PDF - Independent Curators International



PDF - Independent Curators International
Independent Curators International
Fall/Winter 2012/13 Calendar
The Curatorial Hub at TEMP
do it
Performance Now
State of Mind: New California Art Circa 1970
Project 35: Volume 2
Image Transfer: Pictures in a Remix Culture
Martha Wilson
Living as Form (The Nomadic Version)
With Hidden Noise
Raymond Pettibon: The Punk Years, 1978–86
Harald Szeemann: Documenta 5
The Curatorial Intensive
Partner Programs
Alumni Updates
The Curator’s Perspective
The Curatorial Hub
Thinking Contemporary Curating
Research Fellowship
ICI Curatorial Library
Editor: Mandy Sa
Designer: Scott Ponik
Copy editor: Audrey Walen
Printing: Linco Printing, Queens, NY
Big thanks to: Steven Bridges, Rosina
Cazali, Carin Kuoni, and Kathrin
© 2012 Independent Curators
International (ICI), and the authors
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To receive a downloadable PDF version of this publication, or additional
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ICI Publications
The Curator’s Network
ICI Limited Editions
ICI Conversations
Annual Fall Benefit
ICI Awards
Thank You
International Forum
Access ICI
Booking Information
It doesn’t seem possible that a year
has passed since Independent
Curators International (ICI)
inaugurated the Curatorial Hub, but
after 22 events and many more lined
up this fall the space is now well and
truly in use! Looking back over the
last three years since I started at
ICI, this accomplishment is just the
tip of the iceberg in terms of the projects that the staff,
trustees, and our supporters have brought to fruition:
we’ve produced 20 Curator’s Perspective talks; 13 new
exhibitions; 12 Curatorial Intensive training programs; 11
issues of our online journal DISPATCH; 3 international
conferences; 3 curatorial research fellowships; 2 new
publication series, Sourcebook and Perspectives in
Curating; 2 limited editions; 1 curatorial travel award
in collaboration with the Colección Patricia Phelps de
Cisneros (CPPC); and, most recently, we launched
our new ICI Conversations series. All together, we’ve
collaborated with over 300 curators and 600 artists from
around the world. Now that really doesn’t seem possible!
This fall, thanks to the support of the Elizabeth
Firestone Graham Foundation, Robert Sterling Clark
Foundation, and our International Forum members, ICI
is publishing the first-ever book-length text on curatorial
practice. Written by art historian Terry Smith, Thinking
Contemporary Curating is the outcome of Smith’s many
conversations with both emerging and established
curators, as well as his research into numerous
international exhibitions from the last two decades. His
observations lead right up to dOCUMENTA (13) this
summer, making the book not only incredibly current but
also the most provocative available today in its analysis
of contemporary curating.
The precedent for ICI publishing books on curating was
set in 2001 with Words of Wisdom: A Curator’s Vade
Mecum on Contemporary Art, where sixty professionals
who were playing a crucial role in shaping the field—
Thelma Golden, Hou Hanru, Maria Lind, Jean-Hubert
Martin, Gerardo Mosquera, and Harald Szeemann,
to name a few—offered advice to a new generation
of curators. Interestingly, at that time the book was
one of only six published on the subject, a fact that
surely underscores how rapidly the curatorial field has
developed in the last ten years.
Other new ventures at ICI this fall include two exhibition
premieres: the second volume of Project 35, wherein
35 curators from around the world have each selected
one video work by an artist they think is important for
international audiences to see today; and Performance
Now, curated by Performa director, RoseLee Goldberg,
which gives a truly global view of recent experimentation
in performance art.
We’re also continuing to grow the ways that we champion
curatorial innovation by creating two new research
fellowships, launching the first Curatorial Intensive
in China, and expanding the resources offered to
our growing Curator’s Network. In November, at our
annual benefit, we are honoring Dasha Zhukova for
her groundbreaking work in establishing Garage, a
major non-profit art project in Moscow that is facilitating
unprecedented international collaborations as well as
igniting the rise of a new generation of artists in Russia.
That same night we’ll also be announcing the recipient
of our second Independent Vision Curatorial Award,
selected and presented by Hans Ulrich Obrist from a
shortlist of emerging and mid-career curators who were
nominated because of their insightful work in the last two
years by a jury of leading professionals in the field.
Without further ado, I extend heartfelt thanks to Ellen
Liman for making the production of this brochure
possible, and salute Scott Ponik, our designer
extraordinaire and one of the most inspiring people
I know to work with. He always makes us look good!
Welcome to our Fall/Winter 2012/13 brochure, and I hope
that you join us for an ICI program somewhere in the
world in the coming months.
Kate Fowle
Executive Director
Independent Curators International
Book Launch: Thinking
Contemporary Curating
Tuesday, September 18, 7–9pm
New York University (New
The Curator’s Perspective
Mami Kataoka
Sunday, September 23,
New Museum (New York)
Reanimation Library
Tuesday, September 25,
The Curatorial Hub (New York)
ICI at New York Art Book Fair
Thursday, September 27–Sunday,
September 30
MoMA PS1 (Long Island City,
New York)
Terry Smith at New York Art
Book Fair
Sunday, September 30, 3–4pm
MoMA PS1 (Long Island City,
New York)
Living as Form (The Nomadic
September 6–October 4
Bat-Yam Biennale of
Landscape Urbanism
(Bat-Yam, Israel)
September 7–November 9
McDonough Museum of Art
(Youngstown, Ohio)
Raymond Pettibon: The Punk
Years, 1978–86
September 13–October 27
McIntosh Gallery (London,
Ontario, Canada)
Image Transfer: Pictures in a
Remix Culture
August 15–October 15
Newcomb Art Gallery (New
Orleans, Louisiana)
August 29–December 8
Iris and B. Gerald Cantor
Art Gallery (Worcester,
Performance Now
September 7–December 9
Ezra and Cecile Zilkha
Gallery, Wesleyan University
(Middletown, Connecticut)
State of Mind: New California
Art Circa 1970
September 28–December 9
Morris and Helen Belkin Art
Gallery (Vancouver, British
Columbia, Canada)
Kari Conte & Florence
Thursday, October 18, 6:30–8pm The Curatorial Hub (New York)
State of Mind: New California
Art Circa 1970
September 28–December 9
Morris and Helen Belkin Art
Gallery (Vancouver, British
Columbia, Canada)
Martha Wilson
August 24–November 4
Arcadia University Art Gallery
(Glenside, Pennsylvania)
Project 35
August 29–December 7
Richard E. Peeler Art Center
(Greencastle, Indiana)
August 19–June 2, 2013
North Carolina Museum of Art
(Raleigh, North Carolina)
September 6–January 5, 2013
Esker Foundation
(Calgary, Canada)
Askeaton Contemporary
Arts: Book Launch
Thursday, October 4, 6:30–8pm
The Curatorial Hub (New York)
Curatorial Roundtable with
Herb Tam
Tuesday, October 9, closed-door
The Curatorial Hub (New York)
Terry Smith at The New
Sunday, October 14, 3pm
The New Museum (New York)
Terry Smith at Wattis Institute,
Tuesday, October 23
Wattis Institute, CCA (San
Dialogues in Contemporary
Art: Take 3
In Collaboration with
Ahmady Arts
Tuesday, October 16, 7–8:30pm
The Curatorial Hub (New York)
The Curator’s Perspective
Chus Martínez
Wednesday, October 17,
James Gallery, The Graduate
Center (CUNY, New York)
Curating Beyond Exhibition
Sunday, October 21–Tuesday,
October 30
The Curatorial Hub (New York)
The Curatorial Intensive
New York
Tuesday, October 30, 10am–6pm
The Curatorial Hub, New York
Living as Form (The Nomadic
September 6–October 4
Bat-Yam Biennale of
Landscape Urbanism
(Bat-Yam, Israel)
September 7–November 9
McDonough Museum of Art
(Youngstown, Ohio)
October 15–30
ARTifariti (Tafariti, Western
October 4–December 14
University Art Gallery
University of California San
Diego (San Diego)
Image Transfer: Pictures in a
Remix Culture
August 15­–October 15
Newcomb Art Gallery (New
Orleans, Louisiana)
August 29–December 8
Iris and B. Gerald Cantor
Art Gallery (Worcester,
Martha Wilson
August 24–November 4
Arcadia University Art Gallery
(Glenside, Pennsylvania)
Performance Now
September 7–December 9
Ezra and Cecile Zilkha
Gallery, Wesleyan University
(Middletown, Connecticut)
Raymond Pettibon: The Punk
Years, 1978–86
September 13–October 27
McIntosh Gallery (London,
Ontario, Canada)
Project 35
August 29–December 7
Richard E. Peeler Art Center
(Greencastle, Indiana)
August 19–June 2, 2013
North Carolina Museum of Art
(Raleigh, North Carolina)
September 6–January 5, 2013
Esker Foundation (Calgary,
October 18–December 31
Raw Material Company
(Dakar, Senegal)
Harald Szeemann: Documenta 5
October 27, 2012–January 13,
Onsite, OCAD U (Toronto,
Sofía Olascoaga
Saturday, November 3, 2:30–4pm The Curatorial Hub (New York)
Connie Lewallen and Allen
Monday, November 12, 7–8:30pm
The Curatorial Hub (New York)
Terry Smith at the Museum of
Contemporary Art Chicago
Sunday, November 18, 1pm
Museum of Contemporary Art
Terry Smith at the School of Art
Institute of Chicago
Monday, November 19, closeddoor
School of Art Institute of
Chicago (Chicago)
Dialogues in Contemporary Art:
Take 4
In Collaboration with
Ahmady Arts
Tuesday, December 4, 7–8:30pm
The Curatorial Hub (New York)
Cuauhtémoc Medina
Monday, December 17, 7–8:30pm
The Kitchen (New York)
ICI Annual Fall Benefit &
Monday, November 19, 6pm
Prince George Ballroom (New
ICI at NADA Miami
Thursday, December 6–Sunday,
December 9
NADA (Miami, Florida)
Living as Form (The Nomadic
September 7–November 9
McDonough Museum of Art
(Youngstown, Ohio)
November 10–November 18
Videotage (Hong Kong, S.A.R.,
October 4–December 14
University Art Gallery
University of California San
Diego (San Diego, California)
State of Mind: New California
Art Circa 1970
September 28–December 9
Morris and Helen Belkin Art
Gallery (Vancouver, British
Columbia, Canada)
Martha Wilson
August 24–November 4
Arcadia University Art Gallery
(Glenside, Pennsylvania)
Image Transfer: Pictures in a
Remix Culture
November 9, 2012–January 18,
Salina Art Center (Salina,
August 29–December 8
Iris and B. Gerald Cantor
Art Gallery (Worcester,
Project 35
August 29–December 7
Richard E. Peeler Art Center
(Greencastle, Indiana)
August 19–June 2, 2013
North Carolina Museum of Art
(Raleigh, North Carolina)
September 6–January 5, 2013
Esker Foundation
(Calgary, Canada)
October 18–December 31
Raw Material Company
(Dakar, Senegal)
Harald Szeemann: Documenta 5
October 27, 2012–January 13,
Onsite, OCAD U
(Toronto, Canada)
Performance Now
September 7–December 9
Ezra and Cecile Zilkha
Gallery, Wesleyan University
(Middletown, Connecticut)
Wednesday, January 16,
The Curatorial Hub (New York)
Living as Form (The Nomadic
February 4–28, 2013
Project Fabrica (Moscow,
Looking Back: 1993 with
Claire Bishop
Tuesday, February 5, 2013,
The Curatorial Hub (New York)
State of Mind: New California
Art Circa 1970
February 23–May 20, 2013
SITE Santa Fe (Santa Fe, New
Image Transfer: Pictures in a
Remix Culture
November 9, 2012–January 18,
Salina Art Center (Salina,
Martha Wilson
January 24–March 22, 2013
Pitzer Art Galleries (Claremont,
Project 35
August 19–June 2, 2013
North Carolina Museum of Art
(Raleigh, North Carolina)
September 6, 2012–January 5,
Esker Foundation (Calgary,
Harald Szeemann: Documenta 5
October 27, 2012–January 13,
Onsite, OCAD U (Toronto,
* Check our website for regular
updates on all our exhibitions,
events, and programs, www.
ICI exhibitions
From December 1, 2012 to January 27, 2013, ICI will present a series of artists’ projects
and archives by four organizations—Matadero Madrid; Videotage, Hong Kong; CAC,
Vilnius; and Raw Material Company, Dakar, which are part of ICI’s rapidly growing
international network of partnering art spaces and curators—at TEMP, an art project
space in the historic TriBeCa neighborhood of New York. The recent collaborations
with each organization have been developed through ICI’s new flexible and generative exhibitions. This process has allowed ICI to be introduced to these institutions’ programs, a selection of which is to be presented for the first time in New York.
As a result, ICI has been able to engage directly with
a large number of museums, art centers, university
galleries, libraries, and artists-run spaces on all
continents, sharing dialogue with others in the field.
Among them are Matadero Madrid; Videotage, Hong
Kong; CAC, Vilnius; and Raw Material Company, Dakar,
which will present ongoing projects and traveling archives
in New York. An extension of ICI’s Curatorial Hub, which
for the past year has offered the discursive space to
encourage international dialogue and exchange, this
exhibition will also host a series of public events, lectures,
and screenings.
Matadero Madrid, presentation of Archimobile,
Madrid, 2010
Throughout its thirty-seven-year history, ICI has uniquely
positioned itself to reflect on the nature of exhibitions that
travel around the world and across social, political, and
cultural borders. Interested in taking the model of the
traveling exhibition even further, ICI began to focus three
years ago on developing a number of new exhibitions
that are easier to travel and that are conceived to
generate different content at every venue, adapting to
their changing contexts. Ranging from an international
single-channel video program (Project 35), to a survey
of the past twenty years of social practice stored on a
hard drive (Living as Form: The Nomadic Version), to
a selection of materials surrounding one of the most
infamous exhibitions in contemporary history shipped in a
FedEx box (Harald Szeemann: Documenta 5), many ICI
exhibitions are traveling content that can be reconfigured,
localized, and expanded, offering diverse possibilities for
Matadero Madrid is a living, changing space catering
to creative processes, participatory artistic training, and
dialogue between the arts, with the focus on the visual
and performing arts, design, music, dance, architecture,
urbanism, landscapism, fashion, literature, thought, and
cinema. The organization uses its activities to promote
an integrated and multidisciplinary approach to all forms
of creation, with emphasis on research, production,
training, and dissemination. Matadero Madrid is a unique
laboratory to experiment with and construct new formulas
cutting across disciplines.
ICI is presenting Matadero’s Archimobile, a traveling
archive of over 100 artists from 16 different nationalities,
all connected to the city of Madrid. ICI has selected
Andrea Hill from its network of curators to activate
the archive, conceive the New York presentation, and
commission a new work for the space. Hill will take part in
curatorial hub at temp
a one-month residency hosted by Matadero in Madrid to
further develop her research.
series captures in print over 100 artists’ works from the
The presentation of this project by Matadero Madrid is
partially sponsored by Spain Culture New York. Spain
Culture New York is the Cultural Office of the Consulate
General of Spain in New York City and belongs to Spain
Arts & Culture, the network of organizations supporting
Spain’s culture and language in the US. This network
promotes culture and art and strives to strengthen
bilateral cultural, artistic, and academic exchanges.
This fall Videotage will present ICI’s and Creative Time’s
Living as Form (The Nomadic Version) in Hong Kong,
and will add works and example of social practice to the
exhibition. These additions will also travel to New York
and be presented simultaneously at TEMP, alongside a
selection of works from VMAC.
Contemporary Art Centre, Vilnius (CAC) is the largest
venue for contemporary art in the Baltic States. The CAC
develops a broad range of international and Lithuanian
exhibition projects, as well as a wide range of public
programs including lectures, seminars, performances,
film and video screenings, live new music events, and
debates, seminars, and teaching workshops in the CAC
Reading Room. Known internationally as the home of
the Baltic Triennial of International Art, one of the major
contemporary festival exhibitions in Northern Europe, the
CAC organizes approximately 5 large-scale exhibitions a
year and up to 15 smaller projects. Since 2005 the CAC
has produced the magazine CAC INTERVIU, a bilingual
(Lithuanian & English) interview-based publication that
focuses on the Baltic region while providing a view on
topical events that impact on art produced everywhere.
A curatorial exchange between the CAC Vilnius
and ICI began in 2010 when CAC curator Virginija
Januskeviciute became the first ICI curatorial fellow in
New York. In turn, she presented ICI’s Harald Szeemann:
Documenta 5 at the CAC Reading Room in 2011. The
CAC will be represented with recent works, video, and
photographs selected by Januskeviciute to represent the
organization’s commitment to art as a public endeavor
and the public role of artists and institutions.
Videotage is a leading non-profit organization in Hong
Kong focusing on the presentation, promotion, production
and preservation of video and media art. Since
1986 Videotage has developed from an umbrella for
media artists to a network of media art and culture
for cross-disciplinary cultural production, and a
platform to facilitate international exchange. Videotage
organizes exhibitions, workshops, performances, artist-inresidencies, and other exchange programs. Since 2008
VMAC (Videotage Media Art Collection) has collected,
preserved, and built an extensive archive of video and
media art from Hong Kong, spanning more than 20 years.
The Best of Videotage, an eight-volume publication
Raw Material Company is a center for art, knowledge,
and society established in Dakar, Senegal, in 2008.
It is an art initiative involved with exhibition making,
commissioning, knowledge sharing, and the archiving
of theory and criticism. It works to foster appreciation
and growth of African artistic and intellectual creativity.
The program is trans-disciplinary and is informed
equally by urbanity, literature, film, architecture, politics,
fashion, cuisine, and diaspora. The core of Raw
Material Company is the resource center, RAWBASE,
a discursive program of artist talks, portfolio review
sessions, master classes, symposia, lectures, panel
and roundtable discussions, as well as research
presentations. RAWBASE is directed to a national and
international audience, and aims at establishing an
extensive educational and research library/archive on
contemporary art with an emphasis on African and Africarelated practices.
Raw Material Company will present Project 35 in Dakar
in the fall and will send a selection from RAWBASE to
New York. Also featured is An Ideal Library, a publication
of theory and other texts that influence art practice, with
contributors including David Adjaye, Chris Dercon, Santu
Mofokeng, Richard Flood, Ato Malinda and more.
TEMP’s mission is to promote emerging artists and
curators through exhibitions, performances, and
collaborations. Encouraging creative discourse, the
space is a place for experimentation, ingenuity, and talent
in the arts. In September, TEMP opened its inaugural
exhibition, Working On It, a group show that explores the
creative zeitgeist of young adults in the early 2010s.
TEMP is located at 57 Walker Street, New York, NY
Curated by Hans Ulrich Obrist
To mark the twentieth anniversary of DO IT, Hans Ulrich Obrist and ICI are collaborating on an upcoming publication and exhibition that will present the history of this landmark project and give new potential to its future. DO IT began in Paris in 1993 with a
discussion between the artists Christian Boltanski and Bertrand Lavier and curator Hans
Ulrich Obrist, who was experimenting with how exhibition formats could be made more
flexible and open-ended. The conversation developed into the question of whether a
show could be made from “scores,” or operational instructions by artists, inspired by
movements such as Fluxus, and which could be openly interpreted every time they were
presented. To test the idea, Obrist invited 13 artists to send instructions, which were then
translated into 9 different languages and circulated internationally as a book.
Nearly twenty years after the initial conversation took
place, do it has become the longest-running and most
far-reaching exhibition to ever happen, giving new
meaning to the concept of the “exhibition in progress.”
Constantly evolving and morphing into different versions
of itself, do it has grown to encompass “do it (museum)”,
“do it (home)”, “do it (TV)”, “do it (seminar),” as well as
some anti-do it’s, a philosophy do it, and most recently a
UNESCO children’s do it.
The twentieth anniversary version of the exhibition
will include the extensive archive of catalogues and
documentation from both “official” and “unofficial”
realizations of do it, presented alongside the largest
selection to date of instructional works. Venues will select
at least 20 of the works to present from a list of almost
200, and this will include 50 newly commissioned pieces
from artists selected by Obrist and ICI.
Number of artists or artist groups: Approximately 200
Number of works: Approximately 200
Space required: extremely flexible, though at least 1,000
square feet is recommended
Tour dates: March 2013 through December 2015
For further booking details see page 56
do it: the compendium, co-published with D.A.P., will be launched in
Spring 2013. Please check ICI’s website, www.curatorsintl.org for more
information about placing an order and upcoming related events.
Collection of do it catalogues
Within two years do it exhibitions were being created
all over the world, from Reykjavik to Siena, Bangkok to
Bogotá. In 1997 ICI collaborated with Obrist to create a
do it that took place in 25 cities across North America,
from Boise, Idaho, to Memphis, Tennessee, and Regina,
Saskatchewan. In 2004 e-flux worked with Obrist to
produce an on-line version that could be “done” at home.
To date do it has occurred in at least 50 different places
globally, including Australia, China, Denmark, France,
Germany, Mexico, Portugal, Russia, San José, Slovenia,
and Uruguay. With each incarnation new instructions
are added, so that today more than 300 artists have
contributed to the project. do it is unique in every location
because it is the local community that responds to the
instructions—no two outcomes are ever the same. This
means that the generative and accumulative aspects
of do it’s ongoing presentation are less concerned with
notions of the “copy” or the “reproduction” of artworks
than with revealing the nuances of human interpretation,
the potential of translation, and the heterogeneity of a
participatory art project on a global scale.
Koo Jeong-a, It’s OK for Lovers, from ICI tour, 1997–2000
In 2009 Obrist was made an Honorary Fellow of the
Royal Institute of British Architects (RIBA). In March 2011
he was awarded the Bard College Award for Curatorial
Excellence. 2011 also marks the launch of the Institute
of the 21st Century, a collaborative project devoted to
archiving and disseminating Obrist’s Interview Project.
See page 47 for more information on limited editions relating to do it.
And come find our booth at NADA Miami for a sneak preview of do it: the
Whatever you do, do something else.
Quoi que tu fasse fais autre chose. Robert Filliou
Etel Adnan, Kathryn Andrew, Uri Aran, Cory Arcangel,
Tarek Atoui, Lutz Bacher, Yto Barrada, Gianfranco
Baruchello, Jerome Bel, Gerry Bibby, Geta Bratescu,
Hélène Cixous, Claire Fontaine, Matias Faldbakken,
William Forsythe, Simon Fujiwara, Konstantin Grcic,
Shilpa Gupta, Anna Halprin, Sharon Hayes, Anthony Hill,
Nicholas Hlobo, Ragnar Kjartansson, Aaron Koblin, David
Lamelas, Adriana Lara, Xavier Le Roy, Klara Liden, Lucy
Lippard, Thomas Lommee, Sarah Lucas, David Lynch,
Helen Marten, Tris Vonna Michell, Andrei Monasyrski,
Rivane Neuenschwander, Albert Oehlen, Clifford Owens,
Nicolás Paris, Amalia Pica, Raqs Media Collective, Casey
E. B. Reas, Adrian Villar Rojas, Dimitar Sasselov, Hassan
Sharif, Alexandre Singh, Michael E. Smith, Sturtevant,
Franz Erhard Walther, Ai Weiwei, Richard Wentworth
Jérôme Bel, instructions for do it, 2012. Courtesy of the artist
Hans Ulrich Obrist is co-director of
the Serpentine Gallery in London.
Prior to this, he was Curator of the
Musée d’Art Moderne de la Ville de
Paris from 2000 to 2006, as well
as curator of Museum in progress,
Vienna, from 1993 to 2000. Obrist
has co-curated over 250 exhibitions
since his first exhibition, the Kitchen show (World Soup)
in 1991, including 1st Berlin Biennale (1998); Utopia
Station (2003); 1st & 2nd Moscow Biennale (2005
and 2007); Lyon Biennale (2007); and Indian Highway
(2008–11). Obrist is the editor of a series of conversation
books published by Walther Koenig. He has also edited
the writings of Gerhard Richter, Gilbert and George, and
Louise Bourgeois. He has contributed to over 200 book
projects, and recent publications include A Brief History
of Curating; dontstopdontstopdontstopdontstop; The
future will be... with M/M (Paris); Interview with HansPeter Feldmann; and Ai Wei Wei Speaks, along with two
volumes of his selected interviews. The Marathon series
of public events was conceived by Obrist in Stuttgart in
2005. The first in the Serpentine series, the Interview
Marathon (2006), involved interviews with leading figures
in contemporary culture over a period of twenty-four
hours, conducted by Obrist and architect Rem Koolhaas.
This was followed by the Experiment Marathon,
conceived by Obrist and artist Olafur Eliasson (2007), the
Manifesto Marathon (2008), the Poetry Marathon (2009),
Map Marathon (2010), and the Garden Marathon (2011).
Claire Fontaine, instructions for do it, 2012. Courtesy of the artist
ici exhibitions
Curated by RoseLee Goldberg
In her groundbreaking book Performance Art: From Futurism To The Present
(1979), art historian and curator RoseLee Goldberg showed that performance is central
to the history of twentieth century art. In 2005 she launched Performa 05, the first
biennial of visual art performance, and predicted that performance would become
“the medium of the twenty-first century.” Indeed, its time has come.
Performance Now is a selection of works by 19 artists
from a vast repository of new performance from around
the world since 2000, a period that has witnessed an
exponential growth in the field. A century after the Italian
Futurists insisted on an increased engagement with their
audiences and solicited artists of every discipline to join
their cause, performance by visual artists has become
central to our understanding of the development of
contemporary art ideas and sensibilities.
Bringing together some of the most significant
practitioners today, Performance Now surveys critical
and experimental currents in performance internationally
featuring works by Marina Abramović, William Kentridge,
Clifford Owens, Spartacus Chetwynd and Jérôme
Bel, among others. Exploring the ephemerality of live
performance and how this is captured by artists and
transformed into new work that contains the power and
content of the original, together the selected works
are an indication of the extent to which visual artists
use performance as part of their creative process; how
that process produces objects, installations, video, or
photography interchangeably; and how these mediums
have been enlivened by the demands of recording
performance in innovative ways.
With performance art departments recently being
established in many major museums throughout the
world and performance recognized as one of the most
significant artistic forms of the 21st century, this exhibition
provides a window onto these important developments.
Performance Now is a series of ongoing exhibitions
designed to introduce some of the most exciting projects
of performance from 2000 to the present and to generate
discussion about the history of performance art. The
material is selected from a publication of the same name,
Performance Now, by RoseLee Goldberg, which will be
published by Thames and Hudson in 2014.
RoseLee Goldberg’s seminal
study, Performance Art: From
Futurism to the Present (first
published in 1979 and now in its
third edition) is regarded as the
leading text for understanding the
development of the genre and has
been translated into more than
ten languages, including Chinese, Croatian, French,
Japanese, Korean, Portuguese, and Spanish. When
director of the Royal College of Art (RCA) Gallery in
London, Goldberg established a program that pioneered
an integrative approach to curating exhibitions,
performance, and symposia, directly involving the various
departments of the RCA in all aspects of the exhibitions
program. As curator at The Kitchen in New York she
continued to advocate for multi-disciplinary practices to
have equal prominence by establishing the exhibition
space, a video viewing room, and a performance series.
Most recently, her vision in the creation of Performa has
set a precedent for performance art that is now impacting
museum programming and diverse audiences across the
US and abroad. In 2010 she was awarded the ICI Agnes
Gund Curatorial Award and in 2006 named a Chevalier of
the Order of Arts and Letters.
Clifford Owens, Anthology (Nsenga Knight), 2011. Courtesy of On Stellar Rays
Kelly Nipper, Floyd on the Floor, 2007.
Courtesy of the artist
Christian Jankowski, Rooftop Routine, 2008. Courtesy of the artist
Laurie Simmons, The Music of Regret, 2006.
Courtesy of Performa
performance now
Marina Abramović, Jennifer Allora and Guillermo
Calzadilla, Yael Bartana, Jérôme Bel, Guy Ben-Ner,
Spartacus Chetwynd, Nikhil Chopra, Nathalie Djurberg,
Omer Fast, Claire Fontaine, Christian Jankowski, Jesper
Just, William Kentridge, Ragnar Kjartansson, Regina
Jose Galindo, Liz Magic-Laser, Kalup Linzy, Nandipha
Mntambo, Kelly Nipper, Clifford Owens, Yvonne Rainer,
Santiago Sierra, Laurie Simmons, Ryan Trecartin
Number of artists: Approximately 24
Number of works: Approximately 30
Space required: 4,500–5,000 square feet, plus
performance space if live performance is to be added
Tour dates: September 2012–December 2014
For further booking details see page 56
ici exhibitions
Curated by Constance Lewallen and Karen Moss
STATE OF MIND is a deep investigation into seminal conceptual and related avantgarde activities in the late 1960s and early 1970s, and the critical interchange between
artists living in California. While these artists emerged concurrently with those in other
parts of the world, many still remain lesser known than their East Coast and European
counterparts. The exhibition demonstrates the changes in artistic practice that coincided
with the burgeoning number of art schools and university art departments, nonprofit
art spaces, alternative galleries, artist-run spaces, and publications, which not only
provided exhibition opportunities but, in the relative absence of commercial support,
also created a community that fostered an exchange of radical forms and ideas.
Allan Kaprow, Pose, March 22, 1969, 1969. Courtesy Allan Kaprow Estate and Hauser and Wirth
Organized around central themes, the exhibition features
more than 150 works by 58 artists, ranging from those
who became major international figures to lesser-known
artists who nonetheless made important contributions.
The exhibition consists of video, film, photography,
installation, artist’s books, drawing, and painting, some
of which have rarely been seen. Additionally, it includes
extensive performance documentation and ephemera.
Constance M. Lewallen is adjunct
curator at the University of
California, Berkeley Art Museum
and Pacific Film Archive where
she has curated many major
exhibitions, including The Dream of
the Audience: Theresa Hak Kyung
Cha (1951–1982) (2001); Everything
Matters: Paul Kos, a Retrospective
(2003); Ant Farm, 1968–1978 (2004); A Rose Has
No Teeth: Bruce Nauman in the 1960s (2007), all of
which toured nationally and internationally and were
accompanied by catalogues. In 2009 she curated Allen
Ruppersberg: You and Me or the Art of Give and Take for
the Santa Monica Museum of Art.
Karen Moss is adjunct curator at
the Orange County Museum of Art,
where she has curated exhibitions
including 15 Minutes of Fame:
Photographs from Ansel Adams
to Andy Warhol (2010); Disorderly
Conduct Recent Art in Tumultuous
Times (2009), and Art Since the
1960s: California Experiments
(2007–2008) and co-curated the 2006 California Biennial.
Moss previously held curatorial positions at the San
Francisco Art institute, Walker Art Center, Santa Monica
Museum of Art, and the Museum of Contemporary Art,
Los Angeles. Moss teaches art history and curatorial
practice in graduate programs at Otis College of Art and
Design and USC Roski School of Fine Arts.
Adam II (the late Paul Cotton), Bas Jan Ader, Terry
Allen, Ant Farm, Eleanor Antin, Asco (Glugio “Gronk”
Nicandro, Patssi Valdez, Willie Herrón III, Harry Gamboa
Jr.), Michael Asher, John Baldessari, Gary Beydler,
George Bolling, Nancy Buchanan, Chris Burden, Robert
H. Cumming, Peter D’Agostino, Lowell Darling, Guy de
Cointet, Morgan Fisher, Terry Fox, Howard Fried, Charles
Gaines, David Hammons, Helen Mayer Harrison and
Newton Harrison, Joe Hawley, Mel Henderson, Robert
Campbell and Alfred Young, Lynn Hershman, Stephen
Kaltenbach, Allan Kaprow, Robert Kinmont, Paul Kos,
Suzanne Lacy, Stephen Laub, William Leavitt, Mike
Mandel, Larry Sultan, Tom Marioni, Paul McCarthy, Jim
Melchert, Susan Mogul, Linda Mary Montano, Bruce
Nauman, Martha Rosler, Allen Ruppersberg, Ed Ruscha,
Sam’s Café (Terri Keyser, Marc Keyser, and David Shire),
Darryl Sapien with Michael A. Hinton, Ilene Segalove,
Allan Sekula, Bonnie Ora Sherk, Alexis Smith, Barbara
T. Smith, T.R. Uthco (Doug Hall, Jody Procter, and Diane
Andrews Hall), Ger van Elk, William Wegman, John
Woodall, Alfred Young.
State of Mind: New California Art Circa 1970 is an exhibition curated by
Constance Lewallen and Karen Moss and co-organized by the Orange
County Museum of Art and the University of California, Berkeley Art
Museum and Pacific Film Archive.
Hardcover. Published by University
of California Press. 2011. Hardcover.
9.1 x 9.5 inches. 296 pages. ISBN:
9780520270619. $39.95.
The exhibition is accompanied by an
extensive publication that offers a
comprehensive study of a time when
California became a vibrant center for original art and
exhibition making, and should be essential for anyone
interested in contemporary art. The publication offers
itself as an extensive source of rare, primary images
and fundamental essays by co-curators Constance M.
Lewallen and Karen Moss, Julia Bryan-Wilson, and Anne
Number of artists or artists groups: 59
Number of works: Approximately 146
Space required: 4,000-6,000 square feet (required space
is flexible, as certain larger installations are optional
and the total number of projection rooms is flexible)
Available dates: September 2013 through December
2013 (one remaining slot!)
For further booking details see page 56
Linda Montano, Chicken Dance: The Streets of San Francisco, March
3, 6, and 9, 1972,1972/2011. Courtesy of the artist
See page 35 for details about an upcoming related event with Constance
Lewallen and artist Allen Ruppersberg in the Curatorial Hub.
Morris and Helen Belkin Art Gallery, University of
British Columbia
Vancouver, British Columbia, Canada
September 28 – December 9, 2012
SITE Santa Fe
Santa Fe, New Mexico
February 23 – May 20, 2013
Bronx Museum of Art
New York, New York
June 23 – September 8, 2013
William Wegman, Artist, 1971. Courtesy of the artist
State of Mind: New California Art Circa 1970 is sponsored by Robert
Project 35
In 2010 ICI launched PROJECT 35, a program of single-channel videos selected by 35
international curators who each chose one work from an artist they think is important
for audiences around the world to experience today. The resulting selection has been
presented simultaneously in more than 30 venues around the globe, inspiring discourse
in places as varied as Berlin, Germany; Cape Town, South Africa; Lagos, Nigeria; Los
Angeles, California; New Orleans, Louisiana; Skopje, Macedonia; Storrs, Connecticut;
Taipei, Taiwan; and Tirana, Albania. Following the widespread popularity and success
of Project 35, ICI is collaborating with 35 more international curators to produce
Project 35: Volume 2.
This fall ICI again draws from its extensive network of
curators to trace the complexity of regional and global
connections among practitioners and the variety of
approaches they use to make video. A new selection
of 35 curators from 6 continents will each choose one
work for this compilation of the latest approaches to the
Taking advantage of video’s versatility, Project 35 can be
shown in almost any format or space. It can be projected
in a gallery, featured in monthly screenings, or shown on
a monitor running in the café or education room. Each
DVD is accompanied by a PDF with a short introduction
to the work by the selecting curator, and the curators’ and
artists’ bios.
Leezy Ahmady (Afghanistan/US), Meskerem Assegued
(Ethiopia), Daina Augaitis (Canada), Defne Ayas (Turkey/
The Netherlands), Valerie Cassel-Oliver (US), Rosina
Cazali (Guatemala), Stuart Comer (US/UK) Veronica
Cordeiro (Brazil/Uruguay), Christopher Cozier (Trinidad
and Tobago), María del Carmen Carrión (Ecuador/US),
Rifky Effendy (Indonesia), Özge Ersoy (Turkey), N’Goné
Fall (Senegal), Amirali Ghasemi (Iran), Vít Havránek
(Czech Republic), Hou Hanrou (US/China), Virginija
Januskeviciute (Lithuania), Abdellah Karroum (Morocco),
Sun Jung Kim (South Korea), Pablo León de la Barra
(Mexico/UK), Maria Lind (Sweden), Yandro Miralles
(Cuba), Srimoyee Mitra (Canada), Nat Muller (The
Netherlands), Sharmini Pereira (Sri Lanka/UK), Nataša
Petrešin-Bachelez (France/Slovenia), Kathrin Rhomberg
(Austria), Mats Stjernstedt (Sweden), David Teh
(Austrailia/Thailand), Philip Tinari (US/China), Christine
Tohme (Lebanon), Raluca Voinea (Romania), Jochen
Volz (Germany/Brazil), and Adnan Yildiz (Germany)
Jonathas de Andrade (Brazil), Marwa Arsanios
(Lebanon), Zbyněk Baladrán (Czech Republic), Michael
Blum (Israel/Canada) and Damir Nikšić (Bosnia/
Sweden), Deanna Bowen (US/Canada), Pavel Braila
(Moldova), Aslı Çavuşoğlu (Turkey), Park ChanKyong (South Korea), Josef Dabernig (Austria), Elena
Damiani (Peru), Shezad Dawood (UK), Annika Eriksson
(Sweden), Antanas Gerlikas (Lithuania), Annemarie
Jacir (Palestine), Lars Laumann (Norway), Aníbal López
(A-1 53167) (Guatemala), Reynier Leyva Novo (Cuba),
Basim Magdy (Egypt), Cinthia Marcelle (Brazil), Bradley
McCullum & Jacqueline Tarry (US), Ivana Müller (France/
The Netherlands/Croatia), Ahmet Ögüt (Turkey), Jenny
Perlin (US), Agnieszka Polska (Poland), Sara Ramo
(Spain), Wok the Rock (Indonesia), Sona Safaei (Iran),
Heino Schmid (The Bahamas), Prilla Tania (Indonesia),
Alexander Ugay (Kazakhstan), Sun Xun (China), Jin-Me
Yoon (Korea), Dale Yudelman (South Africa), Helen Zeru
(Ethiopia), Chen Zhou (China)
Number of artists or artist groups: 35
Number of works: 35
Space required: extremely flexible
Available dates: Fall 2012–Fall 2014
For further booking details see page 56
Project 35 Volume 1, installation view, Gertrude Contemporary,
Australia, 2011
Dale Yudelman, Witness, Surfer, Dreamer and the Taliban
from Afghanistan, 2008. From Project 35 Volume 2.
Courtesy of the artist
Elena Damaini, Intersticio, 2012. From Project 35 Volume 2. Courtesy of
the artist
Project 35 Volume 1, installation view, Centre PasquArt,
Switzerland, 2011
Aslı Çavuşoğlu, In Diverse Estimations Little Moscow,
2011. Courtesy of the artist and NON, Istanbul;
commissioned by BORUSAN A.Ş
project 35
Artists: Vyacheslav Akhunov (Uzbekistan), Meris
Angioletti (Italy), Alexander Apóstol (Venezuela/Spain),
Vartan Avakian (Lebanon), Azorro Group (Oskar Dawicki,
Igor Krenz, Wojciech Niedzielko, and Lukas Skapski)
(Poland), Sammy Baloji (DR Congo), Guy Ben-Ner
(Israel), Yason Banal (Phillipines), Andrea Büttner
(Germany/United Kingdom), Robert Cauble (United
States), Chen Chieh-jen (Taiwan), Chto delat/What is to
be done? (Russia), Manon de Boer (The Netherlands/
Belgium), Angela Detanico & Rafael Lain (Brazil), Jos
de Gruyter and Harald Thys (Belgium), Kota Ezawa
(Germany/United States), Tamar Guimarães (Brazil/
Denmark), Dan Halter (Zimbabwe/South Africa), Ranbir
Kaleka (India), Beryl Korot (United States), Nestor Kruger
(Canada), Anja Medved (Slovenia), Tracey Moffatt
(Australia), Ho Tzu Nyen (Singapore), Daniela Paes Leao
(Portugal/The Netherlands), Elodie Pong (Switzerland),
The Propeller Group [Phunam, Matt Lucero, Tuan
Andrew Nygyen] (Vietnam), Wanda Raimundi-Ortiz
(United States), Tracey Rose (South Africa), Edwin
Sánchez (Colombia), Michael Stevenson (New Zealand/
Germany), Stephen Sutcliffe (United Kingdom), Yukihiro
Taguchi (Japan/Germany), Ulla Von Brandenburg
(Germany/France), Zhou Xiaohu (China)
Selected by the following curators: Mai Abu ElDahab
(Egypt/Belgium), Magali Arriola (Mexico), Ruth Auerbach
(Venezuela), Zoe Butt (Australia/Vietnam), Yane Calovski
(Macedonia), Amy Cheng (Taiwan), Lee Weng Choy
(Singapore), Ana Paula Cohen (Brazil), Joselina Cruz
(Philippines), Sergio Edelsztein (Argentina/Israel),
Charles Esche (UK/Netherlands), Lauri Firstenberg
(US), Alexie Glass-Kantor (Australia), Julieta Gonzalez
(Venezuela), Anthony Huberman (Switzerland/US),
Mami Kataoka (Japan), Lars Bang Larsen (Denmark),
Constance Lewallen (US), Lu Jie (China), Raimundas
Malasauskas (Lithuania/France), Francesco Manacorda
(Italy), Chus Martinez (Spain), Viktor Misiano (Russia),
David Moos (Canada), Deeksha Nath (India), Simon
Njami (Cameroon/France), Hans Ulrich Obrist
(Switzerland/UK), Jack Persekian (Palestine), José Roca
(Colombia), Bisi Silva (Nigeria), Franklin Sirmans (US),
Kathryn Smith (South Africa), Susan Sollins (US), Mirjam
Varadinis (Switzerland), and WHW (Croatia)
ici exhibitions
Curated by Lawrence Rinder, with Matthew Higgs
Organized by the UC Berkeley Art Museum and Pacific Film Archive
CREATE is a major group exhibition presenting a selection of the most important works
created over the past twenty years by artists involved with three pioneering non-profit
organizations: Creativity Explored, Creative Growth Art Center, and the National Institute for Art and Disabilities Art Center (NIAD). These organizations were founded
with the belief that exceptional creativity can emerge in anyone, and they support the
work of artists with developmental disabilities through a unique and highly successful
approach to group studio practice. The centers offer an experience that is, in many
ways, the antithesis of that envisioned by the art critic Roger Cardinal in 1972 when he
coined the term “outsider art” to identify the work of artists who have no contact with
the art world and who are physically and/or mentally isolated.
This major survey exhibition brings well-deserved
attention to this compelling work, sharing it with a
broad audience and expanding on its impact on a
range of renowned international artists. The exhibition
sparks critical dialogue concerning the categories of
contemporary art practice, especially the notion of
“outsider art,” and challenges audiences to rethink the
limitations of such categories. It is clear why works by
these artists have been increasingly recognized as
a significant contribution to the field of contemporary
art, both nationally and internationally, among artists,
curators, critics, and collectors, as well as the broader
cultural community, and are now in the permanent
collections of artists such as Cindy Sherman, Jeremy
Deller, Chris Offili, and Peter Doig and in institutions
including the Museum of Modern Art, New York, and the
San Francisco Museum of Modern Art. Among the artists included are Judith Scott, William
Scott, John Patrick McKenzie, Evelyn Reyes, and Dan
Miller. Each artist has sustained an art-making practice
at the highest level for many years, and the range of their
work is extraordinary: Judith Scott’s visceral sculptures
utilize found materials wrapped in knotted yarn or string;
William Scott’s humorous paintings incorporate sardonic
urban motifs; John Patrick McKenzie’s lyrical works
employ the repetition of text drawn from pop culture,
current events, and his immediate surroundings; Evelyn
Reyes’s pastel drawings feature bold, minimalistic
shapes; and Dan Miller’s intricate works include drawings
and paintings incorporating layered text.
Lawrence Rinder is Director of
the UC Berkeley Art Museum
and Pacific Film Archive, having
previously held the position of
Founding Director of the Wattis
Institute and Dean of the California
College of the Arts as well as the
Anne and Joel Ehrenkranz Curator
of Contemporary Art at the Whitney
Museum of American Art. He is also
a writer of art criticism, poetry, drama and fiction.
Matthew Higgs is the director/
chief curator of White Columns,
New York. From 2001 to 2004 he
was Curator at the CCA Wattis
Institute for Contemporary Arts, San
Francisco. Prior to that he was an
Associate Director of Exhibitions
at the ICA, London. Since 1992
Higgs has organized more than 250
exhibitions and projects with artists. He has contributed
essays and interviews to more than 50 publications and
art magazines including Artforum, Frieze, Art Monthly and
Afterall. He was the recipient of the 2011 ICI Agnes Gund
James Miles, Untitled, 1994, Courtesy of Elizabeth Meyer
Dwight Mackintosh, Untitled, 1980. Courtesy of the artist and
Creative Growth Art Center, Oakland
Number of artists: 20
Number of works: 103
Space required: 4,500 - 5,000 square feet
Available dates: January 2013 through May 2013
For further booking details see page 56
Co-published by University of
California, Berkeley Art Museum and
Pacific Film Archive. 2011. Softcover.
10.2 x 8.7 inches. 176 pages. ISBN:
9780971939790. $27.50
A fully illustrated publication
published by University of California,
Berkeley Art Museum and Pacific
Film Archive accompanies the exhibition, and features
images of the art, an essay by Lawrence Rinder, and
texts on each of the artists by well-known poet, author,
and playwright Kevin Killian. This publication serves
as an impressive record of the exhibition and offers
thoughtful insights about the significance and compelling
history of these organizations, which deserve to be
shared with audiences around the world.
Jeremy Burleson, Handcuffs, 2007-2010. Courtesy of the artist and the National
Institute for Art and Disabilities (NIAD), Richmond
Mary Belknap, Jeremy Burleson, Attilio Crescenti, Daniel
Green, Willie Harris, Carl Hendrickson, Michael Bernard
Loggins, Dwight Mackintosh, John Patrick McKenzie,
James Miles, Dan Miller, James Montgomery, Marlon
Mullen, Bertha Otoya, Aurie Ramirez, Evelyn Reyes,
Lance Rivers, Judith Scott, William Scott, William Tyler
Judith Scott, Untitled, 2002. Courtesy of University of California, Berkeley Art
Museum and Pacific Film Archive
ici exhibitions
Image Transfer
Image Transfer: Pictures in a Remix Culture
Curated by Sara Krajewski, co-organized with the Henry Art Gallery
IMAGE TRANSFER: PICTURES IN A REMIX CULTURE spotlights evolving attitudes
toward the appropriation, recuperation, and repurposing of extant photographic
imagery. Artists, as both producers and consumers in today’s vast image economy,
freely adopt and adapt materials from myriad sources so that imagery culled from the
Internet, magazines, newspapers, advertisements, television, films, personal and public
archives, studio walls, and from other works of art are all fair game. Image Transfer
brings together artists who divert commonplace, even ubiquitous, visual materials into
new territories of formal and idiomatic expression, and will explore several questions.
How are artists using clipped, copied, grabbed, or downloaded images, and what do
such artistic positions relate to the viewer vis-à-vis the work? How do such synthesized
images operate in visual culture? Do these works critique our media-saturated age
or are they only symptomatic of it? What can these processes and these composite
images tell us about the state of photography today?
Sara Krajewski is Director of
INOVA at the University of
Wisconsin-Milwaukee. As Curator
at the Henry Art Gallery from 20052012 she organized the group
exhibitions The Violet Hour (2008)
andViewfinder (2007) as well as
solo projects with artists Matthew
Buckingham, Walid Raad, Liz
Magor, Steven Roden, Kelly Mark, and Santiago Cucullu.
Her writing has appeared in Art on Paper, ArtUS, and
other publications. Krajewski has held curatorial positions
at the Madison Museum of Contemporary Art and the
Harvard Art Museum.
Sean Dack, Karl Haendel, Jordan Kantor, Matt Keegan,
Carter Mull, Lisa Oppenheim, Marlo Pascual, Amanda
Ross-Ho, Sara VanDerBeek, Siebren Versteeg, Erika
Vogt, Kelley Walker
Foreword by Sylvia Wolf; essay by
Sara Krajewski. Published by the
Henry Art Gallery. 2010. Softcover.
9.75 x 7.5 inches. 102 pages.
71 color illustrations. ISBN: 9780935558494. $25.00.
This exhibition catalogue explores
the pervasive phenomenon of the
“remix” as it is absorbed by the
visual artists and “played back”
through their work.
Number of artists: 12
Number of works: 40
Space required: 4,000–5,000 square feet
Available dates: February 2013 through May 2013
For further booking details see page 56
Image Transfer: Pictures in a Remix Culture, installation view, Center for Art, Design and Visual Culture. Baltimore, 2011
Sara VanDerBeek, Caryatid, 2010. Courtesy of the artist and Altman-Siegel Gallery, San Francisco and Metro Pictures, New York
Image Transfer: Pictures in a Remix Culture, installation view, Henry Art Gallery, Seattle, 2011
ici exhibitions
Initiated by Peter Dykhuis
Wilson’s forty-year career encapsulates the key debates in feminist and socially engaged practices, wherein identity and positioning are not just self-defined or projected, but also negotiated, disputed, and constantly re-imagined. The complex nature of
Wilson’s work encompasses her activities as an artist since the early 1970s, her position
as the director of Franklin Furnace, and her music collaborations in DISBAND.
Written into and out of art history according to the
theories and convictions of the time, Wilson first gained
attention through Lucy R. Lippard, who contextualized
her early work within the parameters of conceptual
practice as well as among other women artists. A year
later, in 1974, Wilson was denounced by Judy Chicago
after a performance presented at the Feminist Art
Program at CalArts for “irresponsible demagoguery.” She
has also been regarded by many as prefiguring some
of Judith Butler’s ideas on gender perfomativity though
her practice, and more recently, in the words of the art
critic Holland Cotter, she was described as one of “the
half-dozen most important people for art in downtown
Manhattan in the 1970s.”
Responding to the wide scope of Wilson’s career, Peter
Dykhuis has assembled a diverse collection of works in
this retrospective that is intended as a flexible, modular,
and collaborative exhibition. Curators at each presenting
institution may collaborate directly with the artist to select
works from the overlapping stages of Wilson’s career.
Selections may include examples of her conceptually
based performances, videos, and photo-texts, or focus
on Franklin Furnace. Wilson will work with curators of the
presenting institutions to further explore ways in which
identity and contested histories can be presented in the
context of their local constituencies and according to
each venue’s programming priorities. This might include
Wilson selecting works from the museum’s collection
or archive, or working with people in the community to
develop an exhibition that explores the nature of visibility,
or of what feminism means now, or the role of the activist.
Number of works: To be determined by each venue.
Selections to be made from the original 58 works,
which form the basis from which each local curator
selects objects relevant to their own presentation,
planned in collaboration with Martha Wilson. All crates
will be shipped to each venue, and any un-exhibited
objects will be safely stored onsite.
Space required: flexible
Available dates: April 2013 through August 2013,
December 2013 through December 2014
For further booking details see page 56
Peter Dykhuis is director/curator of
the Dalhousie Art Gallery in Halifax,
Nova Scotia. Prior to that he was
director of the Anna Leonowens
Gallery at the Nova Scotia College
of Art and Design, and a guest
curator for the Art Gallery of Nova
Scotia. His most recent exhibitions
were Douglas Walker: Other Worlds
and Giving Notice: Words on Walls.
Martha Wilson
Martha Wilson Sourcebook: 40 Years of Reconsidering
Performance, Feminism, Alternative Spaces is a
collection of primary research materials, rare archival
documents, and excerpts of landmark publications that
influenced Wilson, such as Simone de Beauvoir’s The
Second Sex, Erving Goffman’s The Presentation of Self
in Everyday Life, and Susan Sontag’s On Photography.
This unique selection documents Wilson’s practice and
reveals her interest in fellow artists, such as Vito Acconci,
Carolee Schneemann, Nancy Spero, and Lynda Benglis.
It also includes in its entirety Lucy R. Lippard’s exhibition
catalogue for c. 7,500, the groundbreaking 1973
exhibition of women conceptual artists that first declared
the significance of Wilson’s work.
Martha Wilson, A Portfolio of Models, 1974. Courtesy of the artist
Martha Wilson and Martha Wilson Sourcebook received the support of the
National Endowment for the Arts.
Martha Wilson, installation view, Leonard & Bina Ellen Art Gallery,
Montreal, 2011
Foreword by Kate Fowle.
Introduction by Moira Roth. Text by
Martha Wilson. Published by ICI.
2011. Softcover. 8.5 x 11 inches.
256 pages. ISBN: 978-0916365851.
…Archives, libraries, and artists’ files richly document art
by women—a by-product of these artists’ marginalization
from the halls of Great Art, which caused many feminist
artists to adopt ephemeral, mass-distributed forms.
As a testimony to this process, the Martha Wilson
Sourcebook, a collection of texts selected by Wilson
and reproduced from her archives, performs a double
task: It illuminates a chapter of feminist art history, while
delivering an idiosyncratic portrait of an important and
often-overlooked artist. —Aruna D’Souza, Bookforum,
DISBAND (Ilona Granet, Donna Henes, Ingrid Sischy, Diane Torr,
and Martha Wilson), video still, Selected performances from 1979–
1982. Courtesy of the artists
Specific Object 2011 Publication
of the Year
Both the exhibition and Sourcebook mark an important
reinvestment in the work of Martha Wilson, as well
as offering an interesting opportunity for an artist to
document a larger history of performance and creation.
—Leila Timmins, cmagazine, 2012
Martha Wilson, Martha Wilson as Nancy Reagan, 1985. Courtesy of
the artist
ici exhibitions
Living as
Curated by Nato Thompson, co-organized with Creative Time
ICI’s newest EXHIBITION IN A BOX adds a twist to the fast-growing collection of
compact shows designed to generate big ideas. LIVING AS FORM (THE NOMADIC
VERSION) is an unprecedented international project exploring over twenty years of
cultural works that blur the forms of art and everyday life, emphasizing participation,
dialogue, and community engagement.
In collaboration with 25 curators from around the world,
Nato Thompson has selected 48 socially engaged
projects produced in the last twenty years as the
foundation of this exhibition. “Something historically
unique is happening in cultural production that requires
different rules for art than those of the twentieth century,”
says Thompson, “This culturally savvy method of civic
production has manifested in everyday urban life and
growing civil unrest. Living as Form is an opportunity to
cast a wide net and ask: How do we make sense of this
work, and in turn, how do we make sense of the world we
find ourselves in?” Living as Form (The Nomadic Version)
provides a broad look at a vast array of practices that
appear with increasing regularity in fields ranging from
theater to activism, urban planning to visual art.
Further increasing the diversity of practices that are
represented in the show, each hosting institution selects
additional works to add to the traveling exhibition that
is being toured via hard drive. In addition to expanding
the content of the exhibition, each collaborating venue
organizes site-specific, socially engaged, commissioned
projects or events that connect to the theme and
“activate” the show. As the essence of the works is rooted
in social engagement, the venue is also encouraged to
provide participatory experiences that possess some
sort of political or community-based content for visitors to
This fall the exhibition will be part of the Bat-Yam
Biennale of Landscape Urbanism in Tel Aviv, Israel, and
will be seen simultaneously in venues in Ohio, in Western
Sahara, in California, and in Hong Kong.
Living as Form (The Nomadic Version) is the flexible, expanding iteration
of Living as Form, a site-specific project presented by Creative Time in the
historic Essex Market in New York from September 24-October 16 2011.
Nato Thompson is Chief Curator at
Creative Time, New York, as well
as a writer and activist. Among his
public projects for Creative Time
are Tania Bruguera’s Immigrant
Movement International, Democracy
in America: The National Campaign,
and Waiting for Godot, a project by Paul Chan held in
New Orleans. His book Seeing Power: Art and Activism
in the Age of Cultural Production will be published in
October 2012 by Melville House Publishing. Thompson
was formerly a curator at MASS MoCA, and he also
curated ICI’s Experimental Geography, which traveled to
eight venues in North America.
Number of artists or artists groups: 48
Number of works: 48
Space required: extremely flexible
Tour dates: March 2012 – December 2014
For further booking details see page 56
WikiLeaks, 2006-Ongoing, Online Digital
files. Courtesy of Wikileaks
Los Angeles Poverty Department, Agents &
Assets, 2001—Ongoing. Courtesy of the artist
Mammalian Diving Reflex, conceived by Darren O’Donnell, Haircuts by Children, 2006. Courtesy
of the artist
Ala Plastica, Magdalena Oil Spill, 1999-2003, reed harvesters speak to
members of the community in Magdalena about the Shell oil spill
Photo: Thomas Minich
Chto delat? (What’s to be done?), Angry Sandwichpeople or in a Praise of
Dialectic, 2006. Courtesy of the artist
Ai Weiwei, Ala Plástica, Jennifer Allora and Guillermo
Calzadilla, Alternate ROOTS, Appalshop, Claire Barclay,
Basurama, BijaRi, Cemeti Art House, Chto delat? (What
is to be done?), Complaints Choir, Céline and Gavin
Wade Condorelli, Minerva Cuevas, Cybermohalla
Ensemble, DAAR (Decolonizing Architecture Art
Residency), Josh Greene, Federico Guzmán and Alonso
Gil, Fritz Haeg, Helena Producciones, Jeanne van
Heeswijk, Fran Ilich, Farid Djahangir, Sassan Nassiri,
Bita Fayyazi, Att Hasheminejad, Khosrow Hassanzedeh,
Suzanne Lacy, Lara Almarcegui and Begoña Movellán,
Los Angeles Poverty Department, Rick Lowe,
Mammalian Diving Reflex/Darren O’Donnell, Mardi Gras
Indian Community, Zayd Minty, The Mobile Academy, Vik
Muniz, Oda Projesi, Wendelien van Oldenborgh, Pase
Usted, Navin Rawanchaikul, Athi-Patra Ruga, Katerina
Šedá, Chemi Rosado Seijo, Slanguage (Founded by
Mario Ybarra Jr., Karla Diaz, and Juan Capistran), Tahrir
Square (2011), Taller Popular de Serigrafía (TPS), The
US Social Forum (U.S.S.F.), Ultra-red, Urban Bush
Women, Voina, Peter Watkins, WikiLeaks, Elin Wikström,
WochenKlausur, Women on Waves
Living As Form: Socially Engaged
Art from 1991-2011
By Nato Thompson; essays by
Claire Bishop, Carol Becker, Teddy
Cruz, Brian Holmes, Shannon
Jackson, Maria Lind, and Anne
Pasternak. Published by MIT Press.
2012. 8 x 11 inches. Hardcover. 280
pages. ISBN: 0-262-01734-2. $39.95
The exhibition is accompanied by a publication produced
by Creative Time that forms a landmark survey of social
engaged art including more than 100 projects selected
by a 30-person curatorial advisory team; each project is
documented by a selection of color images.
With hidden
Curated by Stephen Vitiello
Stephen Vitiello, Finding Pictures in Search of Sounds,
2008. Courtesy of the artist
EXHIBITION IN A BOX’s WITH HIDDEN NOISE is an exploration of sound art that
seeks to ask gallery and museum visitors to spend time listening with ears they may
not know they had. . . . Titled after Marcel Duchamp’s readymade of a ball of string
containing a mysterious sound-making object hidden within, this exhibition brings
together evocative sounds, some recognizable from traditional instruments and field
recordings, and others masked through electronic processes.
Sound art has a long lineage that can be traced back to
the Futurist manifesto and subsequent movements and
genres such as Fluxus, conceptual art, and performance
art, and up to the most recent artistic uses of the latest
developments in new technologies. Although over the
last fifteen years a number of larger survey shows
have tracked this history, With Hidden Noise makes
understanding and experiencing sound art accessible to
a wider range of venues.
This self-contained sound art exhibition pairs down the
installation to a single set of surround-sound speakers (5
speakers plus a subwoofer) adaptable to a broad range
of spaces, allowing for many presentation possibilities.
Also included are a number of books and catalogues
on contemporary sound art that may be distributed
around the gallery for those who would like to read more
as they listen. A further reading list, videography, and
programming suggestions are provided by the curator,
making this exhibition as adaptable and expandable as
Stephen Vitiello is a sound
and media artist whose sound
installations have been presented
internationally in public spaces
and museums. His large-scale
installation All Those Vanished
Engines, commissioned by MASS
MoCA, opened in September 2011.
His installation A Bell For Every Minute was installed
on the High Line in New York from 2010‑11. Vitiello
has collaborated extensively with such artists as Tony
Oursler, Julie Mehretu, Joan Jonas, Steve Roden, Nam
June Paik, and Ryuichi Sakamoto. He has received
numerous awards, including a Guggenheim Fellowship
for Fine Arts, Creative Capital funding in the category
of Emerging Fields, and an Alpert/Ucross Award for
Music. Originally from New York, Vitiello is now based in
Richmond, Virginia, where he is on the faculty of Kinetic
Imaging at Virginia Commonwealth University.
Taylor Deupree, Jennie C. Jones, Pauline Oliveros,
Andrea Parkins, Steve Peters, Steve Roden, Michael J.
Schumacher, Stephen Vitiello
Space required: extremely flexible
Available dates: Limited availability in 2013
For further booking details see page 56
Raymond Pettibon: The Punk Years, 1978–86
Curated by David Platzker
RAYMOND PETTIBON: THE PUNK YEARS, 1978–86 taps into the steady stream
of this California artist’s early graphic arts production, before he appeared on the
contemporary art stage. This EXHIBITION IN A BOX includes over 200 examples of
Pettibon’s powerful designs made between 1978 and 1986, when he was immersed in
the Los Angeles punk rock scene, doing the graphic design for Black Flag and other
punk bands.
Most of the designs were done for SST Records, founded
by his brother Greg Ginn, who was also the guitarist for
Black Flag. In addition to the two-dimensional contents
in the box, vinyl records of SST bands, including the
Minutemen, Sonic Youth, and Hüsker Dü, as well as a
DVD of a 1983 performance of Black Flag, enrich the
context and show Pettibon in his original milieu.
To adapt the project to their own communities and bring
in new audiences, institutions presenting this project
might wish to consider inviting innovative local designers
to present their own graphics alongside these, or host
performances by local bands.
Space required: extremely flexible
Available dates: November 2012 through February 2013
For further booking details see page 56
David Platzker is the director of
Specific Object, an innovative
gallery, bookshop, and think tank
dedicated to artists’ publications
ranging from ephemeral materials
to unique artworks produced
between 1960 and 1990. Prior to
founding Specific Object, Platzker
was the executive director of Printed Matter, a nonprofit institution dedicated to the promotion of artists’
publications from 1998 to 2004, and he has curated
exhibitions of artists including John Baldessari, Dan
Graham, Jonathan Monk, and Claes Oldenburg.
Raymond Pettibon, Black Flag August Schedule, 1982. Courtesy of the artist
While Pettibon remains a cult figure among underground
music devotees for these early designs, over the past
twenty years he has acquired an international reputation
as one of the foremost contemporary American artists
working with drawing, text, and artist’s books. Crossing
back and forth between music and the visual arts, this
project shows Pettibon’s raw imagery, heavily shadowed
technique, and characteristic visual punch in formation,
and includes 44 ’zines, 120 fliers and posters, and a
selection of album covers.
Documenta 5
Harald Szeemann: Documenta 5
Curated by David Platzker
Even forty years on, DOCUMENTA 5—the exhibition that was criticized in 1972 as being
“bizarre…vulgar…sadistic” by Hilton Kramer and “monstrous…overtly deranged” by
Barbara Rose—resonates today as one of the most important exhibitions in history. Both
hailed and derided by artists and critics, it was the largest, most expensive and most
diverse exhibition of its kind at the time, and forecasted the direction of many largescale, collaboratively curated, comprehensive megashows to come.
Joseph Beuys, aus, from Saltoarte (aka: How the Dictatorship of the
Parties Can Overcome), 1975
this particularly fertile cultural moment produced. Venues
might like to host an evening of local artists’ talks about
contracts and rights, building from discussion of The
Artists Reserved Rights Transfer and Sale Agreement, or
work with community groups to generate their own 100day series of events.
Harald Szeemann: Documenta 5, an Exhibition in a Box,
explores the many facets of this particularly controversial
Documenta, which seeped outside the contemporary
art sphere into an expanded realm of activity. This 1972
Documenta, chiefly curated by the influential Swiss
curator Harald Szeemann, was a pioneering, radically
different presentation that was conceived as a 100-day
event, with performances and Happenings, outsider art,
even non-art, as well as repeated Joseph Beuys lectures,
and an installation of Claes Oldenburg’s “Maus Museum,”
among many other atypical inclusions. The show widely
promoted awareness of a contract known as The Artist’s
Reserved Rights Transfer and Sale Agreement, which
protects artists’ ongoing intellectual and financial rights
with regard to their production. This Exhibition in a Box includes the exhibition catalogue,
ephemera, artists’ publications and editions produced
in conjunction with the exhibition, as well as published
reviews and critical responses. The assembled materials
provide a rich jumping off point for art history students,
artists, and general audiences to plunge into the
international contemporary art scene of 1972, to see what
Chroniques de l’art vivant, August – September, 1972
Space required: extremely flexible
Available dates: now through October 2012
For further booking details see page 56
Curated by João Ribas, co-organized with The Drawing Center
Thanks to all of the artists who have participated in fax since 2009!
Julieta Aranda, John Armleder, Roy Ascott, Tauba
Auerbach, Fia Backström, Darren Bader, Cecil
Balmond, BANK, Colby Bird, Pierre Bismuth,
Barbara Bloom, Mel Bochner, Tobias Buche, Ian
Burns, Cabinet Magazine, Etienne Chambaud,
Cleopatra’s, Peter Coffin, Jan De Cock, Collage
CenterWest, Liz Deschenes, Cerith Wyn Evans,
Helen Evans & Heiko Hansen, Morgan Fisher,
Claire Fontaine, Yona Friedman, Aurelien Froment,
Ryan Gander, Wineke Gartz, Liam Gillick, Marisa
González, Dan Graham, Joseph Grigely, João
Maria Gusmão & Pedro Paiva, Wade Guyton,
Skuta Helgason, Charline von Heyl, Matthew
Higgs, Eduardo Kac, Matt Keegan, Zoe Keramea,
Tom Klinkowstein, Germaine Kruip, Glenn Ligon,
Jackson Mac Low, Ronald L. Mallett, Corey
McCorkle, Josephine Meckseper, Eric Mitchell,
Simon Dybbroe Møller, Olivier Mosset, Warren
Neidich, Kambui Olujimi, Serge Onnen, Hans Ulrich
Obrist, Mai-Thu Perret, Prachya Phinthong, Michalis
Pichler, William Pope.L, Seth Price, Blake Rayne,
Tobias Rehberger, Kay Rosen, Amanda Ross-Ho,
Pamela Rosenkranz, Arnd Seibert & Alexandre
Singh, Sonia Sheridan, Dexter Sinister, Josh
Smith, Matt Sheridan Smith, Anne Tardos, Cheyney
Thompson, Christian Tomaszewski, Wolfgang
Tillmans, Edward Tufte, Stan VanDerBeek, Olav
Westphalen, Christopher Williams, Jack Whitten,
Johannes Wohnseifer
Contemporary Museum, Baltimore, Maryland,
September 12, 2009–December 20, 2009
Alzaruba, Lee Boot, Steve Bradley, Lynn Cazabon,
Zoe Charlton, Annet Couwenberg, Cara Ober,
John Ruppert, Soledad Salame, Sofia Silva, Molly
Springfield, Calla Thompson, R.L. Tillman
Plug In ICA, Winnipeg, Manitoba, Canada, December
12, 2009–February 21, 2010
KC Adams, Stephen Andrews, Susan Chafe, Nat
Chard, Kevin deForest, Jim Drobnick & Jennifer
Fisher of DisplayCult, Michael Dumoniter & Neil
Farber, Cliff Eyland & Carl Matheson, Erica Eyres,
Wanda Koop, Jeff Ladouceur, Niki Little, Sandee
Moore, Shaun Morin, Ed Pien, Melanie Rocan,
Suzie Smith Su, Leslie Supnet, Balint Zsako
Torrance Art Museum, Torrance, California, January
14, 2010–February 20, 2010
Kevin Appel, Alexandra Crouwers, Elaine
Defibaugh, Chris Duncan, Martin Gantman,
Elliot Hundley, Ichiro Irie, Kiel Johnson, Natasja
van Kampen, Gil Kuno, Sandeep Mukherjee,
Claudia Parducci, Hillary Pecis, Jason Ramos,
Steve Roden, Andrew Schoultz, Sumi Ink Club,
Terri Thomas, Try Harder, Ryan Wallace, Olav
Para/Site Art Space, Hong Kong, February 1, 2010–
March 31, 2010
Nadim Abbas, Qui Anxiong, Rem Koolhaas, MAP
Office, Sanna Marander, Erkka Nissinen, Prachya
Phinthong, The Propeller Group, Wan Qingli, Pedro
Reyes, Lam Hoi Sin, Rich Streitmatter-Tran, Nestor
Torrens, Adrian Wong, Doris Wong, Magdalen
Wong, Morgan Wong Wing-Fat, Huang Xiaopeng
Burnaby Art Gallery, Burnaby, Canada, March 16,
2010–May 23, 2010
Mark Delong & Jason Mclean, Derek Dunlop,
Andrea Gooliaff, Leslie Grant, David Horvitz, JJ
Kegan McFadden, Heidi Nagtegaal, Heather
Passmore, Ryan Peter, Kristina Lee Podesva, Jon
Sasaki, Dan Starling, Jen Weih, Amy Zion
Museo de Arte Carrillo Gil, Mexico City, Mexico,
March 24, 2010–June 20, 2010
Mark Delong & Jason Mclean, Derek Dunlop,
Andrea Gooliaff, Leslie Grant, David Horvitz, JJ
Kegan McFadden, Heidi Nagtegaal, Heather
Passmore, Ryan Peter, Kristina Lee Podesva, Jon
Sasaki, Dan Starling, Jen Weih, Amy Zion
Dowd Gallery, State University of New York,
College at Cortland, Cortland, New York, October 7,
2010–December 10, 2010
Matthew Barolo, Jan Capek, Donna Dajnowski,
Victoria Delaney, Ralf Jean-Baptiste, Lisi Krall,
Kathryn Kramer, Matkore, Peter Moon, Amy
Murphy, Jaroslava Prihodova, Nola Romano,
Melissa Sarat, Michael Sheppard, Matt Sheridan,
Robert Sherrill, Bryna Silbert, Dave Silbert, Bryan
Thomas, Ralph Turturro
New Galerie, Paris, France, November 6, 2010–
December 18, 2010
Louise Herve & Chloe Maillet, Christian Jacquemin,
Claude Leveque, Mathieu Mercier, Annette
Messager, Aurelien Porte, Martin Szekely, Raphael
Apex Gallery, South Dakota School of Mines and
Technology, Rapid City, South Dakota, February 15,
2011–April 3, 2011
Steve Babbitt, Sheila Miles, Paivvi Saarelma,
Shawn Skabeland, Jaune Smith, Neil Ambrose
Smith, Yony Waite
Carpenter Center for the Visual Arts, Cambridge,
Massachusetts, March 7, 2011–April 10, 2011
Laylah Ali, Conrad Bakker, Kim Beck, John
Bissonette, Jennifer Bornstein, Matthew Brannon,
Hunt Clark, Hugo Crosthwaite, Natalie Czech,
Nick DeFord, Charles Goldman, Nate Heiges,
Brian Jobe, William E. Jones, Evan Meaney,
Matt Mullican, Nora Schultz, Amy Sillman, Jered
Sprecher, Mollly Springfield, Megan Francis
Sullivan, Andrew Witkin, Han Yu
St Paul St Gallery, Auckland, New Zealand, April 8,
2011–April 30, 2011
Alterations, Nick Austin, David Clegg, Fiona
Connor, Paul Cullen, Richard Francis, Fiona Jack,
Monique Jansen, Tessa Laird, Dane Mitchell,
Narrow Gauge, The National Grid, Seung Yul Oh,
OH.NO.SUMO, Nova Paul, Yuk King Tan
Knoxville Museum of Art, Knoxville, Tennessee,
August 26, 2011–November 6, 2011
John Bisonette, Hunt Clark, Hugo Crosthwaite, Nick
DeFord, Brian Jobe, Evan Meaney, Jered Sprecher
South London Gallery, London, UK, September 22,
2011–November 27, 2011
Selecting Curator: David Ayala Alfonso
Marcelo Delcampo, Graciela Duarte & Manuel
Santana, Matilde Guerrero, Humberto Junca,
Lady Bionika, Martinez-zea, Mario Opazo, Carol
Sabbadini, Julian Santana, Angélica Teuta, Ivonne
Villamil, Stefhany Yepes
Selecting Curator: Oyinda Fakeye
Karo Akpokiere, Jude Anogwih, Ndidi Dike, Emeka
Ogboh, Obidike Okafor, Kimberly Walsh, Mudi
Selecting Curator: Zane Onckule
Kristīne Alksne, Arturs Bērziņš, Jānis Borgs,
Evelīna Deičmane, Egards Gluhovs, Ainārs
Kamoliņš & Iliana Veinberga, Romāns Korovins,
Leonards Laganovskis, Paulis Liepa, Inga Meldere,
Miks Mitrēvics, Anta & Dita Pences, Arturs Punte
(Orbita group), Jānis Taurens
DeVos Art Museum, Marquette, Michigan, January 13,
2012–February 24, 2012
Daniel C. Boyer, Christine Saari, Edward M.
Andrzejewski, Dan Andrews, Freepy Shwirtel,
Paul Goodrich, Christine Flavin, Mia Cinelli, Emily
Utah Museum of Contemporary Art, Salt Lake City,
Utah , March 2, 2012–June 23, 2012
Mike Bouchet, Salotto Buono, Roisin Byrne, Keren
Cytter, Sejla Kajmeric, Daniel Kingery, Forniture
Pallotta, Bertrand Planes, Jared Steffensen, Ignacio
University of Hawaii Art Gallery, Honolulu, Hawaii,
February 26, 2012–April 15, 2012
Analog Sunshine Recorders, Scoop Brancisco,
Dorothy Faison, Harrell Fletcher & UHM, Kloe
Kang, Bundit Kanisthakhon, Sanit Khewhok,
Barbara Pope, Gordon Sasaki, Peter Vincent
San Francisco Arts Commission Gallery, San
Francisco, California, May 4, 2012–July 22, 2012
Kathy Aoki, Brandon Brown, John Casey, Julie
Chang, Adriane Colburn, Binh Danh, Kota
Ezawa, Pablo Guardiola, Taraneh Hemami, Dana
Hemenway, Tony Labat, John Patrick McKenzie,
Geri Montano, Kelly Ording, Joshua Singer,
Casey Jex Smith, Sarah Smith, Someguy, Taravat
Talepasand, Charlene Tan, Josephine Taylor,
Jenifer Wofford
FAX, installation view, South London
Gallery, 2011
The Drawing Center, New York, New York,
April 17, 2009–July 23, 2009
Recognizing there are few opportunities for professionals to receive practical training
and guidance while also working, the Curatorial Intensive is targeted toward selfmotivated individuals—working independently or in institutions—who would benefit
from a week of intensive conversations around issues and questions that arise for
curators. These range from the pragmatics of developing a program and building
working relationships with artists to the theoretical aspects of understanding how to
turn a concept into a project and effectively communicate ideas.
Program Dates: October 21–30, 2012
Luis Camnitzer, artist; Pablo Helguera, Director of Adult
and Academic Programs, Museum of Modern Art; Sarah
Hromack, Head of Digital Media, Whitney Museum of
American Art; Anthony Huberman, Director, The Artist’s
Institute; Brian Kuan Wood, Editor, e-flux journal; Carin
Kuoni, Director, Vera List Center for Art and Politics, The
New School; Chus Martínez, Head of Department, Core
Agent Group, dOCUMENTA(13); Sina Najafi, Editor-inChief, Cabinet Magazine; Sofía Olascoaga, independent
curator and educator; and Sally Tallant, Artistic Director,
Liverpool Biennial.
Curatorial Intensive, site visit with Mark Dion and J Morgan Puett,
Mildred’s Lane, July 16, 2011
This Intensive is developed in collaboration with
Dominic Willsdon, Leanne and George Roberts Curator
of Education and Public Programs, SFMOMA, San
Francisco, California.
The program fee is $1,900. Participants are also
responsible for covering travel and accommodation
expenses. Scholarship packages that subsidize or
eliminate the program fees, accommodation, and travel
expenses are available and awarded based on merit.
Scholarships for Turkish nationals will be supported
by SAHA.
Curatorial Intensive in session, July 10, 2011
This fall ICI is producing the Curatorial Intensive:
Curating Beyond Exhibition Making, the first short course
to offer training to curators on the concepts and logistics
of organizing public events, workshops, and other
discursive program formats. Topics under discussion will
include new formats for durational pedagogical projects
and the production of events and curatorial publications,
as well as more traditional museum education models.
Central to all sessions will be discussions concerning
audiences and publics, and the consideration of time and
space in relation to programming.
Curatorial Intensive site visit, July 13, 2012
Curatorial Intensive, Summer 2012 participants, July 2012
Curatorial Intensive in session, July 2012
Curatorial Intensive site visit with Cecilia Alemani, July 13, 2012
Thirteen emerging curators from Albania, Australia,
China, Mexico, Spain, the UK, and four US states were
selected from an open call for applications to take part in
the Curatorial Intensive from July 8–17 in New York.
Through a rigorous program of seminars and
discussions, as well as gallery and studio visits, the
participants were able to share exhibition ideas and had
the chance to develop and receive feedback on their
own practices. This process culminated in a symposium
of exhibition proposal presentations, where Lauren
Cornell also delivered a keynote address on her practice
and her work as the curator of the New Museum’s third
Generational Triennial in 2015.
ICI is continuing to work with each of the Curatorial
Intensive participants long-distance to finalize their
proposals for publication on ICI’s website.
Cecilia Alemani, curator, High Line; Doug Ashford,
artist; Greg Burke, independent curator; Doryun Chong,
Associate Curator, Painting and Sculpture, MoMA; Kate
Fowle, Executive Director, ICI; Frances Wu Giarratano,
Exhibitions Manager, ICI; Jay Levenson, Director,
International Programs, MoMA; Lindsay Pollock, Editorin-Chief, Art in America; Renaud Proch, Deputy Director,
ICI; Christian Rattemeyer, Associate Curator, Drawings,
MoMA; Scott Rothkopf, curator, Whitney Museum;
Nancy Spector, Deputy Director and Chief Curator,
Solomon R. Guggenheim Museum
For more information about the Curatorial Intensive training programs,
visit ICI’s website, www.curatorsintl.org or contact Misa Jeffereis at
[email protected] or or 212 254 8200 x126.
The Curatorial Intensive is made possible, in part, by grants from the
Lily Auchincloss Foundation, the Robert Sterling Clark Foundation, the
Dedalus Foundation, the Horace W. Goldsmith Foundation, the Hartfield
Foundation, and the Milton and Sally Avery Arts Foundation; and by
generous contributions from Toby Devan Lewis, James Cohan and the
ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and by the
supporters of ICI’s Access Fund.
ICI and the Ullens Center for Contemporary Art (UCCA), Beijing, accepted applications
from curators working around the world to participate in “The Museum of the Future?:
Curating Institutions,” the first Curatorial Intensive held in China.
Organized from August 5–11 the short-course training
program used curatorial thinking to examine strategies
for creatively building infrastructures for contemporary
art that respond to the changing needs of artists and new
art publics. Since the “Experimental Institutionalism” that
arose in Europe at the beginning of the new millennium,
curators have increasingly taken on directorial roles to
establish new precedents for programming institutions
and challenging traditional exhibition formats. Now,
worldwide, we are witnessing the development of an
incredible range of institutions—from the smallest
and most itinerant to vast exhibition halls amidst the
megacomplex—that are responding to the social and
political contexts through which they arise.
The Curatorial Intensive at UCCA was organized in
affiliation with the College of Humanities at the Central
Academy of Fine Arts in Beijing.
To mark the occasion of China’s first Curatorial Intensive,
the Wu Zuoren Foundation launched a new initiative
to support young curators in China. This includes
scholarships for Chinese participants, as well as a
national curatorial award, exhibition opportunities, and
international internships.
A special thanks to the Asian Cultural Council, the Trust for Mutual
Understanding, Asialink Arts, SAHA, and collectorspace for providing
scholarships for the participants from Indonesia, Romania, Australia, and
Turkey respectively.
Curatorial Intensive: Beijing, class in session, August 2012
Curatorial Intensive: Beijing, Ullens Center for Contemporary Art
entrance, August 2012
The Curatorial Intensive is made possible, in part, by grants from the
Lily Auchincloss Foundation, the Robert Sterling Clark Foundation, the
Dedalus Foundation, the Horace W. Goldsmith Foundation, the Hartfield
Foundation, and the Milton and Sally Avery Arts Foundation; and by
generous contributions from Toby Devan Lewis, James Cohan and the
ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and by the
supporters of ICI’s Access Fund.
Curatorial Intensive: Beijing, advisement session, August 2012
Curatorial Intensive: Beijing, Ai Weiwei in conversation with participants,
August 2012
Curatorial Intensive: Beijing, ICI Trustee Sarina Tang in conversation with
participants, August 2012
Curatorial Intensive: Beijing, making dumplings with Doryun Chong, Mami
Kataoka, and Zhang Wei, August 2012
This 7-day program explored the historical precedents,
new models, and emergent curatorial practices that are
influencing the infrastructures for art through an intensive
schedule of seminars, site visits, individual meetings,
and roundtable discussions. Faculty included Zdenka
Badovinac, Director, Moderna Galerija, Ljubljana; Tobias
Berger, Curator, M+ Museum for Visual Culture, Hong
Kong; Zoe Butt, Curator and Director of Programs
and Development, San Art, Ho Chi Minh City; Colin
Chinnery, Director, Multitude Foundation; Yu Ding,
Vice President, School of Humanities and Director of
Arts Management Department, CAFA, Beijing; Wang
Huangsheng, Director, CAFA Art Museum,
Beijing; Mami Kataoka, Chief Curator, Mori Art Museum,
Tokyo; Rodrigo Moura, Curator, Inhotim Instituto, Minas
Gerais; Terry Smith, Andrew W. Mellon Professor,
University of Pittsburgh, Pennsylvania; Philip Tinari,
Director, Ullens Center for Contemporary Art, Beijing;
and Kate Fowle, Executive Director, ICI, New York.
Curatorial Intensive: Beijing, site visit with Philip Tinari, August 2012
Organized from April 22–28 the Curatorial Intensive employed Instituto Inhotim in Brazil
as a case study to explore how curatorial practices negotiate issues of commissioning
and adaptation of site-specific works; the interpretation and re-creation of lost and
unrealized projects; and concepts of the expanded museum and exhibition, such as
curating through collection building, the spatial expansion of the institution, and new
forms of outreach and audience development.
13 participants based in Brazil, Colombia, France,
Germany, India, Mexico, Norway, Russia, Turkey, and
the US were selected to participate in the Curatorial
Intensive: Inhotim. Their project proposals will be
published on ICI’s website, www.curatorsintl.org, in
Curatorial Intensive: Inhotim, participants, April 28, 2012
A special thanks to SAHA for providing scholarships to two participants
from Turkey, and to Sarina Tang.
Instituto Inhotim is a unique site that offers a broad
ensemble of artworks, displayed outdoors as well as
in both temporary and permanent galleries, all located
inside a botanical garden of extraordinary beauty.
Decreed a Civil Society Organization of Public Interest,
Inhotim offers, in addition to these areas of artistic
enjoyment and entertainment, environmental research
work, educational actions, and an important program of
social inclusion and citizenship for the local population.
The art collection comprises over 500 works by artists
of national and international renown, such as Adriana
Varejão, Helio Oiticica, Cildo Meireles, Chris Burden,
Matthew Barney, Doug Aitken, and Janet Cardiff. Inhotim
distinguishes itself from other museums by offering artists
unique conditions for developing their art inside the park.
Curatorial Intensive: Inhotim, site visit, Hélio Oiticica, Penetrável Magic
Square # 5, 1977. April 22, 2012
The 7-day program focused on case studies with artists
who have produced works at Inhotim as well as public
panel discussions and closed-door seminars relating
to context specificity. Faculty included Kate Fowle,
Director, ICI; James Lingwood, Co-Director, Artangel;
Rodrigo Moura, Curator, Inhotim; Victoria Noorthoorn,
independent curator; Allan Schwartzman, Chief Curator,
Inhotim; and Jochen Volz, Artistic Director, Inhotim.
Since the Curatorial Intensive’s inception, a number of participants have
successfully realized the exhibition proposals developed through the course, and
continue to be active in the curatorial field.
Qinyi Lim has been appointed to the newly created
position of curator at Hong Kong’s leading nonprofit
center, Para/Site art space. Lim will develop a platform
where experimental contemporary art practices and
curatorial strategies can be manifested, and aims to
“contribute to the local art ecology by working with and
learning from the community.”
Mónica Espinel recently curated The Rituals of Chaos
at The Bronx Museum of the Arts. The group exhibition
named after Carlos Monsivais’s book of the same title,
takes the work of Mexico’s renowned photojournalist,
Enrique Metinides, as a departure point and
complements it with the work of contemporary artists who
also capture the human experience in the metropolis.
Maaike Lauwaert at the Art & Architecture Center,
Stroom Den Haag, Netherlands, will devote three
months this fall to an experimental program on expanded
performance. The program unfolds in the form of an
exhibition, live performances, a reading group, and
several special events. Collaborators are, amongst
others, fellow ICI Intensive curators Liz Burns (Dublin),
Capucine Perrot (London), and Adnan Yildiz (Stuttgart).
Sam Korman, founder of Car Hole Gallery, Portland,
Oregon, was appointed as Assistant Director of White
Flag Projects in St. Louis, Missouri.
In the past months, several Curatorial Intensive Alumni
have returned to ICI and presented events at the Hub:
Jordan Stein presented Untitled (Joanne [Ha]Rruff),
which is an ongoing investigation into the life and work of
just-about-completely-unknown former California visualartist once named Joanne Harruff and Joanne Rruff.
Maayan Sheleff discussed her Tel Aviv-based project,
“the agency,” debating the possibility of art as a vehicle
for social change, and the shift in the roles of both artist
and curator on the border between art and activism.
Legacy Russell, who formed LIMITED TIME ONLY
(LTO), a creative collaboration and curatorial production
project with Stina Puotinen, held two events at the Hub
this year: Dead Letters Office Hours and Mad-LIB[rary].
See page 34 for upcoming events at the ICI Curatorial Hub.
Juan Manuel Echavarria, Mouths of Ashes, installation view in
“Secondary Witness”, ISCP
Geir Haraldseth accepted the position of Director
of Rogaland Contemporary Art Center, in Stavanger,
Norway, and has major plans for programming, including
a new library of contemporary art (with a focus on
curating) and a retooling of the exhibition programming.
Geir will also launch a new publication published
by Torpedo Press that focuses on a selection of his
exhibition projects and writings from 2005–12.
The Curator’s Perspective is a free, itinerant public discussion series ICI developed
as a way for international curators to share their research and experiences with audiences
in New York. Through these talks, ICI has begun to assemble documents and disseminate
a wide variety of international perspectives on art today. This year audiences have heard
perspectives on art, culture, and exhibition making from curators based in Stockholm,
Guatemala City, and Vienna. In fall 2012 practitioners based in Tokyo, Mexico City, and
Kassel will talk about what they’re most interested in at the moment, including the artists
and the sociopolitical contexts that are shaping practices now.
Mami Kataoka
Sunday, September 23, 2012
The New Museum
235 Bowery
New York, New York 10002
Mami Kataoka has been Chief Curator at the Mori Art
Museum (MAM) in Tokyo since 2003. Kataoka extends
her curatorial practices in many international projects,
including 9th Gwangju Biennale (2012) in South Korea
as the Joint Artistic Director. Previously Kataoka was the
International Curator at the Hayward Gallery in London
(2007‑9). Kataoka frequently writes and lectures on
contemporary art in Asia.
Chus Martínez
Wednesday, October 17, 2012
The Graduate Center, James Gallery
365 Fifth Avenue
New York, New York 10016
Chus Martínez is the Head of Department and Member
of Core Agent Group of dOCUMENTA (13). Martínez was
previously Curator at MACBA, Barcelona (2008–10),
Director of the Frankfurter Kunstverein (2005–8), and
Artistic Director of Sala Rekalde, Bilbao (2002–5).
Martinez curated the National Pavilion of Cyprus for the
50th Venice Biennale in 2005 and served as a Curatorial
Advisor for the 29th Bienal de São Paulo. She lectures
regularly and has written numerous catalogue texts and
critical essays.
This event is part of a touring conversation series with Chus Martínez,
organized as part of ICI’s new programming initiatives that provide a
platform for innovative international practitioners to connect directly with
audiences across North America.
Cuauhtémoc Medina
Monday, December 17, 2012
The Kitchen
512 West 19th Street
New York, New York 10011
Cuauhtémoc Medina is the leading
curator of Manifesta 9 in Limburg, Belgium. Medina is
based in Mexico City and holds a PhD in Art History and
Theory from the University of Essex. He is a researcher
at the Instituto de Investigaciones Estéticas at the
National University of Mexico. Previously Medina was the
first Associate Curator of Latin American Art Collections
at Tate Modern in London.
All events in the Curator’s Perspective series are free of charge and
open to the public. For more information about upcoming events, visit
ICI’s website, www.curatorsintl.org, or contact Misa Jeffereis at [email protected]
curatorsintl.org or 212 254 8200 x126.
The 2012 Curator’s Perspective program is made possible, in part, by
grants from the Robert Sterling Clark Foundation, the Trust for Mutual
Understanding, and by the support of ICI’s Board of Trustees.
curator’s perspective
On March 17, 2012, Rosina Cazali, independent
curator, former Director of the Centro Cultural de
España of Guatemala, and 2010 recipient of a John
Simon Guggenheim Grant, spoke on her research on
contemporary art in Guatemala.
I’d like to start out with an anecdote that relates to
the day I fully became an independent curator. In the
early 1990s, the museum of modern art invited me
to organize a survey show of 1970–80’s Guatemalan
art as part of a larger revitalization project of the
museum. I was assigned to work on the decades of
active artists, which was the more difficult part.
In Latin America, the curator was received with
suspicion, as an intruder. I was fortunate to have
met Olivier Debroise then, who was invited to curate
a trans-cultural project with artists from Guatemala,
Sweden, and Mexico. Mexico and Sweden had a
curator; Guatemala didn’t.
I met up with Olivier one afternoon in a cafe in old
Guatemala City, he said something that interested
me about curatorial practice. These types of
conversations are like epiphanies that have a before
and an after. Now I understand: curating doesn’t have
a logic with fixed rules, it approaches art in a largely
non-traditional way.
Going back to my anecdote, my interlocutor had
replaced the word curator for curandera (witch
doctor), and alluded to the primitive figure who
practices cleansing rituals. The word curator, with all
its contradictions and problematics, allowed one to
escape from the traditional art scene using operations
of de-fetishization and deterritorialization that were
necessarily complemented by a closer contact with
the artists and their creative processes.
Rosina Cazali is a critic and independent curator specializing in
contemporary Guatemalan art. She studied arts at Universidad de San
Carlos de Guatemala and attended the first Cultural Studies lecture
organized by FLACSO. She has worked as an independent curator since
2000, and participated in several art projects, such as La Curandería.
Kathrin Rhomberg
Kathrin Rohmberg, Curator’s Perspective, Austrian Cultural
Forum, May 14, 2012
Rosina Cazali, Curator’s Perspective, New Museum, March
17, 2012
Rosina Cazali
On May 16, 2012, Kathrin Rhomberg, Vienna-based
independent curator, presented a lecture, “The Virtue
of Unprofessionalism,” at the Austrian Cultural Forum
New York. The lecture took stock of the constantly
increasing number of exhibitions realized at the highest
imaginable standards, questioning if professionalism and
standardization, while fit for the economic system, may
not be the best possible structure for art.
I studied Classical Art History in Salzburg before
moving to Vienna. In 1989, I walked into the
Secession and asked if they needed someone. It was
1993 when I started to work in the exhibition office
and produced more than 100 exhibitions. Artists
became my professors. In 1998 these artists asked
me to do a show on the young scene in Austria—a
first for a non-artist. I was afraid but I said, “I will
do it if you give me the entire building.” I thought, “I
have to be radical, and only do it if I can present an
‘international exhibition’.”
So I was protected in this institution where I only
worked with artists. I was completely into this world
than when I started to work on Manifesta in Ljubljana.
I suddenly became aware that there is another
system existing outside the Secession. And one of
the outcomes of that shocking experience was an
exhibition I did in the Secession in 2001, one month
after 9/11, called AUSGETRÄUMT. It means “out of
dreams.” It addressed the end of a situation where
people still believed in a better future—one that
democracy and capitalism doesn’t offer you a better
future, as experienced in Eastern Europe. It was
also an exhibition about this new situation within the
art world. Suddenly the art world became part of the
economical world and changed its DNA completely.
I must say that, even today, I am still struggling with
how to deal with this completely changed situation.
Kathrin Rhomberg lives and works as an independent curator in Vienna,
Austria. She is a co-curator of the ongoing project Former West and a
corresponding member of Secession, Vienna. Her curatorial projects in
2011 included an exhibition on Christoph Schlingensief, Fear of the Core
of Things, at the BAK, basis voor aktuele Kunst, Utrecht, Netherlands,
and a show on Bauhaus in India 1922, Bauhaus Dessau.
In September 2011 ICI debuted the CURATORIAL HUB at ICI’s new TriBeCa offices. This
unique venue serves as an event space, meeting point, temporary operational base,
and a resource for international curators to use when they are in New York.
Intended to better facilitate the informal exchange of
ideas and experiences between professionals, the
Curatorial Hub provides a flexible project space for talks,
screenings, and training programs and also houses a
library of periodicals and books from institutions all over
the world.
Dialogues in Contemporary Art: Take 3
In Collaboration with AhmadyArts
Tuesday, October 16, 7–8:30pm
As part of this ongoing series hosted at the Hub, Leeza
Ahmady speaks with John Menick, writer, filmmaker,
and sound artist, and Yusuf Misdaq, multimedia artist/
writer/musician, about their projects in sound and writing.
Dialogues in Contemporary Art, Leeza Ahmady with Hitomi
Iwasaki and Herb Tam, ICI Curatorial Hub, March 13, 2012
Reanimation Library
Tuesday, September 25, 6:30–8pm
As ICI opens its own reference library to the public,
we take a look at the Reanimation Library, a curious
collection of books that have fallen out of circulation
because of their obsolete content, and yet still have
unique and intriguing visual value. Join the project’s
founder Andrew Beccone as he discusses the Library as
a resource for artists, writers, and cultural archaeologists.
Askeaton Contemporary Arts: Book Launch
Thursday, October 4, 6:30–8pm
Michele Horrigan, founding director and curator of
Askeaton Contemporary Arts, speaks with artists
Amanda Ralph and Sean Lynch on recent projects in
conjunction with the launch of The Hellfire Club, a series
of new commissions based on the presence of an 18th
century secret society house in Askeaton.
Curatorial Roundtable with Herb Tam
Tuesday, October 9, closed-door seminar
Herb Tam, Curator and Director of Exhibitions at the
Museum of Chinese in America, hosts this closed-door
seminar and roundtable conversation, investigating the
role of contemporary visual art programs in museums that
are primarily dedicated to cultural heritage and history.
Kari Conte & Florence Ostende: Self-reflexive
Thursday, October 18, 6:30–8pm
Curators Kari Conte and Florence Ostende will take
the documentation of the longest exhibition in progress,
do it as the starting point for a discussion on exhibition
histories and the rise of self-reflexive exhibitions that
offer a larger scope of “instructions” on the “exhibition
machine” while emphasizing the artists role in the
methodological development of exhibition making.
Sofía Olascoaga: Between Utopia and Failure
Saturday, November 3, 2:30–4pm
ICI Research Fellow, Sofía Olascoaga will present
Between Utopia and Failure, an ongoing research and
curatorial platform on 1970s community experiments
in Cuernavaca, Mexico, and their international and
intergenerational influence.
Paradigm Shifts Book Launch, Hou Hanru, ICI Curatorial
Hub, March 10, 2012
ArteEast, C+ Issue Launch, Barrak Alzaid and Brian Kuan
Wood, ICI Curatorial Hub, May 1, 2012
Independent curator, critic, and the 2013 Guest Curator
of the Abraaj Capital Art Prize, Murtaza Vali speaks with
Leeza Ahmady about his process in working with the 5
artists to be selected for the Abraaj Prize and about the
multiplicity of his practice as he persistently blurs the
lines between writer, critic, and curator—a phenomenon
that has changed the curatorial field as we know it.
This is the inaugural event of “Looking Back: 1993,” a
series of conversations investigating the major exhibitions
and art practice that defined 1993.
Check ICI’s website for updates on all Hub events, www.
ArteEast, C+ Issue Launch, Sandra Skurvida, ICI
Curatorial Hub, May 1, 2012
Dialogues in Contemporary Art: Take 4
In Collaboration with AhmadyArts
Tuesday, December 4, 7–8:30pm
1993 saw crucial developments and realignments in the
realm of art and politics, in the US and internationally.
Claire Bishop, art historian and author, looked at the
pivotal year in a chapter of her latest book, Artificial Hells:
Participatory Art and the Politics of Spectatorship. This
discussion, moderated by Renaud Proch, will further
investigate the issues at play at this historical juncture,
which still resonate today.
Dead Letters Office Hours, Limited Time Only (LTO),
Legacy Russell, ICI Curatorial Hub, February 10, 2012
Dead Letters Office Hours, Limited Time Only (LTO),
ICI Curatorial Hub, February 10, 2012
For the second in a series of conversations related
to State of Mind: New California Art Circa 1970,
Constance Lewallen, co-curator of the exhibition, will
be in discussion with a pioneer of Conceptual Art, Allen
Ruppersberg, who will present an overview of his work,
from Al’s Grand Hotel (featured in State of Mind) to his
latest piece, No Time Left to Start Again: The B and D or
R ‘n’ R, on view this fall at the Art Institute of Chicago.
Looking Back: 1993
with Claire Bishop
Tuesday, February 5, 2013, 6:30–8pm
Rivet, Reading Group Session, Sarah Demeuse
and Manuela Moscoso, ICI Curatorial Hub, February
8, 2012
Contance Lewallen and Allen Ruppersberg
Monday, November 12, 7–8:30pm
“When it comes to showing art, do curators think in ways that are unique to their
profession? Can curatorial thought be distinguished from the thinking processes within
the myriad of closely related practices—especially art criticism, art history, and art
making—and from curating within other kinds of museum or display spaces, public and
private?” —Terry Smith
The catalyst for the publication was The Now Museum
conference that ICI produced in collaboration with
the CUNY Graduate Center and the New Museum in
New York in 2011. In panel discussions and lectures
over 30 leading artists, art historians, curators, and
museum directors discussed the diversification of the
notion of the “museum of contemporary art,” providing
intergenerational perspectives on recent developments
across Africa, the Americas, Asia, Europe, and the
Middle East. This spurred a year-long journey for Smith,
responding to ideas, events, and encounters in the
artworld in the process of questioning what “curating” is
Smith’s research resulted in Thinking Contemporary
Curating which is the first book-length text on what
is urgent and challenging in a constantly evolving
field, surveying the international landscape of current
curatorial discourse; probing into the workings of
seminal exhibitions; describing the enormous growth of
exhibitionary infrastructure worldwide and the instability
that haunts it; re-examining the phenomenon of artistcurators and recent rise of curator-artists.
Thinking Contemporary Curating is the first book in a
new series entitled Perspectives in Curating developed
by Independent Curators International (ICI) to provide
sustained analysis on topics that are pressing for curators
Thinking Contemporary Curating was made possible, in part, by grants
from the Elizabeth Firestone Graham Foundation and the Robert Sterling
Clark Foundation. Additional support for this publication was received
from the ICI International Forum Patrons Melva Bucksbaum and Raymond
Learsy, Haro and Bilge Cumbusyan, Carol and Arthur Goldberg, Belinda
Kielland, Patricia and Charles Selden, Younghee Kim-Wait, Georgia
Welles, and Elizabeth Erdreich White.
Nick Waterlow, A Curator’s Last Will and Testament, 2009. Video
still from A Curator’s Last Will and Testament, 2012. Juliet Darling in
collaboration with Father Steve Sinn S.J., DVD or Blu-ray, 11.5 min.,
continuous loop
These are the opening lines of Thinking Contemporary
Curating (October 2012), the first in-depth analysis of
the volatile territory of international curatorial practice and
the thinking—or insight—that underpins it. In five essays,
renowned art historian and critic Terry Smith describes
how today curators take on roles far beyond exhibition
making, to include reimagining museums; writing the
history of curating; creating discursive platforms and
undertaking social or political activism, as well as
rethinking spectatorship.
By Terry Smith; introduction by Kate
Fowle. Published by ICI; Distributed
by D.A.P. 2012. Softcover. 6.25
x 8.5 inches. 272 pages. ISBN:
9780916365868. $19.95. Also
available as an electronic book.
Thinking Contemporary Curating is
marked by Smith’s ability to distill a
variety of currents in the field into a
thoughtful, contentious, yet eminently readable book. ––
João Ribas, Curator, MIT List Visual Arts Center
Through this act of global metacurating, Terry Smith
creates a discursive space in which he places different
and sometimes contradictory curatorial practices
and attitudes into a panorama that fascinates and
intellectually engages the reader. It is a must-read for
everybody who wants to understand the inner logic of
contemporary art processes. —Boris Groys, Global
Distinguished Professor of Russian and Slavic Studies,
New York University
Smith’s book is, undoubtedly, the first one to attempt
a mapping of the elusive terrain of curating from a
broad and solid, over-arching yet critical perspective,
providing the reader with insightful distinctions and highly
perceptive findings of key curatorial accomplishments of
the last two decades. —Mari Carmen Ramírez, Wortham
Curator of Latin American Art and Director, International
Center for the Arts of the Americas, The Museum of Fine
Arts, Houston
Terry Smith is the Andrew W.
Mellon Professor of Contemporary
Art History and Theory in the
Department of the History of
Art and Architecture at the
University of Pittsburgh. His major
research interests include global
contemporary art, the histories
of multiple modernities and
modernisms, the history and theory of contemporaneity,
and the historiography of art history and art criticism.
Among Smith’s most recent publications is What is
Contemporary Art? (2009), which won the College Art
Association’s Mather Award for the best book of art
criticism published in 2010.
Book Launch & Reading with Terry Smith
Tuesday, September 18, 7–9pm
New York University
100 Washington Square East
Silver 303
New York, NY 10003
Terry Smith in conversation with Sofia Hernandez
Chong Cuy, Curator, Colección Patricia Phelps
de Cisneros
Sunday, September 30, 3–4pm
New York Art Book Fair
22-25 Jackson Avenue
Long Island City, NY 11101
Terry Smith in conversation with Carolyn ChristovBakargiev, Artistic Director, dOCUMENTA(13)
Sunday, October 14, 3–4pm
The New Museum
235 Bowery
New York, NY 10002
Smith will also be giving a series of lectures:
Terry Smith in conversation with Jens Hoffmann,
Director, Wattis Institute for Contemporary Arts
Tuesday, October 23, 7–9pm
Wattis Institute for Contemporary Arts
California College of the Arts
350 Kansas Street
San Francisco, CA 94107
Terry Smith in conversation with Mary Jane Jacob,
Executive Director of Exhibitions, SAIC
Sunday, November 18, 1–3pm
The Museum of Contemporary Art Chicago
220 East Chicago Avenue
Chicago, IL 60611
Terry Smith at the School of the Art Institute Chicago
Monday, November 19, closed-door session
The School of Art Institute of Chicago
37 South Wabash Avenue
Chicago, IL 60603
Liam Gillick, Bundeskunsthalle, 2010. Mixed media, dimensions
variable. Installation view, Bundeskunsthalle, Bonn. Photo: David Ertl
DISPATCH is ICI’s quarterly online journal that features a different curator’s point of
view on current developments in art with each edition. Practitioners based in cities
around the world are invited to use DISPATCH as their virtual base, building their
research over time through text, image, and video. Past issues have been published
from Mexico City, Ho Chi Minh City, San Francisco, Berlin, Mumbai, Thessaloniki,
Beijing, New York, Warsaw, and Tijuana.
Excerpt from Issue #11 of DISPATCH
A glitch is often regarded as an undesirable result
of some form of system error or failure. Most of us
encounter glitches in our daily lives, the result of which is
often confusion, frustration and inconvenience, but they
can also result in delight and wonder in the unknown.
The term itself arises from technical jargon developed
in the 1960s primarily related to the field of electronic
engineering1, however its use has become ubiquitous
in recent years and is readily used to describe any
number of errors or mishaps in processes that range
from the writing of code for complex computational
analyses to making dinner plans with a friend. Within an
expanding field of artistic practice, however, the term
glitch is associated with certain aesthetic characteristics:
interference, noise, (mal)function, corruption, stripping
down/away, re-purposing, de/re-contextualization of
information, and so on. As such, glitches are seen
as having productive and generative potentialities for
art-making, while they prompt us to reconsider our
relationship to the systems that have come to dominate
and shape our everyday life.
My interest in this subject matter was sparked by the
growing visibility of glitch in art practices in Chicago, for
the city has become an important nexus point for the
aesthetics associated with glitch. A few months ago,
while on a studio visit with Chicago-based artist Andrew
Norman Wilson, the term came up in our conversation.
Intrigued at first, I began to come across the idea of
glitch again and again, seeing and feeling its effects all
around me (art-related or not), until a strong interest
1 Online Etymology Dictionary: http://www.etymonline.com/index.
began to take hold. This prompted some reflection on the
idea, as it occurred to me that glitch is a relatively new
term in the field of art, and yet its characteristics as it
pertains to artistic production indeed has a much longer
history. And so I wonder: is there something particular
or unique about the term as it is used today? Is there
something different about our relationship to mechanical
processes and systems that demarcates a new genre
of activity? A crucial element of this question revolves
around art’s relationship to technology of course, but—in
a more historical mindset—more specifically around art’s
relationship to systems of production and reproduction.
Andrew Norman Wilson, The Inland Printer 164, 2012. Photo courtesy of the artist
For the 11th issue of DISPATCH, Chicago-based
independent curator Steven Bridges discusses the
aesthetic possibilities of glitches, errors, and failures
in the technology that surrounds us. He examines
the glitch in current art practice, as well as through
recent and historic exhibitions.
Andrew Norman Wilson, The Jolly Beggar 12, 2012. Photo courtesy of the artist
Jack Whitten, Sun Ra Faxes (detail), 2009
There have been significant advancements in recent
years in the realm of technology, the implications of
which, without fail, always seem to find their way into
artistic methodologies. With those, the nature of glitch
in relation to artistic production today has evolved, and
over the next few weeks I will explore the connections
between glitch and various artistic modes of production.
In doing so, I will draw from specific examples that range
from the historical to the modern and contemporary.
This issue of DISPATCH has evolved over two months to include
Bridges’s notes on the Chicago-based GLI.TC/H festival; conversations
with artists—including Andrew Norman Wilson—who see glitches as a
way to open up new areas of investigation both artistically and politically;
and his research into exhibition models that may have encouraged the
potential of glitch, such as FAX.
Steven Bridges is a Chicago-based
curator, where he is Curatorial
Assistant at the Museum of
Contemporary Art. In addition,
Bridges co-curated the inaugural
edition of Rapid Pulse, an
international performance art festival
in Chicago. Recently he co-curated
the 2012 MFA exhibition at the
School of the Art Institute of Chicago. Previously, Bridges
served as editor of the exhibition journal series Exchange
Radical Moments!, which accompanied the live arts
festival of the same name that took place in 11 countries
across Europe simultaneously in 2011. In 2008 Bridges
was part of the curatorial team for the exhibition Intrude:
Art & Life 366, which presented a different artistic project
each day in the public spaces of Shanghai for an entire
year. He holds MAs from the School of the Art Institute
of Chicago in Art History, Theory and Criticism and Arts
Administration and Policy.
Art in a Bordered Up City: Kabul, Afghanistan
September–December 2012
Independent Curator Leeza Ahmady will download her
insights, reflections, predictions, and lingering inquiries
as experienced during two comprehensive trips to Kabul
in 2012 (February and June). Bearing witness to the full
gamut of cultural production, Ahmady caught sight of
both current realities and possible futures for visual and
performing arts, film, music, and historic preservation.
Through contributions of texts, anecdotes, images, audio
and video clips, this DISPATCH will present readers
a poetic glimpse into the many exciting artists and
initiatives happening on the ground in Afghanistan, with
the aim of inspiring further, deeper engagement and
research endeavors by others.
The first ICI Curatorial Fellow, Sofía Olascoaga, proposed to interrogate the critical
and practical intersections between public programming, educational models, and the
experience of utopian communities. Over the last 9 months Olascoaga has produced
a number of forums through which to test her ideas and practices.
SITAC X and The Clinics
Exploring formats for collective work and discussion,
Olascoaga designed the “Clinics” of SITAC X, the
International Symposium of Contemporary Art Theory
in Mexico City, an annual international conference
sponsored by Patronato de Arte Contemporáneo.
Sunday brunch and conversation on Ivan Illich’s ideas,
experiences, and personal influence in Puerto Rico, May 6,
2012. Courtesy of BetaLocal
The Clinics are multidisciplinary working groups of local
participants intended to generate critical feedback on
the framework of the SITAC program. With Olascoaga
as Director of the “Clinics,” SITAC X featured three
working groups, led by Monica Castillo, Iconoclasistas
collective from Argentina, and Ignacio Plá and Naomi
Rincón-Gallardo, focusing on the practical and theoretical
interrogations of Community?, Education?, and Working
conditions? to address possible futures.
Between Utopia and Failure
Reflecting upon the need for utopian models, Olascoaga
has been conducting research on a series of intentional
community in Morelos, Mexico, as cases studies to
explore the tensions between utopian drives and their
lived experience. Her particular focus is on the successes
and failures of communal living initiatives as well as the
organizational models explored through them. Inspiring
this project is a desire to learn and critically reassess
previous generations’ experiments in communal living
that have not been made visible as a tangible referent
for the current generation. This project does not seek to
create a formal writing of history but a direct recuperation
of a community’s lived experience.
The research project assesses the productive tension
between utopia and failure of intentional community
models developed in Mexico in past decades. The project
traces the work and influence of radical thinker Ivan Illich,
the intellectual community he started in Cuernavaca,
and the role that model has played in the practice of
many Mexican and international thinkers and artists
(Susan Sontag, Abraham Cruzvillegas, Jimmie Durham,
among others). Moreover, it approaches the questions
and experiences posed by these initiatives as a way to
respond to Mexico’s disrupted present.
ICI and Sofía Olascoaga wish to thank the Mexican
Cultural Institute of New York and Colección CIAC for
their generous support of this fellowship.
For more information on Olascoaga’s research, visit
ICI’s website, www.curatorsintl.org.
Sofía Olascoaga is an independent curator working in
the intersections between art and education by activating
spaces for critical thinking and collective action. She was
a Curatorial Fellow at the Whitney Museum of American
Art’s Independent Study Program in 2010, and received
her BFA from La Esmeralda National School of Fine Arts
in Mexico City. From 2007 to 2010 Olascoaga was Head
of Education and Public Programs at Museo de Arte
Carrillo Gil in Mexico City, where she founded Estudio
Abierto, an interdisciplinary programming platform that
challenges event formats and the museum’s relationship
to its communities. She was educational advisor and
public program manager for the first grant initiative
Bancomer-MACG Program for Young Artists in 2008–10.
TEOR/éTica, San José, Costa Rica. Image courtesy of María del Carmen
The Colección Patricia Phelps de Cisneros (CPPC)
Travel Award for Central America and the Caribbean was
established in 2012 to support contemporary art curators
based anywhere in the world to conduct research about
art and cultural activities in Central America and the
María del Carmen Carrión during her residency at TEOR/éTica, San José,
Costa Rica
The inaugural Travel Award is given in honor of
curator Virginia Pérez-Ratton (1950–2010) who was
internationally renowned for her work with contemporary
artists in Central America and the Caribbean. PérezRatton was the founder of the art space, library, and
foundation TEOR/éTica, which has partnered with CPPC
and ICI in 2012 to also provide a residency award at
TEOR/éTica for an international curator.
Pablo León de la Barra, curatorial workshops, San José,
Costa Rica. Courtesy of Pablo León de la Barra
Pablo León de la Barra is the inaugural recipient of the
Colección Patricia Phelps de Cisneros (CPPC) Travel
Award for Central America and the Caribbean; and María
del Carmen Carrión was selected for the Curatorial
Residency at TEOR/éTica.
Pablo León de la Barra is an exhibition maker,
independent curator, researcher, editor, and blogger,
and holds a PhD in History and Theories from the
Architectural Association, London. He has recently
curated, among other exhibitions, Incidents of Mirror
Travel in Yucatan and Elsewhere at Museo Tamayo,
Mexico City (2011); Bananas is my Business: The
Southamerican Way at Museu Carmen Miranda,
Rio de Janeiro (co-curated with Julieta Gonzalez,
2011); and MicroclimaS at Kunsthalle Zurich (2012).
He has participated in numerous international
symposiums and conferences and is editor of the
blog Centre for the Aesthetic Revolution, http://
María del Carmen Carrión is an independent curator and
art critic based in Quito, who received an MA from the
Curatorial Practice Program at California College of the
Arts in San Francisco, and taught at Universidad Católica
in Quito. She co-founded Constructo /, an international
collective platform devoted to research and debate of
art and visual culture. Since 2009, she has become a
member of the curatorial college of ceroinspiración, an
exhibition and residency space in Quito.
For more information on Pablo Leon de la Barra’s and María del Carmen
Carrión’s research, visit ICI’s website, www.curatorsintl.org.
Diablo Rosso, installation view, Postpanamax by Proyectos
Ultravioleta, Panama. Courtesy Proyectos Ultravioleta
As part of ICI’s collaboration with CPPC to create
curatorial research opportunities in Central America and
the Caribbean, we launched of a resource platform that
offers information on institutions, archives, museums,
collections, and other relevant activities constituting the
region’s contemporary art scene, including independent
initiatives, biennials, and private foundations.
ICI selected Muriel Enjalran as the first Fellow in this
program. Enjalran is currently working on a monographic
project with Hamish Fulton, which will open in 2013 at
the CRAC Languedoc Roussillon in Sète, France, and is
planned to travel internationally. In addition, Enjalran is
developing a collaborative network that brings together
artists from Portugal, Brazil and Morocco, where she
also regularly curates projects for L’appartement 22, an
independent art space in Rabat.
Rubens Mano, Casa Verde, 1997, C-print. Courtesy of the artist, Intervention at Casa Verde
Avenue, São Paulo, Brazil
Further recommendations and additions to this resource platform are
welcome! Contact Sofía Olascoaga at [email protected] with
Thanks to a grant from The National Culture and Arts
Foundation (NCAF) in Taiwan Frankie Su will be an ICI
Fellow this fall. Having worked as an exhibition organizer
in a number of leading contemporary art museums in
Taiwan and China, Frankie recently established her own
collaborative arts project in Taipei. During her time at ICI
she will research the history of ICI’s partnerships in Asia
and develop strategies for increasing the exchange and
dialogue between ICI’s network of Asian artists, curators,
and collaborating venues.
The progress of Enjalran’s research will be available from September
2012, with updates through the end of 2012. Please check ICI’s website,
Muriel Enjalran is an independent curator and writer.
Since 2006 she has worked as Project Manager at the
DCA, the French association for the development of art
centers, where she has helped to coordinate a structure
of 50 art spaces across France and enable connections
between them and other European institutions. She
was an Associate Curator for the 3rd Arts in Marrakech
International Biennale, in 2009; and the first edition of
the Biennale de Belleville, Paris, in 2011. She regularly
contributes essays and reviews to publications such as
Particules, Mag’Art, and Paris Art. She also regularly
curates projects for L’appartement 22.
This Fellowship program is supported by the Ministère de la culture et
de la communication (DGCA), with further assistance from the Cultural
Services of the French Embassy in New York. Additional support is
provided by THE OUT NYC.
The ICI Library, like the Curatorial Hub in which it resides, is a public resource for delving
deeper into understanding the evolution of curating, exhibition making, and new ways
of supporting artist’s practices over the last thirty years. The Library functions at the
nexus of recent art theory and discourse, art, and curatorial practices, all organized
through the lens of contemporary issues in curating.
Created with the intention of expanding and evolving
through meaningful contributions from colleagues,
collaborators, and friends, the ICI Library welcomes
the donation of books, catalogues, and journals to
complement its current collection. Furthering ICI’s
commitment to developing an international network,
ICI will also exchange its own publications with those
produced by outside publishing institutions in America
and abroad.
In addition, the ICI Library is the permanent home of
Cleopatra’s Library. A Brooklyn-based collaborative and
art space, Cleopatra’s initiated its book collection in 2008
by inviting over 300 curators whom they collectively
admired to take part in the formation of a reference
library. Since then this ever-expanding repertoire of
books has functioned as an open resource to the public.
All 300 curators were asked to make a donation of their
choice, reflecting their personal interests, curatorial
concerns, or the philosophical, theoretical, or aesthetic
movements that drive their practices.
The ICI Library
For more information about the Library, visit ICI’s website, www.
curatorsintl.org, or contact Misa Jeffereis at [email protected] or 212
254 8200 x126 to discuss your book donation.
The ICI Library houses a comprehensive and
international range of texts on curatorial theory, readers
from curatorial symposiums and seminars, seminal
modern and contemporary art-historical surveys,
specialist publications on art movements that influence
the development of curating, numerous important
exhibition catalogues, and a range of periodicals from
around the world. It was developed in response to a
distinct need for curators and others interested in the
field to have access to literature that is rare, out of
print, little known, or hard to find. So often curators
and exhibition historians identify a pervasive “amnesia”
toward the curatorial past; the ICI Library ties together
the components of this history while also remaining
appraised of the most recent developments in curating
and contemporary art.
Wednesday, January 16, 6–7:30pm
Kicking off the New Year, Cleopatra’s—a non-commercial
Brooklyn-based art space—will host a series of readings
and discussions surrounding its library, established in
2009 and now living within ICI’s library in the Curatorial
ICI is dedicated to producing high-quality and affordable publications as well as
catalogues to accompany traveling exhibitions. From a list of over fifty publications, ICI
staff recommends some of their favorite titles here.
A Different War: Vietnam in Art
By Lucy R. Lippard
Published by The Real Comet Press.
1990. Softcover. 11 x 8.4 inches.
131 pages. ISBN: 0941104435.
In 1990, fifteen years after
the Vietnam War, Lucy
Lippard collaborated with the Whatcom Museum and
ICI to curate A Different War: Vietnam in Art, a show the
Seattle Times called “the most powerful art exhibition
in recent memory.” The exhibition and accompanying
catalogue was the first critical examination of the impact
of the Vietnam War on American artists at the dawn of
the protest era in the US.
The cover has to be one of the worst I’ve ever seen, but
don’t let that put you off. I couldn’t believe it the first time
I opened the publication. Lippard has basically written
a book (thinly disguised as a catalogue) with over 100
pages of incredible narrative on a little-known moment
in recent art history, offering a fresh perspective on how
critical engagement with social and political issues take
visual form.
—Kate Fowle, Executive Director
Beyond Green: Toward a
Sustainable Art
Essays by Stephanie Smith and
Victor Margolin
Co-published by the Smart Museum
of Art and ICI. 2005. Softcover.
7 x 10 inches. 160 pages. ISBN:
0935575429. $24.95
The term “sustainability” can be
defined simply as the ability to meet our own needs
without compromising the ability of future generations to
satisfy theirs. Balancing environmental, social, economic,
and aesthetic concerns, sustainability has spread
from the field of contemporary design into the arena of
contemporary art. Beyond Green: Toward a Sustainable
Art introduces a new generation of international artists
who work at the intersection of sustainable design and
contemporary art.
Beyond Green explores works and ideas that propose
cross-disciplinary agendas and renewed activism.
Rather than focusing on the mere consciousness of
“green” art, the artists in this exhibition take on the social
responsibility to tweak art making and design strategies
in favor of sustainability.
—Mandy Sa, Communications Manager
The Storyteller
Essays by Claire Gilman and
Margaret Sundell, T.J. Demos, and
Okwui Enwezor
Co-published by JRP Ringier
and ICI. 2010. Softcover. 6.5 x
4.5 inches. 120 pages. ISBN:
9783037640869. $15.00
The essays and images in this portable book (aptly
designed to sit square in your back pocket) expand the
notion of individual perception, subjectivity and truth. I did
not see The Storyteller, so my fractured understanding
of the exhibition is grounded in this catalogue which
features artists from all the world, trying to understand
and convey social and political events in provocative
ways. The fifteen artists in The Storyteller consider art
as an ever shifting, identity-forming process through
which we can construct and highlight historical events
and narratives through photography, video, drawing,
and installation. Despite how distant these artworks
may seem to me now, they validate the idea that there’s
always room for new ideas, new forms of critique, and
new histories to be constructed.
—Alaina Claire Feldman, Exhibitions Assistant
Jess: To and From the Printed
Prologue by John Ashberry. Essays
by Ingrid Schaffner and Lisa Jarnot
Published by ICI. 2007. Softcover.
8.5 x 10.5 inches. 112 pages. ISBN:
0916365751. $29.95
The images alone—detailing Jess’s
collages, comic strips, and illustrations—are enough
to draw you in for hours. One of the few publications
dedicated to the under appreciated artist, Jess: To and
From the Printed Page includes a text by exhibition
curator Ingrid Schaffner, who highlights Jess’s timely
works, which clearly resonate today.
As one reviewer writes:
“I came across one small work by Jess while visiting
a small museum recently, and was utterly taken by its
mysterious quality, both erotic & ominous, achieved
through collage of kitschy figures with more subtle,
understated images. I’d never seen anything quite like it
& immediately wanted to know more about the man & his
work. This volume is the perfect introduction to both.”
—Frances Wu Giarratano, Exhibitions Manager
By Stuart Horodner
Published by ICI. 2002. Hardcover.
9.7 x 7.4 inches. 56 pages. ISBN:
9780916365653. $18.99
The essay by Stuart Horodner
captured my attention in the first
paragraph with anecdotes and jokes
that shed light on the simple act of walking. It amuses me
how the curator chooses to give such detail to an action
- New Yorkers particularly - performed mindlessly every
day. Walk Ways forces us to slow down and examine
the ways in which a diverse group of artists explore the
theme of walking as an action and a metaphor in their
work. Whether the artist makes his mark with footprints
of acetone in Styrofoam like one of my favorite artists
Rudolf Stingel, or the uses L.E.D. displays to manipulate
the viewers’ own senses to conjure the striding bodies
of others as seen in with Jim Campbell’s Ambiguous
Icon, Walk Ways considers walking as a purposeful
activity that unites physical action, mental freedom, and
—Marika Kielland, Development Manager
High Times Hard Times
By Katy Siegel
Co-published by ICI and D.A.P.
2006. Softcover. 9.5 x 6.5 inches.
176 pages. ISBN: 1933045396.
The catalogue to one of ICI’s most
successful exhibitions, High Times
Hard Times, New York Painting 1967–1975 tracks the
developments of the New York arts community through
the social and political shifts that took place in the late
1960s and early 70s. A series of artists’ statements and
essays by contributors including Dawoud Bey, David
Reed, and Marcia Tucker examine the influence of
feminism and civil rights on artistic practice, and the
impact that the rise of performance and video, conceptual
art, and the nascent alternative spaces in the city had on
painters at the time.
High Times Hard Times sheds light on the work of
painters who have since been “rediscovered” including
Jack Whitten who was featured in the February 2012
issue of Artforum (and whose Pink Psyche Queen
(1973) appeared on the cover.) Other artists profiled
include: Lynda Bengalis, Mel Bochner, Roy Colmer, Mary
Corse, David Diao, Guy Goodwin, Harmony Hammond,
Mary Heilmann, Cesar Paternosto, Howardina Pindell,
Dorothea Rockburne, Carolee Schneemann, Alan
Shields, Joan Snyder, Franz Erhard Walther, and Peter
—Renaud Proch, Deputy Director.
Monumental Propaganda
Published by ICI. 1995. Softcover.
11.3 x 8.3 inches. 96 pages. ISBN:
0916365425. $20.00
In 1992, the tandem team
of Russian-born American
conceptualist artists, Komar
& Melamid began developing
the exhibition known as Monumental Propaganda in
partnership with ICI. First exhibited in 1993 at The
Institute of Contemporary Art in Moscow, this famed
exhibition was created in response to the destruction of
historic Socialist Realist monuments in Russia. Widely
popular, the show included more than 200 artists who
created site-specific proposals for the preservation of
these monuments of Russia’s political history. Prolific
press coverage of this project prevented the destruction
of the monuments in Russia while also highlighting the
very real possibilities for “post-totalitarian”, pubic art
to exist in Moscow. The exhibition catalogue for this
historically rich project showcases many of the shows
key works realized by a number of artists who are being
actively discussed today, such as: Carl Andre, Arman,
Ericson & Ziegler, Joseph Kosuth, IRWIN, Komar &
Melamid, and Mark Tansey.
—Bridget Finn, Special Programs Manager
For more information on ICI’s publications, contact Mandy Sa at [email protected]
curatorsintl.org or 212 254 8200 x121 or visit the ICI Shop for more titles
at our website, www.curatorsintl.org.
NY Art Book Fair 2012
Thursday, September 27–Sunday, September 30
2225 Jackson Avenue
Long Island City, New York 11101
ICI features its newest publications—Thinking
Contemporary Curating by Terry Smith, and do it: the
compendium– at the seventh annual NY Art Book Fair.
Free and open to the public, and featuring more than 200
exhibitors from all over the world, the NY Art Book Fair is
the world’s premier event for artists’ books, contemporary
art catalogues and monographs, art periodicals, and
artist’s ’zines.
For more information on the book fair, visit www.newyorkartbookfair.com.
The CURATOR’S NETWORK is ICI’s professional membership program. As an online
community of curators from around the world, it facilitates international exchange
and dialogue. The Network has over 300 members from more than 25 countries, all
professionals in the field, who share a desire to build and enrich their interests and
research through international connections.
Now in its second year of existence, the Curator’s
Network includes an online guide to sought-after
professional opportunities and a reading room. Through
the Network, curators can access information on
residencies, current job and fellowship opportunities, calls
for exhibitions and conference papers, as well as articles
on curating and source material for research.
Words of Wisdom: A Curator’s
Vade Mecum on Contemporary Art
Published in 2001 and long out of
print, Words of Wisdom: A Curator’s
Vade Mecum on Contemporary
Art includes short texts offering
advice to a new generation of
curators from sixty professionals
who were playing a crucial role
in shaping the field at the time including Lynne Cook,
Bice Curiger, Thelma Golden, Hou Hanru, Vasif Kortun,
Lucy Lippard, Maria Lind, Jean-Hubert Martin, Gerardo
Mosquera, Hans-Ulrich Obrist, Seth Siegelaub, and
Harald Szeemann. It’s hard to imagine today, but just
over ten years ago when the book first came out there
was one Curatorial Studies Masters program in the
United States (five worldwide) and barely six publications
available on the subject!
Access to this publication and more is available only to members of the
Curator’s Network. More publications on the Curator’s Network include
texts authored by Hans Ulrich Obrist, Nancy Spector, Robert Storr, and
more. For more information, contact Mandy Sa at [email protected]
or 212 254 8200 x121.
Subscription to the Curator’s Network is $100 per year. Membership is by
application only. For more information or to apply, visit ICI’s website, www.
ICI is implementing new developments to the Curator’s
You will receive a bi-monthly newsletter, directing
you to important information, opportunities, texts
and articles, as well as exclusive offers from ICI;
You will gain access to ICI’s online Reading
Room that houses rare and relevant texts on
contemporary curating;
A members-only Bulletin Board to place
announcements on your projects, exhibitions, open
calls, etc.;
Once you have joined the Curator’s Network,
become part of our group on LinkedIn for even
more professional networking opportunities
In 2011 ICI produced a sell-out suite of 12 prints with Jacob Kassay. Now we are
developing a series of new editions that pay homage to the twentieth anniversary of
the exhibition and publication do it, the proceeds of which will support international
presentations of the project.
In 2013 Hans Ulrich Obrist and ICI will re-launch do it,
marking the 20th anniversary of the longest-running
generative exhibition ever. To support and celebrate the
project, ICI will collaborate with a handful of the many
artists who participated in do it over the years to create
a series of limited edition artworks. The first three do it
editions will be created by Marina Abramović, Stephen
Kaltenbach, and Rirkrit Tiravanija and will be showcased
at ICI’s 2012 booth at NADA, Miami Beach.
Collection of do it catalogues, installation view, ICI Booth, NADA New York,
May 2012
For more information about do it and the artists who have participated in
the exhibition over the years, see page 6.
ICI Booth, NADA New York,
May 2012
December 6–9, 2012
NADA, Miami Beach
Deauville Beach Resort
6701 Collins Avenue
Miami Beach, FL 33141
Following the success
of ICI’s participation at
NADA NYC this past May, where we featured our now
sold out edition with Jacob Kassay, ICI will take part in
NADA’s Miami Beach fair this December. There, we look
forward to launching our first three highly anticipated
do it limited editions with Marina Abramović, Stephen
Kaltenbach, and Rirkrit Tiravanija. ICI’s NADA fair booth
will also provide attendees with a fresh and informative
look at our exhibitions, events, publications, and training
opportunities all happening concurrently worldwide.
Our booth will include ICI’s signature art fair staple
the Curator’s Lounge, where guests are invited share
an espresso with ICI’s staff and learn more about the
organization, now in our 37th year. PAST EDITIONS
Since 1990 ICI has commissioned artists to produce
limited-edition works in support of ICI’s innovative
programs and publications. Unique collaborations with
John Baldessari, Louise Bourgeois, Olafur Eliasson,
Joseph Kosuth, Ernesto Neto, and Kiki Smith, among
others, have resulted in exclusive editions ranging from
prints and photographs to sculptures. Currently available
limited editions include works by John Baldessari, Bernd
& Hilla Becher, Joseph Kosuth, Robert Morris, Tim Rollins
and K.O.S., Dana Schutz, Laurie Simmons, Alec Soth,
Pat Steir, among others.
For more information about ICI editions, contact Bridget Finn at
[email protected] or 212 254 8200 x124.
In the spring of 2012 ICI launched ICI CONVERSATIONS, a dynamic series consisting
of 6 thought-provoking events that gave attendees exclusive access to the people—artists, critics, collectors, advisors, gallerists, curators, and museum directors—who are
influencing the contemporary art world today.
Building the Collection, Howard Rachofsky in conversation
with Allan Schwartzman, ICI CONVERSATIONS hosted by
Sotheby’s, March 8, 2012
Our first event of the season, titled Building the
Collection, took place in March and featured an exciting
discussion between collector Howard Rachofsky and
advisor Allan Schwartzman. Both the collector and
advisor talked in depth about their collaboration in
building one of the most important art collections in the
nation. This event was graciously hosted by Sotheby’s,
New York, and was followed by a reception, where
attendees had the exclusive opportunity to preview
Sotheby’s Spring contemporary art auction.
Our second event, Critical Outlook, featured Art in
America’s Editor-in-Chief Lindsay Pollock in conversation
with journalists Richard Vine and Michael Wilson. The
three debated the highs and lows of the Whitney Biennial
2012 and the New Museum triennial The Ungovernables.
Guests and critics shared their own personal opinions
of these widely covered exhibitions. This event was
graciously hosted by Clifton Benevento, New York.
In April our series continued with Curators’ Top Picks
Under 35. This unique discussion offered attendees
rarely shared insights from three of the most progressive
curators working today: Suzanne Cotter (Solomon R.
Guggenheim Foundation Curator, Guggenheim Abu
Dhabi Project), Raimundas Malašauskas (Independent
curator and writer, and dOCUMENTA (13), agent),
and João Ribas (Curator, MIT List Visual Arts Center).
The three curators each presented five artists under
35 years old that they believe could become the most
influential practitioners of their generation. This event was
graciously hosted by Sotheby’s, New York.
Critical Outlook, Lindsay Pollock in conversation with Richard
Vine and Michael Wilson, ICI CONVERSATIONS hosted by Art in
America at Clifton Benevento, March 26, 2012
With events hosted in a range of exclusive settings
throughout New York City from March to May, ICI
Conversations brought participants insider’s perspectives
on hot topics, from how a world-class collection is built to
what the art critics really thought of this year’s biennials
and triennials; as well as insights from leading curators
on their top picks of artists under 35, and two intimate
conversations with artists who are now on the rise.
May began with The Artist’s Voice. Artist Kerstin
Brätsch discussed the diversity of her practice—from
her large abstract paintings to the installations made in
collaboration with artist Adele Röder under the name
DAS INSTITUT—with Massimiliano Gioni, Associate
Director and Director of Exhibitions at the New Museum,
Dinner at the home of Eileen and Michael Cohen with
Special Guest Richard Armstrong, ICI Trustees Patterson
Sims and Ann Schaffer, ICI CONVERSATIONS Annual
Dinner, May 30, 2012
The second iteration of The Artist’s Voice paired
artist David Lamelas in conversation with Christian
Rattemeyer, Curator of Drawings, MoMA. Long respected
as an “artist’s artist,” David Lamelas has divided his
time between his native Buenos Aires, Los Angeles, and
London since the 1960s, when he occupied an active
role in Argentina’s avant-garde. The veteran artist, known
for his influence on generations of Conceptual Artists,
talked about his recent successes and his expanded
international recognition for his groundbreaking work.
This conversation gave viewers fresh insights on
the surprising subjectivity and humor that underpins
Lamelas’s structuralist films, media installations, and
performances. Michele Maccarone graciously hosted
this event.
The 2012 Annual Dinner marked the conclusion of our
inaugural ICI Conversations series. Those who attended
this exclusive dinner enjoyed a truly special evening
at the SoHo loft of Eileen and Michael Cohen, in the
company of special guest speaker Richard Armstrong,
Director of the Solomon R. Guggenheim Museum and
Foundation. Over the course of the evening dining
delights and thoughtful stories were shared amongst
new friends amidst the esteemed private collection.
Richard Armstrong generously shared his unique and
witty insights on recent developments in the international
art world garnered as he leads the way forward for the
Guggenheim in New York, Venice, and Bilbao, as well as
the Abu Dhabi Project.
Our second season will debut in March 2013, and take
place in top venues throughout New York City.
2013 Ticketing information
Single ICI CONVERSATIONS Series Ticket: $1,500
Dual ICI CONVERSATION Series Tickets: $2,500
Individual ICI CONVERSATION Series Ticket: $250
Each ICI Conversations ticket purchased is tax deductible and will support
the production of ICI’s exhibitions, events, publications, and training
opportunities for diverse audiences around the world.
As space is limited for all ICI CONVERSATION Series events, tickets
will be available on a first-come first-served basis. Please sign up now to
reserve your place for the 2013 season. Full addresses for each event will
be emailed after tickets are purchased.
For more information please contact Bridget Finn at
[email protected] or 212 254 8200 x124.
ICI would like to thank
Jill Brienza
Jennifer Brown
Jim Cohan
Ann Cook
Terry Fassburg
Ann Schaffer
Barbara Toll
30th ICI Annual Dinner at the home of Marvin and Susan Numeroff,
NYC, September 2011
Curators’ Top Picks Under 35, Suzanne Cotter, Raimundas
Malašauskas, and João Ribas, ICI CONVERSATIONS hosted by
Sotheby’s, April 16, 2012
Artistic Director at the Nicola Trussardi Foundation, and
recently named Artistic Director of the upcoming Venice
Biennial. Brätsch gained widespread attention in the
2009 New Museum triennial Younger than Jesus, cocurated by Gioni, and she discussed her process working
toward her highly anticipated first solo exhibition in New
York, which opens in September 2012 at Gavin Brown’s
enterprise. This event was graciously hosted by Gavin
Brown’s Enterprise, New York.
ICI’s 2012 Annual Benefit and Auction, presented by Glenmede, will celebrate our 37year long commitment to curatorial excellence and raise a glass to the new aspects of
the organization and the ways in which ICI is growing important networks for practitioners in the field of contemporary curating worldwide. Join us on Monday November
19 at the Prince George Ballroom, with our special guests Dasha Zhukova, who will
be honored with the 2012 Leo Award, presented by Agnes Gund, and the yet to be
announced Independent Vision Curatorial Awardee, selected and presented by Hans
Ulrich Obrist.
CELEBRATE 11.19.12
ICI’s 2012 Benefit Committee, championed by Cochairs Sydie Lansing, Ann Schaffer, and Ann Cook, are
collaborating on the creation of this memorable soirée
in support of ICI. The Prince George Ballroom will be
the evening’s stage, providing a grandiose setting for
the festivities. Enjoy music, cocktails and plentiful hors
d’oeuvres, as well as our live and silent auction of art and
experiences. Jung Lee and Josh Brooks, who together
form FÊTE—New York’s expert event planners—will
shape the night into magic.
Sydie Lansing
Ann Schaffer
Ann Cook
The evening will begin with an exclusive Honoree
Hour and the presentation of the Leo Award and the
Independent Vision Curatorial Award, followed by our live
and silent auction. DJ Dina Regine will bring rhythm to
the festivities, cocktails will flow throughout the evening
thanks to Tito’s Handmade Vodka, and Abita Beer will be
served thanks to New Orleans’ favorite brewery.
Our 2012 Auction features art works, and experiences
with artists and curators in a silent and live auction. ICI
is happy to welcome our 2012 Auctioneer, Alexander
Rotter, Senior Vice President, Head of Department of
Contemporary Art at Sotheby’s New York. This year,
participating artists include Olaf Breuning, Sam Moyer,
Laurel Nakadate, Lisa Oppenheim, Ellen Phelan,
Kunié Sugiura, Miller Updegraff, and many more to be
announced. Exclusive experiences include a week long
stay in a private villa in St. Barts, provided by WIMCO,
as well as a weekend trip for four to a private home in
Newport, RI, where you will have access to a special
chartered sailing boat, America’s oldest classic 12-Metre.
Noreen & Ahmar Ahmad, Chris Apple, Agnès b.,
Lawrence Benenson, Hayley Bloomingdale, Tanya
Bonakdar, J.K. Brown & Eric Diefenbach, Michael Clifton,
Lisa Cooley, Chrissy Crawford, Stacy Engman,
Brendan Fowler, Honor Fraser, Carol & Arthur Goldberg,
Marilyn Greene, Belinda Kielland, Dennis Kimmerich,
Emily-Jane Kirwan, Karen Klopp, Sims Lansing, Rose
Lord, Isaac Lyles, Michele Maccarone, Candice Madey,
Liz Mulholland, Oliver Newton & Margaret Lee,
Lindsay Pollock, Daisy Prince, Molly Rand, John Royall,
Joe Sheftel, Erin Somerville, Leslie Tonkonow,
Courtney Treut, Adrian Turner, Thea Westreich Wagner &
Ethan Wagner.
*Committee in formation
To stay updated on this event, review auction items, and purchase tickets,
visit ICI’s website at www.curatorsintl.org or contact Marika Kielland at
[email protected] or 212 254 8200 x125.
This year we are pleased to honor Dasha Zhukova, recipient of the 2012 Leo Award presented by Agnes Gund. In addition, Hans Ulrich Obrist will select and present ICI’s 2nd
Independent Vision Curatorial Award, funded by the Gerrit Lansing Education Fund.
Established in 2010 and funded by ICI’s Gerrit Lansing
Education Fund, the Independent Vision Curatorial Award
reflects ICI’s commitment to supporting international
curators early in their careers who have shown
exceptional creativity and prescience in their exhibition
making, research, and related writing.
The Leo Award (established in 1990), named after the
late, renowned art dealer Leo Castelli, was created to
honor outstanding achievements in advancing the field of
contemporary art.
This year we have reached out to 15 internationally
recognized established curators and asked them to
nominate one emerging or mid-career curator for this
award. From those 15 nominations, Hans Ulrich Obrist,
co-director of Exhibitions and Programmes and director
of International Projects at the Serpentine Gallery, is
selecting and presenting this year’s awardee.
This year ICI honors Dasha
Zhukova for her pioneering
and forward-thinking approach
in creating new types of
institutions that generate
international opportunities
for artists and curators.
Within a new generation of
philanthropists, Zhukova has
proven to be an important
force in the art world, working
ambitiously to transform the city
of Moscow into a globally renowned hub of contemporary
art and culture.
The 2012 Independent Vision Curatorial Award
Nominating Committee is comprised of: Kate Fowle,
Executive Director, ICI; RoseLee Goldberg, Founding
Director and Curator, Performa; Sofia Hernández Chong
Cuy, Curator, Colección Patricia Phelps de Cisneros;
Matthew Higgs, Director and Chief Curator, White
Columns; Jens Hoffmann, Director, Wattis Institute for
Contemporary Arts; Virginija Januškevičiūtė, Curator,
Contemporary Arts Center, Vilnius, Lithuania; Weng
Choy Lee, Art Critic, Singapore; Maria Lind, Director,
Tensta Konsthall, Stockholm, Sweden; Raimundas
Malašauskas, Curator and Writer, Paris, France; Chus
Martínez, Head of Department, Core Agent Group,
dOCUMENTA(13); Jack Persekian, Founder and
Director, Gallery Anadiel and the Al-Ma’mal Foundation
for Contemporary Art, Jerusalem; João Ribas, Curator,
MIT List Visual Arts Center; Bisi Silva, Founding Director,
Centre for Contemporary Art (CCA), Lagos; Franklin
Sirmans, Chief Curator of Contemporary Art, LACMA;
and Nancy Spector, Deputy Director and Chief Curator,
Solomon R. Guggenheim Museum.
This year’s nominees are: 98weeks (Marwa Arsanios and
Mirene Arsanios); Adnan Yildiz; Aimar Arriola; Anna
Colin; Astria Suparak; Biljana Ciric; Cesar Garcia;
Erin Gleeson; Jay Sanders; Lara Khaldi; Laurel Ptak;
Lisette Smits; Nav Haq; Richard Birkett; The Gardens
(Gerda Paliušytė and Inesa Pavlovskaitė).
Join us at the 2012 Annual Benefit, November 19, 2012
at the Prince George Ballroom to meet the winner.
Recipient: Dasha Zhukova
Dasha Zhukova is the Founder of Garage: Center for
Contemporary Culture; and the Editor-in-Chief of Garage
Magazine; as well as the Creative Director of Art.sy. In
2008, Zhukova opened The Center for Contemporary
Culture in Moscow, better known as the Garage, a nonprofit space conceptually modeled after a Kunsthalle.
Zhukova is also a co-founding partner and creative
director of Art.sy, a website dedicated to connecting
prospective collectors with galleries and dealers. The
website is powered by The Art Genome Project, an
ongoing study of the characteristics that distinguish and
connect works of art. She generously supports a variety
of institutions and projects, and sits on the board for
the Los Angeles County Museum of Art (LACMA). She
also founded and heads the Iris Foundation, a non-profit
organization dedicated to promoting the understanding
and development of contemporary culture.
The Leo Award will be presented by ICI Trustee Emerita,
Agnes Gund at ICI’s Annual Fall Benefit and Auction on
November 19, 2012.
On behalf of the ICI Board of Trustees, we would like to thank all of the individuals
whose generous contributions have made possible a year of expanded ICI programming
worldwide possible, providing crucial support to our traveling exhibitions, public events,
publications, research, and training initiatives. For this we are ever thankful.
Our most sincere thanks go to Ellen Liman and the Liman
Foundation for their ongoing support of this brochure,
keeping you informed of ICI’s growing programs and
contributed to making the Curator’s Perspective series
possible, and supported a large-scale conference with
the CUNY Graduate Center and the New Museum
entitled The Now Museum.
Special thanks to all those who have given to the Gerrit L.
Lansing Education Fund and in particular, to our $1,000+
Anne Bass, Brook and Roger Berlind, Raymond Bermay,
Leon and Debra Black, Melva Bucksbaum and Ray
Learsy, Gale and Shelby Davis, Roberta and Steven
Denning, Gordon and Jean Douglas, Lawrence Flinn,
Jr., Bill Frist, Carol and Arthur Goldberg, Mrs. Robert
Grace, Jeannie and T Grant, Peter and Laurie Grauer,
Hunter Gray, Agnes Gund, Len and Fleur Harlan, Alex
and Paul Herzan, Marlene Hess and James Zirin, Ann
and Gilbert Kinney, Arlene and Robert Kogod, Wynn
Kramarsky, Ken Kuchin, Ronald and Jo Carole Lauder,
Evelyn and Leonard Lauder, Karne and Richard LeFrak,
Dorothy Lichtenstein, Glenn and Susan Lowry, Michael
Margitich, Marie and Jim Marlas, Liz and Arthur Martinez,
Hank McNeill, Bee and Gregor Medinger, Mary Morgan
and David Callard, Beverly and Peter Orthwein, The
Overbrook Foundation, Mitchell and Emily Rales, Barbara
and John Robinson, Beth Rudin DeWoody, Anna Marie
and Robert Shapiro, Gillian and Bob Steel, Mickey and
Leila Straus, David Teiger, Jeanne Thayer, Julie and
Hans Utsch, Charlotte Weber, Diana and Billy Wister,
Cecilia and Ira Wolfson, Virginia and Bagley Wright
Noreen and Ahmar Ahmad, Cecilia Paola Alemani,
Patricia Bell, Johnny Berkenstadt, Barbara Chapman,
Kristen Chiacchia, Eileen and Michael Cohen, Lewis
B. and Dorothy Cullman Foundation, Gabriella De
Ferrari, Richard DeScherer, Edward R. Downe Jr.,
Peter Fleissig, Maxine J. Frankel, Carol Franklin, Hugh
Freund, Emily Frick, Anita Friedman, The Glenstone
Foundation, Babette Goodman, Bruce Greenwald and
Karyn Ginsberg, John Goldsmith, Marilyn Greene,
Regina Gross, Agnes Gund, Kim Heirston, Alexandra
and Paul Herzan, Jon Hutton, Belinda Kielland, Michael
L. Klein, Helen Kornblum, Alex Lakatos, Shawn and
Peter Leibowitz, Dorothy Lichtenstein, David Lusk,
Jonathan Mallow, Gracie Manison, Robert R. Matheson,
Beatrix and Gregor Medinger, Karen Moore, Susan and
Marvin Numeroff, Beverly and Peter Orthwein, Stephen
and Patricia Oxman, Greg and Karina Plotko, Jane L.
Richards, Barbara Robinson, Carol Rollo, Lisa Roumell,
Jane Dresner Sadaka, Pamela Sanders, Laura and Jeff
Schaffer, BZ and Michael Schwartz, Patricia Selden, The
Robert K. Steel Family Foundation, Lynn Sobel, Susan C.
Sollins, Mari Spirito, Jeremy E. Steinke, Jerome L. Stern
Family Foundation, Linda Reynolds Stern, Andrew Stone,
Kippy Stroud, Eleanor and John Sullivan, David Teiger,
Ira Wagner, Dorsey Waxter, Virginia Bloedel Wright,
James Zang
In 2010, ICI created the Gerrit L. Lansing Education
Fund in memory of ICI’s long-time Chairman and friend.
The fund was developed to support education and
training programs for curators, honoring what Gerrit
identified as ICI’s central mission twenty-five years ago:
“to enhance public appreciation of contemporary art
through educational materials and activities included in
ICI’s programs.” Enduring Gerrit’s legacy, the Fund has
provided scholarships to Curatorial Intensive participants,
Thank you to the foundations who made
programming possible in 2012 and to those funding
new developments in 2013: The Andy Warhol
Foundation for the Visual Arts ($90,000), Robert
Sterling Clark Foundation ($60,000), Rockefeller
Brothers Fund ($50,000), Elizabeth Firestone Graham
($50,000), Horace W. Goldsmith Foundation ($30,000),
The Dedalus Foundation ($20,000), The Hartfield
Foundation ($15,000), Toby D. Lewis Philanthropic
Fund ($10,000), The Lily Auchincloss Foundation
($10,000), The Milton and Sally Avery Foundation
($2,000), and the Robert Lehman Foundation ($1,000).
The Rockefeller Brothers Fund provided a generous
grant of $50,000 for capacity building that will further
establish ICI’s Curatorial Hub, the first public space in
New York to focus on the diverse practices of curators.
In 2012 ICI will implement a curatorial base, or hub,
serving as a specialist resource for curators, patrons,
and the public. The Hub will house a library of innovative
literature on current curatorial practice as well as
improved technologies to further develop our multimedia
archives. The Rockefeller Brothers Fund’s support will
also further develop the navigability of the Curator’s
Network, ICI’s virtual network.
With a grant totaling $60,000 from the Robert Sterling
Clark Foundation, ICI was given the opportunity
to expand and consolidate our new programs and
increase public awareness about relationships between
contemporary curators and artists internationally. This
support allowed us to expand and improve projects
such as our short-course professional training initiative
the Curatorial Intensive, and the Curator’s Perspective,
ICI’s newest public talk series presented in New York
City. Support from the Robert Sterling Clark Foundation
also allowed us to completely redesign and relaunch the
ICI website, www.curatorsintl.org, increasing our online
visibility and expanding the platform for ICI’s professional
online resources including the Curator’s Network and
With the continued success of the Curatorial Intensive
in New York, there is an increasing demand for courses
worldwide. In 2012 ICI hosted the first-ever Curatorial
Intensive in Minas Gerais, Brazil, in collaboration with
Instituto Inhotim; two New York programs, one in July
and one in October; and a program in Beijing in August
with the Ullens Center for Contemporary Art. For the
second year, ICI led an Intensive in partnership with
the Philadelphia Exhibitions Initiative. We would like to
thank the Dedalus Foundation for their visionary belief
in the Intensive program. Their early—and continued—
support for the Curatorial Intensive with an increased
grant of $20,000 in 2012, together with grants from the
Toby D. Lewis Philanthropic Fund and the Milton and
Sally Avery Arts Foundation, laid the ground for the
development of ICI’s training initiative and the expansion
of its global reach.
The Horace W. Goldsmith Foundation has provided
continual support to ICI over the past ten years,
establishing a solid base for developing and improving
exhibitions and public programs.
We are proud to enter a new partnership with the
Lily Auchincloss Foundation and the Hartfield
Foundation, whose grants provided additional funding
to support the Curatorial Intensive and the growth of
resources and programming in the Curatorial Hub,
including a series of seminars, talks, roundtable
discussions, development of the library, and the
expansion of ICI’s online platform, the Curator’s Network.
The Elizabeth Firestone Graham Foundation
provided ICI with the largest grant toward our expanding
publication series in 2012‑13. Three publications will
be produced with the help of the Foundation, including
Terry Smith’s Thinking Contemporary Curating, exploring
how local and regional art practices impact what
ʽinternational’ means for a new generation of curators;
the do it compendium, an example of how small-scale
institutions from diverse regions are able to produce an
exhibition with world-wide significance; as well as ICI’s
newest title in their Sourcebook series, Sourcebook:
Allen Ruppersberg, an archive of pop culture especially
relevant to those interested in discovering alternative
histories to Relational Aesthetics and new conceptualism.
ICI Executive Director Kate Fowle and artist Ernest Neto crawl out of Neto’s exhibition after a morning conversation at Tanya
Bonakdar Gallery
A two-year $90,000 grant from the Andy Warhol
Foundation for the Visual Arts provided critical funds
for building a strong and ambitious exhibition program,
as well as enabling ICI to diversify programming,
creating wider networks and access for an increasingly
international curatorial community. Thanks to the Andy
Warhol Foundation’s support, ICI launched four new
exhibitions in 2012 alone, one of which is Create, a
major group show that presents work by artists with
developmental disabilities, sparking critical dialogue
concerning categories of contemporary art practice and
the notion of “outside art.” Other traveling exhibitions
include do it, the most far-reaching exhibition in ICI’s
history, Living as Form (The Nomadic Version), and
Performance Now: The First Decade of The New
Century. We would also like to thank the Robert Lehman
Foundation for their contribution to Project 35: Volume 2,
which will launch in the fall of 2012.
Whether near or far, patrons of the International Forum can join ICI for exclusive,
behind-the-scenes programs including travel opportunities, studio visits, and events
throughout the year that draw from ICI’s international networks. International Forum
members enjoy travel and conversation with like-minded supporters while letting ICI
guide and connect them with the curators, collectors, artists, and institutions that are
making a difference in shaping contemporary art today.
Responsive to your personal schedule and location,
ICI offers an art “concierge service” when you travel
independently. Through this service we seek to tailor
city-by-city content based on your needs and requests.
In addition, you will stay tuned to the latest happenings
and have direct with ICI’s staff with recommendations of
must-see exhibitions and projects.
Dinner with Terry Smith
As supporters of Thinking Contemporary Curating, ICI
will work with your schedules to arrange a private dinner
for International Forum members and art historian Terry
Smith to celebrate the publication’s launch.
Liverpool Biennial
September 14–15, 2012
Explore the U.K.’s largest international contemporary
art festival with ICI’s Executive Director Kate Fowle
and discover commissioned and existing art projects
throughout the city in diverse locations, including unusual
and unexpected public spaces and cultural venues.
International Forum members with ICI
Trustees at the 2011 New York Studio
Event Dinner, September 2011
Stedelijk Museum Reopening
September 23, 2012
Come experience the grand reopening of the Stedelijk
Museum following the completion of the most ambitious
renovation and expansion project in its history. Visit the
new galleries with ICI’s Executive Director Kate Fowle
and witness the most comprehensive display of the
museum’s collection in its history.
State of Mind: New California Art Circa 1970
Morris and Helen Belkin Art Gallery, Vancouver BC
September 27, 2012
ICI’s Exhibition Manager Frances Wu Giarratano will
greet you in Vancouver for the opening and introduce you
to the curators behind this important historical survey of
Californian Conceptual Art.
Frieze and FIAC
October 11–21, 2012
Get VIP access and insider recommendations of what
is not to be missed at these leading international
contemporary and modern art fairs. Use the International
Forum “concierge service” for tailored itineraries of
London and Paris during your stay.
Exclusive Dinner with Constance Lewallen and Allen
November 12, 2012
Artist Allen Ruppersberg and curator Constance
Lewallen reflect on the artist’s work, beginning with a
project included in the ICI show State of Mind curated
by Lewallen. International Forum members are invited
to continue the dialogue at an exclusive dinner with both
curator and artist.
NADA Miami Luncheon
December 6, 2012
ICI will be part of this year’s NADA Miami, and patrons of
the International Forum are invited for a special luncheon
at Canyon Ranch followed by personalized tours of what
the fair has to offer.
Stayed tuned for personal invitations to meet
international curators including the Head of
Department for dOCUMENTA (13), Chus Martínez
(Spain) and Manifesta Biennial Head Curator,
Cuauhtémoc Medina (Mexico).
For more information about the International Forum, contact Marika
Kielland at [email protected] or 212 254 8200 x125.
acCess ici
ICI Board of Trustees
Kate Fowle
Executive Director
[email protected]
Gerrit L. Lansing**
Chairman Emeritus
Renaud Proch
Deputy Director
[email protected]
212 254 8200 x128
Alaina Claire Feldman
Exhibitions Assistant
[email protected]
212 254 8200 x127
Bridget Finn
Special Programs Manager
[email protected]
212 254 8200 x124
Frances Wu Giarratano
Exhibitions Manager
[email protected]
212 254 8200 x129
Susan Hapgood
Senior Advisor
[email protected]
Misa Jeffereis
Public Programs & Research
[email protected]
212 254 8200 x126
Marika Kielland
Development Manager
[email protected]
212 254 8200 x125
Mandy Sa
Communications Manager
[email protected]
212 254 8200 x121
Sydie Lansing
Honorary Chair
Patterson Sims
Melville Straus
Barbara Toll
Vice Chairs
Jeannie M. Grant
James Cohan
Ann Schaffer
Vice Presidents
Jeffrey Bishop
Jill Brienza
Christo & Jeanne-Claude**
Ann Cook
Susan Coote
Maxine Frankel
Trustee Emerita
Carol Goldberg
Trustee Emerita
Marilyn Greene
Agnes Gund
Trustee Emerita
Jo Carole Lauder
Caral G. Lebworth
Trustee Emerita**
Laure Lim
Vik Muniz
Mel Schaffer
Susan Sollins*
Executive Director Emerita
Nina Castelli Sundell*
Trustee Emerita
Sarina Tang
Virginia Wright
Trustee Emerita
*ICI Co-founder
**In Memoriam
Ken Tyburski
Ex-Officio Trustee
Kate Fowle
Executive Director
Independent Curators International
401 Broadway, Suite 1620
New York, NY 10013
T +1 212 254 8200
F +1 212 477 4781
[email protected]
Instagram: CuratorsINTL
ICI exhibitionS
For a detailed project description, checklist, and images
for any of the exhibitions listed, please contact Fran Wu
Giarratano, Exhibitions Manager, at 212 254 8200 x129,
or [email protected]
Current and Future Exhibitions w/
Exhibitions are available during the tour dates specified.
For exhibitions other than Project 35, Living as Form (The
Nomadic Version), and do it, booking is on a first-come,
first-served basis, pending approval of an institution’s
facility report. When dates are agreed on, ICI sends a
booking contract to confirm all arrangements.
Participation Fee
The participation fee covers the specified viewing
period, with adequate additional time for installation
and dismantling. For bookings longer than the specified
period, the fee is pro-rated on a weekly basis, there is
no fee reduction for shorter booking periods. For most
exhibitions, a deposit of 30% of the exhibition fee is due
upon signing the booking contract, the balance is due on
the exhibition’s opening day. For organizations with an
annual operating budget of $100,000 or less, the fee for
some exhibitions can be reduced. Please contact Fran
Wu Giarratano, Exhibitions Manager, at 212 254 8200
x129, or [email protected] for details.
Registration / Insurance / Shipping
Each artwork comes with installation and handling
instructions and a condition report. Exhibitions are
covered by ICI’s wall-to-wall fine arts insurance policy.
For an additional $500 fee, shipping arrangements can
be made by ICI, the participating institution is responsible
for incoming shipping charges. Institutions outside the
continental United States must also pay customs fees as
well as outgoing shipping charges to the US border.
Create (page 14)
DO IT (page 6)
Harald Szeemann:
Documenta 5 (page 24)
Image Transfer: Pictures
in a Remix Culture
(page 16)
Performance Now
(page 8)
Project 35 (page 12)
Raymond Pettibon:
The Punk Years, 1978–86
(page 23)
State of Mind: New
California Art Circa 1970
(page 10)
Living as Form (page 20)
Exhibition Materials
Each exhibition is accompanied by didactics, education
materials, a sample press release, and press images.
For most of the large-scale exhibitions, an illustrated
catalogue will be provided, and a limited number
of complimentary catalogues are supplied to each
participating venue.
With Hidden Noise
(page 22)
Martha Wilson (page 18)
Independent Curators International (ICI) produces exhibitions, events, publications,
and curatorial training for diverse audiences around the world. Since 1975 ICI’s mission has been to connect emerging and established curators, artists, and institutions,
forging international networks and generating new forms of collaboration.
Since 2010, 13 ICI exhibitions have been presented by 83 venues in 27 countries
profiling the work of over 613 artists worldwide; 134 curators and artists from the US
and abroad have contributed to ICI’s talks programs, online journal, fellowships, and
conferences; and 165 curators from 39 countries and 19 US states have participated
in the Curatorial Intensives.
• New York Curatorial Hub connecting
curators internationally
• Online public platform + virtual
network for curators
• Curatorial training for people
working in the field
• Itinerant public talks series in
collaboration with partners
• International conferences and
roundtable discussions
• Publishing on emerging and
undocumented discourse
• Curatorial Research Fellowships and
Travel Awards
• Flexible exhibitions that can respond
to the specifics of their context
• Accumulative exhibitions that grow
with each presentation
• Networked exhibitions presented
simultaneously around the world
• Collaborative curating between
venues and initiating curators
• Large-scale group exhibitions
presenting issue-based concepts
• Exhibitions that champion underrepresented artists and concepts
• Projects that reveal the process of
exhibition-making public
• Catalogues and artists books
Over the last three years ICI has reinvented
itself, and its profile has begun to rise along
with the profile of the profession.
ICI, 401 Broadway, Suite 1620
New York, NY 10013
—Randy Kennedy, New York Times

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