PDF - Independent Curators International
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PDF - Independent Curators International
Independent Curators International FALL/WINTER 2012/13 PROGRAM INTER NA TIONAL DISC OURSE ICI TABLE OF CONTENTS 1 2 Welcome Fall/Winter 2012/13 Calendar EXHIBITIONS 4 6 8 10 12 14 16 18 20 22 23 24 25 The Curatorial Hub at TEMP do it Performance Now State of Mind: New California Art Circa 1970 Project 35: Volume 2 Create 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 FAX PUBLIC PROGRAMS & RESEARCH 26 28 31 32 34 36 38 40 43 The Curatorial Intensive Partner Programs Alumni Updates The Curator’s Perspective The Curatorial Hub Thinking Contemporary Curating DISPATCH Research Fellowship ICI Curatorial Library NETWORKS & Access 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 Rhomberg. © 2012 Independent Curators International (ICI), and the authors Reproduction rights: You are free to copy, display, and distribute the contents of this publication under the following conditions: You must attribute the work or any portion of the work reproduced to the author and ICI, giving the article and publication title and date. If you alter, transform, or build upon this work, you may distribute the resulting work only under a license identical to this one, and only if it is stated that the work has been altered and in what way. For any reuse or distribution you must make clear to others the license terms of this work. You must inform the copyright holder and editor of any reproduction, display, or distribution of any part of this publication. To receive a downloadable PDF version of this publication, or additional copies by mail, contact Mandy Sa, Communications Manager, at mandy@ curatorsintl.org. 44 46 47 48 50 51 52 54 55 56 ICI Publications The Curator’s Network ICI Limited Editions ICI Conversations Annual Fall Benefit ICI Awards Thank You International Forum Access ICI Booking Information INDEPENDENT CURATORS INTERNATIONAL welcome 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 1 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 2 FALL/WINTER 2012/13 calendar SEPTEMBER EVENTS Book Launch: Thinking Contemporary Curating Tuesday, September 18, 7–9pm New York University (New York) The Curator’s Perspective Mami Kataoka Sunday, September 23, 3–4:30pm New Museum (New York) HUB EVENT Reanimation Library Tuesday, September 25, 6:30–8pm 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) EXHIBITIONS Living as Form (The Nomadic Version) 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) Create August 29–December 8 Iris and B. Gerald Cantor Art Gallery (Worcester, Massachusetts) 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) HUB EVENT Kari Conte & Florence Ostende 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) OCTOBER EVENTS HUB EVENT Askeaton Contemporary Arts: Book Launch Thursday, October 4, 6:30–8pm The Curatorial Hub (New York) HUB EVENT Curatorial Roundtable with Herb Tam Tuesday, October 9, closed-door The Curatorial Hub (New York) Terry Smith at The New Museum Sunday, October 14, 3pm The New Museum (New York) Terry Smith at Wattis Institute, CCA Tuesday, October 23 Wattis Institute, CCA (San Francisco) HUB EVENT 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, 7–8:30pm James Gallery, The Graduate Center (CUNY, New York) CURATORIAL INTENSIVE Curating Beyond Exhibition Making Sunday, October 21–Tuesday, October 30 The Curatorial Hub (New York) The Curatorial Intensive Symposium: New York Tuesday, October 30, 10am–6pm The Curatorial Hub, New York EXHIBITIONS Living as Form (The Nomadic Version) 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 Sahara) 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) Create August 29–December 8 Iris and B. Gerald Cantor Art Gallery (Worcester, Massachusetts) 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, Canada) October 18–December 31 Raw Material Company (Dakar, Senegal) Harald Szeemann: Documenta 5 October 27, 2012–January 13, 2013 Onsite, OCAD U (Toronto, Canada) FALL/WINTER 2012/13 3 NOVEMBER–DECEMBER EVENTS HUB EVENT Sofía Olascoaga Saturday, November 3, 2:30–4pm The Curatorial Hub (New York) HUB EVENT Connie Lewallen and Allen Ruppersberg 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 (Chicago) 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) THE CURATOR’S PERSPECTIVE Cuauhtémoc Medina Monday, December 17, 7–8:30pm The Kitchen (New York) ICI Annual Fall Benefit & Auction Monday, November 19, 6pm Prince George Ballroom (New York) ICI at NADA Miami Thursday, December 6–Sunday, December 9 NADA (Miami, Florida) EXHIBITIONS Living as Form (The Nomadic Version) September 7–November 9 McDonough Museum of Art (Youngstown, Ohio) November 10–November 18 Videotage (Hong Kong, S.A.R., China) 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, 2013 Salina Art Center (Salina, Kansas) Create August 29–December 8 Iris and B. Gerald Cantor Art Gallery (Worcester, Massachusetts) 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, 2013 Onsite, OCAD U (Toronto, Canada) Performance Now September 7–December 9 Ezra and Cecile Zilkha Gallery, Wesleyan University (Middletown, Connecticut) JANUARY–FEBRUARY EVENTS EXHIBITIONS HUB EVENT Cleopatra’s Wednesday, January 16, 6–7:30pm The Curatorial Hub (New York) Living as Form (The Nomadic Version) February 4–28, 2013 Project Fabrica (Moscow, Russia) HUB EVENT Looking Back: 1993 with Claire Bishop Tuesday, February 5, 2013, 6:30–8pm The Curatorial Hub (New York) State of Mind: New California Art Circa 1970 February 23–May 20, 2013 SITE Santa Fe (Santa Fe, New Mexico) Image Transfer: Pictures in a Remix Culture November 9, 2012–January 18, 2013 Salina Art Center (Salina, Kansas) Martha Wilson January 24–March 22, 2013 Pitzer Art Galleries (Claremont, California) Project 35 August 19–June 2, 2013 North Carolina Museum of Art (Raleigh, North Carolina) September 6, 2012–January 5, 2013 Esker Foundation (Calgary, Canada) Harald Szeemann: Documenta 5 October 27, 2012–January 13, 2013 Onsite, OCAD U (Toronto, Canada) * Check our website for regular updates on all our exhibitions, events, and programs, www. curatorsintl.org 4 ICI exhibitions CURATORIAL HUB AT TEMP INTERNATIONAL NETWORKS: ICI’S CURATORIAL HUB AT TEMP 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. Collaborators 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 collaboration. 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 collection. 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 5 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 10013 6 DO IT 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. BASIC FACTS 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. DO IT 7 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 compendium. Whatever you do, do something else. Quoi que tu fasse fais autre chose. Robert Filliou NEWLY COMMISSIONED ARTISTS INCLUDE 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 ABOUT THE GUEST CURATOR 8 ici exhibitions Performance Now 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. ABOUT THE GUEST CURATOR 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. 9 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 ARTISTS INCLUDE BASIC FACTS 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 10 ici exhibitions STATE OF MIND STATE OF MIND: NEW CALIFORNIA ART CIRCA 1970 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. ABOUT THE GUEST CURATORS 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. STATE OF MIND ARTISTS INCLUDE 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. 11 STATE OF MIND CATALOGUE 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 Rorimer. BASIC FACTS 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. EXHIBITIONS ITINERARY 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 Redd 12 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 medium. 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. CURATORS INCLUDE 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) ARTISTS INCLUDE 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) BASIC FACTS 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 13 OV 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 OERVIEW OF VOLUME 1 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) 14 ici exhibitions Create 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. ABOUT THE GUEST CURATORS 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 Award. 15 BASIC FACTS 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 CREATE CATALOGUE Judith Scott, Untitled, 2002. Courtesy of University of California, Berkeley Art Museum and Pacific Film Archive ARTISTS INCLUDE 16 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? ABOUT THE GUEST CURATOR 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. ARTISTS INCLUDE 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 IMAGE TRANSFER CATALOGUE 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. BASIC FACTS 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 17 18 ici exhibitions Martha Wilson 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.” ABOUT THE INITIATING CURATOR 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. BASIC FACTS 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. $25.00 …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, 2012 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 MARTHA WILSON SOURCEBOOK 19 20 ici exhibitions Living as Form LIVING AS FORM (THE NOMADIC VERSION) 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 encounter. 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. ABOUT THE GUEST CURATOR 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. BASIC FACTS 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 21 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 LIVING AS FORM ARTISTS INCLUDE 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 CATALOGUE 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. 22 ICI EXHIBITIONS With hidden noise 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 desired. ABOUT THE GUEST CURATOR 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. ARTISTS INCLUDE Taylor Deupree, Jennie C. Jones, Pauline Oliveros, Andrea Parkins, Steve Peters, Steve Roden, Michael J. Schumacher, Stephen Vitiello BASIC FACTS Space required: extremely flexible Available dates: Limited availability in 2013 For further booking details see page 56 THE PUNK YEARS ICI EXHIBITIONS 23 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. BASIC FACTS Space required: extremely flexible Available dates: November 2012 through February 2013 For further booking details see page 56 ABOUT THE GUEST CURATOR 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. 24 ICI EXHIBITIONS 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. BASIC FACTS 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 ICI EXHIBITIONS FAX 25 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 Westphalen 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 Zarka 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 Yahaya 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 Lanctot 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 Uriarte 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 26 PUBLIC PROGRAMS & RESEARCH Curatorial Intensive THE CURATORIAL INTENSIVE: NEW YORK 2012 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. CURATING BEYOND EXHIBITION MAKING FACULTY AND ADVISORS INCLUDE 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. FEES AND SCHOLARSHIPS 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. 27 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 CURATORIAL INTENSIVE REPORT: SUMMER 2012: CONTEMPORARY CURATORIAL PRACTICE 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. INSTRUCTORS AND ADVISORS INCLUDED 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. 28 PUBLIC PROGRAMS & RESEARCH ParTNER PROGRAMS THE CURATORIAL INTENSIVE: BEIJING 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. 29 Curatorial Intensive: Beijing, site visit with Philip Tinari, August 2012 THE CURATORIAL INTENSIVE: BEIJING 30 PUBLIC PROGRAMS & RESEARCH PARTNER PROGRAMS THE CURATORIAL INTENSIVE: INHOTIM 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 December. Curatorial Intensive: Inhotim, participants, April 28, 2012 A special thanks to SAHA for providing scholarships to two participants from Turkey, and to Sarina Tang. ABOUT INSTITUTO INHOTIM 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. ALUMNI UPDATES PUBLIC PROGRAMS & RESEARCH 31 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. ALUMNI AT ICI’S CURATORIAL HUB 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. 32 PUBLIC PROGRAMS & RESEARCH Curator’s Perspective 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. UPCOMING EVENTS Mami Kataoka Sunday, September 23, 2012 3–4:30pm 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 7–8:30pm 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 7–8:30pm 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 misa@ 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 33 CURATOR’S PERSPECTIVE: PAST PROGRAMS 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. 34 PUBLIC PROGRAMS & RESEARCH CURATORIAL HUB 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. UPCOMING EVENTS 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 exhibitions 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. THE CURATORIAL HUB 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. curatorsintl.org. 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 35 36 PUBLIC PROGRAMS & RESEARCH Thinking Curating “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 today. 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 now. 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. THINKING CONTEMPORARY CURATING 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 ABOUT TERRY SMITH 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. UPCOMING EVENTS 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 MoMA PS1 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 THINKING CONTEMPORARY CURATING 37 38 PUBLIC PROGRAMS & RESEARCH DISPATCH 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. php?term=glitch. 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. dispatch 39 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. ABOUT THE AUTHOR UPCOMING DISPATCHES 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. 40 PUBLIC PROGRAMS & RESEARCH RESEARCH FELLOWSHIPS 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. ABOUT THE FELLOW 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. PUBLIC PROGRAMS & RESEARCH 41 TEOR/éTica, San José, Costa Rica. Image courtesy of María del Carmen Carrión THE 2012 COLECCIÓN PATRICIA PHELPS DE CISNEROS TRAVEL AWARD FOR CENTRAL AMERICA AND THE CARIBBEAN 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 Caribbean. 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. ABOUT THE TRAVEL AWARDEE 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:// centrefortheaestheticrevolution.blogspot.com/. ABOUT THE RESIDENT 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. PUBLIC PROGRAMS & RESEARCH MAPPING CENTRAL AMERICA AND THE CARIBBEAN 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. FELLOWSHIP PROGRAM: L’INSTITUT FRANÇAIS AND THE CULTURAL SERVICES OF THE FRENCH EMBASSY 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 42 Further recommendations and additions to this resource platform are welcome! Contact Sofía Olascoaga at [email protected] with information. UPCOMING FELLOWSHIP 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, www.curatorsitnl.org. ABOUT THE FELLOW 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. PUBLIC PROGRAMS & RESEARCH ICI LIBRARY 43 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. UPCOMING EVENT 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. Cleopatra’s 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 Hub. 44 NETWORK & ACCESS PUBLICATIONS 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. STAFF PICKS 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. $18.95 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 Page 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. PUBLICATIONS 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 Walkways 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 creativity. —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. $29.95 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, 45 Mary Heilmann, Cesar Paternosto, Howardina Pindell, Dorothea Rockburne, Carolee Schneemann, Alan Shields, Joan Snyder, Franz Erhard Walther, and Peter Young. —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 mandy@ curatorsintl.org or 212 254 8200 x121 or visit the ICI Shop for more titles at our website, www.curatorsintl.org. UPCOMING EVENT NY Art Book Fair 2012 Thursday, September 27–Sunday, September 30 MoMA PS1 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. 46 NETWORK & ACCESS CURATOR’S NETWORK 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. READING ROOM 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. curatorsintl.org. NEW DEVELOPMENTS ICI is implementing new developments to the Curator’s Network. • 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 LIMITED EDITIONS NETWORK & ACCESS 47 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. UPCOMING EVENT ICI Booth, NADA New York, May 2012 NEW EDITIONS: do it 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. 48 NETWORK & ACCESS PATRONS EVENTS 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. 2012 SERIES RECAP 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, ICI CONVERSATIONS 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. 2013 ICI CONVERSATIONS SERIES 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 Sotheby’s 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. 49 50 NETWORK & ACCESS ANNUAL BENEFIT 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 BENEFIT COMMITTEE 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 Co-Chairs 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. SILENT AND LIVE AUCTION 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. PRESENTING SPONSOR SPONSORS NETWORK & ACCESS ICI AWARDS 51 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. THE INDEPENDENT VISION CURATORIAL AWARD .THE LEO AWARD 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. 52 NETWORK & ACCESS THANK YOU 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 activities. 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 OUR INDIVIDUAL DONORS Special thanks to all those who have given to the Gerrit L. Lansing Education Fund and in particular, to our $1,000+ donors: 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 THE GERRIT L. LANSING EDUCATION FUND 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). THANK YOU 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 DISPATCH. 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. 53 54 NETWORK & ACCESS THE FORUM 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. INTERNATIONAL FORUM FALL 2012 CALENDAR 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 Amsterdam 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 Canada 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 Ruppersberg 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. NETWORK & ACCESS acCess ici ICI STAFF 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 Coordinator [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 Chairman Melville Straus Barbara Toll Vice Chairs Jeannie M. Grant President 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 55 Independent Curators International 401 Broadway, Suite 1620 New York, NY 10013 T +1 212 254 8200 F +1 212 477 4781 [email protected] www.curatorsintl.org www.facebook.com/curatorsintl www.twitter.com/curatorsintl www.pinterest.com/curatorsintl Instagram: CuratorsINTL 56 ICI exhibitionS Booking info 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/ Availability Scheduling 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) ABOUT ICI 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