independent curators international spring/summer 2013

GENERATIVE

CURATING

INdepeNdeNT CuRaToRS INTeRNaTIoNal SpRING/SuMMeR 2013 pRoGRaM

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WelcomeSpring/Summer 2013 Calendar

eXHIBITIoNS

do itFree playState of Mind: New California art Circa 1970performance NowMartha Wilsonliving as Form (The Nomadic Version) Createproject 35: Volume 2With Hidden NoiseRaymond pettibon: The punk Years, 1978–86Harald Szeemann: documenta 5Image Transfer: pictures in a Remix CultureThe Curatorial Hub at TeMp

puBlIC pRoGRaMS & ReSeaRCH

The Curatorial IntensiveInternational programsalumni updates

Research FellowshipsThinking Contemporary CuratingpublicationsThe Curator’s perspectiveThe Curatorial Hub

NeTWoRKS & aCCeSS

The Curator’s NetworkICI limited editionsICI ConversationsInternational Forum)DOO�%HQH¿W��Thank Youaccess ICIBooking Information

aBouT ICI

editor: Mandy Sadesigner: Scott ponikCopyeditor: audrey Walenprinting: linco printing, Queens, NY

Big thanks to: Carolyn Christov-Bakargiev, Sofía Hernández Chong Cuy, Muriel enjalran, Koyo Kuouh, pablo león de la Barra, and Cuauhtemoc Medina

© 2013 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 ver-sion of this publication, or additional copies by mail, contact Mandy Sa, Communications Manager, at [email protected].

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WELCOMEINDEPENDENT CURATORS INTERNATIONAL

It is a great pleasure to welcome you to the Spring/Summer 2013 semi-annual brochure, and to do so as ICI’s new Executive Director. After more than three years as Deputy Director, I look forward to this next chapter, and to continuing to work with Kate Fowle, who will EHFRPH�,&,¶V�¿UVW�'LUHFWRU�DW�/DUJH��.DWH�ZLOO�RYHUVHH�the development of the Curatorial Intensive and other research projects at ICI, working between New York and Moscow, as she assumes her new position of Chief Curator of the Garage Center for Contemporary Culture.

Since 2009 ICI has grown by leaps and bounds: new public events, talks and conferences, and training opportunities like the Curatorial Intensive have expanded the ways in which curators share knowledge and work together to build stronger support structures for artists around the world. Over the same time, new programming has introduced smaller, modular exhibitions that have been presented in over 72 venues worldwide in the last three years alone, sparking collaborations and generating new content wherever they’ve traveled.

This is what we’ve called Generative Curating.

This year ICI has teamed up with Hans Ulrich Obrist to conceive the twentieth anniversary version of do it, the longest-running and most far-reaching exhibition to ever take place. Based on artists’ instructions that are interpreted and realized anew every time, this “Exhibition in Progress” has grown and adapted over the years. With each new version new artists are invited; do it has now involved over 400 artists. And with each iteration, works are realized in dialogue with local communities that respond to the selected instructions. In the spring, there will be an outdoors do it at the Socrates Sculpture Park, in New York; iterations in places from Ohio to Hungary to the Netherlands; a traveling do it (Archive) and a do it (Homage Room) at the Manchester International Festival

in the U.K. The publication do it: the compendium will be out in May, and feature 250 artists’ instructions including over 80 brand new ones, as well as an interview of Hans Ulrich Obrist by Kate Fowle, and an essay by Bruce Altshuler on the genealogy of this exhibition format.

Another aspect of Generative Curating is the opportunity to bring practitioners together to build upon shared experiences and create new networks for collaboration. Since the Curatorial Intensive began in 2010, ICI’s professional development program has involved over 130 curators from all over the world. And after international pilot programs with partner institutions in India, Brazil, and China, the Curatorial Intensive will expand in 2013 to PDQ\�PRUH�KRUL]RQV��,Q�0DUFK�WKH�¿UVW�,QWHQVLYH�LQ�$IULFD�will take place in partnership with the Bag Factory Artists’ Studios in Johannesburg, bringing together curators from Mali, Senegal, South Africa, Uganda, and Zimbabwe. In May we are partnering with the Centre for Contemporary Art (CCA), Derry-Londonderry, Northern Ireland, to SURGXFH�WKH�¿UVW�,QWHQVLYH�LQ�(XURSH��DQG�LQ�$XJXVW�we’re heading to Argentina, as we’re developing the ¿UVW�,QWHQVLYH�HQWLUHO\�LQ�6SDQLVK��:H¶UH�DOVR�GHYHORSLQJ�programs in Colombia and Japan later in the year, as well DV�WKH�¿UVW�RQOLQH�SURIHVVLRQDO�GHYHORSPHQW�SURJUDP��WKH�Curatorial Seminar, realized in partnership with SAHA.

None of these developments would have been possible without a broad network of support and a host of amazing funders which we detail on page 52 of this brochure.

And last but not least, we would like to thank Ellen Liman for her continuous support of producing this brochure, allowing us to bring you the latest news about ICI’s exhibitions, events, research and training opportunities, online programs, and publications.

Renaud ProchExecutive DirectorIndependent Curators International

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CALENDAREVENTS

HUB EVENT Dana Levy: belonging/s

Thursday, March 14, 6:30–8pm The Curatorial Hub (New York)

1993 Looking Back: 1993

Saturday, March 23, 3–4:30pm New Museum (New York)

HUB EVENT New York Times Feminist Reading Group with Jen Kennedy and Liz Linden

Wednesday, March 20, 6:30–8pm The Curatorial Hub (New York)

ICI CONVERSATIONS Curators’ Top Picks Under 35 with Ruba Katrib, Chus Martinez, and Fionn Meade

Wednesday, March 27, 6:30–8pm Sotheby’s (New York)

CURATORIAL INTENSIVE

Curatorial Intensive in Johannesburg

Thursday, March 7–Tuesday, March 12 The Bag Factory Artists’ Studios (Johannesburg, South Africa)

EXHIBITIONS

Living as Form (The Nomadic Version)

January 26–March 16 Goldie Paley Gallery at Moore College of Art and Design (Philadelphia, Pennsylvania)

State of Mind: New California Art Circa 1970

February 23–May 20 SITE Santa Fe (Santa Fe, New Mexico)

Martha WilsonJanuary 26–March 22

Pitzer Art Galleries (Claremont, California)

Project 35August 19, 2012–June 2, 2013

North Carolina Museum of Art (Raleigh, North Carolina)

FAXMarch 1–April 30

Simons Center for Geometry and Physics (Stony Brook, New York)

With Hidden NoiseMarch 20–April 16

MADA Gallery �&DXO¿HOG�(DVW��$XVWUDOLD�

EVENTS

HUB EVENT MAD-LIB[rary] with Limited Time Only

Thursday, April 4, 7–9pm The Curatorial Hub (New York)

ICI CONVERSATIONS Critical Outlook – Developing the Art Fair Experience with Cecilia Alemani, Jing Lu, and Amanda Sharp

Thursday, April 4, 6:30–8pm Sotheby’s (New York)

HUB EVENT Constance Lewallen and Phong Bui

Monday, April 8, 6:30–8pm The Curatorial Hub (New York)

ICI CONVERSATIONS Building the Collection Marieluise Hessel in conversation with Tom Eccles

Tuesday, April 9, 6:30–8pm Sotheby’s (New York)

ICI CONVERSATIONS The Artist’s Voice Daniel Joseph Martinez in conversation with Renaud Proch

Monday, April 15, 6:30–8pm Simon Preston Gallery (New York)

ICI CONVERSATIONS The Artist’s Voice Studio and Gallery Visits

Saturday, April 27, 10am–4pm Bushwick (Brooklyn)

THE CURATOR’S PERSPECTIVE Rifky Effendy

Thursday, April 18, 6:30pm The New School (New York)

EXHIBITIONS


February 23–May 20 SITE Santa Fe (Santa Fe, New Mexico)



FAXMarch 1–April 30

Simons Center for Geometry and Physics (Stony Brook, New York)

With Hidden NoiseMarch 20–April 16

MADA Gallery �&DXO¿HOG�(DVW��$XVWUDOLD�

MARCH

APRIL

3SPRING/SUMMER 2013

EVENTS

ICI CONVERSATIONS Cocktail with Sheena Wagstaff

Thursday, May 2, 6:30–8:30pm Hosted by Thea Westreich and Ethan Wagner (New York)

HUB EVENT Contemporary Artistic Languages from Central America

Monday, May 6, 6:30–8pm The Curatorial Hub (New York)

HUB EVENT Muriel Enjalran

Monday, May 13, 6:30–8pm The Curatorial Hub (New York)

HUB EVENT Dialogues in Contemporary Art: Take 5

Tuesday, May 14, 7–8:30pm The Curatorial Hub (New York)

HUB EVENT Full Dollar

Thursday, June 6, 6:30–8pm The Curatorial Hub (New York)

HUB EVENT Mnemosyne Atlas Book Launch

Wednesday, June 12, 6:30–8pm The Curatorial Hub (New York)

THE CURATOR’S PERSPECTIVE Alexie Glass-Kantor

Monday, June 17, 7–8:30pm Location TBD

HUB EVENT Tamar Ettun: a nomadic body?

Thursday, June 27, 6:30–8pm The Curatorial Hub (New York)


)URP�³2I¿FLDO�+LVWRU\´�WR�Underrepresented Narratives

Sunday, May 19–Saturday, May 25

Centre for Contemporary Art (CCA), Derry~Londonderry (Londonderry, Northern Ireland)

EXHIBITIONS


June–August 2013 TheCube Project Space (Taipei, Taiwan)


June 23–September 8 Bronx Museum of the Arts (Bronx, New York)

Martha WilsonJune 7–August 11

Institute of Visual Arts University of Wisconsin, Milwaukee (Milwaukee, Wisconsin)



do itMay 12–June 2013

Socrates Sculpture Park (Long Island City, New York)

May 12–August 25 Gund Gallery (Gambier, Ohio)

May 17–May 19 tranzit (Budapest, Hungary)

May 17–July 19 MU artspace (Eindhoven, The Netherlands)

EVENTS

HUB EVENT The Curatorial Intensive Symposium: New York

Tuesday, July 30, 10am–6pm The Curatorial Hub (New York)

HUB EVENT Mad-Lib[rary] with Limited Time Only

Tuesday, August 13, 7–9pm The Curatorial Hub (New York)

HUB EVENT Pirate Press Issue Launch

Thursday, August 29, 6:30–8pm The Curatorial Hub (New York)


Summer Curatorial Intensive: NYC

Sunday, July 21–Tuesday, July 30 The Curatorial Hub (New York)

Curatorial Intensive in Buenos Aires

Sunday, August 18–Saturday, August 24 MACBA, Museo de Arte Contemporáneo (Buenos Aires, Argentina)

EXHIBITIONS


June–August 2013 TheCube Project Space (Taipei, Taiwan)


June 23–September 8 Bronx Museum of the Arts (Bronx, New York)

Martha WilsonJune 7–August 11

Institute of Visual Arts University of Wisconsin, Milwaukee (Milwaukee, Wisconsin)

August 30–November 10 Utah Museum of Fine Arts (Salt Lake City, Utah)

CreateJuly 29 –September 22

Boca Raton Museum of Art (Boca Raton, Florida)

do itMay 12–August 25

Gund Gallery (Gambier, Ohio)

May 17–July 19 MU artspace (Eindhoven, The Netherlands)

July 5– September 22 Manchester Art Gallery (Manchester, U.K.)

* Check our website for regular updates on all our exhibitions, events, and programs, www.curatorsintl.org

MAY–JUNE

JULY–AUGUST

4

Curated by Hans Ulrich Obrist

DO IT began in Paris in 1993 as a conversation between Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier who were curious to see what would happen if they started an exhibition that would never stop and could constantly generate new versions of itself. To test the idea, Obrist invited 12 artists to propose artworks based on written “scores” or instructions that can be openly interpreted every time they are presented. They were then translated into 9 different languages and circulated interna-tionally as a book.

DO ITICI EXHIBITIONS

The origin and transformations of do it�UHÀHFW�WKH�necessity of exploring how we collaborate and share authorship in a constantly evolving art world. The project’s impetus is rooted in the extraordinary effects of globalization on curating and art practice in the 1990s, a time that witnessed an unprecedented expansion of the geographies of contemporary art. Each do it H[KLELWLRQ�LV�XQLTXHO\�VLWH�VSHFL¿F�LQ�WKDW�LW�HQJDJHV�WKH�local community in a dialogue that responds to a set of instructions while remaining global in the scope of its ever-expanding repertoire. This also means that the generative and accumulative aspects of do it’s ongoing presentation are less concerned with notions of the “reproduction” or materiality of the artworks than with revealing the nuances of human interpretation in its various permutations and iterations. In this way, do it is able to bridge the gaps between the temporalities of past, present, and future.

More than 20 years later, do it has taken place in 59 venues and involved nearly 400 artists worldwide, giving new meaning to the concept of an exhibition in progress, ZKLOH�RIIHULQJ�LQ¿QLWH�FUHDWLYH�SRVVLELOLWLHV�IRU�SDUWLFLSDWLQJ�audiences everywhere. The twentieth anniversary of this landmark project will present the largest selection of instructional works to date, including more than 80 newly commissioned pieces from artists selected by Obrist and ICI. Venues showing the twentieth anniversary version of do it will select at least 20 instructional works to present from a list of almost 250. Works to be enacted by the museum staff, local community, or local artists include paintings, drawings, performances, installation, sculptures, and video. An online component to the exhibition will also be available to further document and share the exhibition’s purview.

ABOUT THE GUEST CURATOR

Hans Ulrich Obrist is Co-director of the Serpentine Gallery, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville, Paris. In 2012 he co-curated Jonas Mekas, Thomas Schütte Faces and Figures, Yoko Ono TO THE LIGHT, Herzog & de Meuron, and Ai Weiwei

Pavilion and the Memory Marathon at the Serpentine Gallery, London; To the Moon via the Beach, LUMA Foundation, Arles; Lina Bo Bardi, Casa de Vidro, Sao Paulo; A call for unrealized projects��'$$'�DQG�H�ÀX[��Berlin. Obrist’s recent publications include A Brief History of Curating, Project Japan: Metabolism Talks with Rem Koolhaas, Ai Wei Wei Speaks, along with new volumes of his Conversation Series.

BASIC FACTS

Number of artists or artists groups: At least 20Number of works: At least 206SDFH�UHTXLUHG��([WUHPHO\�ÀH[LEOH��WKRXJK�DW�OHDVW��

square feet is recommendedTour dates: May 2013 through December 2015For further booking details see page 56

do it: the compendium, co-published with D.A.P., will be launched in May 2013. See page 38 for more information.

do it: the compendium was made possible in part by grants from the Elizabeth Firestone Graham Foundation, the Robert Sterling Clark Foundation, and with the generous support from Project Perpetual and of ICI’s International Forum and Board of Trustees.

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NEWLY COMMISSIONED ARTISTS INCLUDE

Etel Adnan, Ai Weiwei, Sophia al Maria, Kathryn Andrews, Uri Aran, Cory Arcangel, Robert Ashley, Ed Atkins, Tarek Atoui, Lutz Bacher, Darren Bader, Nairy Baghramian, Yto Barrada, Robert Barry, Gianfranco Baruchello, Jerome Bel, Gerry Bibby, Geta Bratescu, Waltercio Caldas, Boris Charmatz, Hélène Cixous, Claire Fontaine, Matias Faldbakken and Anders Nordby, William Forsythe, Simone Forti, Simon Fujiwara, Theaster Gates, Rodney Graham, Konstantin Grcic, Shilpa Gupta, Anna Halprin, Anthony Hill, Nicholas Hlobo, Kim Beom, Ragnar Kjartansson, Aaron Koblin, Suzanne Lacy, David Lamelas, Adriana Lara, Kemang Wa Lehulere, Xavier Le Roy, Klara Liden, Lucy Lippard, Thomas Lommee, Sarah Lucas, David Lynch, Tobias Madison, Helen Marten, Paul McCarthy, Tris Vonna Michell, Andrei Monasyrski, Rivane Neuenschwander, Albert Oehlen, Füsun Onur, Clifford Owens, Charlemagne Palestine, Christodoulos Panayiotou, Nicolás Paris, Amalia Pica, Adrian Piper, Raqs Media Collective, Casey E. B. Reas, Adrian Villar Rojas, Claude Rutault, Eszter Salamon, Dimitar Sasselov, Peter Saville, Kazuyo Sejima, Hassan Sharif, Jim Shaw, Gabriel Sierra, Alexandre Singh, Michael E. Smith, Mladen Stilinovic, Sturtevant, Ryan Trecartin, Agnes Varda, Franz Erhard Walther, Hannah Weinberger, Richard Wentworth

do it is a kind of Catcher in the Rye for the curatorial world; it is a transformative mandatory read that connects a blur of dots into a cohesive and inviting image of both the art universe and the universe of ideas. —Douglas Coupland

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6

Whether open-ended, rule-bound, or absurdist, games and game-playing have attracted generations of Conceptual artists, most famously the chess master Marcel Duchamp. Games offer an alternative, more riveting reality whose ups, downs, and myriad decisions parallel ordinary life. Rooted in the antiwar and countercultural movements from Surrealism and Dada, from 1960s Fluxus to the New Games Foundation of the 1970s, artists have historically co-opted games as both subject and medium in order to upend the pretensions of high art, engender collaboration, and free the imagination. What better way than play—with its reliance RQ�IDWH�DQG�FKDQFH²WR�¿JKW�GHGXFWLYH�UHDVRQLQJ��WKH�basis of capitalist society?

ARTISTS UNDER CONSIDERATION

Cory Arcangel, Patrick Bernier and Olive Martin, Mark Essen, Futurefarmers, Mary Flanagan, Ryan Gander, Greyworld, Jeanne van Heeswijk, Pablo Helguera, Colter Jacobsen, Miranda July, Joe McKay, Feng Mengbo, Rivane Neuenschwander, Paul Noble, Yoko Ono, Pedro Reyes, Allen Ruppersberg, David Shrigley

BASIC FACTS

Number of artists or artists groups: Approximately 19Number of works: Approximately 19Space required: 2,500–4,000 square feetTour dates: Fall 2013 through Fall 2015For further booking details see page 56


Melissa E. Feldman is a Seattle-based independent curator and writer who has contributed to Art in America, Frieze, Third Text, and Aperture among other publications. Her recent exhibitions include Dance Rehearsal: Karen Kilimnik’s World of Ballet and Theatre, organized by

the Mills College Art Museum, Oakland, which travels to the Museum of Contemporary Art, Denver, Afterglow: Rethinking California Light and Space Art, which is traveling to the Hearst Art Gallery at St. Mary’s College, Walnut Creek, CA, and Sampler: Textiles at Creative Growth at Creative Growth Center, Oakland. Feldman has taught at the California College of Art, the San Francisco Art Institute, and Goldsmith’s College, and LV�FUHGLWHG�ZLWK�RUJDQL]LQJ�¿UVW�RQH�SHUVRQ�$PHULFDQ�museum exhibition for Kilimnik, Martin Kippenberger and Hiroshi Sugimoto in the early nineties as a curator at the Institute of Contemporary Art, Philadelphia.

FREE PLAYICI EXHIBITIONS

Curated by Melissa E. Feldman

“No vital periods ever began from a theory. What’s first is a game, a struggle, a journey.” —Guy Debord

ICI’s newest EXHIBITION IN A BOX is a radical curatorial response to the growing presence of participatory and live, time-based artworks in galleries. FREE PLAY is an entirely hands-on exhibition that travels in an easy-to-ship box, comprising of artist-designed games in which visitors can participate. Visitors will immerse themselves in a retro video game by Cory Arcangel, find a partner for David Shrigley’s ping pong, or engage in a remake of an old Dutch street game in a sandbox by Jeanne van Heeswijk.

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8 ICI EXHIBITIONS

STATE OF MIND STATE OF MIND: NEW CALIFORNIA ART CIRCA 1970Curated by Constance Lewallen and Karen Moss

STATE OF MIND is a thorough investigation of seminal conceptual and related avant-garde 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. STATE OF MIND identifies and investigates California artists’ significant contributions in Conceptual art, video, performance, and installation. The exhibition demonstrates the immense changes in artistic practice that coincided with the burgeoning number of art schools and university art departments, nonprofit art spaces, alternative galleries, and artist-run spaces and publications that 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.

Organized around central themes, the exhibition features almost 150 works by 59 artists, ranging from those who EHFDPH�PDMRU�LQWHUQDWLRQDO�¿JXUHV�WR�OHVVHU�NQRZQ�artists who nonetheless made important contributions. 7KH�H[KLELWLRQ�FRQVLVWV�RI�YLGHR��¿OP��SKRWRJUDSK\��installation, artist’s books, drawing, and painting, some of which has rarely been seen. Additionally, there is extensive performance documentation and ephemera.

ABOUT THE GUEST CURATORS

Constance M. Lewallen is adjunct curator at the University of California, Berkeley Art Museum DQG�3DFL¿F�)LOP�$UFKLYH�ZKHUH�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 a Los Angeles-based art historian, curator, and educator. In her 8-year tenure at Orange County Museum of Art she organized numerous exhibitions including 15 Minutes of Fame, Photographic Portraits from Ansel Adams to Andy Warhol; Disorderly Conduct: Recent Art in Tumultuous

Times, The 2006 California Biennial, and projects with Jed Caesar, Shana Lutker, Mary Kelly, Julio Casar Morales, My Barbarian, and Mario Ybarra, among others. In her previous position at San Francisco Art Institute, she curated Sharon Lockhart/Kelly Nipper, James Siena, Topographies, and organized residencies with Ghada Amer, Tania Bruguera, Wim Delvoye, Pierre Huyghe/Philppe Parenno, Los Carpinteros and Rikrit Tiranvanija. Prior to this, Moss held curatorial positions at Walker Art Center, Santa Monica Museum of Art and the Museum of Contemporary Art, Los Angeles. She is also graduate faculty at the USC Curatorial Practice MA program and Otis College of Art and Design Graduate Public Practice.

One of San Francisco Chronicle’s top ten favorite exhibitions of 2012!

9STATE OF MIND

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 co-organized by the Orange County Museum of Art and the University of California, Berkeley $UW�0XVHXP�DQG�3DFL¿F�)LOP�$UFKLYH�

The tour of State of Mind: New California Art Circa 1970 is sponsored by Robert Redd.

BASIC FACTS

Number of artists or artists groups: 59Number of works: 146Space required: 4,000–6,000 square feet (required space

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Available dates: September 2013 through December 2013 (one remaining slot)

For further booking details see page 56

STATE OF MIND CATALOGUE

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 an extended study of a time when

California became a vibrant center for original art and exhibition making, and should be essential reading for anyone interested in contemporary art. The publication provides an extensive source of rare, primary images and fundamental essays by co-curators Constance M. Lewallen and Karen Moss as well as Julia Bryan-Wilson and Anne Rorimer.

See page 42 for details about an upcoming related event in New York.

EXHIBITION ITINERARY

Morris and Helen Belkin Art Gallery, University of British ColumbiaVancouver, BC, Canada September 28–December 9, 2012 SITE Santa FeSanta Fe, New MexicoFebruary 23–May 20, 2013 Bronx Museum of ArtNew York, New YorkJune 23–September 8, 2013Li

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10 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 20th 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 21st century.” Indeed, its time has come. Museums around the world are establishing performance art departments, activating the museum, and drawing new and young audiences to these institutions. Moreover, following Performa’s lead, biennials worldwide are making performance integral to their programs.

Performance Now is an exhibition that shows how performance has come to be at the center of the discussion on the latest developments in contemporary art and culture. The exhibition is made up of sculptures, drawings, photographs, installations, and video, including material from a number of key Performa commissions, and works originating from around the world. Each of the ZRUNV�LQ�WKH�H[KLELWLRQ�ZDV�¿UVW�D�SHUIRUPDQFH��ZKLFK�was then transformed by the artist into a “solid” more permanent form; and each is an intact and self-contained artwork that reveals the particular mind-set and aesthetic language of the artist, and the underlying structure of the performance.


RoseLee Goldberg’s seminal study, Performance Art: From Futurism to the Present��¿UVW�SXEOLVKHG�LQ�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 U.S. and abroad.

ARTISTS INCLUDE

0DULQD�$EUDPRYLü��-HQQLIHU�$OORUD�DQG�*XLOOHUPR�Calzadilla, Yael Bartana, Jerome Bel, Guy Ben-Ner, Spartacus Chetwynd, Nikhil Chopra, Nathalie Djurberg, 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

BASIC FACTS

Number of artists: Approximately 23 (checklist can be amended depending on the venue’s interests and resources)

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 through December 2014For further booking details see page 56

11PERFORMANCE NOW

PERFORMANCE NOW

I checked out Performance Now over the weekend, and can truthfully say the talk and gallery are not to be missed. Goldberg’s central thesis—that the interaction of performance art and other mediums will form the primary artistic trends of the early 21st century—is articulated through a dizzying array of captivating pieces. — Adam Keller, The Wesleyan Argus, 2012

Performance has been considered as a way of bringing to life the many formal and conceptual ideas on which the making of art is based, and live gestures have constantly been used as a weapon against the conventions of established art.—RoseLee Goldberg

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Curated by Peter Dykhuis

Wilson’s 40-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.

MARTHA WILSON

ICI EXHIBITIONS

Written into and out of art history according to the WKHRULHV�DQG�FRQYLFWLRQV�RI�WKH�WLPH��:LOVRQ�¿UVW�JDLQHG�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 KDV�DOVR�EHHQ�UHJDUGHG�E\�PDQ\�DV�SUH¿JXULQJ�VRPH�of Judith Butler’s ideas on gender perfomativity through her practice, and more recently, in the words of the art critic, Holland Cotter, she was described as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.”

Responding to the wide scope of Wilson’s career, Peter Dykhuis has assembled a diverse collection of works in WKLV�UHWURVSHFWLYH�WKDW�LV�LQWHQGHG�DV�D�ÀH[LEOH��PRGXODU��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 also include Wilson selecting works from the museum’s collection, or archive, or working with people in that community to develop an exhibition that explores the nature of visibility, or of what feminism means now, or the role of activist.

ABOUT THE INITIATING CURATOR

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 Place Markers: Mapping

Locations and Probing Boundaries, Douglas Walker: Other Worlds and Giving Notice: Words on Walls.

BASIC FACTS

Number of works: To be determined. 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: FlexibleAvailable dates: December 2013 through December 2014For further booking details see page 56

13

MARTHA WILSON SOURCEBOOK

6SHFL¿F�2EMHFW��3XEOLFDWLRQ�of the Year

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

5HFHLYLQJ�WKH�6SHFL¿F�2EMHFW��3XEOLFDWLRQ�RI�WKH�Year Award, 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 SXEOLFDWLRQV�WKDW�LQÀXHQFHG�:LOVRQ��VXFK�DV�6LPRQH�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 Lippard’s exhibition catalogue for c. 7,500, the groundbreaking 1973 exhibition of women &RQFHSWXDO�DUWLVWV��ZKLFK�¿UVW�GHFODUHG�WKH�VLJQL¿FDQFH�RI�Wilson’s work.

Martha Wilson and Martha Wilson Sourcebook received the support of the National Endowment for the Arts.

MARTHA WILSON

Part of a curatorial project from Independent Curators International, which also generated the Martha Wilson Sourcebook, 2011, Wilson’s traveling retrospective kicked off in Montreal and tracks four decades of her development as an artist, writer, punk singer, collector, and founder-director of the alternative New York space Franklin Furnace… Working deftly with selections from a vast archive of materials collated by curator Peter Dykhuis, director Richard Torchia has installed an elegant, visual chronology and reference library within Arcadia University’s compact gallery.—Becky Huff Hunter, Artforum, 2012

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14 ICI EXHIBITIONS

LIVING ASFORM

LIVING AS FORM (THE NOMADIC VERSION)Curated by Nato Thompson, co-organized with Creative Time

LIVING AS FORM (THE NOMADIC VERSION) is an unprecedented, international project exploring over 20 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 as the foundation of this exhibition, which expands as it travels. “Something historically unique is happening in cultural production that requires different rules for art than those of the 20th 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 in which we find ourselves in?”

Further increasing the diversity of practices that are represented in the show, each hosting institution selects additional works to add to the exhibition, which is being toured via a hard drive. In addition to expanding the content of the exhibition, each collaborating venue will RUJDQL]H�VLWH�VSHFL¿F��VRFLDOO\�HQJDJHG��FRPPLVVLRQHG�projects or events that connect to the theme and “activate” the show. As the essence of the project is social engagement, each venue is also encouraged to provide participatory experiences that possess some sort of political or community-based content for visitors to encounter. Examples of events already held by presenting venues include a conversation between San Francisco-area artists and high school students at a screening of Suzanne Lacy’s The Roof is On Fire; an artists talk with Hong Kong-based video artist/activists; a mural project with the Juvenile Justice Center of Mahoning County in Ohio addressing themes of community, social justice, and individual rights; workshops connecting veterans with civilians with Warrior Writers, a Philadelphia-based arts organization; and presentations by Sahrawi artists during the Arts and Human Rights Festival in the Sahrawi refugee camps of Tindouf.

Living as Form (The Nomadic Version)�LV�WKH�ÀH[LEOH��H[SDQGLQJ�LWHUDWLRQ�of Living as Form��D�VLWH�VSHFL¿F�SURMHFW�SUHVHQWHG�E\�&UHDWLYH�7LPH�LQ�WKH�historic Essex Street Market in New York from September 24-October 16 2011.


Nato Thompson is Chief Curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Tania Bruguera’s Immigrant Movement International, Democracy in America: The National Campaign,

and Waiting for Godot, a project by Paul Chan held in New Orleans. His book Seeing Power: Art and Activism in the Age of Cultural Production was 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: 48Number of works: 486SDFH�UHTXLUHG��([WUHPHO\�ÀH[LEOH�Tour dates: March 2012 through December 2014For further booking details see page 56

15LIVING 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, 0DPPDOLDQ�'LYLQJ�5HÀH[�'DUUHQ�2¶'RQQHOO��0DUGL�*UDV�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 U.S. 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 1991-2011By 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.

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2The works on display address multiple audiences, and pay equal attention to the power of media. They are a part of an emerging reality where cultural production and politics live in an increasingly integrated relationship. The amalgamation of Living as Form (The Nomadic Version) with the diverse and relevant contributions of the aforementioned community projects generates a space for further inquiry and ultimately, new approaches to social practice. —University of California Institute for Research in the Arts, 2012

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16 ICI EXHIBITIONS

CREATECurated by Lawrence Rinder, with Matthew HiggsOrganized 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 20 years by artists involved with 3 pioneering non-profit orga-nizations: 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 experience they offer is, in many ways, the antithesis of that envisioned by the art critic Roger Cardinal in 1972 when he coined the term “out-sider 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 D�VLJQL¿FDQW�FRQWULEXWLRQ�WR�WKH�¿HOG�RI�FRQWHPSRUDU\�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 'HOOHU��&KULV�2I¿OL��DQG�3HWHU�'RLJ�DQG�LQ�LQVWLWXWLRQV�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 sculpture utilizes found materials wrapped in knotted yarn or string; William Scott’s humorous paintings incorporate sardonic urban motifs; John Patrick McKenzie’s lyrical work employs 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 work includes drawings and paintings incorporating layered text.

MetroWest Daily News places Create among the Massachussett’s most memorable art exhibits of 2012!

ABOUT THE GUEST CURATORS

Lawrence Rinder is Director of the 8&�%HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F�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 DUW�FULWLFLVP��SRHWU\��GUDPD��DQG�¿FWLRQ�

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.

ARTISTS INCLUDE

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

17CREATE

BASIC FACTS

Number of artists: 20Number of works: 103Space required: 4,500–5,000 square feetAvailable dates: Limited availability in 2013, possibly

extended through 2014For further booking details see page 56

CREATE CATALOGUE

Published by University of California, %HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F�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, %HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F�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 DERXW�WKH�VLJQL¿FDQFH�DQG�FRPSHOOLQJ�KLVWRU\�RI�these organizations, which deserve to be shared with audiences around the world.

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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 Skopje, Macedonia; Lagos, Nigeria; Tirana, Albania; Cape Town, South Africa; Storrs, Connecticut; New Orleans, Louisiana; Berlin, Germany; Los Angeles, California; and Taipei, Taiwan.

PROJECT 35:VOLUME 2

ICI EXHIBITIONS

In 2012 ICI collaborated with 35 more curators to produce Project 35: Volume 2, growing the collection of videos and expanding the reach of artist and curators involved. Drawing on its extensive network of curators, ICI traces the complexity of regional and global connections among practitioners and the variety of approaches they use to make video.

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/U.S.), Meskerem Assegued (Ethiopia), Daina Augaitis (Canada), Defne Ayas (Turkey/The Netherlands), Regine Basha (U.S.), Valerie Cassel-Oliver (U.S.), Rosina Cazali (Guatemala), Stuart Comer (U.S./U.K.), Veronica Cordeiro (Brazil/Uruguay), Christopher Cozier (Trinidad and Tobago), María del Carmen Carrión (Ecuador/U.S.), Rifky Effendy (Indonesia), Özge Ersoy (Turkey), N’Goné Fall (Senegal), Amirali Ghasemi (Iran), Vít Havránek (Czech Republic), Hou Hanru (U.S./France), 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), Nataša Petrešin-Bachelez (France/Slovenia), Kathrin Rhomberg (Austria), Mats Stjernstedt (Norway/Sweden), David Teh (Austrailia/Thailand), Philip Tinari (U.S./China), Christine Tohme (Lebanon), Raluca Voinea (Romania), Jochen Volz (Germany/U.K.), and Adnan Yildiz (Germany/Turkey)

ARTISTS INCLUDE

Jonathas de Andrade (Brazil), Marwa Arsanios �/HEDQRQ��=E\QČN�%DODGUiQ��&]HFK�5HSXEOLF��0LFKDHO�%OXP��,VUDHO�&DQDGD��DQG�'DPLU�1LNãLü��%RVQLD�Sweden), Deanna Bowen (U.S./Canada), Pavel Braila �0ROGRYD��$VOÕ�dDYXúR÷OX��7XUNH\��3DUN�&KDQ�.\RQJ�(South Korea), Josef Dabernig (Austria), Elena Damiani (Peru), Shezad Dawood (U.K.), 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 McCallum and Jacqueline Tarry (U.S.), Ivana Müller (France/The Netherlands/Croatia), Ahmet Ögüt (Turkey), Jenny Perlin (US), Agnieszka Polska (Poland), Sara Ramo (Brazil/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: 35Number of works: 356SDFH�UHTXLUHG��([WUHPHO\�ÀH[LEOHTouring dates: Fall 2012 through Fall 2014For further booking details see page 56

19PROJECT 35: VOLUME 2

The most comprehensive overview of video works to be shown in China so far. The variety and quality of the selection is unprecedented, our visitors were hypnotized.— Massimo Torrigiani, Director, Shanghai Contemporary Art Fair

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Curated by Stephen Vitiello

WITH HIDDEN NOISE is an exploration of sound art that asks gallery and museum visitors to spend time listening with ears they may not know they had… Titled after Marcel Duchamp’s ready-made of a ball of string containing a mysterious sound-making object hidden in its folds, this exhibition brings together evocative sounds, some recognizable from traditional instruments and field recordings, and others masked through electronic processes.

WITH HIDDENNOISE

ICI EXHIBITIONS

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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 15 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 about the subject while listening. A further reading list, videography, and programming suggestions are provided by the curator, making this exhibition as adaptable and expandable as desired.


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

Number of artists or artists groups: 8Number of works: 86SDFH�UHTXLUHG��([WUHPHO\�ÀH[LEOHAvailable dates: Limited availability in 2013 and 2014For further booking details see page 56

21

PRESENTED AT

University Galleries at Florida Atlantic University Boca Raton, Florida November 13, 2010–January 22, 2011

Museum of Contemporary Art, Tucson Tucson, Arizona October 22, 2011–December 18, 2011

The University Gallery, University of Massachusetts Lowell Lowell, Massachusetts January 23, 2012–February 17, 2012

Visual Arts Center, Boise State University Boise, Idaho March 7, 2012–March 28, 2012

McIntosh Gallery London, Ontario September 27, 2012–November 3, 2012

One Grand Gallery Portland, Oregon December 7, 2012–January 25, 2013

BLOUIN ARTINFO Canada’s Top 12 Shows of 2012!

WITH HIDDENNOISE

RAYMOND PETTIBON: THE PUNK YEARS, 1978–86Curated by David Platzker

RAYMOND PETTIBON: THE PUNK YEARS, 1978–86 tapped 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 included 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.

THE PUNKYEARS

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'DYLG�3ODW]NHU�LV�WKH�GLUHFWRU�RI�6SHFL¿F�2EMHFW��DQ�innovative gallery, bookshop, and think tank dedicated to artists’ publications ranging from ephemeral materials to unique artworks produced between 1960 and 1990. Prior WR�IRXQGLQJ�6SHFL¿F�2EMHFW��3ODW]NHU�ZDV�WKH�H[HFXWLYH�GLUHFWRU�RI�3ULQWHG�0DWWHU��D�QRQ�SUR¿W�LQVWLWXWLRQ�dedicated to the promotion of artists’ publications from 1998 to 2004, and he has curated exhibitions of artists including John Baldessari, Peter Downsbrough, Dan Graham, Jonathan Monk, and Claes Oldenburg. He most recently curated “SCREW YOU.”, an exhibition about the intersection between 1960s tabloid pornography and the artworld.

DOCUMENTA 5HARALD SZEEMANN: DOCUMENTA 5 Curated by David Platzker

Even 40 years later, 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, the exhibition was the largest, most expensive and most diverse of any exhibition anywhere, and foreshadowed all large-scale, collaboratively curated, comprehensive mega-shows to come. HARALD SZEEMANN: DOCUMENTA 5, an EXHIBITION IN A BOX, explored the many facets of this particularly controversial Documenta exhibition, and included 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 provided 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 this particularly fertile cultural moment produced.

ICI EXHIBITIONS

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DOCUMENTA 5ICI EXHIBITIONS

IMAGE TRANSFER

IMAGE TRANSFER: PICTURES IN A REMIX CULTURECurated by Sara Krajewski, co-organized with the Henry Art Gallery

IMAGE TRANSFER: PICTURES IN A REMIX CULTURE highlighted 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 adopted and adapted 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 brought together artists who divert commonplace, even ubiquitous, visual materials into new territories of formal and idiomatic expression.


Sara Krajewski is Director of INOVA at the University of Wisconsin-Milwaukee. As Curator at the Henry Art Gallery from 2005-2012 she organized the group exhibitions The Violet Hour (2008) and 9LHZ¿QGHU (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 INCLUDED

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

PRESENTED AT

Henry Art Gallery Seattle, Washington October 2, 2010–January 23, 2011

Richard E. Peeler Art Center, DePauw University Greencastle, Indiana February 22, 2011–May 6, 2011

Center for Art, Design and Visual Culture Baltimore, Maryland October 6, 2011–December 10, 2011

Newcomb Art Gallery at Tulane University New Orleans, Louisiana August 15, 2012–October 15, 2012

Salina Art Center Salina, Kansas November 9, 2012–January 20, 2013

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Throughout its history, ICI has uniquely focused on developing experimental exhibitions that can travel across social, political, and cultural borders, responding to the urgencies of the moment through the topics of the shows. Since 2010, the program has expanded with new exhibition models that enable collaboration with emerging art centers around the world, as well as in recognition of the radically changing economies that are affecting LQVWLWXWLRQV�ROG�DQG�QHZ��7KHVH�DUH�JHQHUDWLYH��ÀH[LEOH�exhibitions, as well as projects with multiple curators WKDW�UHÀHFW�D�GLYHUVLW\�RI�SHUVSHFWLYHV�RQ�FRQWHPSRUDU\�art. In parallel ICI has created a platform across which curators working around the world can exchange ideas and communicate with wide audiences through discursive programs and curatorial workshops. In short, ICI’s programs have been created to respond to each context and audience as they grow and change.

7KH�&XUDWRULDO�+XE�#�7(03��D�QRQ�SUR¿W�DUW�VSDFH�LQ�Tribeca) is the most ambitious attempt at delving deeper into the local interests and activities of a selection of ICI’s collaborators. The exhibition introduced various projects including Matadero Madrid’s Archimobile, a traveling archive of over 100 artists all connected to the city of Madrid, which Curatorial Intensive alumna Andrea Hill activated by conceiving the New York presentation and commissioning a new work; CAC’s presentation of videos, sculptures, and photographs chronicling exhibitions that have happened in and around Vilnius within the past year; Videotage’s Hong Kong additions to Living as Form (The Nomadic Version) alongside a compilation of works from the Videotage Media Art Collection; and a representation of Raw Material Company’s past projects together with a resource center on Africa-related art practices. To encourage audiences to discover more about the various organizations a series of events were programmed that brought many of the

practitioners to New York. Events included a workshop ZLWK�6SDQLVK�DUWLVW�%XEL�&DQDO��D�VFUHHQLQJ�RI�D�¿OP�E\�/LWKXDQLDQ�DUWLVW�*HUGD�3DOLXã\Wơ��D�OHFWXUH�E\�9LGHRWDJH�director Ellen Pau; a book release for Spanish artist Avelino Sala; a roundtable discussion with Hong Kong video artists Lo Chun Yip, Linda Lai, and Cheng Yee Man; a lecture by Raw Material Company founder and director Koyo Kouoh; and a multi-disciplinary panel discussion moderated by Spanish artist Laura Gibellini.

CURATORIAL HUB AT TEMP

ICI EXHIBITIONS

From December 2012 through January 2013 the first exhibition in a new series in-tended to showcase ICI’s growing international network of collaborators took place in New York. Four organizations—Matadero Madrid; Videotage, Hong Kong; Contemporary Art Centre (CAC), Vilnius; and Raw Material Company, Dakar—were invited to present artists’ projects, research programs, and archives that reflect the mission and spirit of each organization, none of which have been profiled before in New York.

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25CURATORIAL HUB AT TEMP

RELATED EVENTS INCLUDED

December 8, 2012 Bubi Canal Photography Workshop Bubi Canal, an artist represented in the Archimobile, organized a workshop introducing the creation of photo images, working with a live model, props, and costumes. December 11, 2012 6FUHHQLQJ�RI�*HUGD�3DOLXã\Wơ¶V�Evening with Doctor Sheppard, 2012 Organized by Inesa Pavlovskaite in conjunction with the presentation of CAC, Vilnius December 16, 2012 Concert with Ed Askew and the band,QYLWHG�E\�0DULMD�2OãDXVNDLWơ�DV�D�SDUW�RI�WKH�SUHVHQWDWLRQ�of CAC, Vilnius January 15, 2013 Film Screening and Conversation with Ellen Pau Co-founder and artistic director of Videotage, Ellen Pau, presented some of Videotage’s past projects, and discussed the recent Hong Kong presentation of Living as Form (The Nomadic Version). January 17, 2013 Panel Discussion: Art and Crisis A panel discussion on the occasion of the book release for INPUT #5: Blockhouse (Winter 2013), curated by Avelino Sala, an artist represented in the Archimobile. Panel participants included Renée Vara, David Maroto, Imma Prieto, and Avelino Sala. January 24, 2013 Videotage Artists Roundtable Moderated by independent curator Nevena Ivanova, the roundtable included presentations by Hong Kong artists Lo Chun Yip, Linda Lai, and Cheng Yee Man. January 26, 2013 Koyo Kouoh, Curator’s Perspective at the New Museum Founder and artistic director of Raw Material Company, Koyo Kouoh, discussed new spaces, new climates, new languages of negotiations in the landscape of Contemporary art in Africa. January 27, 2013 Panel Discussion: Constructing a Place This conversation addressed such issues as the overlap between projection, practice, and representation. The panelists included Barbara Adams, Mary Di Lucia, Maria Iñigo Clavo, Steven Henry Madoff, Timon McPhearson, Lize Mogel, Ernesto Pujol, and Damon Rich—fundamental representatives of a variety of disciplines such as writing, ecology, sociology, poetry, performance, art, and cartography. The event was moderated by Laura F. Gibellini, an artist represented in the Archimobile.

ICI Curatorial Hub at TEMP is made possible in part by grants from the $XFKLQFORVV�)RXQGDWLRQ��WKH�+DUW¿HOG�)RXQGDWLRQ��DQG�6SDLQ�&XOWXUH�1HZ�York-Consulate General of Spain: member of the network Spain Arts & Culture, and by contributions from the supporters of the ICI Access Fund, and ICI’s Board of Trustees

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26 PUBLIC PROGRAMS & RESEARCH


THE CURATORIAL INTENSIVE: NEW YORK 2013

ICI’s Curatorial Intensive program was established in 2010 as the world’s first short-course, low-cost training program for curators. Intended to bring working professionals together to gain new skills and perspectives on pragmatic aspects of curating, as well as to increase dialogue in curatorial ideas, the Intensive supports early- to mid-career curators working independently or institutionally in emerging and established art centers around the world. Two programs are held in New York every year, and others are developed in collaboration with partners around the world.

The Curatorial Intensive consists of a ten-day schedule of seminars, workshops, advisement meetings, and site visits developed by ICI and taught by leading curators, artists, critics, and directors. Participants apply with an exhibition proposal they want to workshop through the program, the outcomes of which are then presented to a public audience on the last day. Through their intensive engagement with each other during the sessions, participants realize opportunities for developing new collaborations and networks.

SUMMER CURATORIAL INTENSIVE 2013

Program Dates: July 21–30, 2013Application Deadline: May 16, 2013

The summer Curatorial Intensive will continue to focus on WKH�SURFHVV�RI�GHYHORSLQJ�DQG�UH¿QLQJ�H[KLELWLRQ�LGHDV�into full proposals. A group of 14 curators will be selected to take part in a workshop that will include seminars, individual advising sessions with leading professionals, site visits to museums and galleries, and studio visits. At the end of the program, participants will present their exhibition proposals in a day-long symposium at the ICI Curatorial Hub on July 30, 2013.

FEES AND SCHOLARSHIPS

The program fee is $1,900. Participants are responsible for their own 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.

SUPPORT

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 +DUW¿HOG�)RXQGDWLRQ��DQG�WKH�0LOWRQ�DQG�6DOO\�$YHU\�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.

For more information on the instructors, advisors, and schdule as well as past Curatorial Intensives, visit ICI’s website, www.curatorsintl.org or contact Misa Jeffereis at [email protected].

27THE CURATORIAL INTENSIVE

REPORT FALL 2012: CURATING BEYOND EXHIBITION MAKING

Program Dates: October 21–30, 2012Fifteen curators from Canada, Germany, Australia, the 8�.��6LQJDSRUH��6ORYHQLD��3DNLVWDQ��DQG�¿YH�8�6��VWDWHV�were selected from an open call for applications to take part in the Curatorial Intensive from October 21–30 in New York.

The Curatorial Intensive: Curating Beyond Exhibition-0DNLQJ�ZDV�WKH�¿UVW�VKRUW�FRXUVH�WR�RIIHU�WUDLQLQJ�WR�curators on the concepts and logistics of organizing public events, workshops, and other discursive program formats. The group discussed 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 were conversations concerning audiences and publics, and the consideration of time and space in relation to programming.

ICI is continuing to work with each of the Curatorial ,QWHQVLYH�SDUWLFLSDQWV�ORQJ�GLVWDQFH�WR�¿QDOL]H�WKHLU�proposals for publication on ICI’s website.

INSTRUCTORS AND ADVISORS

Luis Camnitzer (artist), Pablo Helguera (Director of Adult and Academic Programs, MoMA), Sarah Hromack (Head of Digital Media, Whitney Museum of American Art), Anthony Huberman (Director, The Artist’s Institute), Brian Kuan Wood��(GLWRU��H�ÀX[�MRXUQDO��Carin Kuoni (Director, Vera List Center for Art and Politics, New School), Chus Martinez (Chief Curator, El Museo del Barrio), 6LQD�1DMD¿ (Editor-in-Chief, Cabinet Magazine), Sofía Olascoaga (independent curator and educator), and Sally Tallant (Artistic Director, Liverpool Biennial)

This Intensive was developed in collaboration with Dominic Willsdon (Leanne and George Roberts Curator of Education and Public Programs, SF MoMA).

The level of discussions and their sophisticated nature ZDV�H[FLWLQJ��7KH�JXHVW�VSHDNHUV�DQG�RXU�¿HOG�WULSV�DOVR�substantially expanded my notion of “curating beyond.” The Curatorial Intensive has allowed me to articulate my practice from diferent dimensions, points of view, and potentials. — Fatos Ustek, Fall 2012 New York

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THE CURATORIAL INTENSIVE: INTERNATIONAL PROGRAMS

In 2012 pilot partnerships began with Instituto Inhotim in Minas Gerais, Brazil and the Ullens Center for Contemporary Art in Beijing, China. This season ICI is launching six new international Curatorial Intensives taking place in South Africa, Northern Ireland, Argentina, Turkey, Colombia, and Tokyo.

In 2013 ICI is embarking on new collaborations with the Triangle Art Network and the Bag Factory Artists’ Studios to create an Intensive in Johannesburg for curators working across Africa. Working with MACBA in Buenos Aires and the Instituto Distral de las Artes in Bogotá, ICI is developing versions of the program that will be conducted completely in Spanish; and with the Mori Art Museum in Tokyo and CCA in Londonderry, ICI will create themed Intensives that allow for more specialist subjects to be explored. For example, in Japan the Intensive will focus on what “Asia” means for art practice in an increasingly fractured region, and in Londonderry the program focuses on what curating can produce in SODFHV�WKDW�DUH�LQ�FRQÀLFW��7KH�¿UVW�RQOLQH�YHUVLRQ�RI�WKH�Intensive is currently being developed in collaboration with the SAHA Foundation to culminate in a meeting of the participants at the Istanbul Biennial in September.

Contemporary Curatorial Practice in JohannesburgProgram Dates: March 7–12, 2013

Developed in collaboration with the Bag Factory Artists’ Studios, the Curatorial Intensive: Contemporary Curatorial Practice will examine the pragmatics of RUJDQL]LQJ�H[KLELWLRQV�ZKLOH�DGGUHVVLQJ�WKH�VSHFL¿FLWLHV�RI�curating in the African context. This week-long course will focus on exhibition development—from building working relationships with artists to the theoretical aspects of understanding how to turn a concept into a project—and explore key curatorial strategies for working in a range of exhibition spaces.

5HÀHFWLQJ�WKH�SRWHQWLDO�IRU�EXLOGLQJ�D�3DQ�$IULFDQ�curatorial network, this Intensive is targeted toward self-motivated individuals—working independently or LQ�LQVWLWXWLRQV�LQ�$IULFD²ZKR�ZRXOG�EHQH¿W�IURP�D�ZHHN�of conversations around the issues and questions that regularly arise for curators.


Zdenka Badovinac (Director of Moderna Galerija/Museum of Modern Art, Ljubljana), Koyo Kouoh (Artistic Director of RAW MATERIAL COMPANY, Dakar), Michelle Marxuach (Co-founder and Co-director of Betalocal, San Juan), Riason Naidoo (Director of South African National Gallery, Cape Town), Gabi Ngcobo (Creative Director of the Center for Historical Reenactments, Johannesburg), Nontobeko Ntombela (Johannesburg-based curator), and Didier Schaub (Co-founder of Doual’art, Douala), among others.

ABOUT THE BAG FACTORY

The Bag Factory, more formally known as the Fordsburg $UWLVWV¶�6WXGLRV��LV�D�QRQ�SUR¿W�RUJDQL]DWLRQ�HVWDEOLVKHG�in Johannesburg in 1991 to initially provide studio space for South African visual artists. The Bag Factory works to promote and develop the visual arts through its provision of subsidized studio space, professional skills development programs, and its visiting artists residency program. In 2013, the Bag Factory is working to deal with the distinct lack of curatorial experience within the country.

PUBLIC PROGRAMS & RESEARCH

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29THE CURATORIAL INTENSIVE: INTERNATIONAL PROGRAMS

)URP�³2I¿FLDO�+LVWRU\´�WR�8QGHUUHSUHVHQWHG�Narratives in Derry~LondonderryProgram Dates: May 19–25, 2013

Developed in collaboration with Centre for Contemporary $UW��&&$��'HUU\a/RQGRQGHUU\��WKLV�LQWHQVLYH��WKH�¿UVW�one to take place in Europe, will examine the role of cultural production in addressing geopolitical landscapes and recent histories. The week-long program will take the concepts of narrative and memory as the theoretical DQG�SRHWLF�XQGHUSLQQLQJ�WR�UHÀHFW�XSRQ�UHFHQW�VRFLDO�GHYHORSPHQWV�LQ�VSHFL¿F�JHRJUDSKLHV��ZKLOH�TXHVWLRQLQJ�the ability of art and exhibition making to act as catalyst for change.

)URP�³2I¿FLDO�+LVWRU\´�WR�8QGHUUHSUHVHQWHG�1DUUDWLYHV will consider the tension between remembrance and forgetting, and the role of art and cultural institutions in creating a discourse of national identity and giving visibility to overlooked histories.


Miguel Amado (curator, Portuguese Pavilion, 55th Venice Biennale, 2013), Mai Abu ElDahab (independent curator), Annie Fletcher (Curator of Exhibitions at the Van Abbemuseum, Eindhoven, and tutor at De Appel, Amsterdam), Khwezi Gule (Chief Curator, Soweto Museums), Peter Jenkinson (independent cultural EURNHU�DQG�&R�'LUHFWRU��&XOWXUH�&RQÀLFW��Teresa Margolles (artist), and Paul Ramírez Jonas (artist and Assistant Professor, Hunter College, New York), among others.

ABOUT CENTRE FOR CONTEMPORARY ART (CCA) DERRY~LONDONDERRY

Centre for Contemporary Art Derry~Londonderry fosters a wide range of artistic, curatorial, and critical practices WKURXJK�¿YH�FROODERUDWLYH�DQG�SURFHVV�GULYHQ�VWUHDPV��research and production, exhibition-making, public programs, publishing, and residencies. Embedded in the Cathedral Quarter within the historic city walls, CCA connects the region with itself and the rest of the world.

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ALUMNI UPDATES

After THE CURATORIAL INTENSIVE program, ICI remains in contact with alumni through the Curator’s Network and a bi-monthly newsletter. In the last 2 years, a number of participants have successfully realized their exhibition proposals developed through the course.

The most recent are: Meaghan Kent (NY Summer, 2012) presented John James Anderson: City Limits at site95 at Locust Projects, 0LDPL��ZKLFK�IRFXVHG�RQ�WKH�LQÀXHQFH�RI�WKH�XUEDQ�environment on contemporary practices. Considering DQG�TXHVWLRQLQJ�VLWH�VSHFL¿FLW\��DUWLVWV�LQ�HDFK�H[KLELWLRQ�presented ideas that are progressive, reactionary, and often poetic with regards to their own urban environment.

Fatos Ustek’s (NY Fall, 2012) An Opera in Five Acts was shown at David Roberts Art Foundation, London in 2012. The project was formulated out of the idea of a group of creators activating an art collection in an exhibition that is mobile and continuously changing by creating an “opera.” Ustek worked with a group of art professionals with H[SHULHQFH�LQ�WHPSRUDO�FUHDWLRQ��WKHDWHU��¿OP��VRXQG��ZLWK�the explicit intention of moving art closer to the everyday experiences of the audience.

Tiago de Abreu Pinto (NY Summer, 2012) realized his Curatorial Intensive project, 7KLV�GLDORJXH�LV�¿QH�EXW�D�decision is always an alone act. Concepts are never perfect, complete or exhausted. I want to make that ÀHHWLQJ�PRPHQW�SHUPDQHQW�VRPHKRZ��³<RXU�HUURUV�DUH�your key”. She made me believe in not linear projects, in parallel or secondary structures, in error and failure as a starting point. Sorry I’ve just realized I’m thinking about a different work. at Noestudio in Madrid, 2012. The exhibition emerged from dialogues between the artists in the show and the curator, which were recorded to create a digital and natural memory of its participants.

Sofía Olascoaga’s (Inhotim, 2012) research project Between Utopia and Failure received the 2012 CDA Projects Grant for Artistic Research and Production. Her project was selected out of 450 applications by a jury formed by Chus Martínez, Emily Jacir, Sofía Hernández &KRQJ�&X\��DQG�ø]�g]WDW��2ODVFRDJD¶V�SURMHFW�WUDFHV�WKH�ZRUN�DQG�LQÀXHQFH�RI�UDGLFDO�WKLQNHU�,YDQ�,OOLFK�DQG�WKH�intellectual community he started in Cuernavaca, Mexico, as part of his Centro Intercultural de Documentación (CIDOC), founded in 1961, and which served as a space

for activists and academics from different parts of the world to gather during its 15 years of existence.

Maayan Sheleff (NY Fall, 2010) was invited to guest curate the Yebisu International Festival for Art & Alternative Visions in Tokyo. She curated a compilation of works by artists from Israel, who constructed subjective views of a complex political reality.

ALUMNI AT ICI’S CURATORIAL HUB

In 2012, ICI hosted 28 free events in the Curatorial Hub, all open to the public, 6 of which were organized by Curatorial Intensive alumni. ICI seeks to stay connected and support its alumni from all over the world by offering a platform in New York to share ideas and knowledge.

Legacy Russell (U.S.), Fall 2010'HDG�/HWWHU�2I¿FH�+RXUVFriday, February 10, 2012MAD-LIB[RARY]Tuesday, April 9, 2012

Maayan Sheleff (Israel), Fall 2010The AgencySaturday, June 30, 2012

Jordan Stein (U.S.), Summer 2010Untitled (Joanne [Ha]Rruff)Thursday, July 26, 2012

Michele Horrigan (Ireland), Fall 2010Askeaton Contemporary Arts: Book LaunchThursday, October 4, 2012

Sumesh Sharma (India), Mumbai 2010Film ScreeningThursday, October 24, 2012

Adnan Yildiz (Germany), Fall 2011Audience, Time and SpaceWednesday, January 16, 2013

31ALUMNI UPDATES

ALUMNI UPDATES

ALUMNI/ICI COLLABORATIONS

Recognizing the long-term importance of the alumni as the future generation of collaborators for exhibitions, events, research initiatives and other programs around the world, ICI has begun to invite some of the Curatorial Intensive alumni to collaborate on programs. For example, Sarah Rifky from Egypt wrote the catalogue HVVD\�IRU�WKH�¿UVW�YROXPH�RI�Project 35; Özge Erzoy from Turkey, Veronica Cordeiro from Uruguay, Adnan Yildiz from Turkey/Germany, Wei Fang from Hawaii, David Ayala Alfonzo from Colombia, and Oyinda Fakeye from Nigeria were invited to collaborate on aspects of Project 35 and FAX; and Margaret Winslow is working with ICI to present Performance Now at the Delaware Museum of Art. Alumna Andrea Hill curated the Matadero Madrid FRPSRQHQW�DW�7(03��6R¿D�2ODVFRDJD�WDXJKW�LQ�WKH��fall Intensive, sharing her experience on educational models in Mexico City; Paula Silva from Tasmania spent four months at ICI as a Curatorial Research Fellow; and Steven L. Bridges from Chicago authored the September issue of DISPATCH.

CURATORIAL INTENSIVE ALUMNI RESEARCH AWARDS

In 2012 ICI partnered with SAHA and The Dedalus Foundation to offer awards for Curatorial Intensive alumni in order to encourage the development of collaborative projects and a stronger network for exchange. The awards help facilitate curatorial research projects proposed by 2 alumni working together. The research must have a public component, and awardees will post intermittent updates on their project on ICI’s online research platform.

7KH�¿UVW�6$+$�DZDUG�RI��ZDV�LQWHQGHG�IRU�DOXPQL�whose project involves a Turkish curator or artist, or whose research would take place in Turkey. Övül 'XUPXúR÷OX and Mari Spirito were selected with the project $QFLHQW�:RUNV��$VDU�Õ�$WLND, a one-week research project at the Museum of Anatolian Civilizations, Ankara, with artists Rossella Biscotti, Nilbar Güres, and Akram Zaatari.

The Dedalus Foundation award of $4,000 was intended for alumni whose project involves a U.S. curator or artist, or whose research will take place in the U.S. The 2012 winners were 0DMD�ûLULü and David Ayala Alfonso, who both participated in the Curatorial Intensive in New York in fall 2010, and whose project involves doing research into experimental exhibition practices in the U.S. from Lucy R. Lippard and Seth Siegelaub onwards.

Visit ICI’s website, www.curatorsintl.org, for more information about the Awards, the winners, and their project proposals.

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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 on art and cultural activities in Central America and the Caribbean. Pablo León de la Barra was the inaugural recipient of the CPPC Travel Award, given in honor of curator Virginia Pérez-Ratton, founder of the art space, library, and foundation TEOR/éTica in Costa Rica.

RESEARCH FELLOWSHIPS


)URP�3DEOR�/HyQ�GH�OD�%DUUD¶V�¿QDO�UHSRUWIn Managua I was doing research around Ernesto Cardenal and Solentiname. Juanita Bermudez, who organizes the Nicaragua Biennal, helped me organize my visit and appointments. Through her I was able to visit Cardenal, now 87, the poet and ex-priest who founded the community of Solentiname in the archipelago of islands of the same name in Lake Managua near to the border with Costa Rica. The community, which existed from 1965 until 1977 when it was destroyed by the Somoza regime, created a social and artistic utopia where, through art and liberation theology, social revolution was possible. Primitive painting, taught by members of the community, became a way of expression, economic support, and lifestyle for the poor peasants who lived in the archipelago. Rereading and discussing the Bible became a way for community participation and emancipation from the regime. Art and liberation theology became the tools for creating this revolution. At the same time, Cardenal created his own abstract/realistic/nature wood sculptures as a way of representing this earthly paradise. After the triumph of the Revolution, Cardenal, who became Minister of Culture, applied some of the ideas which were put in practice in Solentiname, within Nicaragua, including writing and painting workshops, artists working with communities in the creation of handicrafts, and poetry marathons.

COUNTRIES VISITIED

Costa Rica, Nicaragua, El Salvador, Honduras, and Guatemala

ABOUT THE 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/.

FUTURE PLANS

Hopefully the exhibition on Cardenal/Solentiname can happen in the near future in New York or elsewhere. Another exhibition regarding the relationship of foreign artists with Central America is also planned at Proyectos Ultravioleta in Guatemala, and will probably include works by artists who were related to the region during the 1970s and 1980s. This would include Alighiero Boetti’s photographs in Guatemala, Juan Downey’s Video TransAmerica in Guatemala and his pass through Central America, Felipe Ehrenberg’s mimeographic booklets for the production of self-made publications done in Nicaragua in the 1970s, David Lamelas’s “The Dictator ¿OP�´�DV�ZHOO�DV�GRFXPHQWDWLRQ�RI�*URXS�0DWHULDO¶V�exhibitions regarding Central America. —Pablo León de la Barra

33

MAPPING CENTRAL AMERICA AND THE CARIBBEAN

As part of ICI’s collaboration with the Colección Patricia Phelps de Cisneros to create research opportunities in Central America and the Caribbean, ICI launched a resource platform that offers information on institutions, archives, museums, collections, and other relevant activities constituting Central America and the Caribbean’s contemporary art scene, including independent initiatives, biennials, and private foundations. This was initially developed by Sofía 2ODVFRDJD��,&,¶V�¿UVW�&XUDWRULDO�5HVHDUFK�)HOORZ��5HÀHFWLQJ�WKH�HYROYLQJ�ODQGVFDSH�RI�WKH�DUW�VFHQH��WKH�resource will be updated as new information becomes available.

Thanks to the artists and curators who have helped to shape and enrich the project to date: David Ayala Alfonso, Magali Arriola, Stefan Benchoam, Tamara Díaz Bringas, Rosina Cazali, Santiago Olmo, María Inés Rodríguez, and Paola Santoscoy.

COUNTRIES REPRESENTED INCLUDE Belize, Guatemala, Nicaragua, Costa Rica, Honduras, Panama, El Salvador, Cuba, Haiti, the Dominican Republic, Guadeloupe, Trinidad and Tobago, Puerto Rico, Aruba, and Colombia (Caribbean region)

For more information on Pablo León de la Barra’s research and on the Mapping Central America and the Caribbean platform, visit ICI’s website, www.curatorsintl.org.


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FELLOWSHIP PROGRAM: L’INSTITUT FRANÇAIS AND THE CULTURAL SERVICES OF THE FRENCH EMBASSY From an open submission, ICI selected Muriel Enjalran as the first Fellow in this program. Enjalran is an independent curator and writer who 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 regularly curates for L’appartement 22, an independent art space in Rabat.



From Enjalran’s research essay

We speak today of a potent return to the politics within art, but what do we mean in saying this? If every artistic HYHQW�LV�SROLWLFDO�LQ�LWV�SXEOLF�SUHVHQWDWLRQ�DV�DI¿UPHG�E\�artist Joseph Beuys with his concept of “Social plastic,” WKHQ�KDYH�WKHVH�WZR�¿HOGV�HYHU�EHHQ�DXWRQRPRXV"

Enjalran’s full essay is now availalble. Please check ICI’s website, www.curatorsintl.org.

2Q�KHU�¿UVW�WULS�IURP�3DULV��(QMDOUDQ�SDUWLFLSDWHG�LQ�,&,¶V�Curatorial Intensive, where she met with a number of New York art professionals and artists. Her second trip was dedicated to further investigating artists who engage with the public sphere and exploring the relationship between art and politics beyond conventional practices. This led to a project engaging the works and activities of Justine Triet, Ângela Ferreira, and Caetano Dias (artists residing across various continents) as a departure point IRU�LQWHUURJDWLQJ�KRZ�WKHLU�ZRUNV�DWWHPSW�WR�UHGH¿QH�DHVWKHWLFV��WKHUHE\�UHGH¿QLQJ�DUW�DQG�SROLWLFV�ZKLOH�engaging with the social.

The past two years have shown tremendous international popular uprisings from New York to Cairo to Athens. As art continues to engage with the political and provide a vehicle for expression, the traditional artwork has been augmented by art as a process, contributing increasingly to an aestheticization of politics. New York offers a space to witness theory in action alongside a myriad of contemporary art spaces and cultural institutions. As her research in New York progresses through studio visits,

lectures, academic studies, and professional networking, Muriel Enjalran’s writing will continue to unearth international artists and practices working against the grain of standardizing the relationship between art and politics.

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 ,QWHUQDWLRQDO�%LHQQDOH��LQ��DQG�WKH�¿UVW�HGLWLRQ�RI�the Biennale de Belleville, Paris, in 2011. She regularly contributes essays and reviews to publications such as Particules, Mag’Art, and Paris Art.

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.

See page 43 for details about an upcoming event with Muriel Enjalran in the ICI Curatorial Hub

35

UPCOMING FELLOWSHIP

ICI announces Miguel Amado as a 2013 Curatorial FellowFebruary 1–December 15, 2013

As an ICI Curatorial Research Fellow, curator and critic Miguel Amado will develop and share knowledge about African contemporary art, including both North and Sub-Saharan Africa and the Diaspora, in order to enhance curatorial expertise about the region and increase awareness of African contemporary art practices in transnational platforms and circuits. His research will examine the effect of postcolonial thought on the reception of the practices of African artists in Western institutions in general and European institutions in particular.

Amado’s research will primarily focus on Portuguese-speaking countries in Africa, including Angola and 0R]DPELTXH��DV�3RUWXJDO�ZDV�WKH�¿UVW�DQG�ODVW�FRORQL]LQJ�European power in Africa. These countries are seeing the growth of institutions and markets that constitute an art scene. This research will include trips to Luanda (Angola) and Maputo (Mozambique), where Amado will assemble documentation about artists, exhibitions, and histories, creating a series of reports to be disseminated through articles in magazines and websites. He will conduct interviews with key artists and curators; create portfolios of artists; compile images of studios, schools, museums, DQG�QRQSUR¿W�DQG�FRPPHUFLDO�JDOOHULHV��DQG�ZULWH�DERXW�crucial institutions and individuals. Updates will be posted on ICI’s website, and a public program on his research will be held at the Curatorial Hub in New York City.

ABOUT THE FELLOW

Miguel Amado is curator of the Portuguese Pavilion for the 55th Venice Biennale (2013). He has been a curator at Tate St. Ives, the PLMJ Foundation in Lisbon, and the Centro de Artes Visuais in Coimbra, Portugal. Amado has curated projects in New York for Rhizome at the New Museum, the Abrons Arts Center, and the International Studio and Curatorial Program. He

has been a guest curator at the Museu Colecção Berardo in Lisbon and apexart in New York, and for programs such as Frieze Projects at Frieze Art Fair in London and No Soul For Sale – A Festival of Independents at the X Initiative in New York and Tate Modern in London. Amado’s critical writing has been published in Artforum. He is an auditor at the PhD Curatorial/Knowledge program at Goldsmiths College, University of London, and a graduate of the MA Curating Contemporary Art at the Royal College of Art, London. He is a board member of IKT.


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THINKINGCURATING

“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


Thinking Contemporary Curating LV�WKH�¿UVW�HYHU�ERRN�length study by a single author to offer an in-depth analysis of the volatile territory of international curatorial practice and the thinking—or insight—that underpins it. Thinking Contemporary Curating�LV�WKH�¿UVW�LQ�D�QHZ�series of ICI publications, Perspectives in Curating to provide sustained analysis on topics that are pressing for curators now.

Since September 2012, ICI has organized 8 public events presented in New York City and around the country with Terry Smith in conversation with leading curators, ZKR�GLVFXVVHG�DQG�UHÀHFWHG�RQ�WKH�LGHDV�LQ�Thinking Contemporary Curating.

EVENTS INCLUDED

Thinking Contemporary Curating Book LaunchSeptember 18, 2012New York University, Department of Art History

Conversation with Sofía Hernández Chong Cuy, Curator, Colección Patricia Phelps de CisnerosSeptember 30, 2012MoMA PS1, New York Art Book Fair

In this historical shift that you outline, ‘now’ is a key term for the contemporary, just like ‘new’ was for the modern. We could say that the modern was concerned with creating projects, while the contemporary is preoccupied with manifesting states of being. I think that your book works under the thesis that curating is contemporary when it innovates––that is, when the exhibition formats are as innovative and responsive as the artistic practices that are being dealt with.

There are many different ways in which performance art and curating contemporary performance are addressed in the book: from the 1960s with a project that Palle Nielsen did with Moderna Museet, Stockholm, to the 2012 Whitney Biennial. You show that contemporary innovation has to do with the design of the exhibition so that there can be a temporal experience of it.—Sofía Hernández Chong Cuy

Conversation with artist Qiu Zhijie and curators Manray Hsu and Hongjohn LinOctober 12, 20129th Shanghai Biennale

Conversation with Carolyn Christov-Bakargiev, Artistic Director, dOCUMENTA(13)October 14, 2012New Museum, New York

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37THINKING CONTEMPORARY CURATING

We can read Thinking Contemporary Curating as a large-scale artwork that has enabled you to exhibit curatorial practice. In two hundred years from now, when someone like you looks back at our age, he or she will write a chapter called ‘The Curatorial Age,’ recognizing a time when no one could speak about art without acknowledging the curatorial presence. So, most probably, you are actually making art, with curatorial practice as the most topical material that you can use. This brings your work as an intellectual and researcher into relation with those artists––you mention them at a certain point in the book, Goshka Macuga, Liam Gillick, and so on––who are using the curatorial as material for their work.—Carolyn Christov-Bakargiev

Conversation with Jens Hoffmann, Director, Wattis Institute of Contemporary ArtOctober 23, 2012Wattis Institute for Contemporary Arts, California College of the Arts, San Francisco

Conversation with Mary Jane Jacob, Executive Director of Exhibitions, SAICNovember 18, 2012Museum of Contemporary Art, Chicago

Conversation with Claire Bishop, Associate Professor of Art History, the Graduate Center, CUNYDecember 9, 2012National Institute for Experimental ArtsCollege of Fine Arts, University of New South Wales, Sydney

Conversation with Julian Myers, Associate Professor, California College of the Arts, San FranciscoFebruary 16, 2013College Art Association Annual ConferenceHilton Hotel, New York

UPCOMING EVENTS

Conversation with Maria Lind, Director Tensta Konsthall, Sweden April 1, 2013ICI Curatorial Hub, closed-door session

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.

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), a book that examines and FDWHJRUL]HV�PXOWLSOH�GH¿QLWLRQV�RI�WKH�FRQWHPSRUDU\�LQ�DUW�

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PUBLICATIONSSince 1975 ICI has published over 100 titles, including high-quality and books on curating and art practice as well as catalogues to accompany traveling exhibitions. This season, the ICI Shop is featuring the bestselling THINKING CONTEMPORARY CURATING and the upcoming title DO IT: THE COMPENDIUM.


BESTSELLER

Thinking Contemporary CuratingBy 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.

Smith, an Australian art historian, productively historicizes the concept of ‘contemporaneity’ and charts the multitudinous activities and theoretical programs by which curators now seek to ‘become contemporary.’ Along the way, he argues that curatorial innovation requires the GHYHORSPHQW�RI�IRUPDWV�WKDW�DUH�µKLJKO\�VSHFL¿F�WR�this present’ and asserts that curators now must ‘unmask uncritical, unhistorical, art market ideas such as “the contemporary” and “Contemporary Art” and replace them with ideas that speak from our actual contemporaneity.’ I hope the rest of the series will offer similarly thoughtful potencies.—Sofía Hernández Chong Cuy, Artforum

The book inevitably shares some of [Pamela M.] Lee’s preoccupations with a globalized art and art world, though Smith favours the term ‘worldly’ (a notion also central to Carolyn Christov-Bakargiev’s dOCUMENTA13). This work, ‘the art of transnational transitionality’, is the kind that proliferates in biennials, ‘the major vehicles of contemporary art’; like [Paul] O’Neill, Smith is concerned that biennials are suffering from a crisis of overproduction DQG�VWUXFWXUDO�RVVL¿FDWLRQ��+H�LV�DOVR�YHU\�DOLYH�WR�KRZ�digital culture will affect institutions and exhibition-making in the future, and acknowledges (though doesn’t name) those under-the-radar proliferators who work online, in alternative spaces and temporary settings.—Sam Thorne, Frieze, January–February 2013

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39PUBLICATIONS

PUBLICATIONS NEW TITLE

do it: the compendiumBy Hans Ulrich ObristCo-published by Independent Curators International (ICI) and D.A.P. 2013. Softcover. 448 pages. ISBN: 978-1-938922-01-5. $35.00

Foreword and acknowledgement by Kate Fowle and Frances Wu

Giarratano; Introduction by Hans Ulrich Obrist; Essays by Bruce Altshuler, Hu Fang, Virginia Perez-Ratton, and Elizabeth Presa.

do it: the compendium includes essays contextualizing do it, a collection of artists’ instructions from past editions, DQG�QHZ�DUWLVWV¶�LQVWUXFWLRQV�FRPPLVVLRQHG�VSHFL¿FDOO\�for this book and 20th anniversary exhibition. The most comprehensive do it publication to date, this book will share instructions from 250 artists, 84 of which are newly published. The publication will be available beginning May 2013. Please check ICI’s website, www.curatorsintl.org, for information about placing an order and the upcoming launch and related events.

For more information on ICI’s publications, contact Mandy Sa at [email protected] or visit the ICI Shop for more titles at our website, www.curatorsintl.org. La

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CURATOR’S PERSPECTIVE

The CURATOR’S PERSPECTIVE is a free, itinerant public discussion series that ICI developed as a way for international curators to share their research and experiences with audiences in New York and the U.S. Through these talks, ICI has been able to assemble documentation and disseminate a wide variety of international perspectives on art today. This year six curators based in Dakar, Jakarta, Melbourne, Poland, Belgium, and Berlin will talk about what they are interested in at the moment, and what artists and ideas they think New York audiences should hear about.

UPCOMING EVENTS

Rifky EffendyThursday, April 18, 6:30–8pmThe New School, Wollman Hall65 West 11th Street New York, NY 10011

Rifky Effendy established and directed the 1st Bandung Biennale

in 2001, and in 2004 became a fellow of the New York-based Asia Cultural Council (ACC). In 2009, he co-founded the Jakarta Contemporary Ceramics Biennale. He is curator of the Indonesia Pavilion for the 55th Venice Biennale (2013).

This event is organized in collaboration with Vera List Center for Art and Politics.

Alexie Glass-Kantor Monday, June 17, 7–8:30pmVenue to be determinedCheck ICI’s website www.curatorsintl.org for updates

Alexie Glass-Kantor is based in Melbourne, where since 2006 she

has been the Director and Senior Curator of Gertrude Contemporary, one of Australia’s longest-running independent art spaces that houses galleries, sixteen artist’s studios, and an international exhibition and residency program.

Aneta SzylakThursday, September 5, 7–8:30pmSegal TheaterCUNY Graduate Center365 Fifth AvenueNew York, NY 10016

Aneta Szylak is a curator, writer, and the co-founder and current Director of Wyspa Institute of Art in Gdansk, Poland. Since 2010, Szylak has been Artistic Director of Alternativa, a series of exhibitions accompanied by numerous additional events, which seeks new directions for art and its social role. After co-founding and running the Laznia (Bathhouse) Centre for Contemporary Art (1998–2001), she continued her career as an independent curator and researcher. Since 2004, she has been responsible for programming Wyspa—the intellectual environment for contemporary visual culture—in the Gdansk Shipyard.

All events in the Curator’s Perspective series are free of charge and open to the public. For more information about upcoming events, visit ICI’s website, www.curatorsintl.org, or contact Misa Jeffereis at [email protected] or 212 254 8200 x126.

The Curator’s Perspective series has been made possible, in part, by grants from the Robert Sterling Clark Foundation and by generous contributions from the ICI Board of Trustees and ICI Access Fund.


41CURATOR’S PERSPECTIVE

CURATOR’S PERSPECTIVE: PAST PROGRAMS

Cuauhtémoc Medina

On December 17, 2012, Cuauhtémoc Medina, Mexico City-based curator and researcher at the Instituto de Investigaciones Esteticas at the National University of Mexico, spoke about his role as leading curator of Manifesta 9 in Limburg, Belgium.

In the summer of 2010, I was one of three shortlisted candidates competing for the position of curator of Manifesta 9. Exploring Genk and Limburg in search of a possible agenda for the organization of my project, I fell under the spell of the extraordinary texture of WKH�LQGXVWULDO�KLVWRU\�RI�WKH�FRDO¿HOG�UHJLRQ��1RW�RQO\�was I amazed at the visible traces of coal mining, the industry that had laid the foundation of the society and the territory, but in the slagheaps, city gardens, and also the people and their memories. I had a FKDQFH�WR�ZLWQHVV�D�VSHFL¿F�LQVWDQFH�RI�D�SHFXOLDU�cultural anxiety about the way mining’s past could be both preserved and overcome, retained and carried forward into the future.

Visiting former mine sites in Limburg and meeting the local organizations and individuals trying to preserve the memory and heritage of the Campine coal region made me feel the urgency to question the relationship between contemporary artistic practice and the consciousness of the historicity of capitalist modernization. The rift between the extraordinary energy of memory among the ex-miners and advocates of a culture of heritage, and the local establishment’s pursuit of a new economic and social destiny for Limburg made me acutely aware of the fragility of the relationship between the past and the present in the outlook and institutions of post-industrial societies.

Cuauhtémoc Medina holds a PhD in Art History and Theory from the 8QLYHUVLW\�RI�(VVH[��0HGLQD�ZDV�WKH�¿UVW�$VVRFLDWH�&XUDWRU�RI�/DWLQ�American Art Collections at Tate Modern in London.

Koyo Kouoh

On January 26, 2013, Koyo Kouoh, founder and artistic director of RAW MATERIAL COMPANY, Dakar, presented the history of arts advocacy in Africa from the late 1980s to early 2000s.

In Africa, most cultural institutions such as museums, and art galleries, archives, and art academies were established either by the colonial state or context of post-colonial nation building after the liberation movements of the 1950s to 60s. As a consequence, WKH�FXOWXUDO�¿HOG�KDV�RIWHQ�EHHQ�VKDSHG�DFFRUGLQJ�WR�nationalistic aesthetics and ideological concepts and policies.

Raw Material Company was born out of the necessity to create a space for knowledge sharing. The core motivation was to establish a space for alternative education and learning. It is a place that would provide access to contemporary artistic theory on the one hand, and also in return produce discourse, ideas, and practices with an emphasis on Africa and Africa-related matters, primarily, but also to a broader range of origins and intellectual schools. We are trying to create a space where one can engage with art in a political way, and not just in a decorative or entertainment way.

Another part of the program is about producing discourse. This is more of a program to build an intellectual capacity, in an environment where intellectualism is continuously neglected, is continuously treated as not important.

Koyo Kouoh is a Cameroonian-born independent exhibition-maker and cultural producer, who served as agent to Carolyn Christov-Barkagiev’s G2&80(17$��6KH�LV�FXUUHQWO\�ZRUNLQJ�RQ�WKH�¿UVW�FXUDWRULDO�VXUYH\�of seminal Senegalese artist Issa Samb, looking at process driven artistic practices in Africa from 1960’s to 80’s.

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CURATORIALHUB

In September 2011 ICI launched the CURATORIAL HUB in its new 2,500 square-foot 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 &XUDWRULDO�+XE�SURYLGHV�D�ÀH[LEOH�SURMHFW�VSDFH�IRU�WDONV��screenings, and training programs and also houses a library of periodicals and books from institutions all over the world. Events at the Hub are announced throughout the year; check ICI’s website, www.curatorsintl.org, for the latest program information.

UPCOMING EVENTS

Dana Levy: belonging/sThursday, March 14, 6:30–8pm

Dana Levy will launch her new artist’s book World Order, which was produced for her 2012 solo show at The &HQWHU�IRU�&RQWHPSRUDU\�$UWV��7HO�$YLY��7KLV�LV�WKH�¿UVW�LQ�a series of conversations at ICI initiated by curator and artist Naomi Lev, focusing on art and artists from Israel.

The New York Times Feminist Reading GroupA project by Jen Kennedy and Liz LindenWednesday, March 20, 6:30–8pm

The reading group will be dedicated to looking at the March 20, 2013 edition of The New York Times from a feminist perspective. The Curatorial Hub will be open to the public from 2pm as a reading room for those who want to arrive early to browse the newspaper before the evening session.

MAD-LIB[rary]with Limited Time OnlyThursday, April 4, 7–9pm Tuesday, August 13, 7–9pm

The MAD-LIB[rary] will be an opportunity for the public to participate in true Mad Lib fashion in a zany, surreal, Dada-inspired, and perhaps nonsensical assemblage extravaganza. MAD-LIB[rary] invites artists and writers—an explosive combination of luminaries and rising stars—to contribute limited edition material of their choice.

Constance Lewallen and Phong BuiMonday, April 8, 6:30–8pm

For the 3rd 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 Phong Bui, artist, curator, and publisher of the Brooklyn Rail magazine. They will discuss the particular contributions of the artists in the exhibition to Conceptual Art’s formative years.

Contemporary Artistic Languages from Central AmericaMonday, May 6, 6:30–8pm

Spanish curator Luisa Fuentes Guaza will present her interpretation of the existing map of contemporary artistic languages in Central America through a subjective selection of projects, interviews, and works. The text she is developing explores issues of “non-location” that arise with new ways of production, and the social and collaborative elements that are part of contemporary practice.

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CURATORIALHUB

Muriel EnjalranMonday, May 13, 6:30–8pm

ICI’s 2012 Curatorial Fellow, Muriel Enjalran, will speak about the current articulation of politics and aesthetics in relation to the renewal of forms of artists’ engagement in the public sphere; and will question the notion of autonomy in art and the distance produced by the work of art.

Dialogues in Contemporary Art: Take 5 with Erin Gleeson and Leeza AhmadyTuesday, May 14, 7–8:30pm

Leeza Ahmady and Erin Gleeson, co-curators of the Season of Cambodia Visual Art program, IN RESIDENCE, will discuss the curatorial process that brought together 10 Cambodian contemporary artists, 1 curator, 14 New York institutions, and numerous international scholars, critics, and curators for two months of residencies and public programs.

Full Dollar-Ecuador, Contemporary Art and Phantasmagoric PartnershipsThursday, June 6, 6:30-8pm

Hear a conversation—or a monologue—on dubious entities and contemporary art practices. X. Andrade, chairman-for-life of Full Dollar-Ecuador, discusses the transition from ethnographic research to art practice in a dialogue with projects such as the Homeless Museum (Filip Noterdaeme, Brooklyn), Fundacion Adopte a Un Escritor (Ruben Bonet, Mexico City), and Malagana (Rogelio Lopez Cuenca, Malaga).

Mnemosyne Atlas Book LaunchWednesday, June 12, 6:30-8pm

Navigating the memories of 65 participants, Freya Powell unveils moments of connection and disconnection and presents them in Mnemosyne Atlas, an intimate archive of the collective social memory of 2012. Divided into categories that chart a progression, the book queries the possibilities of collective memory.

Tamar Ettun: a nomadic body?Thursday, June 27, 6:30–8pm

Tamar Ettun will present ideas related to One Thing Leads to Another, a three-part performance-installation piece, in conversation with curator and artist Naomi Lev. This is the second in a series of conversations at ICI initiated by Lev, focusing on art and artists from Israel.

Pirate Press Issue LaunchThursday, August 29, 6:30-8pm

Pirate Press is a collaborative publication initiated by Christopher Rivera and Misa Jeffereis. The hybrid ‘zine/artist’s book functions as a platform for new ideas and creative expression. The team selects art-related professionals working in various media—drawing, photography, poetry/writing, and music—to create a focused project, a new commission. Each issue concentrates on a relevant theme in contemporary art, inspecting it from a number of different angles.

Check ICI’s website for updates on all Hub events, www.curatorsintl.org.

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LOOKING BACK: 1993

1993 saw crucial developments and realignments in the realm of art and politics in the U.S. and internationally. From the changes in the funding structures for culture in the U.S.—which were prompted by a decade of Culture Wars and altered the landscape of public and private support in a profound way that has since paved the way for similar shifts in many countries—to the preeminence of identity politics and a renewed relationship between artists and society; from the impact of the collapse of existing socialism post-1989, to the emergence of a global free-market philosophy, and their impact on artistic and curatorial practice.

Looking Back: 1993 is a series of conversations investigating the major exhibitions and art practices that GH¿QHG��

Claire BishopWednesday, January 23, 6:30–8pmICI Curatorial Hub

The conversation with Renaud Proch focused on SURMHFWV�DQG�SUDFWLFHV�ZKLFK�UHGH¿QHG�WKH�UROH�RI�DUW�in society in ways that still resonate today from Culture in Action to Sonsbeek 93. It also offered the historical and international perspectives to better understand this emblematic year.

Hans Ulrich Obrist and Massimiliano GioniSaturday, February 23, 3–4:30pm New Museum

In 1993, curator Hans Ulrich Obrist started do it, an exhibition in progress that is now 20 years old. This conversation explored the project’s beginnings, its iterations and its repercussions in the context of the cultural and political developments of the early 1990s.

Obrist spoke with Massimiliano Gioni, Associate Director and Director of Exhibitions at the New Museum, and Kate Fowle, Executive Director of ICI.

Hans Haacke and Irving SandlerSaturday, March 23, 3–4:30pm New Museum

Irving Sandler and Hans Haacke will be in conversation about Haacke’s art practice, including his groundbreaking German Pavilion at the 1993 Venice Biennale. The discussion will look back and forward from this point, giving a fresh perspective on Haacke’s practice.

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LOOKING BACK: 1993

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 325 members from over 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 third 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.

MEMBERSHIP INVOLVEMENT

�� 2QFH�\RX�KDYH�MRLQHG�WKH�&XUDWRU¶V�1HWZRUN��become part of our group on LinkedIn for even more professional networking opportunities and to post your own projects and announcements;

�� <RX�ZLOO�UHFHLYH�D�EL�PRQWKO\�QHZVOHWWHU��GLUHFWLQJ�you to important information, opportunities, texts and articles, as well as exclusive offers from ICI;

�� <RX�ZLOO�JDLQ�DFFHVV�WR�,&,¶V�RQOLQH�5HDGLQJ�5RRP�that houses rare and relevant texts on contemporary curating;

�� <RX�ZLOO�KDYH�DFFHVV�WR�D�GHGLFDWHG�VHFWLRQ�RQ�WKH�Network portal on the website and the newsletter to place announcements on your projects, exhibitions, open calls, etc.

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 ¿HOG�DW�WKH�WLPH�LQFOXGLQJ�/\QQH�

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 MXVW�RYHU�WHQ�\HDUV�DJR�ZKHQ�WKH�ERRN�¿UVW�FDPH�RXW�there was one Curatorial Studies Masters program in the 8QLWHG�6WDWHV��¿YH�ZRUOGZLGH��DQG�EDUHO\�VL[�SXEOLFDWLRQV�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 Anton Vidokle, Robert Storr, Nancy Spector, and Hans Ulrich Obrist. For more information, contact Mandy Sa at [email protected].

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.

NETWORK & ACCESS

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LIMITEDEDITIONS

On the occasion of the 20th anniversary of DO IT, the longest-running and most far-reaching exhibition in the world, Hans Ulrich Obrist and ICI are publishing DO IT: THE COMPENDIUM and launching the anniversary do it exhibition in Spring/Summer 2013. To support the project, ICI and Hans Ulrich Obrist have commissioned DO IT artists Marina Abramovic, Stephen J. Kaltenbach, and Rirkrit Tiravanija to create exclusive limited edition artwork inspired by the spirit of the new exhibition.

0DULQD�$EUDPRYLü Untitled, 2012 do it catalogue (1997 edition), custom made embroidered apron, wooden box 15 x 15 inches Edition of 20 + 5APs $5,000

0DULQD�$EUDPRYLü�created the work (recipe) Spirit Cooking in 1997, which was then included in do it (museum), published by ICI and curated by Hans 8OULFK�2EULVW��$EUDPRYLü¶V��,&,�/LPLWHG�(GLWLRQ�DUW�ZRUN�FRQVLVWV�RI�WKH�LPSRVVLEO\�KDUG�WR�¿QG��GR�It catalogue, as well as a custom created apron and a placard which reads: Please dress yourself in the apron, open the book, and begin to realize the artist’s LQVWUXFWLRQ�RI�\RXU�FKRLFH��$EUDPRYLü¶V�QHZ�DQG�YLEUDQW�interpretation of the original work invites the viewer to engage in the dynamic and performative artistic act which she is widely known for.

0DULQD�$EUDPRYLü�ZDV�ERUQ�LQ��LQ�<XJRVODYLD��,Q�2010, the artist was the subject of a major retrospective

at the Museum of Modern Art, which traveled to the Garage Center for Contemporary Culture in Russia. She was also the subject of visionary director Robert Wilson’s, 7KH�/LIH�DQG�'HDWK�RI�0DULQD�$EUDPRYLü, the critically DFFODLPHG�UH�LPDJLQDWLRQ�RI�$EUDPRYLü¶V�ELRJUDSK\��7KH�feature length documentary, 0DULQD�$EUDPRYLü��7KH�$UWLVW�is Present, premiered in January 2012 at the Sundance Film Festival.

Stephen J. Kaltenbach Untitled, 2012 Stainless steal, secret contents 12 x 4 x 4 inches Edition of 20 + 5APs $8,500

Stephen J. Kaltenbach is known for issuing commands to his viewers. “BECOME A LEGEND.” was the eighth of twelve anonymous ads the artist placed in Artforum between November 1968 and December 1969. These SULQW�ZRUNV�DQG�.DOWHQEDFK¶V�LFRQLF�7LPH�&DSVXOHV�¿UVW�realized in 1967 (pre-dating Warhol’s Time Capsules) generated an immense buzz at the time. Today, more

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LIMITEDEDITIONS

than 40 years later, fellow artists, critics, and scholars are still discussing the importance and depth of the artist’s SUDFWLFH�DQG�VSHFL¿FDOO\�WKHVH�H[FHSWLRQDO�ERGLHV�RI�works. The 2013 ICI Limited Edition artwork Kaltenbach created is truly at the heart of this practice, a series of sealed Time Capsules containing unknown content in an engraved steel vessel reading “OPEN BEFORE DEACCESSION”; employing the owner to reveal the secret contained inside if and when they decide to part with the work. Stephen Kaltenbach was born in 1940 in the U.S. Recent solo exhibitions have been presented at Andrew Kreps Gallery, New York; Verge Gallery, Sacramento; Another Year in L.A., Los Angeles; Marzona Sculpture Park, Verzegnis; Konrad Fischer, Düsseldorf; and Lawrence Markey Gallery, New York. In 1969 he had solo exhibitions at the Whitney Museum and San Francisco Museum of Modern Art. He was included in Information at the Museum of Modern Art, New York in 1970; When Attitudes Become Form at Kunsthalle Bern in Switzerland, March at Seth Siegelaub, New York, and Nine at Leo Castelli at the Castelli Warehouse in 1969 and The Quick and the Dead at the Walker Art Center, Minneapolis, Minnesota in 2009.

Rirkrit Tiravanija Untitled (don’t stop do it), 2012 2 mirror polished stainless steel stencils, cardboard box, 3 sheets of orange felt Stencil: 13 x 19 x 1/32 inches / Box: 14 x 20 x 1¼ inches Edition of 5 plus 2 AP$15,000

Rirkrit Tiravanija has realized six solo-exhibitions on three continents in the last two years. The artist’s distinctive and revered practice stems from the roots of relational aesthetics, providing viewers a platform to interact with his work as well as with each other. Tiravanija’s 2013 ICI Limited Edition is made of mirror-like steel, where one see’s their own image as well as the phrase “Do it, don’t stop” once again offering the audience a powerful instruction via the object itself. Rirkrit Tiravanija was born in 1961 in Buenos Aires. Since 2011, he has had solo exhibitions at Gallery Side 2 in Tokyo, the neugerriemschneider in Berlin, Carolina Nitsch

Gallery in New York, Bonnierskonsthall in Stockholm, Gavin Brown’s Enterprise, and 1301 PE Gallery in Los Angeles. His works are owned by numerous collections including MoMA and the Solomon R. Guggenheim in New York, Museum of Contemporary Art (MOCA), Los Angeles, the Bangkok Museum of Contemporary Arts in Thailand, and the Fond National d’Art Contemporain in France. He is a recipient of numerous awards in the arts, such as: The National Endowment for the Arts Visual Artist Fellowship, Louis Comfort Tiffany Award, Benesse Prize by the Naoshima Contemporary Art Museum in Japan, Smithsonian American Art Museum’s Lucilla Artist Award, Gordon Matta Clark Award, Central Kunst Prize, and in 2004, the Hugo Boss Prize awarded by the Guggenheim Museum.

ICI will feature our two most recent do it editions by 0DULQD�$EUDPRYLü and Stephen Kaltenbach at the second edition of NADA New York, taking place May 10–12, 2013 at Pier 36, Basketball City located at 299 South Street on the East River.

Since 1990, ICI has commissioned artists to produce limited edition works to raise funds for its innovative programs and publications. Currently available ICI limited editions include works by John Baldessari, Hilla & Bernd Becher, Jane Hammond, Jacob Kassay, Robert Morris, Robert Rauschenberg, Tim Rollins + K.O.S., Laurie Simmons, and Pat Steir.

For more information about ICI editions, contact Bridget Finn at [email protected] or by calling 212 254 8200 x124.

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Beginning March 2013 ICI CONVERSATIONS brings you insider perspectives on hot topics from how a world-class collection is built, to the secrets behind making the Frieze New York art fair the talk of the town. Keeping participants ahead of the curve, ICI CONVERSATIONS will also give you insights from leading curators on their “top pick” artists under 35, and will include a day exploring Brooklyn’s rapidly developing art center, Bushwick, where many of New York’s current and upcoming art stars have studios.

Curators’ Top Picks Under 35 RUBA KATRIB, CHUS MARTINEZ, and FIONN MEADEWednesday, March 27 from 6:30pm–8pm Hosted by Sotheby’s, New York

Join ICI for a presentation moderated by ICI’s Director-at-/DUJH�.DWH�)RZOH�LQ�ZKLFK�HDFK�FXUDWRU�ZLOO�GLVFXVV�¿YH�artists under 35 years old that they believe could become WKH�PRVW�LQÀXHQWLDO�SUDFWLWLRQHUV�RI�WKHLU�JHQHUDWLRQ� Critical Outlook – Developing the Art Fair Experience CECILIA ALEMANI, JING LU, and AMANDA SHARPThursday, April 4 from 6:30pm–8pmHosted by Sotheby’s, New York

An insider preview of this year’s Frieze NY experience, with focus on the 2013 curatorial projects and the stories behind the innovative architecture.

Building the Collection MARIELUISE HESSEL in conversation with TOM ECCLES Tuesday, April 9 from 6:30pm–8pm Hosted by Sotheby’s, New York

0DULHOXLVH�+HVVHO�ERXJKW�KHU�¿UVW�SDLQWLQJ��D��QXGH�by Gerhard Richter, for less than $1,000. Through the

years, she continued collecting a broad range of works and in 2006, Hessel gifted her 1,700-piece collection to Bard College, inaugurating its new art museum. The Marieluise Hessel Collection of Contemporary Art is international in scope, with paintings, photographs, and works on paper, sculptures, videos and video installations from the 1960s to the present. Hessel will talk with Tom Eccles, Executive Director of the Center for Curatorial Studies at Bard College.

The Artist’s VoiceDANIEL JOSEPH MARTINEZ in conversation with RENAUD PROCH Monday, April 15 from 6:30pm–8pmHosted by Simon Preston Gallery, New York 0DUWLQH]�¿UVW�JDLQHG�DWWHQWLRQ�IRU�KLV�ZRUN�LQ�WKH�renowned 1993 Whitney Biennial, which was both lauded and derided for its edgy approach to politics. Striking straight at the heart of the crisis of the time, Martinez created a participatory performance in which museum visitors were given pins with multiple different fragments of the sentence “I can’t imagine ever wanting to be white.” Twenty years later the New Museum has invited Martinez to create one of the centerpiece works for their Spring 2013 show “1993” which focuses on that pivotal year.

The Artist’s VoiceStudio visits with MIKA TAJIMA and SAM MOYER Gallery visits to LUHRING AUGUSTINE and INNERSTATE Saturday, April 27 from 10am–4pmBushwick, Brooklyn (bus transportation will be provided)

In the last year, more than a dozen art galleries have opened for business in Bushwick, an industrial neighborhood located in North Brooklyn. The day trip will

PATRONS EVENTS

NETWORK & ACCESS

Connecting you to the pulse of today’s art world. ICI’s 2013 CONVERSATIONS series brings you 6 events and 8 speakers in 3 exclusive locations.

Produced in collaboration with Sotheby’s, this is the second series of thought-provoking events that give you exclusive access to the people—artists, critics, collectors, advisors, gallerists, curators, and museum directors—who are influencing the contemporary art world today.

49

include studio visits, lunch at Roberta’s, and a handful of new and exciting local galleries including Luhring Augustine and Interstate where the day concludes over cocktails. “As with SoHo, Chelsea and the Lower East Side before it, Bushwick is shaping up as the city’s next gallery district.” —Jed Lipinski, The New York Times

ICI CONVERSATIONS CocktailWith special guest SHEENA WAGSTAFF, Chairman of the Department of Modern and Contemporary Art at The Metropolitan Museum of ArtThursday, May 2 from 6:30pm–8:30pmHosted by THEA WESTREICH WAGNER and ETHAN WAGNER

Join ICI for a celebratory cocktail and see the private collection of Thea Westreich Wagner and Ethan Wagner, which focuses on emerging art being made now. Special guest Sheena Wagstaff will share her insights on the methods and programs that foster new types of collaboration and understanding of artists internationally.

ABOUT THE SERIES

ICI has pioneered behind-the-scenes events for its patrons since 1980 when it established the acclaimed New York Studio Events annual series. 30 years on, the organization is breaking new ground with ICI CONVERSATIONS to increase access to a wide range of the people and places that are important in contemporary art now.

2013 TICKET INFORMATION

Couples Ticket: Two ICI CONVERSATIONS Series Tickets (6 events): $2,500 Single Ticket: One ICI CONVERSATIONS Series Ticket (6 events): $1,500 Individual ICI Conversations Event Ticket (1 event for 1 attendee): $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 ZLOO�EH�DYDLODEOH�RQ�D�¿UVW�FRPH�¿UVW�VHUYHG�EDVLV��3OHDVH�VLJQ�XS�QRZ�to secure your place. Full addresses for each event will be emailed after tickets are purchased. For more information contact Mandy Sa, Communications Manager at [email protected] or at 212 254 8200.

ICI would like to thankJill Brienza, Jennifer Brown, Jim Cohan, Ann Cook, Jason Herrick, Ann Schaffer, Sotheby’s, Barbara Toll

Special thanks to

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THE FORUMWhether near or far, patrons of the International Forum are invited to join ICI for exclusive, behind-the-scenes programs including travel opportunities, studio visits, and talks that draw from ICI’s global networks. When traveling independently, International Forum members can benefit from ICI connecting them with the curators, collectors, artists, and institutions that are making a difference in shaping contemporary art today. All support from the Forum members goes toward continuing ICI’s international programs and discourse.

ART CONCIERGE SERVICE

Responsive to your personal schedule and location, ICI offers Forum members an art “concierge service” including tailored city-by-city content based on your needs and requests. In addition, members will stay tuned to the latest happenings through direct contact with ICI’s staff and a newsletter with recommendations of must-see exhibitions and projects.

In 2012, donations to the International Forum directly supported programs such as Living as Form (The Nomadic Version) and the publication Thinking Contemporary Curating by Terrry Smith.

INTERNATIONAL FORUM SPRING 2013 CALENDAR

Johannesburg Curatorial IntensiveMarch 7–12, 2013The Bag Factory Artists’ Studios, Johannesburg, South Africa

Critical Outlook – Developing the Art Fair Experience Cecilia Alemani, Jing Lu, & Amanda SharpThursday, April 4Hosted by Sotheby’s, New York

Building the Collection Marieluise Hessel in conversation with Tom Eccles Tuesday, April 9 Hosted by Sotheby’s, New York

Frieze Art Fair New YorkGuided Tour by ICI StaffThursday, May 9Randall’s Island ParkNew York, NY 10035

NADA NY PreviewGuided Tour by ICI StaffFriday, May 10Pier 36 at Basketball City299 South Street on the East RiverNew York, NY 10002

Londonderry Curatorial IntensiveMay 19–29Center for Contemporary Art Derry~Londonderry, Northern Ireland

55th Venice Biennial PreviewGuided Tour by ICI StaffThursday, May 30At Giardini and at the Arsenale, Venice

For more information about the International Forum and the spring calendar, contact Bridget Finn at [email protected].

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THE FORUM ANNUAL BENEFIT

Thank you to everyone who supported ICI’s Annual Fall Benefit & Auction in aid of our programming in 2013. We raised over $333,000! In recognition of the devastation ex-perienced by so many of our fellow arts organizations in NYC from Hurricane Sandy, ICI donated a portion of the proceeds to the ADAA Relief Fund. The evening was met with great excitement as we honored Dasha Zhukova, Nav Haq, and Jay Sanders. And we could not have done it without the help and support of some amazing people...

There was, in fact, something just a touch hallucinatory about the ICI event, starting when attendees entered the Prince George Ballroom by dodging dozens of ribbons dangling from balloons in a blue-lit entryway...which added a touch of “Alice in Wonderland” to the proceedings.—Alexandria Symonds, Wall Street Journal, November 21, 2012 On Monday, November 19, 2012, the evening kicked off with an INTIMATE HONOREE HOUR. Dasha Zhukova received the 2012 LEO AWARD, created by artist Zak Kitnick, which was presented by Agnes Gund. Jay Sanders and Nav Haq were jointly awarded the 2nd ICI INDEPENDENT VISION CURATORIAL AWARD, presented by curator Hans Ulrich Obrist. A big thanks to Alexander Rotter, Senior Vice President, Head of Department of Contemporary Art at Sotheby’s New York, who led the LIVE and SILENT AUCTION which featured ARTWORKS by Olaf Breuning, Ian Davis, Shannon Finley, Brendan Fowler, Zipora Fried, Nick Goss, Ellen Gronemeyer, KAWS, Ellsworth Kelly, Adam Marnie, Sam Moyer, Laurel Nakadate, Lisa Oppenheim, Ellen Phelan, Joel Shapiro, Jack Shear, Kunié Sugiura, Miller Updegraff, and Jonas Wood; and a pendant necklace by Noor Fares Jewelry. In addition, once-in-a-lifetime EXPERIENCES were offered, including a week-long stay in a private three-bedroom villa in St. Barts, provided by WIMCO Villas; a commissioned oil painting by Jeanette Mundt; a weekend in Newport, RI including a day charter on America’s oldest classic 12-Metre sailing. We are so grateful to all the artists and sponsors who donated to the auction, and we warmly congratulate all the winners.

A very special thanks goes out to our presenting sponsor Glenmede for their visionary support of the event; to Jung Lee and her staff at Fête for transforming the Prince George Ballroom into a spectacular atmosphere for our guests; to Sonnier & Castle for keeping the night fueled with a grand array of delicious tastings; and to DJ Dina Regine�IRU�NHHSLQJ�WKH�GDQFH�ÀRRU�DOLYH�WKURXJKRXW�the night. A hoorah to world-renowned mixologist Eben Freeman for keeping the crowd entertained with his FKDPSDJQH�¿OOHG�³MHW�SDFN´�DQG�WR�DOO�RXU�VSRQVRUV�RI�the evening:Tito’s Handmade Vodka, Abita Beer, Voss Water, Royal Rose Simple Syrups, agnès b, Broadway Party Rentals, and Aion Entertainment.

NETWORK & ACCESS

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On behalf of the ICI Board of Trustees, we would like to thank all of the foundations and individuals whose generous contributions have made ICI programs worldwide possible, providing crucial support to our exhibitions, public events, publications, research, and training initiatives. For this we are so thankful.

NETWORK & ACCESS

THANK YOUOur 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.

Thank you to the foundations who made programming possible in 2012-13: The Robert Sterling Clark Foundation, The Rockefeller Brothers Fund, The Colección Patricia Phelps de Cisneros, Horace W. Goldsmith Foundation, Elizabeth Firestone Graham, The Dedalus Foundation, SAHA, The +DUW¿HOG�)RXQGDWLRQ��7RE\�'��/HZLV�3KLODQWKURSLF�Fund, The Lily Auchincloss Foundation, The French Institute, The Milton and Sally Avery Foundation, and the Robert Lehman Foundation.

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 the relationships between contemporary curators and artists in different contexts internationally. This ongoing support has allowed us to launch do it; to develop the Curator’s Perspective, ICI’s public talk series; to grow the Curatorial Intensive internationally with pilot programs in Brazil and China in 2012 that will be followed by new courses in South Africa, Northern Ireland, and Argentina in the coming months; and to make the latest contributions in curatorial thinking broadly available, through ICI’s online platform and new Perspectives in Curating publication series.

The Rockefeller Brothers Fund provided a generous grant of $50,000 for capacity-building in 2012-13, which has already enabled ICI to sustain the expansion of its facilities and programmatic reach in New York, around the world, and online. The donation further supported the FUHDWLRQ�RI�,&,¶V�&XUDWRULDO�+XE��WKH�¿UVW�SXEOLF�VSDFH�LQ�New York to focus on the diverse practices of curators, designed to encourage exchange among professionals through meetings and events, and curatorial research thanks to a specialist library. The Lily Auchincloss Foundation and the�+DUW¿HOG�)RXQGDWLRQ provided ICI with additional support to grow the resources and programming offered in the Curatorial Hub. Since it was established, the Hub has hosted over 34 events and it has served as a base for the Curatorial Intensive in New York.

We would also like to thank the Toby D. Lewis Philanthropic Fund and the Milton and Sally Avery Arts Foundation, for their continued support of the Curatorial Intensive.

Special thanks are due to the Dedalus Foundation for their visionary belief in the Intensive since its inception, and for their growing support of the program with an increased annual grant of $20,000 for 2012 and 2013 to include new collaborative opportunities for alumni in the form of research awards. SAHA will continue to support the inclusion of Turkish nationals in the Intensive with a $19,600 grant to provide four scholarships, as well as an annual research award for alumni. In addition, SAHA is helping ICI to break new ground by supporting the launch of a new online educational program, the Curatorial Seminar, with a $20,000 donation.

With the generous support of the Elizabeth Firestone Graham Foundation, ICI was able to renew its focus RQ�LPSRUWDQW�SXEOLFDWLRQV�LQ�WKH�FXUDWRULDO�¿HOG��:LWK�a $50,000 donation over two years in 2012-13, the )RXQGDWLRQ�SURYLGHG�,&,�ZLWK�WKH�¿UVW�DQG�ODUJHVW�JUDQW�toward our evolving publication series, offering fresh views on artistic practice and sustained analysis on topics that are pressing for curators now. This made possible the publication of Terry Smith’s Thinking Contemporary Curating, which sold out within months of its launch, and will be reprinted in the spring; the do it compendium, which is coming out in May; and the upcoming Sourcebook: Allen Ruppersberg.

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53THANK YOU

THANK YOU Building upon the partnership established last year with the Colección Patricia Phelps de Cisneros (CPPC), ICI will offer a research and travel award for Central America and the Caribbean for the second year in a row. And in collaboration with the French Institute, we will renew the ICI/French Institute research fellowship in 2013.

The Horace W. Goldsmith Foundation has provided continual support to ICI over the past ten years, which established a solid base for developing and improving public programs and exhibitions. We would also like to thank the Robert Lehman Foundation for their support RI�WKH�ÀH[LEOH�H[KLELWLRQ�Project 35: Volume 2, which launched at SHContemporary in Shanghai last fall.

SPECIAL THANKS TO THE SUPPORTERS OF THE ACCESS FUND AND TO OUR INDIVIDUAL DONORS

Established in 2009, the Access Fund supports under-funded venues and curators from around the world who cannot otherwise take advantage of ICI’s programming. In the past year, the Fund has provided scholarships for emerging curators, enabling them to attend the Curatorial Intensive; and made possible the national and international presentations of ICI exhibitions. Thanks to the Fund for example, Living as Form (the Nomadic Version) was shown as part of the International Art and Human Rights festival in Tafariti, Western Sahara, while back in the U.S., we were able to realize the Curatorial Hub @ TEMP, giving access to the activities of four art spaces from around the globe that collaborate with ICI.

Thank you to Henri Barguirdjian, Kathy Batista, Jeffrey Bishop, Rena Bransten, Carol Browne, Eileen and Michael Cohen, Richard Descherer, William Foulke, Maxine Frankel, Hugh Freund, Glenmede, the Glenstone Foundation, Pamela & Robert Goergen, Carol & Arthur Goldberg, Victoria and Michael Gross, Agnes Gund, Laura Hamilton, Joshua Harlan, Sandy Heller, Meg Jacobs, Alfred Jaretzki, Belinda Kielland, Donald &

Margery Karp, Michael L. Klein, Wynn Kramarsky, Ken Kuchin, Jo Carole Lauder, Judith Levinson, Barbara Manocherian, James Marlas, Gregor and Beatrix Medinger, Charley Moss, Sheila Nelson, Judith Oppenheimer, Ruth Pite, Cynthia Polsky, Sheila Johnson Robbins, Robert Redd LLC, Jane Dresher Sadaka, Beth Rudin DeWoody, Barbara Schwartz, Jack Shear, Lynn Sobel, Susan C. Sollins, Sotheby’s, Linda Reynolds Stern, Andy Stone, Kippy Stroud, Oscar Tang, Alan Tarnow, David Teiger, Alvin & Ronnie Trenk, August Uribe, Svetlana Uspenskaya, Ira Wagner, Dorsey Waxter, Virginia Bloedel Wright, Neda Young, Christian Zugel.

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 *HUULW�LGHQWL¿HG�DV�,&,¶V�FHQWUDO�PLVVLRQ��\HDUV�DJR��“to enhance public appreciation of contemporary art through educational materials and activities included in ICI’s programs.” Enduring Gerrit’s legacy in 2012, the Fund has provided scholarships to Curatorial Intensive participants, and contributed to making the Curator’s Perspective series possible.

In addition, the Fund supported the 2012 Independent Vision Curatorial Award, which was selected by Hans 8OULFK�2EULVW�DQG�SUHVHQWHG�DW�RXU�$QQXDO�%HQH¿W�WR�Nav Haq, Curator at MuHKA, Antwerp, Belgium, and Jay Sanders, Curator & Curator of Performance at The Whitney Museum of American Art in New York.

Special thanks to all those who have given to the Gerrit L. Lansing Education Fund, and in particular to William & Wendy Foulke, Laura Hamilton, Pamela & Robert Goergen, Joshua Harlan, James Marlas, Beth Rudin DeWoody, and Barbara Schwartz for their continued support.

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THANK YOU

NETWORK & ACCESS

THE 2012 BENEFIT COMMITTEE

Every fall, ICI works closely with the members of our %HQH¿W�&RPPLWWHH�WR�FUHDWH�DQ�H[WUDRUGLQDU\�HYHQLQJ�which helps us raise the funds necessary for ICI programs. For their work and support in 2012, we are truly grateful.

The evening would not have been possible if it weren’t for RXU�H[WUDRUGLQDU\�%HQH¿W�&R�FKDLUV��WR�Sydie Lansing, Ann Schaffer, and Ann Cook—we are honored to have you on our Board of Trustees—Thank You.

And many thanks to everyone on our %HQH¿W�Committee: Noreen & Ahmar Ahmad, agnès b, Chris Apple, 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, Jo Carole Lauder, 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, Neil Thomas, Leslie Tonkonow, Courtney Treut, Adrian Turner, August Uribe, Thea Westreich Wagner & Ethan Wagner.

THE LEADERSHIP COUNCIL

In 2013, ICI has created the Leadership Council, a group of visionary supporters who show strong commitment to the organization and its mission as well as spearheading new initiatives in partnership with ICI’s staff.

Through the Leadership Council, individuals have shown extraordinary support for ICI exhibitions; led the way in establishing online programs for art and education; created new support structures for curators worldwide; and developed new ways for patrons to engage with ICI.

Our most sincere thanks for the inaugural members of the Leadership Council: Phil and Shelley Fox Aarons, Josh Brooks and Jung Lee, Jennifer Brown, Faruk and Fusun Eczacibasi, Agnes Gund, Alexey Kousmichoff and Svetlana Uspenskaya, Patricia Phelps de Cisneros, Helen Warwick, as well as Sarina Tang, ICI Board of Trustees’s International Representative.

For more information on the Leadership Council, please contact Bridget Finn, Associate Director of Strategic Planning & ICI Projects at [email protected], or at 212 254 8200 x124.

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ACCESS ICINETWORK & ACCESS

ICI STAFF

Renaud ProchExecutive [email protected] 254 8200 x128

Kate FowleDirector-at-Large [email protected]

María del Carmen CarriónAssociate Director of Research& Public [email protected] 254 8200 x130

Alaina Claire FeldmanExhibitions [email protected] 254 8200 x127

Bridget FinnAssociate Director of Strategic Planning & ICI [email protected] 254 8200 x124

Frances Wu GiarratanoAssociate Director of [email protected] 254 8200 x129

Susan HapgoodSenior [email protected]

Misa JeffereisResearch & Public [email protected] 254 8200 x126

Kimberly KitadaCuratorial Intensive [email protected] 254 8200 x125

Mandy SaCommunications Manager [email protected] 254 8200 x121

ICI BOARD OF TRUSTEES

Gerrit L. Lansing** Chairman Emeritus

Sydie Lansing Honorary Chair

Patterson Sims Chairman

Melville StrausBarbara Toll

Vice Chairs

Jeannie M. Grant President

James CohanAnn Schaffer Vice Presidents

Jeffrey BishopJill BrienzaChristo & Jeanne-Claude**Ann CookSusan CooteMaxine Frankel Trustee EmeritaCarol Goldberg Trustee EmeritaMarilyn GreeneAgnes Gund Trustee EmeritaJo Carole LauderCaral G. Lebworth Trustee Emerita**Laure LimIsaac LustgartenVik MunizMel SchafferSusan Sollins* Executive Director EmeritaNina Castelli Sundell* Trustee EmeritaSarina TangVirginia Wright Trustee Emerita

*ICI Co-founder**In Memoriam

Renaud Proch Executive Director

Independent Curators International401 Broadway, Suite 1620New York, NY 10013T +1 212 254 8200 F +1 212 477 [email protected]

www.facebook.com/curatorsintlwww.twitter.com/curatorsintlwww.linkedin.com/curatorsintlwww.pinterest.com/curatorsintlwww.instagram.com/curatorsintl

56 ICI EXHIBITIONS

BOOKINGINFO

For a detailed project description, checklist, and images for any of the exhibitions listed, contact Alaina Claire Feldman, Exhibitions Coordinator, at 212 254 8200 x127, or [email protected]

SCHEDULING

([KLELWLRQV�DUH�DYDLODEOH�GXULQJ�WKH�WRXU�GDWHV�VSHFL¿HG��For exhibitions other than Project 35: Volume 2, Living as Form (The Nomadic Version), and do it, booking is on D�¿UVW�FRPH��¿UVW�VHUYHG�EDVLV��SHQGLQJ�DSSURYDO�RI�DQ�institution’s facility report. When dates are agreed upon, ,&,�VHQGV�D�ERRNLQJ�FRQWUDFW�WR�FRQ¿UP�DOO�DUUDQJHPHQWV��

PARTICIPATION FEE

7KH�SDUWLFLSDWLRQ�IHH�FRYHUV�WKH�VSHFL¿HG�YLHZLQJ�period, with adequate additional time for installation DQG�GLVPDQWOLQJ��)RU�ERRNLQJV�ORQJHU�WKDQ�WKH�VSHFL¿HG�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. Contact Alaina Claire Feldman, Exhibitions Coordinator, at 212 254 8200 x127, or [email protected] for details.

REGISTRATION / INSURANCE / SHIPPING

Each artwork comes with installation and handling instructions and a condition report. Exhibitions are FRYHUHG�E\�,&,¶V�ZDOO�WR�ZDOO�¿QH�DUWV�LQVXUDQFH�SROLF\��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 U.S. border.

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.

Create (page 16)

Free Play (page 6)

DO IT (page 4)

Living as Form (page 14)

Martha Wilson (page 12)

Performance Now(page 10)

Project 35: Volume 2 (page 18)

State of Mind: New California Art Circa 1970 (page 8)

With Hidden Noise(page 20)

CURRENT AND FUTURE EXHIBITIONS W/ AVAILABILITY

Independent Curators International (ICI) produces exhibitions, events, publications, and curatorial training for diverse audiences around the world. Since 1975 ICI’s mis-sion has been to connect emerging and established curators, artists, and institutions, forging international networks and generating new forms of collaboration.

In the last year 12 ICI exhibitions were presented by 30 venues in 9 countries featur-ing the work of over 370 artists; 83 curators and artists contributed to ICI’s talks and research programs; and 61 curators from 22 countries and 10 U.S. states participated in ICI’s Curatorial Intensive training programs.

CURATORIAL RESEARCH: ACCESS TO NEW THOUGHT

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CURATORIAL PRACTICE: EXHIBITIONS ON THE MOVE

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Over the last three years ICI has reinvented itself, and its profile has begun to rise along with the profile of the profession. —Randy Kennedy, New York Times

independent curators international spring/summer 2013

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