KURA, from the German “Kuratorium,” which means curation.
Founded in 2018 by Camila Yunes Guarita, KURA is an Art Advisory company whose mission is to deepen the connection between individuals and companies with Art, providing guidance in the acquisition and sale of artworks. It also works in the management of private and institutional collections and the creation of unique projects and experiences in this universe.
With a specialized and multidisciplinary team and a network of partners that includes key players in the market (artists, galleries, auction houses, fairs, museums, and institutions), KURA operates with transparency and professionalism, serving its clients in a personalized manner.
Camila is the founder and managing director of KURA. She holds a degree in Architecture from Mackenzie and École Nationale d’Architecture Paris Val de Seine. She specialized in Contemporary Art and Its Market, How the Art World Works, and Foundations in the History of Art at Sotheby’s. She has worked in Sales & Liaisons at Galleria Continua and Galeria Nara Roesler, as well as in production at Galeria Aveline. From 2015 to 2018, she was a co-founder of GoART Art Advising. She is a VIP Representative at ARCO Madrid and Lisbon fairs and art curator for Numéro Brasil magazine.
KURA is a pioneer in Art Advisory services in Brazil. Through a multidisciplinary team with market expertise, we guide art enthusiasts and collectors in acquiring artworks. Acting in the best interests of our clients, we act as intermediaries between collectors and other market agents such as primary and secondary market galleries, auction houses, artists, and private collections.
We work in all stages of the artwork acquisition process, offering personalized services for research and selection of artworks based on our clients’ profiles and interests. Additionally, we facilitate all pre and post-sale logistics, whether national or international.
Stages: client profile analysis, selection, acquisition, negotiation, pre-sale, logistics, and post-sale.
+ Exclusive experiences and relationships: access to exclusive events on the national and international art calendar, including pre-opening of major exhibitions, fairs, and events; visits to private collections, artists’ studios, and institutional collections, as well as cultural immersion programs in national and international destinations.
Our Collection management sector works on the identification and preservation of the cultural and financial value of private and institutional collections, offering services that provide collectors with information, transparency, and security in the management of their artworks.
Through the expertise of a multidisciplinary team and continuous care, we monitor opportunities and advise collectors or institutions in strategic decisions regarding their assets.
/ Management and supervision;
/ Collection books;
/ Appraisal and market strategy.
KURA develops customized art projects and activations for brands and companies from different sectors that seek to deepen their relationship with their customers. By delivering value through stimulating experiences in the art world, our projects aim to reinforce brand positioning and consolidation, as well as audience expansion and loyalty. Our work begins with consulting to develop an action or set of actions specifically tailored to the partner and in accordance with the target audience. ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ Services: Project and action consulting; collaborations with artists (products, commissioned works); curation and production of exhibitions; exclusive visits to artists' studios, museums, galleries, and fairs; national and international art trips with itinerary and KURA's accompaniment; art courses.
06.04.2018 – 18.05.2018
Curatorial text by Agnaldo Farias
To this day, very few people know that behind the high walls of one of São Paulo’s busiest streets, lies a mansion that houses an astonishing art collection –– both for its vastness and diversity. The Ivani and Jorge Yunes collection recalls the Museu de Tudo (Museum of Everything), a poetry book in which João Cabral de Melo Neto abandoned his passion for coherent monolithic structures to give way to his affection for the diverse. There are five centuries of paintings, books, ivories, tapestries, stones, porcelains, jewels, exquisite sets of African and Asian pieces, and a strong presence of Brazilian Baroque.
To demonstrate the strength of the past in our present day, Camila Yunes Guarita created Caixa de Pandora, a project dedicated to inviting contemporary artists to display their work in rooms filled with antiques, as if to awaken them from their venerable slumber.
The first invited artist could not have been more appropriate: Jorge Velloso Borges Leão Teixeira –– better known as Barrão. One of the leading figures in the 1980’s Brazilian art scene, the Rio de Janeiro native is one of the most important interpreters of our national culture. In contrast to modern artists who proposed a world based on coherent order, Barrão, who is also a musician, acknowledges that in a transnational age, there is an increasingly greater presence of bricolage, pastiche, sampling, copy/pasting, plagiarizing and other processes that scholars call intertextuality. That which we call culture is indeed a fragmented whole, comprised of scraps of civilization (habits, objects, perceptions, words) that penetrate and slowly take over our homes, clothing, food, playlists –– which mix Jay Z with “Jackson do Pandeiro” –– the streets of our city, where kebab food trucks park in front of upscale sushi restaurants.
Barrão’s empilhamentos (stackings), sculptures made of a wide range of fragments from objects with different origins, arranged and welded together––vaguely surreal, remotely pop and in any case, completely absurd pieces –– turn this artist into one of the most piercing critics of modern society, where forces in disarray coming from all directions entangle us, pulling us from side to side. In awe, being the magnets that we are, we react in a cannibalistic fashion, as anticipated by Oswald de Andrade: “I’m only interested in what is not mine. Man’s law. Anthropophagy’s law.” To paraphrase Oswald’s contemporary, Mario de Andrade, the father of Macunaima: “Hail Barrão, hero of our people.”
About the artist
Barrão (Rio de Janeiro, 1959). Lives and works in Rio de Janeiro.
Painter, sculptor, multimedia artist. Self-taught, he began his artistic career with Grupo Seis Mãos, 1983-1991, formed with Ricardo Basbaum and Alexandre Dacosta. The group develops activities with video, live paintings, musical shows and performances and promotes the Improviso de Pintura e Música project in streets, public squares, colleges, etc. The first exhibition of the three artists took place in 1983, at Circo Voador, in Rio de Janeiro. This year, Barrão participates in the exhibitions Arte na Rua I and Pintura! Painting!, both in the same city. In 1984, he held his first solo show, Televisões, at Galeria Contemporânea, and participated in the collective Como Vai Você, Geração 80?, held at the Parque Lage Visual Arts School – EAV/Parque Lage, in Jardim Botânico, Rio de Janeiro. He received the Brasília Prize for Plastic Arts, at the Brasília Museum of Art, in 1990. With Sandra Kogut, he directs the videos 7 Horas de Sono and A Geladeira. He also makes electronic vignettes for television, scenography works and album covers. In 1995, he created, in partnership with artist Luiz Zerbini, video and cinema editor Sérgio Mekler and music producer Chico Neves, the Chelpa Ferro group, which works with sculpture, technological installations and electronic music.