabit worlds wherearchetypal figures like babies, anthropomorphized animals, or folkloric charactersbecome vehicles for exploring the human condition.This book reflects on the past decade of Matt Copson’s artistic practice, encompassinghis video works, installations, sculptures, drawings, performances, and laseranimations, while serving as the first monograph of his multifaceted career.

"This book is published in conjunction with VENUS, Joana Vasconcelos’s exhibition at PM23 (18 January – 31 May, 2026) and in selected public sites across Rome, developed in dialogue with the work and legacy of Valentino Garavani and produced by the Fondazione Valentino Garavani e Giancarlo Giammetti. Conceived as a philanthropic foundation dedicated to education, culture, and social engagement, the Fondazione frames the project not only as an exhibition but as a platform in which art, fashion, and civic participation converge.VENUS approaches Valentino’s work as a material and conceptual archive. Its forms, colors, and techniques are translated into large-scale sculptures and spatial environments that extend fashion into the domain of installation and public space. At the center of the project stands Valkyrie Venus, a monumental figure assembled from thousands of crocheted and textile modules produced through a wide participatory network involving schools, hospitals, refugee shelters, women’s shelters and prisons. The book documents both this collective process and the finished work, presenting craft as a social practice grounded in care, repetition, and shared labor.Edited by Pamela Golbin, with texts by Pamela Golbin, Anna Coliva, Giulia Silvia Ghia, Daniele Luchetti, and Lucia Milazzotto, the volume combines critical essays, visual documentation, and narrative materials that situate Vasconcelos’s work within the historical and symbolic landscape of Rome and within broader reflections on ornament, the baroque, and the politics of display. A special project by Daniele Luchetti, developed specifically for the book, extends the exhibition into a parallel cinematic and testimonial dimension, recording the voices and experiences of the communities involved and anchoring the project in a social reality."

Times existed in the sticky reality of a dive bar, but its shadow self was online: disseminated and mythologized unglamorously on Facebook. The bar regularly posted “events,” large and small, which attempted to transform the monotony of another night into the fantasy of a post-internet Studio 54.

Dear Omer is a work in book form conceived and produced on the occasion of Selma Selman’s first institutional exhibition in Italy, 1000 Tears at GAMeC Bergamo, part of the program Pedagogy of Hope.

Co-published by CAC Vilnius and CURA. BOOKS, the catalogue of the Baltic Triennial 13 – GIVE UP THE GHOST is intended as a reader to accompany the exhibitions taking place in the three venues-Contemporary Art Centre Vilnius, Tallinn Art Hall and Kim? Contemporary Art Center Riga. Different in format, content and context, each of the chapters of the Triennial is informed by a shared concern, which is also the core of the publication: what does it mean to belong at a time of fractured identities?Conceived as an extension of BT13’s ethos and vision, the book includes a range of curatorial and critical voices to provide highly individual reflections on each of the artists, poets and musicians taking part in the project. As the BT13’s artistic director Vincent Honoré said, “the publication is intended less as an encyclopedic introduction to the project and practice of each artist, and more as an invitation to view individual practices and works from distinct positions, opening up a series of portals through which to access each artist’s contribution. ” The participating artists are introduced by short essays, focused on their individual practice and their specific contribution to the Triennial’s exhibitions. Images and texts unfold through the catalogue’s pages, showing a balance between coherence and fragmentation and exploring the notions of belonging, of the body, and of our relationship to the public sphere and social structures. Participating artists: Caroline Achaintre, Evgeny Antufiev, Korakrit Arunanon-dchai, Carlotta Bailly-Borg, Darja Bajagi?, Olga Balema, Khairani Barokka,Nina Beier, Huma Bhabha, Hannah Black, Dora Budor, Harry Burke, Egl? Budvytyt?, Ben Burgis & Ksenia Pedan, CAConrad, Miriam Cahn, Jayne Cortez, Adam Christensen, Anaïs Duplan, Jesse Darling, Michael Dean, Melvin Edwards, Merike Estna, Gaia Fugazza, Penny Goring, Daiga Grantina, Caspar Heinemann, Max Hooper Schneider, Anna Hula?ová, Pierre Huyghe, Derek Jarman, Sandra Jõgeva, Jamila Johnson-Small, Vytautas Jurevi?ius,E’wao Kagoshima, Sanya Kantarovsky, Agnese Krivade, Ella Kruglyanskaya,Žygimantas Kudirka, Tarek Lahkrissi, Lina Lapelyt?, Kris Lemsalu, Klara Lidén, El?na Lutce, Paul Maheke, Benoît Maire, marikiscrycrycry, Pierre Molinier, Maria Minerva, Moor Mother, Katja Novitskova, Precious Okoyomon,Pakui Hardware, planningtorock, Anu Põder, Laure Prouvost, Ieva Roj?t?, Rachel Rose, Augustas Serapinas, Michael E. Smith, Ülo Sooster, Christopher Soto, Achraf Touloub, Mare Tralla, Ola Vasiljeva, K?rlis V?rdi?š, Young Boy Dancing Group, Young Girl Reading Group (Dorota Gaw?da and Egl? Kulbokait?).

A tittle-tattle tell-a-tale heart is the first artist book by Athena Papadopoulos conceived as a diary and a novel. The publication is a collection of drawings and thoughts of the artist’s love story, published by CURA. BOOKS.

Building Body is published by CURA. BOOKS on the occasion of the artist’s solo exhibition at MARCA Museum in Catanzaro (September-November 2018). Including a in-depth conversation between Balliano and Whitney Museum’s curator Chrissie Iles, a critical essay by Luigi Fassi, artistic director of the MAN – Contemporary Art Museum in Nuoro, Italy, as well as a rich collection of images, the publication traces a comprehensive itinerary within the artist’s rigorous and appealing body of work. A research where austere geometric forms, shaped in tones of white and black, become the alphabet of an open reflection on the world.