Chart for Global X Uranium Index ETF (HURA:CA) Providing the latest insights and updates for stock traders across Canada Seok-Woo Song — Photos exploring the pressures and loneliness of life in Korea Federico Borella & Michela Balboni — Photographing rural Italy’s “tree men” AikBeng Chia — Recreating vivid scenes from 1970s Singapore with the help of AI WePresent is the arts platform of WeTransfer.The simplest way to send big files A platform to empower creatives while using business as a force for good Sohrab Hura is one of those fascinating people who, at 40, decided to try his hand at a completely new creative medium. Traditionally a photographer and photobook publisher, he picked up some pastels and began drawing, partly as a bid to heal after a particularly traumatic time in his life. Here, Marigold Warner speaks to Hura about his pivot to draftsmanship and what his images tell us about the online and offline world we live in Sohrab Hura’s “Things Felt But Not Quite Expressed” is available to buy at MACK. “It’s a bit of a midlife crisis book,” says Sohrab Hura about his first-ever collection of pastel drawings “I guess I started growing when I turned 40 and this is what I came up with.” Elusively titled “Things Felt But Not Quite Expressed,” the book presents a series of softly-colored drawings to references to historical events and scenes plucked from Hura’s memory it’s got a bit of everything,” says the Indian photographer which I secretly feel that everyone looks at even if they’re only posting strong political voices on their platforms.” Hura is well-known as a member of Magnum Photos, and has self-published numerous photobooks under his imprint Ugly Dog These projects tend to explore personal relationships his position in the world and the broader socio-political contexts of his subjects His recent urge to move away from photography was fuelled by a chain of traumatic events in his personal life The artist suffered from lung damage induced by COVID-19 and his father was diagnosed with a serious illness he started drawing and experienced a tenderness in the act of sculpting an image into existence “I realized I’d hit a roadblock with photography,” he reflects we were working in a world with so much censorship Drawing and the softness of the pastels kind of softens away that violence You’ll (probably) love our monthly newsletter Hura is now working with an entirely different medium but his latest book is not necessarily an anomaly among his published work “It’s still a photobook of sorts,” he says referring to the photobook as a storytelling medium in itself each of Hura’s projects look entirely different in terms of aesthetic style For example “The Coast,” which explores the undercurrents of violence in contemporary India is “enticing but at the same time repulsive.” On the other hand “Snow,” a conceptual portrait of Kashmir as seen through three winters “I’m interested in the frequencies of images and those are just two different frequencies,” says Hura Certain images are designed to provoke specific emotional or sensory responses—the colors its texture and how the images themselves are presented Hura sees these image frequencies as “bait”—an opportunity to subvert visual conventions “The visual vocabulary for this project was more influenced by how I was looking at the world… there’s going to be humor but the subject can still be violent—drawings that speak about the ongoing war against Palestine a mosque that was demolished by Hindu fundamentalists in 1992 international viewers may read some of these images differently to those at home in India it is common to use different glasses for tradespeople or guests from a lower caste While we may read this image as a simple still life Indian viewers will recognize it as a symbol of intolerance “I like the idea that different people will take away a different reading,” says Hura “I want the book to really invite someone to look again… And that’s the way I’m looking at it like something rolling down a hill or slope and collecting things along the way.” There is a sense of familiarity to the book as an object that urges a closer reading The images are hand-titled in pencil and enclosed within a squidgy foam cover—reminiscent of the kinds of family albums we’d recognize from the 80s and 90s perhaps one of the earliest materials we are taught to draw with The book is Hura’s “algorithm,” but it is also a blueprint violence and humor that punctuate all of our lives Want (even) more WePresent?Sign up to our monthly newsletter Whānau across Aotearoa are beginning their Smokefree journey this May as part of the That’s Us campaign The campaign encourages whānau to give up smoking for the month of May with the support of their local Stop Smoking Service earned her the respect of many Oxford academics at the time and has gone on to be celebrated by members of Māori communities and researchers worldwide Twenty one regional representatives ranging from Years 11 to 13 (ages around 15-18) will come together for the Speech Awards semi-finals The biggest change the government can make to improve health care is immediately invest in general practice to retain the GPs we have now and to make it more attractive for GPs to come to New Zealand HELP Auckland will mark Rape Awareness Week with a special charity performance of the acclaimed play Prima Facie starring Cassandra Woodhouse and directed by Michael Hurst followed by an expert panel discussion on sexual violence “It’s clear that the pandemic is still top of mind for many people in Aotearoa New Zealand particularly those areas like Auckland and Northland that were affected by longer lockdowns during the COVID-19 response,” says Grant Illingworth KC We use cookies to personalize content and ads and to analyze our traffic and improve our service Pramodha Weerasekera You wanted to become a boxer Why did you end up becoming a photographer What are the connections you see between the two I have been in the ring because someone had to fill the weight category My entire process of boxing has been about dodging Photography has constantly thrown obstacles at me and frustrated me It’s like tai chi and how I take the energy of the world and give it back my photography has also been about absorption the only way for me to survive was to absorb whatever happened One night she may have said something to me that didn’t feel good All I could do at that time was sit and take it and psychological pain because unfortunately So it’s been about absorbing what photography gives me not really about hitting back or defeating and the scariest thing has been to lose that lifeline it feels like you are constantly trying to defeat––like a boxer––the fixtures and metaphorical boxes of photography by experimenting with cardboard boxes Each work can be seen as reinforcing a fixture or pushing you out of a fixture What have these fixtures allowed you to do in most photos of me boxing I’m getting bashed up and not really “defeating” my opponent Working in one way or a fixed format throughout my life has never seemed organic to me I was always told that style is put together by language and a specific vocabulary photography felt like a way to say something But then I could say things in a hundred different ways depending on who I was talking to and how I was feeling at a particular moment There would always be a different frequency in terms of the pitch and tempo of my voice There’s a lag effect in how we catch up to images I feel like the consumer of the image is always trying to catch up to the image system but never quite gets to it So it’s a chance that I’m taking by thinking that the broken image is going to get more and more important like a glitch in this increasingly “perfect” image system In some ways the paintings for me as a photographer are like a glitch and they automatically pull ideas from these different texts and they have become even more concrete in the last ten years it felt like people were starting to engage with photographs more fluidly but with social media I feel like it hit a bump maybe there will be another normalization when people will organically associate different kinds of images I feel as if the broken image will give an anchor to them then The glitches in the system are going to become more and more important painting and drawing for me are glitches in the system of the photographic image The sweet spot is a photograph with a glitch in some way PW Photographs with glitches are a defining element of your practice In the book Things Felt But Not Quite Expressed and the exhibition Mother––both happening at a rather momentous time for you––you take the glitch to the next step by using soft pastels on paper I am personally drawn to abstract works that are fluid conceptually particularly because audiences can interpret them in multiple ways Your two new endeavors show real people and real encounters with a fluidity that hits a sweet spot between the realistic and the abstract which makes them glitchy in a different way people are reverting to a pretty primal way of looking at the photographic image and we hardly get to spend any time with any of them We subconsciously shut down other ways of reception and take the image at face value which automatically renders our reading of it quite straightforward Looking at photographs just on their surface as straightforward documents––and only that––has led to problems of misconstrued whether it’s certain aesthetics in terms of physical beauty or photographic beauty There’s a standardization that has been set into place in the last ten years or so because both social media algorithms and camera companies with their new cameras are funneling a narrower idea of what a so-called beautiful image is the pastel and gouache works are like broken images at the core of it all was that I was so tired of the photograph that I wanted to get away from it The pastels allowed me to get away from it to a certain degree PW Mother at MoMA PS1 is a survey exhibition showcasing two decades of your work How would you describe these years in just three words “small.” I keep realizing how small I am as time passes from there I realize that there are limitless peaks ahead of me Then it’s really just about going up and down I think that I can go straight up the hill and if I am not careful there is a danger of losing control and crashing I also start to appreciate the stream behind the trees a little away It also lets me map out the larger space better Then I might even get off the trail on the map and crisscross my way a little bit Sometimes I have more momentum; sometimes I have to take a break to have a sandwich and enjoy the sight It’s a lovely feeling and not something that makes me feel hopeless the grandeur of artmaking has vanished and become something very ordinary for me now Almost like the everyday acts of “folding” and “stitching,” which are things that I saw my mother do for me I’m trying to hold all these things together Sohrab Hura: Mother is on view at MoMA PS1 in New York City until February 17 Pramodha Weerasekera is an art writer and curator based in Sri Lanka She writes regularly about feminist artistic practices and occasionally about art books from South Asia He uses metaphors to describe these processes — editing is like 'picking at a scab' reproducing images is like ‘grafting cuttings’ and bodily — form the conceptual arteries of his work which can be folded and unfolded to make different narrative combinations events and even little things like bees,” he says Excerpts from a conversation with STIR below: Maanav Jalan: Maybe we can start with the notion of a survey exhibition In your note on your exhibition at Huis Marseille in 2021 you prefer to see the exhibition not as a retrospective but as ‘spillage’ something like ‘drops of water splashing out of a bucket’ I am curious about how you are imagining Mother Is ‘survey’ a useful way to think about it Sohrab Hura: Ruba Katrib, Chief Curator at MoMA PS1, had not reached out with the idea of a survey show. The prompt that I got from her over a year ago was just the space — the five rooms of the gallery and how I might imagine them The space filled up quite organically as I started playing with the layout I had no intention of a survey show or even anything thematic I was just trying to see if I could figure a way out to generate forces of push and pull within each room and across the rooms in which ‘play’ is really important If I were to think too consciously of a theme before starting to put the book together then it might end up becoming more like a catalogue of those ideas rather than the idea itself The process of putting everything together continues from past experiences of installing other exhibitions and that in itself had been built upon how I make my work in general — playing with mediums a bit like being in a room at night with the lights switched off and feeling my way about in the dark then switching the light on to clarify and consciously collate my ideas and then switching the lights off to be able to meander loosely again we called it a survey show more for practical reasons It literally has works from different periods of my life But I hope that if people were to experience the exhibition they would see ‘the many lives of images’ rather than simply a survey exhibition where I am the anchor point Maanav: Is there any kind of story or metaphor you are working with for this show Sohrab: Ruba had noticed that many of the smaller works within the show were titled Mother or had the word ‘mother’ within a larger title and that’s how we arrived at the word It is now interesting for me to look at some works that I may not have imagined coming together under such a title Maybe the title becomes the spillage here rather than the anchor Maanav: What about the image of the tree and its network of branches as the blueprint of an exhibition as you described for Growing Like A Tree that you curated with Sabih Ahmed of Ishara Art Foundation in Dubai Sohrab: I remember at some point writing about a fixed tree that was shown to me as a young artist that might have been metallic and shiny and supposedly beautiful in its shine I realised that mine was a completely different tree that what I thought was a tree was a forest that had about the system that I was told that I had to accept The shiny metallic tree was too fixed and un-alive Maanav: Your works often exist in many forms and images or text in one project or page are often also used in another I am curious about your relationship with storytelling What is the value of making and breaking stories to you Sohrab: Storytelling is a lot more than telling stories [and listening to a story is] a bit like watching a puppet show The story is being narrated and your eyes are fixed on the puppets but there is a lot more at work behind the curtains What I’m trying to say is that for me everything is a story I’m interested in whether I want to squeeze out a hidden part of it briefly or cloak up the most obvious parts of it I’d always struggle to define what kind of a storyteller I was because we haven’t quite arrived at that easy way of distinguishing between forms I’m always interested in looking at photography as a range rather than a category there is complete transparency in the story has to find their sweet spot on this range which is also relational to the world around it So one story being told by one specific storyteller in one place among one set of people at one time might change meaning completely if any of those factors are changed I don’t have a clear answer and I am not looking for [one] I’m interested in working along that paradoxical range and in response to changing situations Meanings are constantly fixed and I think it’s important to loosen them up a bit might have something to do with how I want to loosen or fix the story the specific material you use remains a bit similar and a bit different Sohrab: I’m quite happy to allow a new work to emerge out of a part of a pre-existing work. It’s like gardening. You tend to the plants, sometimes you take cuttings, sometimes you can graft a cutting onto another plant and so on. Some gardens are a bit wild. When I leave my apartment here in Delhi and walk down the lane the most common sight is neat lines of potted plants at equal distances along walls meant to create a sense of geometry and harmony While I appreciate people’s love for plants I like my garden more like a grove with an opening that one can enter Where leaves of one plant disappear in between the leaves of another The idea is really to work with how I want to be with the plants and not how I want to see the plants Maanav: How do you look at some of your earlier works like Pati now Sohrab: I’m glad I made a work like Pati I only wish I had done more work back then But I was having an existential crisis with the medium back in 2005-06 I was coming to terms with the notion of having power as a photographer and wasn’t able to make any more photographs I wish that I had continued to work because there isn’t much of a visual archive of the Right To Food movement and the beginnings of the National Rural Employment Guarantee Act [NREGA; the context and subject of Pati] With all the re-naming and re-writing and revisioning of history going on Maanav: I want to mention the very funny pencil wall text you use to mark your works Sohrab: I have been writing by hand for the last 40 years now I decided to use my handwriting both because I wanted its brokenness and because I was a bit scared of getting the font choice wrong That first book starts with a letter that I wanted to work as an address to the reader so that they could make the book their own I want to care about how a reader will hold the book in their hand I just published the book Things Felt But Not Quite Expressed (MACK) It’s really to take away any kind of preciousness from the book and make it more gooey there are these drawings that are of love and whatever else from everyday life a kind of numbness has set in and I wanted the handwriting the silliness and the haptics of the book to break through the numbness as much as possible Maanav: Many of your photobooks begin with dedications Do you think of your works as being addressed to loved ones Sohrab: It’s a bit like cooking for specific people You might have a recipe for a dish but maybe you want to cook it for someone specific and you cook it for them and the food tastes different than how it might have tasted if you had cooked the dish for yourself or someone else These excerpts of a longer conversation highlight Sohrab Hura’s sustained interest in telling stories and storytelling From early photographs made of the people of Pati who he says “looked at photographs as a gesture of love in a way I had not done so myself,” to more recent “bad images” made in gouache and pastels in search of a slower medium each of Hura’s works asks anew the question Maanav Jalan is a writer with particular experience in covering Indian contemporary art When a famed Indian artist used a protest poet’s words without credit it raised a deeper question: who gets to speak The veteran curator on the Sharjah Biennial 16 and collection-building as history-writing This selling exhibition has been conceived as a collaboration between WWF to further ocean conservation initiatives across the UK A museum at Cambridge University examines Britain’s role in the transatlantic slave trade between 1750-1850 Exclusive preview for subscribers. Learn More Make your fridays matter. Learn More © Copyright 2019-2025 STIR Design Private Limited Please confirm your email address and we’ll send you a link to reset your password All your bookmarks will be available across all your devices Password must be 8 characters long including one capital letter By creating an account, you acknowledge and agree to the Terms of Use and Privacy Policy by STIR Select the Conversation Category you would like to watch Please enter your details and click submit Single account access for STIRworld.com,STIRpad.com and exclusive STIRfri content Verification link sent to check your inbox or spam folder to complete sign up process by Maanav Jalan | Published on : Oct 16 This year’s must-see shows range from a Nordic Pavilion exploring transgender spaces to a compelling Lebanese project confronting the realities of ecocide Frieze returns to The Shed in May with more than 65 of the world’s leading contemporary art galleries and the acclaimed Focus section led by Lumi Tan The New Dehli-based artist’s survey at MoMA PS1 interweaves the autobiographical and the sociopolitical to consider the state of his motherland New Delhi-based artist Sohrab Hura’s first US survey showcases the many different mediums he employs from the lens-based practice for which he is best-known to more recent forays into drawing and painting Sitting somewhere between testimony and confession his perspective scrambles the autobiographical and the sociopolitical in unexpected and often revealing ways The black and white photographs comprising the earliest work on display document the daily hardships experienced by rural communities in central India as well as their ongoing fight for dignity and justice Hura pairs the images with hand-scrawled captions that situate them within a diaristic frame offsetting the possibility of objectifying his subjects through the camera lens Snow (2015–ongoing) deftly tackles the ongoing military occupation in the restive northern state highlighting instances of everyday abjection as the wintry landscape gradually thaws: a patch of blood from a recently butchered chicken; a hand holding out a bundle of freshly shorn hair like an offering While this macabre subtext emphasizes the banality and pervasiveness of violence under occupation other photographs feel more specific and even prescient A snowball furtively cradled behind a back seems to symbolize both a powerful commitment to resistance and its ultimate futility in the face of the occupying army’s tremendous might while a pile of animal eyes memorializes the many innocents blinded by the pellets used to quell nonviolent protest in recent years The abject is even more pronounced in The Coast (2013–19; 2020) a suite of photographs and a video that Hura took at a religious festival in Tamil Nadu Shot through with lurid colour and a blinding flash that renders places otherworldly and bodies incandescent the photos feature a masquerade of familiar surrealist tropes of body horror Sight is central to Hindu religious practice but the many eyes that appear in these images portend something more sinister: a growing culture of surveillance that Metaphorizing the shoreline as the nation’s ‘skin’ the video presents the nighttime ceremonial submersion that marks the festival’s close as a collective libidinal release The related single-channel video The Lost Head and the Bird (2019) develops this further a slideshow of photographs from The Coast gradually speeds up into a dizzying frenzy of found images: news coverage of bizarre and horrific stories scavenged WhatsApp clips documenting incidences of misogyny and hate This visual barrage approximates the hysterical unconscious of a nation that has lost its head and is increasingly untethered from reality Hura has experimented with translating his particular way of seeing into slower mediums such as pastel drawing and painting in gouache and acrylic a shift that softens abjection with humour and an almost-palpable tenderness A salon-style hang of vividly coloured drawings includes portraits of family and friends and scenes of everyday life: small intimacies While some show a fidelity to a photographic source retaining a selfie’s perspective and crop or a snapshot’s intimacy and immediacy cumulatively blurring distinct modes of making and consuming pictures Images of Hura’s mother – the subject of his first three self-published photobooks – reappear across this display which is juxtaposed with Bittersweet (2019) a discomfiting video slideshow that provides intimate access to her struggles with acute paranoid schizophrenia The varied strands of Hura’s practice that weave through ‘Mother’ suggest that her condition might also serve as an apt metaphor for the current state of his motherland Sohrab Hura, ‘Mother’, is on view at MoMA PS1 New York; photograph: Steven Paneccasio Murtaza Vali is a critic and curator based in New York and Sharjah a show of the East Village artist’s photographs and archival materials paints a picture of her queer community a gripping retrospective traces decades of the artist’s experimentation with the medium abstraction and how art becomes a language of survival the artist’s pointilist canvases probe the politics of legibility and identity Building on his presentation at the Venice Biennale the show is most effective when it engages with haptics at a distance a show of abandoned projects sees the artist contemplating endings a group show subverts purist sculptural principles memory and tedium to inspect the hidden realities behind everyday life the artist’s sculptures challenge the ways bodies are scrutinized at nation-state borders © FRIEZE 2025 Cookie Settings | Do Not Sell My Personal Information Jenny WuReviews12 February 2025ArtReview Someone with rail-thin calves and bony ankles is wearing flip-flops in the snow This seemingly undernourished photographic subject in unseasonable footwear stands out among the two dozen or so inkjet prints from Sohrab Hura’s Snow series (2015–) displayed in the main room of this survey of the artist’s two-decade career a territory in the northern part of the Indian subcontinent that has been contested by India China and Pakistan since the mid-twentieth century; in 2019 the Indian government issued a months-long communications blackout there that upended local lives and businesses a word that calls to mind both centralised authority and a point of origin – possibly India who appears in the exhibition – these bare legs in the biting cold evoke a motherless condition Motherlessness as a political metaphor is invoked in Hura’s depictions of material poverty in the artist’s earlier photojournalistic works In the black-and-white video Pati (2010/2020) rural children are shown ploughing fields and carrying bricks The photographic series Land of a Thousand Struggles (2005–06) documents the plight of subsistence farmers migrant workers and victims of police violence which the artist witnessed while travelling across northern and central India with a band of activists as part of the Right to Food movement in his early twenties just as Hura eventually expanded his practice from straightforward depictions of neglect and alienation Mother moves from photojournalism in its main room into more self-reflexive and expressive forms of art in the four smaller adjoining galleries The recent video The Lost Head and the Bird (2019) is a convulsing beast tucked away in one of these smaller spaces By sequencing and editing a series of photographs taken in India (originally published as the photobook The Coast Hura weaves a visual narrative around an image of a naked woman whose head is lowered in such a way that she appears decapitated We have no way of knowing if the photograph was candid or staged and Hura exacerbates the ambiguity by giving us neither context nor time to react before it is replaced by another provocative and absurd image For ten minutes we are bombarded with glimpses of street fights a ‘severed’ head on metal platter in what appears to be a garish funhouse and so on – flashing by onscreen at an increasingly aggressive pace Like much of the online content that goes viral The Lost Head… is designed to frighten and frustrate with its brash depictions of violence and alterity Hura critiques the way in which the image itself has been rendered effectively motherless in our age of social media Cleaved from its source and globally disseminated no longer the child of a creator but a ward of the commons – a site of speculation and fodder for fiction One finds a mother – Hura’s – amid the show’s barrage of imagery a middle-aged woman is shown in various states of repose around her house We learn from the exhibition materials that she lives with acute paranoid schizophrenia and from a four-page letter displayed on a wall that for 13 years she raised and doted on a dog named Elsa Hura’s mother seems unlikely to divulge any of these biographical details: her expression is frequently sullen and closed off (she more often emotes towards animals such as Elsa in the snapshots Hura has included) her countenance is distorted by his expressive markings and unnatural palette; in a gouache painting titled Mother (2023) her lips black and her eyebrows pencil-thin as if she were wearing stage makeup or an exaggerated mask political and economic safeguards remains inaccessible; given this Mother at MoMA PS1, New York, through 17 February From the March 2025 issue of ArtReview – get your copy Mark RappoltReviews Claudia RossReviews Martin HerbertReviews Tom MortonReviews Gaby CepedaReviews Mark RappoltReviewsArtReview06 May 2025 ‘And All That Is In Between’ demonstrates that many of the aspects of global culture, or the way culture circulates globally, are not actually a new phenomenon of our ‘globalised’ times Defne Ayas appointed new director of Van AbbemuseumArtReviewNewsartreview.com06 May 2025 She succeeds Charles Esche, who will step down after two decades in the role AdvertisementMark Rothko painting damaged by child in Dutch museumArtReviewNewsartreview.com02 May 2025 The painting, worth €50 million, has sustained visible scratches The 10 Exhibitions to See in May 2025ArtReviewPreviewsartreview.com02 May 2025 Our editors on the exhibitions they’re looking forward to this month, from the Venice Architecture Biennale to Gallery Weekends in Berlin and Beijing How the Museum Became a WeaponWilliam ShokiOpinionartreview.com02 May 2025 In apartheid South Africa, museums glorified white settlement and erased Black history; in the US today, they are again being captured under the guise of neutrality Vyjayanthi Rao to curate 2026 Sharjah Architecture TriennialMia SternNewsartreview.com02 May 2025 She will be joined by Tau Tavengwa as associate curator Ari Emanuel buys Frieze from EndeavorArtReviewNewsartreview.com01 May 2025 The entertainment company’s own former chief executive has acquired Frieze for a reported $200m Inaugural Annie Leibowitz prize awarded to photographer of migrant experiencesArtReviewNewsartreview.com01 May 2025 Zélie Hallosserie to receive $10,000 for her documentary work in Calais Helmut Lang Has Always Been ProvocativeClaudia RossReviewsArtReview01 May 2025 Lang’s newest artwork, like his clothing, explores the uncanny ways that industrial refuse can interact with and even evoke human flesh IKOB Feminist Art Prize announces winnersArtReviewNewsartreview.com01 May 2025 We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy Israel Wants to Displace These Bedouins AgainAfter the village of Umm al-Hiran had been razed many Bedouin families moved to temporary homes without running water or electricity in Hura Sohrab Hura’s transfixing film The Coast (2020) on view at MoMA PS1 as part of his first survey in the US takes place during the annual religious festival of Dasara in Tamil Nadu who have embodied various characters with masks and costumes enter the sea at the end of the day to return to themselves mechanical soundtrack that creates a sense of tension and anxiety Eventually the soundtrack fades and is replaced by the soft rhythmic sounds of the waves moving over the sand couples helping each other out of the water is not only a changeable border between land and sea but also a stand-in for other porous and contested borders and for the fluctuating nature of fact and fiction A Magnum photographer who has published numerous photography books through his own imprint, Ugly Dog, Hura has come to mistrust the medium of photography, or at least the way documentary photography has been produced and consumed. “I knew exactly what photograph to make, to make someone feel what way, you know? So it started to feel performative,” he told Aperture This wariness is evident not only in the room full of paintings in the exhibition—a medium that he’s turned to recently—but also in the photo-based installations and films on view which steadfastly resist a straightforward narrative and intentionally undercut attempts to make meaning The Coast is also the title of a book Hura published in 2019 and of an installation of photographs (2013–19) at MoMA PS1 which brings some fifty unframed photographs together in a grid that spreads out from the corner of a room Some of the images are playful—a photograph of someone feeding goldfish next to an image of a young man sitting on the sand a boy seems about to hit another boy in the head with a rock; in another Some of the images appear as well in the film—Hura often borrows from one body of work for another so that his photographs reappear in different contexts playing other roles and incurring new meanings The Coast is part of a larger project called “The Lost Head and the Bird,” which is also the title of a projection in the exhibition comprised of still images by Hura and found footage from WhatsApp videos that refer to the undercurrents of violence in India arising from border disputes but also from conflicts around class and caste There are twelve versions of the projection which all include a short story about a woman whose lover has stolen her head The photographic diptychs flash by at a speed that can be frenzied to the point of incoherence a flood of imagery meant to reflect the cacophony of pictures we confront every day—and perhaps to question our ability to parse them He made the photographs in “Snow,” for instance a region claimed by both India and Pakistan The snow in Kashmir is a tourist attraction for Indians who are also told by their government that Kashmir belongs to them The photographs—bare feet in flip-flops on the snow someone weeding the young grass after the snow has melted—capture small moments none of which directly refer to the ongoing conflict It’s as if Hura holds himself at arm’s length aware of his complicity as an outsider in the region Hura’s unease around making pictures of marginalized people eventually led him to turn the camera on his own family who had been diagnosed with schizophrenia when he was a teenager are intentionally composed and lit imperfectly who wears a veterinarian’s cone and gazes balefully into the camera portray not only the off-kilterness of mental illness but also convey a sense of intimacy between mother and son Hura has turned to painting as a reprieve from the encumbrances of photography and these works occupy an entire room of this show some closed—are arrayed in the center of the room and painted with scenes both personal and political: a school choir On the walls are brightly colored paintings depicting more intimate subjects—a mournful portrayal of his father in bed The text written directly on the wall in Hura’s handwriting accompanies the photo: “Father on the last day of radiation.” Others have a bittersweet undercurrent: Summer trip with A (2023) shows a young woman in a yellow T-shirt her blond hair blowing in the open window of a car It’s as if a weight has been lifted in the paintings which aren’t saddled with the burden of documentary truth delivered lightly but also more directly: one of the smaller paintings from 2022 depicts a stream of urine coming from inside a covered litter box; a cat’s tail sticks out of the opening Jean Dykstra is a photography critic and the former editor of photograph magazine. Home Play Duration: 46 minutes 46m Presented by Luke Hura has an innate ability to understand and communicate with animals and for decades he's been training them for film You’ve probably seen one of Luke's dogs in action — he trained Bouncer chickens and even earned the trust of a big and endless repetition but Luke says building trust and being able to understand body language Luke and his groodles are currently performing in the musical Annie, which is touring Australia this year. You can find out more about the production online. comedy and fatherhoodPublished: 11h agoTue 6 May 2025 at 1:00am Published: YesterdayMon 5 May 2025 at 1:00am Download the ABC listen app to hear more of your favourite podcasts Kineta presents updated clinical data from VISTA-101 trial of KVA12123 demonstrating >90% VISTA receptor occupancy at 1,000mg dose level throughout the trial's every two weekly dosing interval (Q2W) TuHURA's Phase 3-ready IFx2.0 produced clinically meaningful anti-tumor responses and abscopal effect after checkpoint inhibitor (CPI) therapy failure in patients with advanced melanoma when rechallenged with CPI TAMPA, Fla., April 28, 2025 /PRNewswire/ -- TuHURA Biosciences, Inc. (NASDAQ:HURA) ("TuHURA") a Phase 3 immune-oncology company developing novel technologies to overcome resistance to cancer immunotherapy today reported on poster presentations of Kineta Inc.'s ("Kineta") KVA12123 novel anti-VISTA antibody and TuHURA's IFx-Hu2.0 in advanced melanoma and at the American Association for Cancer Research (AACR) Annual Meeting in Chicago In the first poster presentation, (CT041/20) TuHURA and Kineta provided updated results from VISTA-101 a Phase I-II first-in-human study of KVA12123 alone and in combination with pembrolizumab in patients with advanced solid tumors (NCT05708950) KVA12123 was found to be generally safe and well tolerated in all monotherapy and combination arms, with no dose-limiting toxicities observed KVA12123 demonstrated a favorable pharmacokinetic (PK) and pharmacodynamic (PD) profile at all dose levels "We are pleased to have Thierry present the latest data from the KVA12123 program a valuable drug candidate that TuHURA will acquire following the closure of the proposed merger with Kineta which is currently targeted for the end of Q2 2025. TuHURA's exclusivity payment last July allowed Kineta the ability to restart and complete the Phase I study providing important data regarding receptor occupancy and other PK PD and translational biomarker data at the previously unstudied 1,000mg dose level The study demonstrated in excess of 90% VISTA receptor occupancy over the entire Q2W dosing interval where PK simulations would predict similar receptor occupancy even at 750mg Q2W dosing which we believe will be the recommended Phase 2 dose and schedule", stated James Bianco M.D., President and Chief Executive Officer of TuHURA Biosciences Dr. Bianco continued, "Our primary interest in VISTA is its potential in immunologic tolerance in a variety of blood related cancers Recent scientific data demonstrates that NPM1 mutation present in 30% to 35% of patients with acute myeloid leukemia (AML) results in the high expression of VISTA on leukemic blasts This is believed to be the mechanism by which leukemia escapes immune recognition and attack and is responsible for high rate of treatment failures in AML We look forward to evaluating the VISTA inhibiting antibody in a Phase 2 randomized study in relapsed AML, which we expect to initiate in the fourth quarter of 2025 based on the anticipated closing of the proposed merger with Kineta." TuHURA also announced that the Markowitz Lab at Moffitt Cancer Center also presented a poster of TuHURA's IFx-Hu2.0 in patients with advanced treatment refractory Melanoma who like patients in TuHURA's Phase 1b Merkel cell carcinoma trial among heavily pre-treated patients with advanced Melanoma who were resistant to anti-PD-1-based therapy three of four patients achieved clinically meaningful durable anti-tumor responses following re-administration of a CPI "Demonstration of the development of antibody specific response to the Emm55 bacterial protein expressed on the surface of the tumor cell following IFx-Hu2.0 in the phase 1 study and an abscopal effect in murine model of melanoma is consistent with the data generated in patients with advanced cutaneous malignancies like melanoma or Merkel cell carcinoma," noted Dr "We look forward to that anticipated initiation of our Phase 3 accelerated approval trial in first line treatment of patients with advanced or metastatic Merkel cell carcinoma targeted for later this quarter." In the second poster presentation relating to IFx-Hu2.0 entitled: "Mechanistic Insights into IFx- Hu2.0 Responses in the First Human Trial After Prior Anti-PD-1 Therapy Failure," (3428/23) IFx-Hu2.0's first-in-human study demonstrated stimulation of an innate immune response with increased T cell and B cell production in peripheral blood compared to tumor tissue This innate immune activation underscores the potential of IFx-Hu2.0 to generate tumor specific activate T and B cells for patients who are resistant to anti-PD-1 CPIs IFx-Hu2.0 was generally safe and well tolerated, with only mild Grade 1 and Grade 2 adverse events, largely injection site reactions As previously announced, on December 11, 2024, TuHURA entered into a definitive agreement with Kineta including the rights to Kineta's novel KVA12123 antibody for a combination of cash and shares of TuHURA common stock via a merger transaction upon the terms and conditions and subject to the conditions set forth in TuHURA's Form 8-K filed on December 12 2024. The merger is currently targeted to close in Q2 2025 pending the satisfaction of certain closing conditions TuHURA Biosciences, Inc. (Nasdaq: HURA) is a Phase 3 immuno-oncology company developing novel technologies to overcome primary and acquired resistance to cancer immunotherapy, two of the most common reasons cancer immunotherapies fail to work or stop working in the majority of patients with cancer TuHURA's lead innate immune agonist, IFx-2.0 is designed to overcome primary resistance to checkpoint inhibitors. TuHURA is preparing to initiate a single randomized placebo-controlled Phase 3 registration trial of IFx-2.0 administered as an adjunctive therapy to Keytruda® (pembrolizumab) compared to Keytruda® plus placebo in first line treatment for advanced or metastatic Merkel Cell Carcinoma.  In addition to its innate immune agonist product candidates TuHURA is leveraging its Delta Opioid Receptor technology to develop first-in-class, bi-specific antibody drug conjugates and antibody peptide conjugates targeting Myeloid Derived Suppressor Cells to inhibit their immune- suppressing effects on the tumor microenvironment to prevent T cell exhaustion and acquired resistance to checkpoint inhibitors and cellular therapies For more information, please visit www.tuhurabio.com and connect with TuHURA on Facebook In connection with the proposed acquisition by merger (the "Merger") of Kineta Inc. ("Kineta") by TuHURA Sciences, Inc. ("TuHURA"), TuHURA filed with the U.S Securities and Exchange Commission (the "SEC") a registration statement on Form S-4 which contains a preliminary joint proxy statement of Kineta and TuHURA and a preliminary prospectus of TuHURA (the "Joint Proxy Statement/Prospectus") and TuHURA and Kineta may file with the SEC other relevant documents regarding the Merger Investors and securityholders of TuHURA and Kineta are urged to read the Joint Proxy Statement/Prospectus and such other materials carefully when they become available because they will contain important information about TuHURA This press release is not a substitute for the definitive Joint Proxy Statement/Prospectus, when it becomes available, or any other documents that TuHURA may file with the SEC or send to securityholders in connection with the proposed Merger This press release is not a proxy statement or solicitation of a proxy consent or authorization with respect to any securities or in respect of the Merger and is not intended to and does not constitute an offer to sell or the solicitation of an offer to buy the securities of TuHURA or Kineta nor shall there be any sale of any such securities in any state or jurisdiction in which such offer or sale would be unlawful prior to registration or qualification under the securities laws of such state or jurisdiction. No offer of securities shall be made except by means of a prospectus meeting the requirements of Section 10 of the Securities Act PARTICIPANTS IN THE SOLICITATION TuHURA and Kineta and their respective directors and officers and other members of management may be deemed to be participants in the solicitation of proxies from stockholders in connection with the Merger and other matters that may be set forth in the Joint Proxy Statement/Prospectus. Information about TuHURA's directors and executive officers is set forth in TuHURA's filings with the SEC, including TuHURA's Form 10-K filed on March 31 Additional information regarding the direct and indirect interests of those persons and other persons who may be deemed participants in the solicitation of proxies in the Merger may be obtained by reading the Joint Proxy Statement/Prospectus when it becomes available You may obtain free copies of these documents as described above under "IMPORTANT ADDITIONAL INFORMATION" CAUTIONARY STATEMENT REGARDING FORWARD-LOOKING STATEMENTS The forward-looking statements and other information contained in this press release are made as of the date hereof and TuHURA does not undertake any obligation to update publicly or revise any forward-looking statements or information future events or otherwise, unless so required by applicable securities laws. Nothing herein shall constitute an offer to sell or the solicitation of an offer to buy any securities Gilmartin Group Monique Kosse[email protected] a Phase 3 immune-oncology company developing novel technologies to overcome resistance to cancer.. a Phase 3 registration-stage immuno-oncology company developing novel technologies to overcome.. Health Care & Hospitals Medical Pharmaceuticals Pharmaceuticals Biotechnology Do not sell or share my personal information: at the McCormick Place Convention Center in Chicago Details of the accepted abstracts are as follows: Chief Scientific Officer of KinetaDate and Time: April 28 Title: Mechanistic insights into IFx-Hu2.0 responses in the first human trial after prior anti-PD-1 therapy failureTrack: ImmunologySession: PO.IM01.07 - Enhanced Antibodies Cytokines and Chimeric ProteinsAbstract Number: 3428 / 23Presenter: Joseph Markowitz For more and to view the abstract, visit the AACR Annual Meeting website TuHURA entered into a definitive agreement with Kineta including the rights to Kineta's novel KVA12123 antibody for a combination of cash and shares of TuHURA common stock via a merger transaction.  The merger is currently targeted to close in Q2 2025 pending the satisfaction of funding conditions and other closing conditions TuHURA Biosciences, Inc. (Nasdaq: HURA) is a Phase 3 immuno-oncology company developing novel technologies to overcome primary and acquired resistance to cancer immunotherapy two of the most common reasons cancer immunotherapies fail to work or stop working in the majority of patients with cancer is designed to overcome primary resistance to checkpoint inhibitors TuHURA is preparing to initiate a single randomized placebo-controlled Phase 3 registration trial of IFx-2.0 administered as an adjunctive therapy to Keytruda® (pembrolizumab) compared to Keytruda® plus placebo in first line treatment for advanced or metastatic Merkel Cell Carcinoma TuHURA is leveraging its Delta Opioid Receptor technology to develop first-in-class bi-specific antibody drug conjugates and antibody peptide conjugates targeting Myeloid Derived Suppressor Cells to inhibit their immune-suppressing effects on the tumor microenvironment to prevent T cell exhaustion and acquired resistance to checkpoint inhibitors and cellular therapies In connection with the proposed acquisition by merger of Kineta which contains a preliminary joint proxy statement of Kineta and TuHURA and a preliminary prospectus of TuHURA (the "Joint Proxy Statement/Prospectus") and TuHURA and Kineta may file with the SEC other relevant documents regarding the Merger. Investors and securityholders of TuHURA and Kineta are urged to read the Joint Proxy Statement/Prospectus and such other materials carefully when they become available because they will contain important information about TuHURA This press release is not a substitute for the definitive Joint Proxy Statement/Prospectus or any other documents that TuHURA may file with the SEC or send to securityholders in connection with the proposed Merger.  This press release is not a proxy statement or solicitation of a proxy consent or authorization with respect to any securities or in respect of the Merger and is not intended to and does not constitute an offer to sell or the solicitation of an offer to buy the securities of TuHURA or Kineta or sale would be unlawful prior to registration or qualification under the securities laws of such state or jurisdiction No offer of securities shall be made except by means of a prospectus meeting the requirements of Section 10 of the Securities Act TuHURA and Kineta and their respective directors and officers and other members of management may be deemed to be participants in the solicitation of proxies from stockholders in connection with the Merger and other matters that may be set forth in the Joint Proxy Statement/Prospectus Information about TuHURA's directors and executive officers is set forth in TuHURA's filings with the SEC including TuHURA's Form 10-K filed on March 31 CAUTIONARY STATEMENT REGARDING FORWARD-LOOKING STATEMENTS The forward-looking statements and other information contained in this press release are made as of the date hereof and TuHURA does not undertake any obligation to update publicly or revise any forward-looking statements or information unless so required by applicable securities laws Nothing herein shall constitute an offer to sell or the solicitation of an offer to buy any securities Acquisitions, Mergers and Takeovers '#' : location.hash;window._cf_chl_opt.cOgUQuery = location.search === '' && location.href.slice(0 location.href.length - window._cf_chl_opt.cOgUHash.length).indexOf('?') !== -1 '?' : location.search;if (window.history && window.history.replaceState) {var ogU = location.pathname + window._cf_chl_opt.cOgUQuery + window._cf_chl_opt.cOgUHash;history.replaceState(null "\/the-perfect-storm-of-funding-cuts-crippling-arab-society\/?__cf_chl_rt_tk=euqLy11.sNTCOSGlLTy.f2GEH3v7HhmI7Flpuwrpq_4-1746533560-1.0.1.1-XntXTGSY8ij3CdqwWB.0M0boiVvPqEYw024iHcljga4" + window._cf_chl_opt.cOgUHash);cpo.onload = function() {history.replaceState(null ogU);}}document.getElementsByTagName('head')[0].appendChild(cpo);}()); Phase 3 IFx-2.0 accelerated approval trial as adjunctive therapy with Keytruda® (pembrolizumab) in 1st line therapy for advanced Merkel cell carcinoma (MCC) planning to initiate enrollment in Q2 2025 MCC Phase 3 trial to be conducted under Special Protocol Assessment (SPA) Agreement with FDA VISTA inhibiting antibody targeted for completion in Q2 2025 Expanded discovery team for first-in-class immune modulating Antibody Drug or Peptide Conjugate Program TAMPA, Fla., April 1, 2025 /PRNewswire/ -- TuHURA Biosciences, Inc. (NASDAQ:HURA) ("TuHURA" or the "Company") a Phase 3 registration-stage immune-oncology company developing novel technologies to overcome resistance to cancer immunotherapy today provided financial results for fiscal year 2024 and provided a corporate update "2024 was a transformative year for TuHURA raised capital to meet FDA's manufacturing requirements to initiate our Phase 3 program anticipated for Q2 as forecasted and entered into a definitive agreement for is a best-in-class VISTA inhibiting antibody adding a Phase 2 program in AML to our development pipeline," commented James Bianco "As we advance our late stage clinical programs in 2025 with the goal of completing enrollment in our Phase 3 trial next year we are also making significant progress in the development of the first novel class of non-tumor targeting Antibody Drug or Antibody Peptide Conjugates that are demonstrating the potential ability to remove the immunosuppressive functions of key cellular populations that create an immunologic sanctuary for tumors leading to acquired resistance to cancer immunotherapies." Advancing Novel Technologies to Overcome Resistance to Cancer Immunotherapy Innate Immune Agonists: TuHURA's IFx technology utilizes a proprietary plasmid DNA or messenger RNA ("mRNA") which when introduced into or targeted to a tumor results in the expression of a highly immunogenic gram-positive bacterial protein (Emm55) on the surface of the tumor cell Gram-positive bacterium has molecular patterns preserved over evolution which are recognized by receptors on our immune cells called "toll like receptors" (TLR) TLR 2 specifically recognizes the pattern of gram-positive bacterial proteins leading to the activation of antigen presenting cells (APCs) APCs digest the tumor cell and present non-self tumor neoantigens to newly produced T and B cells activating a tumor-specific adaptive immune response Through its activation of tumor-specific T cells IFx-2.0 administration can potentially overcome primary resistance to checkpoint inhibitors placebo-controlled Phase 3 accelerated approval trial of IFx-2.0 administered as an adjunctive therapy to Keytruda® (pembrolizumab) versus pembrolizumab plus placebo in first line treatment for checkpoint inhibitor-naïve patients with advanced or metastatic MCC The data from the Company's Phase 1b trial in patients with advanced or metastatic MCC who exhibited primary resistance to CPI was used to support a potential single registration directed trial Consistent with the FDA's Project Front Runner Initiative the FDA's Oncology Center of Excellence (OCE) recommended investigating IFx-2.0 in the first line setting rather than in patients progressing on first line therapy Project Front Runner is an FDA OCE initiative to encourage drug sponsors to consider when it may be appropriate to first develop and seek approval of new cancer drugs for advanced or metastatic disease in an earlier clinical setting rather than the usual approach to develop and seek approval of a new drug for treatment of patients who have received numerous prior lines of therapies or have exhausted available treatment options The FDA also requested the Company to consider designing the trial to include a key secondary endpoint shown to be of clinical benefit like PFS allowing this accelerated approval trial to potentially satisfy both the requirements for accelerated approval based on ORR while satisfying the requirement for a post-approval confirmatory trial if the secondary PFS endpoint is achieved The trial will be conducted under an SPA agreement with the FDA Tumor Microenvironment Modulators: Leveraging its delta opioid receptor technology TuHURA is developing the first class of non-tumor targeting bi-specific immune modulating Antibody Drug Conjugates or Antibody Peptide Conjugates targeting MDSCs to inhibit their immune suppressing effects on the tumor microenvironment to prevent T cell exhaustion and acquired resistance to checkpoint inhibitors and cellular therapies Potential Acquisition of Novel Anti-VISTA Checkpoint Inhibitor: As previously announced the Company entered into a definitive merger agreement in which TuHURA would acquire Kineta (OTC Pink: KATN) including the rights to Kineta's novel KVA12123 antibody for a combination of cash and shares of TuHURA common stock via a merger transaction The merger is currently targeted to close in Q2 2025 pending the satisfaction of funding conditions and other closing conditions Summary of Financial Results for the Full Year 2024 Research and development (R&D) expense was $13.3 million and $9.4 million for the years ended December 31 The increase in R&D of $3.9 million is mainly related to: General and administrative (G&A) expenses were $4.3 million and $4.1 million for the years ended December 31 The increase in G&A of $0.2 million was mainly attributable to increases in non-cash stock compensation expense and costs associated with being a public company incurred in 2024 offset by decrease in legal fees associated with the subsequently terminated proposed merger with CohBar TuHURA Biosciences, Inc. (Nasdaq: HURA) is a Phase 3 registration-stage immuno-oncology company developing novel technologies to overcome primary and acquired resistance to cancer immunotherapy TuHURA's lead innate immune agonist drug candidate TuHURA is preparing to initiate in the second quarter 2025 a single randomized placebo-controlled Phase 3 registration=directed trial of IFx-2.0 administered as an adjunctive therapy to Keytruda® (pembrolizumab) compared to Keytruda® and placebo in first-line treatment for advanced or metastatic Merkel Cell Carcinoma In addition to its innate immune agonist candidates following the anticipated closing of the previously announced proposed merger with Kineta TuHURA plans to advance its VISTA inhibiting antibody into a phase two trial in combination with a menin inhibitor in NPM1 mutated relapsed or refractory AML Leveraging its discovery of the central role the delta opioid receptor plays in modulating the immunosuppressive effects of myeloid derived suppressor cells (MDSCs) and tumor associated M2 polarized macrophages on the tumor microenvironment (TME) the Company is also developing non-tumor targeting ADCs and APCs to convert the TME to an immunogenic phenotype potentially overcoming acquired resistance to checkpoint inhibitors and cellular therapies or any other documents that TuHURA may file with the SEC or send to securityholders in connection with the proposed Merger No offer of securities shall be made except by means of a prospectus meeting the requirements of Section 10 of the Securities Act of 1933 JTC Team, LLCJenene Thomas(908) 824-0775[email protected] 1 Trial currently subject to partial clinical hold relating to completion of certain CMC requirements for initiation of Phase 3 registration trial The dates displayed for an article provide information on when various publication milestones were reached at the journal that has published the article activities on preceding journals at which the article was previously under consideration are not shown (for instance submission All content on this site: Copyright © 2025 Elsevier B.V. Proven 20-year career in drug discovery and development track record leading to 12 pre-clinical/clinical candidates and 7 investigational new drug / clinical trial applications Extensive knowledge in the biochemistry and pharmacology of the Delta Opioid Receptor (DOR), the primary target in TuHURA's Antibody Drug Conjugate (ADC) and Antibody Peptide Conjugate (APC) technology platform Inventor of first-in-class spirocyclic DOR agonists as potential analgesics; clinical- stage products licensed to Pfizer Led the benevopran opioid-induced bowel dysfunction program to positive Phase IIb results: key value inflection point resulting in the acquisition of Adolor Corporation by Cubist Pharmaceuticals TAMPA, Fla., April 7, 2025 /PRNewswire/ -- TuHURA Biosciences, Inc. (NASDAQ: HURA) ("TuHURA") a Phase 3 registration-stage immuno-oncology company developing novel technologies to overcome resistance to cancer immunotherapy today announced the appointment of Bertrand Le Bourdonnec Le Bourdonnec is a seasoned biotech executive with broad scientific and leadership experience across all stages of drug discovery through clinical development and regulatory approval He has successfully led R&D programs in multiple therapeutic areas including oncology infectious diseases and neurodegenerative diseases He is a noted expert on opioid receptor biochemistry and pharmacology and has discovered and developed several drugs targeting various members of the opioid receptor family Le Bourdonnec to the TuHURA team. His expertise in the pharmacology and biochemistry of the Delta Opioid Receptor (DOR) is a perfect addition to lead the discovery effort for our novel ADCs and APCs targeting the DOR on myeloid derived suppressor cells (MDSCs) Having successfully developed drugs that stimulate the DOR, he is uniquely positioned to develop DOR inhibitors that seek to block the immune suppressing effects of MDSCs on the tumor microenvironment." commented James Bianco, M.D., President and Chief Executive Officer of TuHURA "I am thrilled to join the TuHURA team at this pivotal time in the Company's evolution and look forward to playing an important role in driving our pipeline forward with the goal of addressing patient unmet medical needs potentially transforming the treatment paradigm for people battling cancer." Prior to joining TuHURA, Dr. Le Bourdonnec served as the Chief Scientific Officer and Scientific Advisor for HDAX Therapeutics a biotechnology company pioneering a novel approach to targeting HDAC6 for the discovery and development of breakthrough therapeutics for high unmet medical needs During his tenure at HDAX, Dr. Le Bourdonnec was responsible for developing a research strategy and managing discovery activities that contributed to the company's completion of an oversubscribed seed round in September 2024 Pharmaceutical & Pre- Clinical Sciences at Deciphera Pharmaceuticals where he led a team of 31 scientists and managed Medicinal Chemistry Pharmaceutical Sciences, ADME/DMPK & Toxicology activities supporting the identification of novel kinase inhibitors designed using Deciphera's proprietary kinase switch control platform. He was also responsible for managing non-clinical development activities for Deciphera's clinical stage products he led several R&D functions at Yumanity Therapeutics and contributed to the company's growth from early start-up to a clinical stage organization. Earlier in his career, Dr. Le Bourdonnec served as the VP Discovery Chemistry & Pharmaceutical Research at Cubist Pharmaceuticals where he led a department of 87 chemists (57 internal; 30 external) across different functions including Medicinal Chemistry Compound Management and High-Throughput Screening. He began his industry career at Adolor Corporation (acquired by Cubist Pharmaceuticals in Oct 2011) and held a number of positions he played an integral role in many value-driving accomplishments, including the invention of first-in-class spirocyclic delta opioid receptor (DOR) agonists as potential analgesics (ADL5859 & ADL5747) which were licensed to Pfizer for $30M upfront Dr. Le Bourdonnec holds a Chemical Engineering degree and a PhD in Organic Chemistry from the University of Lille (France) He also completed a post-doctoral fellowship in the US in the laboratory of Professor Portoghese at the University of Minnesota TuHURA Biosciences, Inc. (Nasdaq: HURA) is a Phase 3 registration-stage immuno-oncology company developing novel technologies to overcome primary and acquired resistance to cancer immunotherapy two of the most common reasons cancer immunotherapies fail to work or stop working in the majority of patients with cancer TuHURA's lead innate immune agonist candidate is designed to overcome primary resistance to checkpoint inhibitors. TuHURA is preparing to initiate a single randomized placebo-controlled Phase 3 registration trial of IFx-2.0 administered as an adjunctive therapy to Keytruda® (pembrolizumab) in first line treatment for advanced or metastatic Merkel Cell Carcinoma TuHURA is leveraging its Delta Opioid Receptor technology to develop first-in-class bi-specific ADCs and APCs targeting Myeloid Derived Suppressor Cells to inhibit their immune-suppressing effects on the tumor microenvironment to prevent T cell exhaustion and acquired resistance to checkpoint inhibitors and cellular therapies This press release contains certain "forward-looking statements" within the meaning of and the Private Securities Litigation Reform Act of 1995 These forward-looking statements are based only on our current beliefs expectations and assumptions regarding the future of our business anticipated events and other future conditions In some cases you can identify these statements by forward-looking words such as "believe," "may," "will," "estimate," "continue," "anticipate," "intend," "could," "should," "would," "project," "plan," "expect," "goal," "seek," "future," "likely" or the negative or plural of these words or similar expressions Examples of such forward-looking statements include statements regarding TuHURA's IFx-Hu2.0 product candidate and anticipated Phase 3 trial its development program relating to its Delta Opioid Receptor technology and any developments or results in connection therewith and the anticipated regulatory pathway and timing of the foregoing development programs forecasts or other characterizations of future events or circumstances You are cautioned that such statements are not guarantees of future performance and that actual results or developments may differ materially from those set forth in these forward-looking statements Factors that could cause actual results to differ materially from these forward-looking statements are described in detail in our Annual Report on Form 10-K filed on March 31, 2025 and our other filings with the SEC, which are available at www.sec.gov. The forward-looking statements and other information contained in this press release are made as of the date hereof, and TuHURA does not undertake any obligation to update publicly or revise any forward-looking statements or information Investor Contact:Dan Dearborn (813) 875-6600[email protected]  (NASDAQ:HURA) ("TuHURA" or the "Company") a Phase 3 immune-oncology company developing novel technologies to overcome.. Sohrab Hura’s exhibition ¨Mother¨ at MoMA PS1 is a deeply moving testament to the complexities of familial love The series of photographs and videos offer an intimate portrait of Hura’s mother while subtly exploring the impact of this relationship on his life and artistic practice In ¨Mother¨ the viewer is invited to witness the fragmented and often painful realities of care and the delicate threads that connect memory and trauma Hura’s visual narrative is rooted in the mundane capturing domestic moments that resonate with an almost haunting familiarity His black-and-white photographs create a sense of quiet intensity drawing attention to the ordinary: a half-empty chair These details demand the viewer’s attention resisting the pull of spectacle and instead asking us to look closer The photographs unfold like a diary—a deeply personal record of the artist’s life with his mother The fragmented presentation feels as if we are paging through a family album absorbing the melancholy and love that each frame holds The monochromatic palette used in much of Hura’s work echoes the fragility of his subject matter while moments of color occasionally interrupt the visual rhythm and photographic sequences evokes the fragmented nature of memory itself—overlapping This choice mirrors the structure of memory as if he is inviting us to embrace what remains unclear and unsaid The gaps and shadows within the images tell a story as much as the visual details themselves he emphasized that his work was never about neat categorizations He did not set out to make a political or feminist statement yet his narrative undeniably grapples with the political dimensions of mental illness His mother becomes both a symbol and a human presence—vulnerable His exploration of their relationship reveals the delicate and often fraught dynamics of caregiving Each image seems to exist in a state of tension—between presence and absence The layout of the exhibition is intimate and intentionally disorienting encouraging viewers to move through the space as they would through a labyrinth of memories creating an atmosphere akin to a private space rather than a public gallery This curatorial decision invites the viewer to step closer to engage with the images in a tactile way as if sifting through someone else’s personal mementos Hura’s arrangement of images reflects his desire to challenge traditional narratives inviting ambiguity and resisting a linear understanding of his mother’s experience One of the most poignant images in the exhibition features Hura’s mother The light and shadow dance across her face blurring the boundary between the personal and the political challenging how we see and understand mental illness within a familial and social context The photograph speaks not only to the artist’s experience but to a larger discourse on caregiving on how mental health is navigated within the domestic space Hura’s approach to storytelling is inherently fragmented His images exist like isolated vignettes—moments of stillness captured amidst the chaos of daily life an authenticity that refuses to hide the imperfections of life with a loved one who struggles with mental illness conveying the difficulty of his position as both son and documentarian This duality is central to the emotional power of ¨Mother¨ as it forces us to confront our own discomfort when looking at the complexity of love Hura spoke of his decision to slow down his photographic process There is a painterly quality to his work—a tactile sensibility that comes from a deliberate engagement with each frame each frame an attempt to capture the shifting essence of time This slowness stands in stark contrast to the speed of contemporary visual culture where images are often consumed rapidly and without pause Hura’s choice to resist this velocity mirrors a desire to see beyond the surface The exhibition’s nonlinear format mirrors the nonlinear nature of memory and mental illness Hura’s use of visual storytelling emphasizes the fragmented and the incomplete as valid forms of understanding imperfect images resist traditional expectations of clarity insisting instead on ambiguity as a space for reflection This resistance to narrative closure feels like a gesture of vulnerability and defiance—a recognition that some experiences cannot be neatly explained or resolved The installation at MoMA PS1 uses space to disrupt the boundaries of the traditional gallery setting and to embrace moments of confusion and discovery Photographs are arranged with an apparent randomness that mirrors the disjointed nature of memory compelling the audience to piece together fragments without a clear guide This mirrors Hura’s own experience of navigating his mother’s illness of living within a domestic space shaped by love and trauma Mother is an exhibition that does not offer easy answers challenging the viewer to sit with the messy complicated reality of caregiving and familial love there is a profound beauty—a beauty that lies in the cracks of plaster in the unspoken bonds that tie us together It is a beauty that demands to be seen and acknowledged a reminder that to bear witness is itself an act of love Hura’s photographs ask us not just to look but to see—to see the quiet resilience of his mother and the unending complexity of the human heart She is in the MA Women and Gender studies program at the CUNY Graduate Center in History and Critical Theories of Art program at the Universidad Ibero Americana de México Master's degree in Visual Arts from the National Autonomous University of Mexico She has given lectures for the SEAC Annual Meeting The Museum of Contemporary Art of Mexico and the Latin American Public Art Seminar She is a permanent contributor to ArtNexus Magazine published and commented by Karen Cordero for the 109 CAA Annual Conference in Revaluing Feminine Trajectories and Stitching Alternative Genealogies in the Work of Yohanna Roa Innovation and Women's Entrepreneurship in Latin America published by the Andes University and UNAL in Mexico and archive projects for including WhiteBox NY The Tertulia Museum of Modern Art in Colombia and Autonomous University of Nuevo León México.  Sohrab Hura shares the story behind the diptych Cats and Stars now available as two time-limited posters for the third Signature Drop Sohrab Hura “I’ve always understood a place through the relationship that people have with animals. They’re always seeking each other out, maybe because of a kind of loneliness where there’s a longing for touch,” New Delhi-based Sohrab Hura explains of his new, time-limited diptych of signed posters, titled Cats and Stars The diptych sees Hura put together two disciplines within his evolving practice: his first The first shows a black-and-white photograph of one Only half of the moment is documented here but it is enough to immerse us in a tender moment of connection The second poster is of one of Hura’s gouache paintings from 2023 A grumpy-looking cat peers out from a tight embrace as it is carried down a woodland path the star motif present in the unusually green night sky The Cat That Tried to Run Away But Was Found and Taken Home is the title The feeling of dejection radiates from the animal’s evident grimace and a child is reluctantly dragged back to reality by an angry parent “I’m not actually a cat person,” Hura explains I was living in a one-bed terrace apartment and one day found a cat in my kitchen trying to steal food he picked up on three trends within his social circles is that a lot of his friends started having babies The second was to get heavily invested in baking bread All my friends seemed to talk about was cats all their Instagram posts seemed to be about cats I’d walk into the forest near my house in New Delhi and be confronted by a ginger cat… People took to cats as they were easily available a way of combatting loneliness that feels less high-maintenance than dogs so I guess this painting is poking a bit at that.” Through the pages of his latest book, Things Felt But Not Quite Expressed cats and dogs are one of the many motifs that we see in his pastel drawings Some feel familiar from popular meme culture and social algorithms as in the gouache painting that Hura has selected for the Drop see animals almost personified with highly relatable expressions an angry and wired-looking cat is perched behind a dog “My drawings and paintings have become a way to explore themes like love which are hard to capture through photography it’s a way of looking beyond the heteronormative or romantic views of love that our society has been used to the gentler ways and the more complex aspects of relationships.”  “There is mischief in my drawings and paintings,” he continues and mixed with melancholy.” A photographer for over two decades Hura’s principal practice began to shift from photography to painting and drawing in 2022 as he was recovering from the long-term effects of lung damage caused by COVID-19 “Unable to make photographs the way I used to I discovered drawing and felt unexpectedly attracted to it,” he writes in the book “Maybe it was the long-forgotten sense of tenderness I discovered in sculpting images into existence with soft pastels a slowness that reminded me of my early years in photography.” A shift, perhaps, but also a full-circle moment, he describes now, looking at the two posters that he has selected for his time-limited Signature Drop There is more that links the two images than the recurring theme of cats and stars as the title suggests comes from a time when I was working really freely with photography I was experimenting with the medium itself working with all kinds of cameras…” he explains using photography as an escape from reality but I was going about it in a very carefree manner.”  this is a feeling that I’m beginning to rediscover as I go back to drawing and painting experimentation… I feel like I am able to meander once again And that is ultimately why I began photography following Newsha Tavakolian and Jim Goldberg earlier this year Through the freedom that drawing and painting offer as opposed to the documentary-like photography of his past Hura has found a new medium to communicate taking us back to the notion of “sculpting images into existence,” as he describes in the book by the fact that my style is constantly changing ’style’ brings me back to what Bruce Lee said — ’Don’t get set into one form I felt like I couldn’t limit myself to one style conversing with different people about different things and it would feel very robotic to say the same things in the same manner all the time.” “I wasn’t in a good place when I was working on Life is Elsewhere,” he confesses “I was looking at things through a very surreal lens trying to find a way to escape the real world and it’s much easier for me to look at feelings like melancholy.”  Using gouache has led Hura on a journey to understand color the emotional tendencies of color and what they represent to us “It’s like a different register,” he explains comparing it to adding a sound cut to a film — another layer to his practice In The Cat That Tried to Run Away But Was Found and Taken Home the scene is transformed into a dream-like setting through the use of color But none of it feels out of place — there is an air of realism despite the abnormal color combination with painting I am looking at the same world exploring registers like color in a more conscious manner it’s about extracting the essence of something — a feeling and concentrating it in a painting,” he describes “I’ve had moments of hiatus in photography before and I’m curious to see how I will go back to it with the experiences I’ve had through drawing and painting,” he concludes “A lot of what I’m working on now is a direct result of my experience in photography — not about the photographs as such I feel like photography taught me how I see the world which has opened up language in so many ways.”  Hura’s diptych represents both an ode to the common cat and these posters act as a gentle reminder to meander and to remain curious in the busy world that we live in Shop Hura’s exclusive and time-limited Signature Drop on the Magnum Online Store, available until Sunday, December 9 only.  The Phoblographer may receive affiliate compensation for products purchased using links in this article. For more information, please visit our Disclaimers page. whose surreal photographs stand at the intersection of political in a recent exhibition hosted by the Museum of Modern Art (MOMA) Hura began his journey as a self-taught photographer his documentary stills were layered on to depict the daily mundane moments of India and the region’s entrenched political and colonial history Curator and Director of Curatorial Affairs Sohrab Hura: Mother showcase includes multimedia works from series like Pati (2010) There is a sort of new language of photography coming into existence because of the looseness of social media the film looks at the villages of Madhya Pradesh and how the region passed the 2005 National Rural Employment Guarantee Act which promises 100 days of employment for all citizens The photographer combines stills and footage to highlight deforestation’s impact in the area Snow depicts the ongoing unrest in Kashmir also known as IoK (India-occupied Kashmir) Through his photographs and television footage the photographer highlights the people’s struggles in the area The Coast is another series where Sohrab Hura explores the nation’s changing politics Sohrab Hura recently expanded on his practice the photographer documents his mother and her dog The project was created following his mother’s diagnosis of schizophrenia Hura has worked on a series of pastel drawings and gouache paintings The artworks from Felt But Not Quite Expressed (2022–ongoing) and Ghosts in My Sleep (2023–ongoing) are created from memories and imaginations Sohrab Hura: Mother is an exceptional look at the photographer’s approach to the ethics of the documentary as well as his personal and political introspection His work will not only provide insights into the diversity and challenges in India but also reveal how one can use diverse art forms arranging the images to be played as a video is a great enough start to engage an audience with little knowledge about photography the paintings certainly are as surreal as his photographs they will transport Hura’s lived and imagined memories to you For anyone interested in documentary photography Hura is one of those photographers you must pay attention to This exhibit and his years of beautifully crafted images will help you envision your project better a story works well in stills alone; other times it has to be weaved with other formats to do justice to the narrative proving that both can be achieved if you are willing to work for it Sohrab Hura: Mother is on display and will end in February 2025 at the Museum of Modern Art. For more information, visit MOMA’s website. Representative Laurel M Lee (R-Florida) recently bought shares of TuHURA Biosciences NASDAQ: HURA the Representative disclosed that they had bought between $100,001 and $250,000 in TuHURA Biosciences stock on October 18th The stock had a trading volume of 55,195 shares TuHURA Biosciences has a one year low of $2.84 and a one year high of $17.36 Maxim Group started coverage on shares of TuHURA Biosciences in a research note on Tuesday They issued a "buy" rating and a $15.00 price target on the stock View Our Latest Stock Report on HURA Laurel Lee (Republican Party) is a member of the U.S representing Florida's 15th Congressional District Lee (Republican Party) is running for re-election to the U.S House to represent Florida's 15th Congressional District She declared candidacy for the Republican primary scheduled on August 20 Ron DeSantis (R) appointed Lee to serve as the Florida Secretary of State on January 28 after the resignation of Michael Ertel on January 24 Lee was a judge of the 13th Judicial Circuit Court in Florida from 2013 to 2019 Laurel Lee earned undergraduate and law degrees from the University of Florida Lee's career experience includes working as an attorney with Carlton Fields an assistant federal public defender and assistant U.S attorney with the United States District Court for the Middle District of Florida Moody on the United States District Court for the Middle District of Florida MarketBeat keeps track of Wall Street's top-rated and best performing research analysts and the stocks they recommend to their clients on a daily basis. MarketBeat has identified the five stocks that top analysts are quietly whispering to their clients to buy now before the broader market catches on.. While TuHURA Biosciences currently has a Buy rating among analysts top-rated analysts believe these five stocks are better buys View The Five Stocks Here Wondering where to start (or end) with AI stocks These 10 simple stocks can help investors build long-term wealth as artificial intelligence continues to grow into the future Sign up for MarketBeat All Access to gain access to MarketBeat's full suite of research tools Maharatia Tama Hura posted photos of himself posing with firearms A man posted photos of himself to social media posing with guns which he says he had to “protect himself” after his house had reportedly been shot at “several times” Judge Gregory Hikaka said Maharatia Tama Hura had presented himself with a profile as someone who was armed and potentially “dangerous” “Point being Mr Hura, if you’re going to do that sort of thing, the public presentation of that when you don’t have a licence, it’s asking for trouble,” the judge said in New Plymouth District Court on Tuesday “Whatever’s going on to persuade you that you need firearms in order to protect yourself then you need to address that because it’s not a good situation all around.” posted a photo of himself holding a semi-automatic shotgun on his Facebook page This was followed by a photo he posted on July 1 of himself holding a different style of shotgun The posts prompted police to search his house where they found an Eternal Arms .410 calibre shotgun wrapped in his jacket in the lounge and eight rounds of ammunition for the firearm scattered on the kitchen table and throughout the property Hura admitted having the gun and ammunition and told police “it was for protection as his house had been shot at several times” He did not reveal where he obtained the firearm or ammunition defence lawyer Nathan Bourke told the judge that beyond having a gun and the dangers of that “It’s not related to drugs or something else he said it was for protection due to some issues he was having,” Bourke said He submitted a starting point of 16 to 18 months’ imprisonment was appropriate with an uplift for Hura’s criminal history which included offensive weapons but not firearms Bourke said Hura was then due credit for background factors that led to his “very reactive way of approaching things” and his genuine remorse described in his presentence report Hura also immediately pleaded guilty to the charges - possessing a firearm and ammunition - and has been in custody since Police prosecutor Detective Sergeant Dave McKenzie did not take any issue with the defence’s submissions Judge Hikaka said Hura had a concerning history and that may be explained by reference to his background and the experiences he faced you are in a position where you have agency which means you can make the call as to the sort of things you want to get involved in the sort of things you want to do with the rest of your life.” He encouraged Hura to make better choices and pointed out what his future would look like if he carried on with the pattern of getting into trouble Judge Hikaka took into account Hura’s background and early guilty pleas before sentencing him to 15 months’ imprisonment He also wiped his fines and gave him leave to apply for home detention Tara Shaskey joined NZME in 2022 as a news director and Open Justice reporter She has been a reporter since 2014 and previously worked at Stuff covering crime and justice The only high-reach ladder truck in Auckland broke down last night President Isaac Herzog and his wife Michal visited the Bedouin town of Hura in the Negev on Thursday.The president and his wife began their visit at a school focusing on STEM subjects including chemistry before holding an open discussion with 40 of the school's students."This is a town that symbolizes excellence...the possibility of building a shared and different Negev." Mayor Muhammad al-Nabari grew up in the predominantly Bedouin town of Hura  but in his teens came to the conclusion that there was no future for him in the Negev and then — to his family’s immense pride — went on to attend Hebrew University and later Ben-Gurion University of the Negev where he earned a PhD in organic chemistry he took a job at a prominent pharmaceutical company “I never cut myself off from my identity as a Bedouin.” and running an advocacy group for higher education among the Bedouins In 2005 he ran for mayor of Hura but didn’t take the idea seriously; in fact he didn’t even bother leaving his job when he began his campaign “I never believed I would get elected!” he admits After more than a decade under al-Nabari’s leadership Hura — though still one of Israel’s poorest communities — has become a model of how local government can be run With financial assistance from sources including the Jewish National Fund and other Jewish organizations in the United States and United Kingdom and the highly successful Ahad High School for Science which accepts gifted Bedouin students from all over the Negev Education is central to progress and hope for Hura — as for the entire nation — as al-Nabari well knows “I have told my principals to be responsible for students even after they graduate,” he says “We check to see how many go on to college and careers.” Hura has a way to go: There is still poverty and much unemployment to contend with here and the Bedouins’ relations with the Israeli government are uneasy at best But al-Nabari believes that it is a waste of time and energy to dwell on who’s to blame or what is not working “If you focus on the discourse [of] ‘They screwed me over; they discriminated against me’ — then you’ll stay with the problems and have no solutions… It’s very easy to put the blame on others but if we do our jobs and then fight for what we need from the government Lin Arison & Diana C. Stoll are the creators of The Desert and the Cities Sing: Discovering Today’s Israel a treasure box that highlights Israel’s creative achievement and innovation Add articles to your saved list and come back to them any time When Luke Hura is trying to figure out how to train a dog to complete an unusually complex task on stage or screen he sometimes turns to his furry charge for inspiration I believe the dog is trying to give me an idea of how we can do it – and it works.” Dramatic paws: Luke Hura with Daisy in the foyer of the Capitol Theatre.Credit: Steven Siewert From the eponymous Red Dog in the award-winning 2011 movie to Bouncer in Neighbours Hura will have had a hand in preparing it for stardom And now Hura is in charge of groodles Sandy and Daisy who play the key role of Sandy in the musical Annie which started previews this week at the Capitol Theatre in Sydney It’s his second Annie – he also worked on the 2012 Melbourne production – and he loves the musical There are not a lot of things for the dog to do but what he does on stage is critical “You don’t want a dog that that gets distracted,” he says “You’ve got to get him used to the orchestra the clapping and all those other little things.” Hura has had a natural affinity with dogs and other animals “My mother gave me a photo album of us many years ago “And in all the photos where there is an animal it’s always with me Hura says he is constantly looking at the world from the dog’s perspective “I’m trying to feel what the dog is feeling – whether it’s confused or worried about something,” he says I’ve learned to take it on board and connect with it And they do the same with me – if I’m stressing about something before Hura faces the inevitable stage-door scrum of fans eager for a selfie with the canine superstar You did a great show.’ I honestly believe they feel it You have to tell them how they are doing.” Annie is now playing at the Capitol Theatre now \\u201CI will quite often go into a little room how can I teach you this?\\u2019 Amazingly I believe the dog is trying to give me an idea of how we can do it \\u2013 and it works.\\u201D It\\u2019s his second Annie \\u2013 he also worked on the 2012 Melbourne production \\u2013 and he loves the musical \\u201CYou don\\u2019t want a dog that that gets distracted,\\u201D he says \\u201CYou\\u2019ve got to get him used to the orchestra the clapping and all those other little things.\\u201D \\u201CMy mother gave me a photo album of us many years ago \\u201CAnd in all the photos where there is an animal it\\u2019s always with me while he doesn\\u2019t exactly think like a dog Hura says he is constantly looking at the world from the dog\\u2019s perspective \\u201CI\\u2019m trying to feel what the dog is feeling \\u2013 whether it\\u2019s confused or worried about something,\\u201D he says I\\u2019ve learned to take it on board and connect with it And they do the same with me \\u2013 if I\\u2019m stressing about something You did a great show.\\u2019 I honestly believe they feel it You have to tell them how they are doing.\\u201D but I suspect that most of the women reading this page are — like me — free to make life choices based mostly on what we prefer For example; I choose when (and if) I want to get married But this modern luxury isn’t the case for all women didn’t have the privilege to make such decisions until she moved to Italy where the art of climbing liberated her entirely Wafaa Amer found freedom when she began climbing in Italy Amer lived in a small village in Egypt where streets were unpaved and there was no electricity stuck indoors as her male cousins celebrated birthdays she was brought up with the strict religious belief that those activities were not available to women Amer was acutely aware that her life instead was about getting married young then devoting herself entirely to her husband’s wishes But none of these things made any sense to her Why should she be restricted because of her gender “I was wondering if there was something wrong with me since I had different thoughts,” she said of wanting a lifestyle different to the world women around her were accustomed to When she eventually joined her parents in Italy it shone a spotlight on a different lifestyle for girls Although her father strictly forbade her from participating in sport she could now see this wasn’t the case for all girls just one country completely bans women from sporting activities and ethnicities that create an alienating environment for women in exercise and sport Amer wasn’t so much alienated as tormented by a sense of being imprisoned in her own life One day a friend introduced her to an indoor climbing wall “it was a very strong feeling,” Amer describes of that moment “and that strong feeling pushed me to continue.” she visited the climbing gym regularly and entered competitions where she achieved podium results and my father had to take care of all of us,” she said wanted me to try that discipline and she gave me the membership card to the gym as a gift.” she left the family home to pursue climbing Going against her father’s wishes had serious consequences for Amer It took Amer two years to find a stable home and a job but the decision paid off Her climbing skills have reached a level where she has become one of La Sportiva’s sponsored athletes She’s also rekindled a relationship with her family although an unexpected one by her father’s standards If she had of remained in her pre-climbing reality she’d probably have been married for eight years three percent of all Egyptian women married before the age of 15 climbing is a backdrop for something far more important: It is the art of reaching freedom “Freedom for me begins when I tie the knot on my harness,” she says it is thinking more deeply about what I would like to do and create.” Hura — the title of this film — means “being free” in Egyptian Sign up to receive ExplorersWeb content direct to your inbox once a week Thanks to plans for a new highway in the Northern Negev area an Israel Antiquities Authority salvage excavation has uncovered an impressive monastery dating to the Byzantine period is divided into halls built along an east–west axis located near the Byzantine settlement of Horbat Hur is one monastery in a series of monasteries situated alongside a road that linked Transjordan with the Be’er Sheva‘ Valley,” says Daniel Varga excavation director on behalf of the Israel Antiquities Authority Archaeologists uncovered a prayer hall paved with a magnificent mosaic “carpet” featuring a pattern of leaves in blue They also found a colorful mosaic on the dining room floor depicting floral motifs Another mosaic carpet includes four Greek dedicatory inscriptions denoting the names of the monastery’s abbots: Eliyahu and the dates when the pavements were constructed in the different halls These inscriptions also aided archaeologists in dating the monastery to the second half of the sixth century CE Hura municipality and Wadi Attir Association to the Wadi Attir agricultural/tourism project adjacent to Hura and are an extension of his retrospective profile at the Oberhausen Short Film Festival the photographer introspects on his journey as a practitioner The exhibition is introduced through his most recent work The Coast (2020) in a journey that traces backwards into the origins of Hura’s excursions into the moving image format Ironically through a misinterpreted assignment that resulted in his short documentary Pati (2010) the photographer speaks about his experimentations that involve introducing movement into his work the inherent fallacies within the unshakable interpretation of photographs as documents and the practice of ‘re-looking.’ His 2020 short film, The Coast attempts to delineate tension between ‘masks’ and reality, personified by the coastline as “a breaking point, shifting borders, boundaries, skin,” according to the artist. The film shot on the coasts of Tamil Nadu bears witness to celebrations of a religious festival veiled instances of ritual on land and the cleansing yet calamitous potential of water The film takes a surreal tone in its intensification where the moving image slows down “The dominant propaganda is happening through the benign use of images not through events that draw attention but these undercurrents and peripheral or even normalised sequence of images Using that in work would have been quite difficult for me if I was trying to explore the workings of the system one of the landscapes like religion was easier to ‘visibilise’ and not just look at.” in our conversation Hura speaks about the importance of “introducing doubt” into his work This can be seen as a worthy corollary to the verbalisation of ‘belief,’ a significant marker within the cultural landscape—whether through the lens of religion all seemingly interchangeable in the national imagination The ‘image’ becomes a mask in Hura’s eyes where ‘what appears’ is something other than ‘what is.’ Towards the climax of the film to the effects of psycho-spiritual intensification (with its unsettling and increasingly tense ambient score) Speaking to the element of 'fiction' and if it informs his practice “Photography has this burden that no matter how much we know that it can be fiction our impulsive reaction is that of believing which are in some ways generating narratives about whether something is truth but we always lean towards something more than the other.” The Coast is a particularly abstract and symbolic work, where de-contextualisation seems to feed Hura’s vision, compared to the other (older) films in the exhibition which seek to guide the viewer through a narrative voice (usually his own). Where voice is absent in the 2020 work, the other works often seek to question the intention, agency and singularity of authorship, in India as well as globally as image-manipulation often informs (politically attributed) narratives and is a manifestation of control and power Hura expands on metaphors that have previously been explored within his extended body of work Hura speaks about how he has been experimenting with frame rates and photographs to make moving image work which allows him to revisit previous projects—each medium taking a different register Reframing the frame rate allows, perhaps, a deeper exploration into the static yet iterative nature of photography. He speaks about the short film Bittersweet (2019), also shown here, a mediation on a ten-year period of documenting his intimate family space, with the backdrop of his mother’s onset of acute paranoid schizophrenia. Through photographs as moving images, the Indian artist’s eye pierces the image closely observing daily life through his mother’s relationship with her dog The photographer mentions that while a lot of photographers consider this work to be a ‘slideshow’ of sorts he rather sees it as a “moving image at that frame rate.” Hura is careful in attributing fixed meanings to his work Where he circles around the themes presented He notes that the context around his work is always shifting “In the end it’s about projection working at the intersections of contemporary art she has worked in programmes and curation within the arts sector in India A point of convergence for her research and work is investigating images ideas around technological surplus/ excess and its imaginary Her writing has been featured in ASAP | Art Serendipity Art Foundation's Write | Art | Connect Exclusive preview for subscribers. Learn More Make your fridays matter. Learn More by Sukanya Deb | Published on : Mar 09 CHECK OUT: Education is Your Right! Don’t Let Social Norms Hold You Back. Learn Online with LEGIT. Enroll Now! Editan Legit Hausa Ibrahim Yusuf yana da gogewar aikin jarida da rubuce-rubucen adabi sama da shekaru hudu kuma kwararre ne a kawo rahotannin kasuwanci FCT, Abuja - Wata kungiyar kare hakkin mata ta VIEW ta bukaci Shugaban Majalisar Dattawa, Godswill Akpabio da ya sauka daga mukaminsa domin gudanar da bincike a kansa Kungiyar ta yi magana ne kan zargin da Sanata Natasha Akpoti-Uduaghan ta yi a kansa na yunkurin lalata da ita Mata sun bukaci Akpabio ya sauka kan zargin lalata da Natasha ta masa. Hoto: Nigerian SenateAsali: TwitterJaridar The Cable ta ruwaito cewa a ranar 28 ga watan Fabrairu, Sanata Natasha, mai wakiltar Kogi ta Tsakiya ta zargi Akpabio da yunkurin yin lalata da ita LURA: Shin kana son bamu labari da tattaunawa da marubutanmu majalisa na da nauyin tabbatar da adalci da kare hakkokin mata daga duk wani nau’i na cin zarafi ko barazana a harkokin siyasa A wata sanarwa da kungiyar VIEW ta fitar a ranar Talata ta ce dole ne majalisa ta dauki matakin da ya dace domin tabbatar da cewa shugabanni ba su da iko na musguna wa mata Kungiyar ta bukaci a gudanar da bincike kan irin wadannan zarge-zarge da ake yi wa Akpabio tare da cewa ba wannan ne karo na farko da ake yin irin wadannan zarge-zarge a kansa ba Tsarin mulkin Najeriya ya nuna cewa idan Sanata Akpabio ya sauka ko aka sauke shi Barau Jibrin ne zai rike jagorancin majalisar Kungiyar ta jaddada cewa kada a rufe wannan batu domin kare mutuncin wani mutum daya, tare da cewa dole a kare martabar mata ‘yan siyasa. Kungiyar ta kara da cewa idan ba a dauki matakin da ya dace ba hakan zai kara rage wa jama’a yarda da majalisa tare da kara mayar da Najeriya inda masu mulki ke cin karensu ba babbaka Hoto: Nigerian SenateAsali: FacebookVIEW ta bukaci kare 'yancin mata a majalisaA cewar kungiyar duk wani yunkurin dakile Sanata Natasha Akpoti-Uduaghan ko rage kimar zargin da ta yi tamkar take hakki ne ga daukacin ‘yan Najeriya Sanarwar ta kara da cewa idan aka bar irin wannan cin zarafi ya wanzu hakan zai kara rage yawan mata masu shiga siyasa da kuma hana su fadin ra’ayinsu cikin ‘yanci A wani rahoton, kun ji cewa 'yan siyasa daga Arewacin Najeriya sun bukaci shugaban majalisar dattawa ya sauka domin binciken zargin lalata da aka yi masa Tsohon gwamnan jihar Kano Sanata Ibrahim Shekarau na cikin wadanda suka bukaci Godswill Akpabio ya sauka a dalilin zargin da Natasha ta yi masa babban edita a sashen Hausa na Legit ya duba labarin The indigenous ‘land back’ movement and climate adaptation are intrinsically linked Nadine Hura and co-host Ruia Aperahama talk to ahi kaa researchers leading the charge The first fires at Ihumātao were lit out of necessity It was cold that winter of 2019 when defenders pitched nylon tents on ancestral lands that excavators were poised to enter The kids who filled the steel drum with sticks and crates and cardboard and set them alight just wanted to keep warm They arrived frothing with fire extinguishers and issued a strict warning: No more fires there’s more fires on the whenua than there used to be volcanic cones in all of Tāmaki Makaurau!”  As Stacey Bishop retells the story, she erupts with haututū laughter The pride in Ihumātao’s reclamation story is hard won not just because they survived that winter of 2019 For 1,087 days ahi kaa opposed the planned housing development on stolen land three weeks and six days during which people came from all over the country to stand shoulder to shoulder with ahi kaa The pride is hard-won because 2019 is just a speck on the history of all this land has seen and endured when the odorous cloud of Auckland’s sewage treatment plant loomed foul over the papakāinga Her generation were called “the shit pond kids” She remembers the sting of shame that name carried But it would be dismissive to call the insult merely spiritual or cultural. For 40 years, tiko from households in far-away suburbs glugged and gurgled its way to the shores of the Manukau Harbour to rot in the hot sun on top of the scallop and oyster and mussel beds that once fed their ancestors The overflowing baskets of pipi and flounder and freshwater crayfish were turned to fetid sludge virtually overnight To be more poetic: life was traded for shit The reference to smoking fires as volcanic cones isn’t just metaphoric at least six of Ihumātao’s peaks were packed with explosives and quarried into oblivion the fertile terraced gardens that once sustained thousands from season to season were ground into aggregate then pressed onto roads and pavements and the airport runway next door From kai bowl to shit ponds to concrete jungle When you enter the papakāinga at Ihumātao today you have to manoeuvre around the stones cemented into the middle of the road where the fire’s still routinely lit but burning home fires are not fuelled by poetics alone one of the founders of the movement to protect Ihumātao says that every time she sees the smoke drift across the sky from her whare she’s warmed by it The quarried mountains can never be put back into the skyline but the excavators never touched a blade of grass in 2019 proving that the site of the most direct climate action is standing shoulder to shoulder with those who literally keep the home fires burning The smoke today means the same thing it did in the time before Governor Grey expelled the descendants of Te Waiohua who had lived on the land continuously for centuries “It is a signal to inform other hapū or whānau that there are people occupying and thriving on this whenua,” Newton says When people talk about the need to adapt to a rapidly changing climate it’s hard to think of anyone more equipped for the challenges than those who have survived the brutality and violence of settler colonialism By the scale and speed of the changes witnessed by ahi kaa since the signing of Te Tiriti of Waitangi in 1840 Well before European explorers rocked up waving maps and professing intellectual and moral superiority the earliest inhabitants of Aotearoa had been voyaging to and from these islands for climatic reasons via a perilous ocean guided only by the stars tangata whenua developed the means and resources to thrive as independent nations in a landscape that was freezing by comparison to the one they left behind They maintained and passed on complex systems of scientific knowledge unique to this environment giving birth to a whole new language and identity specific to the rivers forests and sentient life that were found here For those with an unbroken connection to their ancestral homelands climate change today therefore presents a bizarre paradox: on the one hand wit or willpower to address the challenges of the uncertain future than those who have endured on the land continuously for 15-plus generations material and ecological deficit as a result of the very same activities that have caused the climate crisis between the simmering of the planet and the destruction of the sources of life that ahi kaa have depended upon for centuries And these extractive activities aren’t slowing down – if anything they’re ramping up and diversifying as the demand for energy switches from fossil fuels to renewables Yet rarely are ahi kaa recognised as leaders of climate adaptation and environmental protection let alone directly and meaningfully resourced for the knowledge and insights they could offer to the complex challenges we collectively face Te Kōmata o Te Tonga (the Deep South National Science Challenge) made a determined effort to address that structural inequity investing directly in 14 Māori adaptation research projects – over half of which were led by marae In the second podcast series of Ko Papa Ko Rangi hosted by pou tikanga Ruia Aperahama and me The first thing to get your head around when it comes to climate adaptation research led by ahi kaa is just how much degradation and destruction their lands and waters have already endured as a result of colonisation the causes of destruction mirror each other: an insatiable demand for land and resources to turn into profit What is achingly present in every landscape across Aotearoa is absence: disappeared peaks pulverised pā and polluted hills rotting with buried rubbish Such environmental destruction was achieved through a combination of military force constitutional cunning and institutional and cultural amnesia It continues today through mechanisms of unbridled power of which the soon-to-be-passed fast track legislation is just the latest will literally pave the way for the next wave of profiteers seeking to extract more from the land and ocean than is ecologically sustainable The next thing to understand about ahi kaa-led adaptation is that the places and treasures that have been destroyed aren’t just “wāhi tapu” or “sites of cultural significance” the tangible sources of sustenance and self-sufficiency that communities have relied upon for survival for centuries Ironically – or poetically – they are the same sources we must now revitalise and restore in order for communities to be resilient in the future This is true in every place where ahi kaa are defending their land – whether in Kanaky or Manu Kea or Palestine or Aotearoa Physical science is barely up to the task of articulating how all these seemingly disparate struggles for autonomy are connected and politicians and those with vested interests have every incentive to obscure the links But no one can explain it better than those who keep the home fires burning researchers from Te Ahiwaru offer guided hīkoi of their whenua so that visitors can hear the whole story Climate adaptation begins with storytelling because if people can form a deep they will be prepared to defend it – as Rāwiri Tinirau says in episode three of the podcast the research is about applying the lessons of the past to rebuild wharenui so that they can be fully self-reliant in the future Given that marae are the first to open their doors when there’s a national disaster it’s difficult to imagine why anyone would begrudge marae receiving every kind of support they need Rebuilding and strengthening papakāinga is peak climate adaptation It means that hapū will be able to continue to do in the future what they have always done so well in the past: take care of people it’s those calling for profit and progress to get “back on track” we are still reaping the disastrous consequences of that “track” pioneered by the likes of the New Zealand Company and Governor Grey’s gang of redcoats who surely invented the crime of ram raiding way back in the 1840s Hohepa Tamehana from Waiōhau says that there are two types of hope: the one you sit around waiting for who’s worked alongside all 14 of the research teams since they were commissioned in 2021 We know that our generations ahead of us are going to be all good because we are working towards that right now We know in parts of our bodies that our ancestors have got us That’s what I see as hope: going back to knowing There’s grief in the knowledge of all that’s been lost and stolen It is correct to mourn what can never be recovered Stones cannot be peeled off the roads and reformed into mountains native forests can not be put back in a single lifetime beaches that once used to heave with kaimoana now heave with supermarkets so expensive many can not now afford to eat There’s also the personal loss suffered by the generations of Māori children who endured a colonial education system that told them they were not smart that their poetry was not capable of science Teachers falsely indoctrinated to believe that they were right and justified in stripping the first language of this land from its people while it was still thrumming in our chests But there is a line in the trailer that says that this podcast won’t leave you depressed I heard more laughter and singing and poetry and haututū defiance than I have ever experienced in places where privilege The energy of those who live on their ancestral lands smoulders in the puku and no amount of white froth can ever extinguish it I am convinced that it is this same determination and audacious collective belief that once filled the sails of those who dared to point the ihu of their waka to the deep south when it first became necessary to move and adapt with the ever-changing environment The most critical lesson for this generation is to accept that things would never have reached this point environmentally if the rights of hapū promised in Te Tiriti o Waitangi had been protected and the vision of equality for all our descendants pursued with integrity But despite the latest attempts to nullify it That is what makes it the most effective tool – and unique internationally – to advocate for protection for Papatūānuku and Ranginui Though we cannot return to a world pre-colonisation we can learn from the mistakes of the past continue to breathe the language of this land back into our babies’ chests and pass on to the stars knowing that our mokopuna will thrive on this land by responding to the call to stand shoulder to shoulder with ahi kaa in the protection of whenua and tino rangatiratanga more will understand how the phrase “land back” is poetically synonymous with climate action it is an invitation to have faith in something we can see like smoke from a long-burning fire drifting slow across the sky Listen to Ko Papa Ko Rangi: Ahi Kaa, made by Popsock Media and the Deep South Challenge, on The Spinoff Podcast Network.  A complaint must be first directed in writing the complaint may be referred to the online complaint form at www.presscouncil.org.nz along with a link to the relevant story and all correspondence with the publication Sohrab HuraFeatures10 November 2020ArtReview Asia went my neck before the rough sand ripped the skin off my back as I was dragged back onto the beach exhausted but bent on not to be undone by the throbbing pain that had now started to hammer at my spine I cupped the last shreds of skin that were still hanging off my waist and slapped them straight back into the bright red flesh that was by now all that was left of me I wrapped my old lungi around my torso to be able to hold everything together and slowly wobbled back into the water to be among the other men The land behind me had been lit with a frenzied rage that streaked the dark moonlit night with its embers Processions of Nadaswaram and Urumi cutting and beating through the cold inward winds marked an incessant series of arrivals and departures on a day that had passed in paying obeisance to the descending gods I had already gifted the last toe on my right foot that I had saved especially for this occasion In return the celestial beings had embodied us for that day and had made us invincible and electric for that night of conquests We had been preparing for this moment since we were young boys The other men in the water beside me had now started to scream in anticipation I started to feel the shifting sand beneath my feet and egged on by the voices behind us we started to wade further into the deep Startled by an excited howl I had looked over my shoulder and found the remains of a skeleton that by now had had the flesh entirely washed off its bones bracing itself for its last clash with the waves I felt the pull of currents swirl and grab on to my ankles as I listened to the rising growl of what was lurking ahead The men beside me had disappeared and as I stood alone looking up at the shadow swallowing me I could swear I felt sweat run down my leg beneath the waters The water curls lovingly over my toes and kisses the back of my ankles before quietly retreating back into the open body of the sea I can smell the salt in the air and listen to the foamy whiteness of sea spray in a distance Little crabs dart in and out of the sand during the interval before the water returns Two other women have broken away from the crowd and have moved on to the wet sand beside me I can recognise those wafts of jasmine that they have tied delicately onto the back of their hair in strings Earlier in the day while we were making our way through the crowd to visit the temple It was a frail but empathetic hand and it belonged to the oldest person I had ever seen The sun bounced blindingly off her brilliant white hair and her eyes were liquid yellow compared to the rest of her beautiful Her bright red saree almost camouflaged the vermillion that had rubbed off her smeared forehead she put her hand on my chest beckoning me to wait a moment With her other hand she offered me a beautiful string of jasmine that she slipped into the front pocket of my office shirt and rested her palm back on my chest A body fell over to the side of a betel shop at the edge of the crowded lane leading to a commotion the old lady and her empathetic hand had disappeared except every time the water reaches their feet they break out into a peal of laughter like a gaggle of girls sharing a secret at the back of a school bus They echo the faint but rapturous squeals that each wave carries back to us with it In a distance beautiful bodies burst out of the darkness in the water Each time we move forward into the last of the dark their fingertips touch each other’s in nervous excitement as a wave flows past them It is the sea that tickles in its playfulness we have all lifted our saris so that we can feel the currents all the way up to our thighs the water swells before me and rolls me over in its embrace I gasp upwards for a breath and cough out the water that had filled up my lungs I reach at the back of my head and notice that the jasmine has been stolen by the currents and the wig has come undone My wife had carefully fixed the flowers to my hair after helping me to tie my sari and fix the blouse She had folded away my shirt and trousers neatly into an old plastic bag to protect them from the sand She is sitting on the beach with the old plastic bag on her lap her smile now illuminated by the first sliver of daybreak I hear the splashing of footsteps in the shallows I look up and find the oldest woman I’ve ever seen Her red saree drips a trail of vermillion behind her as she walks towards land I watch the translucent sky with dimming stars as I lay back afloat and wait for the next wave to carry me further away in its embrace Sohrab Hura is a photographer based in New Delhi. His latest exhibition, Spill, is on view at Experimenter, Kolkata, through 2 January. Visit the online viewing room here. Yuwen JiangFeatures J.J. CharlesworthFeatures Munem WasifFeatures Stephanie BaileyFeatures Fi ChurchmanFeatures We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy.