independent curators international spring/summer … · brochure. this issue marks a milestone for...

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INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2012 PROGRAM

TABLE OF CONTENTS

WelcomeSpring/Summer 2012 Calendar

EXHIBITIONS

Living as Form (The Nomadic Version)Raymond Pettibon: The Punk Years, 1978–86Harald Szeemann: Documenta 5With Hidden NoiseFAX The California Experiment: New Art Circa 1970Performance NowMartha WilsonCreateImage Transfer: Pictures in a Remix CultureProject 35do itPeople’s Biennial

EDUCATION & PUBLIC PROGRAMS

Curatorial IntensivePartner ProgramsAlumni Updates

Curatorial ResearchDISPATCHThinking Contemporary CuratingThe Curator’s PerspectiveThe Critical Edge of CuratingCurating WorldwideThe Curatorial HubICI Curatorial Library

NETWORKS & ACCESS

The Curator’s NetworkICI Limited EditionsICI ConversationsInternational Forum��$QQXDO�)DOO�%HQH¿WThank YouAccess FundAccess ICIBooking Information

Editor: Mandy SaDesigner: Scott PonikCopy editor: Audrey WalenPrinting: Linco Printing, Queens, NY

Big thanks to: Doryun Chong, Sheryl Conkelton, Sarah Demeuse, Hou Hanru, Rodrigo Moura, Sofía Olascoaga, Jack Persekian, Yasmil Raymond, Lucía Sanromán, Terry Smith, and Anton Vidokle.

© 2012 Independent Curators International (ICI), and the authors.

Reproduction rights: You are free to copy, display, and distribute the contents of the publication under the following conditions: You must attribute the work or any portion of the work reproduced to the author, and ICI, giving the article and publication title and date. If you alter, transform, or build upon this work, you may distribute the resulting work only under a license identical to this one, and only if it is stated that the work has been altered and in what way. For any reuse or distribution you must make clear to others the license terms of this work. You must inform the copyright holder and editor of any reproduction, display, or distribution of any part of this publication.

To receive a downloadable pdf version of this publication, or more copies by mail, contact Mandy Sa, Communications Manager, at [email protected].

Above (top): Independent Curators International in Tribeca, New York, NY; �ERWWRP��'HDG�/HWWHUV�2I¿FH�+RXUV�DW�the ICI Curatorial Hub, February 10, 2012.

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1

WELCOMEOn behalf of all the staff at Independent Curators International (ICI), it gives me great pleasure to welcome you to our semi-annual brochure. This issue marks a milestone for ICI, following 2 years of development in new programs and international collaborations that have enabled us to better achieve

our mission: to connect emerging and established curators, artists, and institutions through the production of exhibitions, events, and publications, and to provide opportunities for curatorial training.

Last year, in particular, was an eventful one for ICI. We launched the Curatorial Hub, which provides a unique meeting point, event space, and temporary operational base in New York for curators from across the U.S. and around the world. The redesigned ICI website also went live, and quickly became the virtual hub of all our activities. While our physical Hub encourages dialogue between curators and artists, critics, and other art D¿FLRQDGRV��WKH�ZHEVLWH�KDV�EHFRPH�WKH�SRUWDO�WKURXJK�which information is widely disseminated, including edited videos of recent curatorial conferences, ICI’s online journal DISPATCH, and information about professional opportunities that are shared through the Curator’s Network. Through these two complimentary public forums, ICI has consolidated its position internationally, both as platform and a resource for curators, and is now the “go to” place for people who want to know what’s happening in contemporary art worldwide.

Building on ICI’s history of providing curators with a platform from which to make and present exhibitions, today ICI affords multiple opportunities for curators to publicly share their research on artists and the socio-political contexts that affect their practices. Additionally, through the newly established Curatorial Intensive training programs, ICI has created much-needed professional resources. Throughout 2012 these curatorial resources will be extended with pilot programs including a research fellowship, a curatorial library, a travel award, and a new series of publications titled Perspectives on Curating.

5HÀHFWLQJ�LQFUHDVHG�LQWHUHVW�LQ�,&,¶V�DFWLYLWLHV�JOREDOO\��last summer ICI was invited for a residency at the South London Gallery in the U.K., where we presented two projects that exemplify how generative exhibitions create new networks, FAX and Project 35, alongside WKH�¿UVW�LWHUDWLRQ�RI�WKH�,&,�5HDGLQJ�5RRP��'XULQJ�WKLV�residency we also launched a new discussion series on the increasingly important subject of what “international”

means in curating today, which was continued in the pages of Mousse Magazine (February 2012) and will be further explored during another residency this spring at the Gertrude Contemporary in Australia. ICI is excited to be developing numerous international partnerships including a travel award for curatorial research in Central America and the Caribbean in collaboration with the Colección Patricia Phelps de Cisneros; a program of Curatorial Intensives with the Instituto Inhotim, Minas Gerais, Brazil, and the Ullens Center for Contemporary Art, Bejing, China; and a curatorial fellowship with the Institut Français to be hosted by ICI in New York.

5HDG�RQ�WR�¿QG�RXW�HYHU\WKLQJ�\RX�QHHG�WR�NQRZ�DERXW�upcoming ICI events, training programs, exhibitions and membership opportunities in the coming months, as well as updates on the results of our activities last fall. Finally, I want to extend a sincere thank you to Ellen Liman and the Liman Foundation for again making the production of this brochure possible.

Kate FowleExecutive DirectorIndependent Curators International

INDEPENDENT CURATORS INTERNATIONAL

2 SPRING/SUMMER 2012

CALENDARMARCH

APRIL

EVENTS

ICI CONVERSATIONSBuilding the Collection:Howard Rachofsky and Allan SchwartzmanThursday, March 8, 5:30–7:30pm Sotheby’s, New York

Book Launch & Curator TalkHou Hanru: Paradigm ShiftsSaturday, March 10, 4–6pm The Curatorial Hub, New York

Dialogues in Contemporary Art: Take 1In Collaboration with AhmadyArtsTuesday, March 13, 7–8:30pm The Curatorial Hub, New York

RIVET READING GROUPSarah Demeuse and Manuela MoscosoWednesday, March 14, 7–8:30pm The Curatorial Hub, New York

THE CURATOR’S PERSPECTIVERosina CazaliSaturday, March 17, 3–4:30pm New Museum, New York

ICI CONVERSATIONSCritical Outlook: Lindsay Pollock, Ben

Lerner, and Richard VineMonday, March 26, 6:30–8pm Art in America, New York

CURATORIAL INTENSIVE

Curatorial Intensive: The Wild ImaginingsWednesday, March 22–Thursday, March 23 Philadelphia Exhibitions Initiative The Pew Center for Arts & Heritage

EXHIBITIONS

Raymond Pettibon: The Punk Years, 1978–86

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

FAXFebruary 26–April 5 University of Hawaii Art Gallery Honolulu, HawaiiMarch 2–June 23 Utah Museum of Contemporary Art Salt Lake City, Utah

Living as Form (The Nomadic Version)March 10–May 12 Kadist Art Foundation San Francisco, CaliforniaMarch 16–June 8 Museo de Arte de Sinaloa Sinaloa, Mexico

Project 35June 2011–June 2012 SPACE Gallery Portland, MaineJune 7, 2011–June 24, 2012 Michele and Donald D’Amour Museum of

Fine Arts� 6SULQJ¿HOG��0DVVDFKXVHWWVSeptember 2011–September 2012 The College of Wooster Art Museum Wooster, Ohio

People’s BiennialJanuary 27, 2011–March 2, 2012 Cantor Fitzgerald Gallery Haverford College Haverford, Pennsylvania

EVENTS

HUB EVENTConnie Lewallen and William WegmanTuesday, April 3, 6:30–8pm The Curatorial Hub, New York

RIVET READING GROUPSarah Demeuse and Manuela MoscosoWednesday, April 11, 7–8:30pm The Curatorial Hub, New York

ICI CONVERSATIONSCurators’ Top Picks Under 35: Suzanne

&RWWHU��1HYLOOH�:DNH¿HOG��DQG�-RmR�Ribas

Monday, April 16, 6:30–8pm Sotheby’s, New York

-RXUQDO�/DXQFK�DQG�&XUDWRU�7DONArteEast: Iran IssueSaturday, April 28, 3–4:30pm The Curatorial Hub, New York

The Curatorial Intensive Symposium: Inhotim

Saturday, April 28 Instituto Inhotim Minas Gerais, Brazil


Curatorial Intensive: The Wild ImaginingsThursday, April 12 Philadelphia Exhibitions Initiative The Pew Center for Arts & Heritage

The Curatorial Intensive: InhotimSunday, April 22–Saturday, April 28 Instituto Inhotim Minas Gerais, Brazil

EXHIBITIONS

FAXFebruary 26–April 5 University of Hawaii Art Gallery Honolulu, HawaiiMarch 2–June 23 Utah Museum of Contemporary Art Salt Lake City, Utah


Project 35June 2011–June 2012 SPACE Gallery Portland, MaineJune 7, 2011–June 24, 2012 Michele and Donald D’Amour Museum of

Fine Arts � 6SULQJ¿HOG��0DVVDFKXVHWWVSeptember 2011–September 2012 The College of Wooster Art Museum Wooster, OhioApril 1–29, 2012 CentrePascu Art Biel, Switzerland

3SPRING/SUMMER 2012

JULY–AUGUST

EVENTS

ICI CONVERSATIONSThe Artist’s Voice: Kerstin Brätsch and

Massimiliano GioniWednesday, May 2, 6:30–8pm Gavin Brown’s Enterprise, New York

The Curator’s Lounge at NADA NYCFriday, May 4–Monday, May 7, 2012 NADA NYC, New York

Dialogues in Contemporary Art: Take 2In Collaboration with AhmadyArtsTuesday, May 8, 7–8:30pm The Curatorial Hub, New York

ICI CONVERSATIONSThe Artist’s Voice: David Lamelas and

Christian RattemayerTuesday, May 15, 6:30–8pm Loft of Michele Maccarone, New York

THE CURATOR’S PERSPECTIVEKathrin RhombergWednesday, May 16, 6:30–8pm Austrian Cultural Forum, New York

HUB EVENTSICI Annual Book SaleFriday, May 25–Sunday, May 27, 11am–5pm The Curatorial Hub, New York

ICI CONVERSATIONSDinner at the Home of Eileen and Michael

Cohen with Richard ArmstrongWednesday, May 30, 6:30–9pm Home of Eileen and Michael Cohen,

New York


Curatorial Intensive: The Wild ImaginingsThursday, May 17Monday, June 4 Philadelphia Exhibitions Initiative The Pew Center for Arts & Heritage

EXHIBITIONS

FAXMarch 2–June 23 Utah Museum of Contemporary Art Salt Lake City, UtahMay 4–July 22 San Francisco Arts Commission Gallery San Francisco, California


Project 35June 2011–June 2012 SPACE Gallery, Portland, MaineJune 7, 2011–June 24, 2012 Michele and Donald D’Amour Museum� RI�)LQH�$UWV��6SULQJ¿HOG��0DVVDFKXVHWWVSeptember 2011–September 2012 The College of Wooster Art Museum Wooster, OhioMay 1–31, 2012 Zanabazar Fine Art Museum Ulaanbaatar, Mongolia

EVENTS

The Curatorial Intensive Symposium: New York

Tuesday, July 17 The Curatorial Hub, New YorkThe Curatorial Intensive Symposium:

BeijingSaturday, August 11 Ullens Center for Contemporary Art and The Central Academy of Fine Arts Beijing, China


The Curatorial IntensiveSunday, July 8–Tuesday, July 17 The Curatorial Hub, New York

The Curatorial Intensive: BeijingSunday, August 5–Saturday, August 11 Ullens Center for Contemporary Art and The Central Academy of Fine Arts

EXHIBITIONS

Project 35August 29–December 7, 2012 Richard E. Peeler Art Center Greencastle, IndianaSeptember 2011–September 2012 The College of Wooster Art Museum Wooster, OhioAugust 19–June 2, 2013 North Carolina Museum of Art Raleigh, North Carolina

FAXMay 4–July 22 San Francisco Arts Commission Gallery San Francisco, California

Image Transfer: Pictures in a Remix CultureAugust 15–October 15 Newcomb Art Gallery New Orleans, Louisiana

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

MAY–JUNE

4

In collaboration with 25 curators from around the world, Nato Thompson has selected 48 socially engaged projects produced in the last 20 years as the foundation of this exhibition. “Something historically unique is happening in cultural production that requires different rules for art than those of the 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 ZH�¿QG�RXUVHOYHV�LQ"´�Living as Form (The Nomadic Version) will provide a broad look at a vast array of SUDFWLFHV�WKDW�DSSHDU�ZLWK�LQFUHDVLQJ�UHJXODULW\�LQ�¿HOGV�ranging from theater to activism, and urban planning to visual art.

Further increasing the diversity of practices that are represented in the show, each hosting institution will select additional works to add to the traveling exhibition that is being toured via hard drive. In addition to expanding the content of the exhibition, each FROODERUDWLQJ�YHQXH�ZLOO�RUJDQL]H�VLWH�VSHFL¿F��VRFLDOO\�engaged, commissioned projects or events that connect to the theme and “activate” the show. As the essence of the works is rooted in social engagement, the venue is also encouraged to provide participatory experiences that possess some sort of political or community-based content for visitors to encounter.

Living as Form (The Nomadic Version) LV�WKH�ÀH[LEOH��H[SDQGLQJ�LWHUDWLRQ�RI�Living as Form��D�VLWH�VSHFL¿F�SURMHFW�SUHVHQWHG�E\�&UHDWLYH�7LPH�LQ�WKH�KLVWRULF�(VVH[�0DUNHW�LQ�1HZ�<RUN�IURP�6HSWHPEHU��±2FWREHU��

ABOUT THE GUEST CURATOR

Nato Thompson is Chief Curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Tania Bruguera’s Immigrant Movement International, 'HPRFUDF\�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 March 2012 by Melville House Publishing. Thompson was formerly a curator at MASS MoCA, and he also curated ICI’s ([SHULPHQWDO�*HRJUDSK\, which traveled to 8 venues in North America.

BASIC FACTS

6SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOH�Tour dates: March 2012–December 2014For further booking details, see page 56

ICI EXHIBITIONS

LIVING ASFORM

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

ICI’s newest EXHIBITION IN A BOX adds a twist to the fast-growing collection of compact shows designed to generate big ideas. LIVING AS FORM (THE NOMADIC VERSION) is an unprecedented, international project exploring over 20 years of cultural works that blur the forms of art and everyday life, emphasizing participation, dialogue, and community engagement.

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Ai Weiwei, Ala Plástica, Jennifer Allora and Guillermo Calzadilla, Alternate ROOTS, Appalshop, Claire Barclay, %DVXUDPD��%LMD5L��&HPHWL�$UW�+RXVH��&KWR�GHODW"��:KDW�LV�WR�EH�GRQH"��&RPSODLQWV�&KRLU��&pOLQH�DQG�*DYLQ�Wade Condorelli, Minerva Cuevas, Cybermohalla Ensemble, Decolonizing Architecture Art Residency, Josh Greene, Federico Guzmán and Alonso Gil, Fritz Haeg, Helena Producciones, Jeanne van Heeswijk, Fran Ilich, Farid Jahangir and Sassan Nassiri��Bita Fayyazi��Ata Hasheminejad and Khosrow Hassanzedeh, Suzanne Lacy, Lara Almarcegui, Los Angeles Poverty Department, Rick /RZH��0DPPDOLDQ�'LYLQJ�5HÀH[�'DUUHQ�2¶'RQQHOO��0DUGL�Gras Indian Community, Zayd Minty, The Mobile Academy, Vik Muniz, Oda Projesi, Wendelien van Oldenborgh, Pase Usted, Navin Rawanchaikul, Athi-Patra Ruga, Katerina Šedá, Chemi Rosado Seijo, Slanguage (Founded by Mario Ybarra Jr., Karla Diaz, and Juan Capistran), Tahrir Square (2011), Taller Popular de Serigrafía (TPS), The 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

/LYLQJ�$V�)RUP��6RFLDOO\�(QJDJHG�$UW�IURP��±��By Nato Thompson. With essays by Claire Bishop, Carol Becker, Teddy Cruz, Brian Holmes, Shannon Jackson, Maria Lind, and Anne Pasternak. Published by MIT Press. 280 pages. 2012. ISBN: 0262017342. 2012.

The exhibition is accompanied by a publication produced by Creative Time, that forms a landmark survey of socially 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.

7KH�SDOSDEOH�SXEOLF�DUFKLYH�LQ�DQG�HYHQWV�VXUURXQGLQJ�Living As Form (which was free to attend) was a UHIUHVKLQJ�FKDQJH�IURP�VRPH�RI�WKH�PRUH�LQVXODU��SD\�WR�DWWHQG��VRPHWLPHV�IDQFLIXO��LGHD�JHQHUDWLQJ�HYHQWV�RI�ODWH��+HUH�ZDV�D�FROODERUDWLYH��WKRXJKWIXO�HIIRUW��H[HFXWHG�LQ�UHDO�WHUPV�DQG�SURYLGLQJ�WRROV�IRU�DFWLRQ� —Mercedes Kraus, 8UEDQ�2PQLEXV, October 2011

$Q�HQWKUDOOLQJ��SKLORVRSKLFDOO\�SURYRFDWLYH�URXQG�XS�RI��\HDUV¶�ZRUWK�RI�VRFLDOO\�HQJDJHG�DUW��²Ken Johnson, New York Times, September 2011

6

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

RAYMOND PETTIBON: THE PUNK YEARS, taps into the steady stream of this California artist’s early graphic arts production, before he appeared on the contemporary art stage. This EXHIBITION IN A BOX includes over 200 examples of Pettibon’s powerful designs made between 1978 and 1986, when he was immersed in the Los Angeles punk rock scene, doing the graphic design for Black Flag and other punk bands.

THE PUNKYEARS

ICI EXHIBITIONS

:KLOH�3HWWLERQ�UHPDLQV�D�FXOW�¿JXUH�DPRQJ�XQGHUJURXQG�music devotees for these early designs, over the past 20 years he has acquired an international reputation as one of the foremost contemporary American artists working with drawing, text, and artist’s books. Crossing back and forth between music and the visual arts, this project shows Pettibon’s raw imagery, heavily shadowed technique, and characteristic visual punch in formation, DQG�LQFOXGHV��µ]LQHV��ÀLHUV�DQG�SRVWHUV��DQG�D�selection of album covers.

Most of the designs were done for SST Records, founded by his brother Greg Ginn, who was also guitarist for Black Flag. In addition to the two-dimensional contents in the box, vinyl records of SST bands including the Minutemen, Sonic Youth, and Hüsker Dü, as well as a DVD of a 1983 performance of Black Flag, enrich the context and show Pettibon in his original milieu.

To adapt the project to their own communities and bring in new audiences, institutions presenting this project might wish to consider inviting innovative local designers to present their own graphics alongside these, or host performances by local bands.

BASIC FACTS

6SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOHAvailable dates: selected dates through December 2012For further booking details, see page 56

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In 2011 Harald Szeemann: Documenta 5 was presented at two emerging European art centers. CAC Vilnius, Lithuania, offered the project in their Reading Room, a research and exhibition space dedicated to book art DQG�DUFKLYHV��,W�WKHQ�WUDYHOHG�WR�NLP"�&RQWHPSRUDU\�Art Centre in Riga, Latvia, and was, in both places, the subject of public discussions and events around Szeemann’s curatorial innovations and the historical aspects of Documenta 5, such as the introduction of the Artist’s Reserved Rights Transfer and Sale Agreement, written by Seth Siegelaub and Bob Projansky, which SURWHFWV�DUWLVWV¶�RQJRLQJ�LQWHOOHFWXDO�DQG�¿QDQFLDO�ULJKWV�with regard to their production.


David Platzker is the director of 6SHFL¿F�2EMHFW��DQ�LQQRYDWLYH�gallery, bookshop, and think tank dedicated to artists’ publications ranging from ephemeral materials to unique artworks produced between 1960 and 1990. Prior to founding 6SHFL¿F�2EMHFW��3ODW]NHU�ZDV�WKH�executive director of Printed Matter,

D�QRQ�SUR¿W�LQVWLWXWLRQ�GHGLFDWHG�WR�WKH�SURPRWLRQ�RI�artists’ publications from 1998 to 2004, and he has curated exhibitions of artists including John Baldessari, Dan Graham, Jonathan Monk, and Claes Oldenburg.

BASIC FACTS

6SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOHAvailable dates: now through December 2012For further booking details, see page 56

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DOCUMENTA 5HARALD SZEEMANN: DOCUMENTA 5 Curated by David Platzker

HARALD SZEEMANN: DOCUMENTA 5 reflects on one of the most influential Documenta exhibitions in the history of the German institution. This EXHIBITION IN A BOX includes the exhibition catalogue, ephemera, artists’ publications and editions produced in conjunction with the exhibition, as well as published reviews and critical responses. The assembled materials provide a rich jumping-off point for art history students, artists, and general audiences to plunge into the international contemporary art scene of 1972, to see what this particularly fertile cultural moment produced.

ICI EXHIBITIONS

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Curated by Stephen Vitiello

EXHIBITION IN A BOX’s WITH HIDDEN NOISE is an exploration of sound art that seeks to ask gallery and museum visitors to spend time listening with ears they may not know they had…Titled after Marcel Duchamp’s readymade ball of string with 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

Sound art has a long lineage that can be traced from the “Futurist Manifesto” through subsequent movements and genres, such as Fluxus, conceptual art, and performance art, up to the most recent artistic uses of the latest developments in new technologies. Over the last 15 years a number of larger survey shows have tracked this history, but 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 scale to a single set of surround sound speakers (5 speakers plus a subwoofer) adaptable to a broad range of spaces, allowing for many presentation possibilities. Also included are a number of books and catalogues on contemporary sound art that may be distributed around the gallery for those who would like to read more as they listen. A further reading list, videography, and programming suggestions are provided by the curator, making this exhibition as adaptable and expandable as desired.


Stephen Vitiello is a sound and media artist whose sound installations have been presented internationally both in public spaces and museums. His large-scale installation All Those Vanished (QJLQHV commissioned by MASS MoCA opened in September 2011.

Tall Grasses, a solo exhibition, was on view at the Salina Art Center, Salina, Kansas (2010); Vitiello has collaborated extensively, working with such artists as Tony Oursler, Julie Mehretu, Joan Jonas, Steve Roden, Nam June Paik, and Scanner. 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

6SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOHTour dates: June 2011 through December 2013For further booking details, see page 56

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Since then, FAX has appeared at venues all over the world, at times simultaneously, offering the added possibility of collaboration. Each participating institution invites up to 20 additional artists to submit works, thereby expanding the exhibition at every stop. All new additions are archived within The Drawing Center’s collection, creating an evolving document of all participants. The result—an ongoing cumulative project—is an exhibition concerned with ideas of reproduction, obsolescence, distribution, and mediation.

Since the opening of the tour, more than 200 artists from around the world have been added to the exhibition, and WKH�SURMHFW�KDV�EHHQ�UHFRQ¿JXUHG�LQ�FRXQWOHVV�ZD\V��The Contemporary Museum in Baltimore, for example, expanded the exhibition with “Music by FAX” where a number of composers were invited to fax in musical scores to be interpreted by musicians live in the gallery. A truly international project, the exhibition was on view in Hong Kong, Mexico City, and Winnipeg, Canada, simultaneously, and Para/Site in Hong Kong published a Chinese version of the catalogue. In an event called Group FAX, participants in New York, Paris, Mexico City, and Cape Town exchanged faxes in the spirit of sharing ideas and information through informal networks. Finally, as part of ICI’s residency at the South London Gallery, three curators from Latvia, Colombia, and Nigeria invited new artists to participate in the exhibition, which was shown alongside ICI’s Project 35 and the ICI Reading Room.

BASIC FACTS

Number of artists or artist groups: 100+Number of works: 100+Space required: 100–5,000 square feet,

FRPSOHWHO\�ÀH[LEOHAvailable dates: now through December 2012

For further booking details, see page 56


João Ribas is curator at the MIT List Visual Arts Center and a widely published critic. He was previously curator at The Drawing Center in New York, and is the winner of three consecutive AICA exhibition awards (2008–2010) and of an Emily Hall Tremaine Exhibition Award (2010). His recent exhibitions

include &KH\QH\�7KRPSVRQ (MIT List Visual Arts Center, 2012) and Manon de Boer: Between Perception and Sensation (Contemporary Art Museum, St. Louis, 2011): He has contributed essays to numerous exhibition catalogues and monographs, and has been a visiting lecturer for institutions and organizations worldwide.

Curated by João Ribas, co-organized with The Drawing Center

An exhibition investigating and proposing the fax machine as a tool for art production, FAX had its starting point at The Drawing Center in 2009. Compiling 100 artists, archi-tects, designers, scientists, and filmmakers, this initial iteration formed the core of the exhibition, with works by an intergenerational group of artists such as Dan Graham, Wade Guyton, Liz Deschenes, and Tauba Auerbach, as well as seminal examples of early fax art by Stan VanDerBeek, Marisa Gonsalez, Sonia Sheridan, and Roy Ascott.

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ABOUT THE GUEST CURATORS

Constance M. Lewallen is adjunct curator at the University of California, Berkeley Art Museum DQG�3DFL¿F�)LOP�$UFKLYH�ZKHUH�she has curated many major exhibitions, including The Dream of WKH�$XGLHQFH��7KHUHVD�+DN�.\XQJ�&KD��–�� (2001); (YHU\WKLQJ�0DWWHUV��3DXO�.RV��D�5HWURVSHFWLYH�

(2003); $QW�)DUP��–�� (2004); A Rose Has 1R�7HHWK��%UXFH�1DXPDQ�LQ�WKH��V (2007), all of which toured nationally and internationally and were accompanied by catalogues. In 2009 she curated Allen 5XSSHUVEHUJ��<RX�DQG�0H�RU�WKH�$UW�RI�*LYH�DQG�7DNH�for the Santa Monica Museum of Art.

Karen Moss is adjunct curator at the Orange County Museum of Art, where she has curated exhibitions including ��0LQXWHV�RI�)DPH��Photographs from Ansel Adams WR�$QG\�:DUKRO (2010); 'LVRUGHUO\�Conduct Recent Art in Tumultuous Times (2009), and Art Since the ��V��&DOLIRUQLD�([SHULPHQWV�

(2007–2008) and co-curated the 2006 California Biennial. Moss previously held curatorial positions at the San Francisco Art institute, Walker Art Center, Santa Monica Museum of Art, and the Museum of Contemporary Art, Los Angeles. Moss teaches art history and curatorial practice in graduate programs at Otis College of Art and Design and USC Roski School of Fine Arts.

THE CALIFORNIA EXPERIMENT: NEW ART CIRCA 1970Curated by Constance Lewallen and Karen Moss

THE CALIFORNIA EXPERIMENT is a deep investigation into seminal conceptual and related avant-garde activities in the late 1960s and early 1970s and the critical inter-change between artists living in California. While these artists emerged concurrently with those in other parts of the world, many still remain lesser known than their East Coast and European counterparts. The exhibition demonstrates the immense changes in artistic practice that coincided with the burgeoning number of art schools and uni-versity art departments, nonprofit art spaces, alternative galleries, artist-run spaces, and publications, which not only provided exhibition opportunities but, in the relative absence of commercial support, also created a community that fostered an exchange of radical forms and ideas.

Organized around central themes, the exhibition features more than 150 works by 58 artists, ranging from those who became major international figures to lesser-known artists who nonetheless made important contributions. The exhibition consists of video, film, photography, installation, artist’s books, drawing, and painting, some of which have rarely been seen. Additionally, it includes extensive performance documentation and ephemera.

CALIFORNIA EXPERIMENT

ICI EXHIBITIONS

11CALIFORNIA EXPERIMENT

ARTISTS INCLUDE

Adam II (the late Paul Cotton), Bas Jan Ader, Terry Allen, Ant Farm, Eleanor Antin, Asco, Michael Asher, John Baldessari, Gary Beydler, George Bolling, Nancy Buchanan, Chris Burden, Robert 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, Lynn Hershman, Douglas Huebler, Stephen Kaltenbach, Allan Kaprow, Robert Kinmont, John Knight, Paul Kos, Suzanne Lacy, Stephen Laub, William Leavitt, Fred Lonidier, Mike Mandel, Tom Marioni, Paul McCarthy, Jim Melchert, Susan Mogul, Linda Mary Montano, Bruce Nauman, Newport Harbor Art Museum, Martha Rosler, Allen Ruppersberg, Ed Ruscha, 6DP¶V�&DIp��'DUU\O�6DSLHQ��,OHQH�6HJDORYH��$OODQ�6HNXOD��Bonnie Sherk, Alexis Smith, Barbara Smith, Larry Sultan, T.R. Uthco, Ger van Elk, William Wegman, John Woodall, Alfred Young.

7KH�&DOLIRUQLD�([SHULPHQW�LV�D�PRGL¿HG�YHUVLRQ�RI�State of Mind: New &DOLIRUQLD�$UW�&LUFD��, an exhibition curated by Constance Lewallen and Karen Moss and co-organized by the Orange County Museum of Art DQG�WKH�8QLYHUVLW\�RI�&DOLIRUQLD��%HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F Film Archive.

See page 43 for details about an upcoming related event with Constance Lewallen and artist William Wegman in ICI’s Curatorial Hub.

STATE OF MIND CATALOGUE

Hardcover. Published by UC Press. 296 pages. 2011. ISBN: 9780520270619. $39.95.

The exhibition is accompanied by an extensive publication that offers a comprehensive study of a time when California became a vibrant center

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

BASIC FACTS

Number of artists or artists groups: 58Number of works: Approximately 150Space required: 4,000–6,000 square feet (required space

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Tour dates: September 2012 through December 2013For further booking details, see page 56

$�GHQVH��VHHPLQJ�HQF\FORSHGLF�presentation of Conceptual art from XS�DQG�GRZQ�WKH�FRDVW��VKRW�WKURXJK�ZLWK�YDULRXV�IRUPV�RI�VDWLUH��SROLWLFDO�IXU\��DQG�HPRWLRQDO�YXOQHUDELOLW\�� —Roberta Smith, New York Times, November, 2011

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12 ICI EXHIBITIONS

PERFORMANCE NOW

PERFORMANCE NOW: THE FIRST DECADE OF THE NEW CENTURYCurated 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, including most recently the Museum of

Modern Art, New York, and several museums currently

being built will have dedicated performance spaces.

Moreover, following Performa’s lead, biennials worldwide

are making performance integral to their programs.

Performance Now shows how performance has come

to be at the center of the discussions on the latest

GHYHORSPHQWV�LQ�FRQWHPSRUDU\�DUW�DQG�FXOWXUH��7KH�¿UVW�decade of the 21st century has seen the emergence of

a true globalism in the art world, with an ever-expanding

map of knowledge and an understanding of cultural

developments around the world. A full immersion in

historical, political, and religious subtexts of a broad

range of cultures is now demanded of artists, curators,

DQG�DXGLHQFHV��7KHUH�KDV�DOVR�EHHQ�PXFK�UHÀHFWLRQ�RQ�the complexities of displaying, collecting, preserving, and

explaining conceptual material that had so profoundly

VKDSHG�DUWLVWLF�GHYHORSPHQWV�LQ�WKH�¿QDO�GHFDGHV�RI�WKH�20th century, yet which, paradoxically, was ephemeral

and almost invisible. At the same time, contemporary

performance is activating the museum, drawing new and

younger audiences to these institutions.

Performance Now will be made up of objects, ephemera,

sound, and video, including material from a number of

key Performa commissions, and works originating from

around the world including South Africa, China, Eastern

Europe, the Americas, and the Middle East.

Performance Now is based on Goldberg’s forthcoming

book of the same name to be released by Thames &

+XGVRQ�LQ��$�GH¿QLWLYH�DFFRXQW�RI�FRQWHPSRUDU\�performance art and its profound impact on culture,

this ground-breaking book includes full color images

and features sections on politics, globalization,

SRVW�FRQFHSWXDO�DUW��PHGLD�¿OP��GDQFH��WKHDWHU��RSHUD� and music.


RoseLee Goldberg’s seminal

study Performance Art: From Futurism to the Present��¿UVW�published in 1979 and now in its

third edition) is regarded as the

leading text for understanding the

development of the genre and has

been translated into more than

ten languages, including Chinese, Croatian, French,

Japanese, Korean, Portuguese, and Spanish. When

director of the Royal College of Art (RCA) Gallery in

London, Goldberg established a program that pioneered

an integrative approach to curating exhibitions,

performance, and symposia, directly involving the various

departments of the RCA in all aspects of the exhibitions

program. As curator at The Kitchen in New York she

continued to advocate for multi-disciplinary practices to

have equal prominence by establishing the exhibition

space, a video viewing room, and a performance series.

Most recently her vision in the creation of Performa has

set a precedent for performance art that is now impacting

museum programming and diverse audiences across the

U.S. and abroad.

13

PRELIMINARY LIST OF ARTISTS INCLUDE

Allora & Calzadilla, Francis Alÿs, Candice Breitz, Omer Fast, Shilpa Gupta, Christian Jankowski, Ragnar Kjartansson, Liz Magic Laser, Kalup Linzy, Kelly Nipper, Clifford Owens, Adam Pendleton, Laurie Simmons, and more

BASIC FACTS

Number of artists: Approximately 35Number of works: Approximately 50–60Space required: 3,500–4500 square feet, plus

performance space if live performance is to be addedTour dates: September 2012–September 2014For further booking details, see page 56

PERFORMANCE NOW

PERFORMANCE NOW

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14

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.” 6KH�KDV�DOVR�EHHQ�UHJDUGHG�E\�PDQ\�DV�SUH¿JXULQJ�some of Judith Butler’s ideas on gender perfomativity though her practice, and more recently, in the words of 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 include Wilson selecting works from the museum’s collection or archive, or working with people in the local community to develop an exhibition that explores the nature of visibility, what feminism means now, or the role of the activist.


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 'RXJODV�:DONHU��2WKHU�:RUOGV 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 unexhibited objects will be safely stored onsite.

6SDFH�UHTXLUHG��ÀH[LEOHTour dates: September 2012– December 2014For further booking details, see page 56

Martha Wilson and 0DUWKD�:LOVRQ�6RXUFHERRN received the support of the National Endowment for the Arts.

Curated by Peter Dykhuis

Martha 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 project-ed, but also negotiated, disputed, and constantly reimagined. 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

15MARTHA WILSON

MARTHA WILSON SOURCEBOOK

Foreword by Kate Fowle. Introduction by Moira Roth. Text by Martha Wilson. Published by ICI. 8.5 x 11 inches. 256 pages. 2011. ISBN: 9780916365851. $25.00

0DUWKD�:LOVRQ�6RXUFHERRN��<HDUV�RI�5HFRQVLGHULQJ�3HUIRUPDQFH��)HPLQLVP��$OWHUQDWLYH�Spaces is a collection of primary

research materials, rare archival documents, and H[FHUSWV�RI�ODQGPDUN�SXEOLFDWLRQV�WKDW�LQÀXHQFHG�:LOVRQ��such as Simone de Beauvoir’s�7KH�6HFRQG�6H[��Erving Goffman’s�7KH�3UHVHQWDWLRQ�RI�6HOI�LQ�(YHU\GD\�/LIH, and Susan Sontag’s�2Q�3KRWRJUDSK\. This unique selection documenting Wilson’s practice 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. ��, the groundbreaking 1973 exhibition of women &RQFHSWXDO�DUWLVWV��ZKLFK�¿UVW�GHFODUHG�WKH�VLJQL¿FDQFH�RI�Wilson’s work.

Following the launch of the 6RXUFHERRN, Wilson participated in a series of nationwide events including reading performances, book signings, lectures, and panel discussions. On September 17 the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum and ICI teamed up for an artist talk and book signing that offered a personal overview of Martha Wilson’s work. At the New York Art Book Fair at MOMA PS1, ICI’s Director, Kate Fowle, joined Wilson, curator Peter Dykhuis, and art historian Jayne Wark on October 2 for a SDQHO�FRQYHUVDWLRQ�WKDW�DGGUHVVHG�WKH�VLJQL¿FDQFH�DQG�complexity of Martha’s work, as well as her position as founder and director of Franklin Furnace. Additionally, on October 6 ICI organized a reading by Martha Wilson from the 6RXUFHERRN and a private viewing of the artist’s solo exhibition, ,�KDYH�EHFRPH�P\�RZQ�ZRUVW�IHDU� at P.P.O.W Gallery in New York. A similar book release and reading followed on October 25 at SF Camerawork in San )UDQFLVFR��DQG�¿QDOO\��WKH�0LOOV�&ROOHJH�$UW�'HSDUWPHQW�and Art Museum in Oakland, California hosted a lecture and book launch with Wilson on October 26.

78

This volume—with its sometimes glancing and VRPHWLPHV�REYLRXV�FRQQHFWLRQV��DV�ZHOO�DV�WKH�VXUURXQGLQJ�ÀRWVDP�RI�FRPPHUFLDO�SXEOLFDWLRQV��HOLFLWLQJ�DQ�LPPHGLDWH�VHQVH�RI�WKH�ZRUN¶V�FXOWXUDO�FRQWH[W�²FRQYH\V�KRZ�:LOVRQ�WKRXJKW�DERXW�KHU�ZRUN�DV�LW�GHYHORSHG�RYHU�WKH�SDVW��\HDUV��,W�LV�PRUH�UHYHDOLQJ�WKDQ�DQ�DUWLVWV�VWDWHPHQW��DQG�PRUH�FRPSHOOLQJ�WKDQ�DQ�DVVHVVPHQW�RI�KHU�ZRUN�E\�DQ�DUW�KLVWRULDQ��7KH�REOLTXH�DXWRELRJUDSK\�LW�RIIHUV�LV�DQ�LPSRUWDQW�FRQWULEXWLRQ�WR�WKH�VWXG\�RI�IHPLQLVW�DUW��DQG�D�GLVWLQFWLYH�DUWLVWV¶�ERRN��offering the archives as a salient site for future feminist art. —Aruna D’Souza, Bookforum, December 2012

)RU�WKLV�LOOXPLQDWLQJ�QHZ�SXEOLFDWLRQ��WKH�¿UVW�RI�D�SURMHFWHG�VHULHV��,QGHSHQGHQW�&XUDWRUV�,QWHUQDWLRQDO�KDV�GHYLVHG�D�IUHVK�FRQFHSWLRQ�IRU�WKH�DUWLVW¶V�PRQRJUDSK��,Q�DGGLWLRQ�WR�WKH�XVXDO�HVVD\V�DQG�UHSURGXFWLRQV��LW¶V�DOVR�¿OOHG�ZLWK�SKRWRFRSLHV�RI�ZRUGV�DQG�LPDJHV�WDNHQ�IURP�ERRNV�:LOVRQ�DFWXDOO\�RZQV��RIIHULQJ�UHDGHUV�D�FKDQFH�WR�OHDI�WKURXJK�KHU�OLEUDU\�DQG�GLVFRYHU�D�SRUWUDLW�RI�KHU�PLQG« —Elisabeth Kley, $UW�&ULWLFDO�2QOLQH, November 2011

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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 three pioneering non-profit organizations: Creativity Explored, Creative Growth Art Center, and the National In-stitute for Art and Disabilities Art Center (NIAD). These organizations were founded with the belief that exceptional creativity can emerge in anyone and they support the work of artists with developmental disabilities through a unique and highly successful approach to group studio practice. The centers offer an experience that is, in many ways, the antithesis of that envisioned by the art critic Roger Cardinal in 1972 when he coined the term “outsider art” to identify the work of artists who have no contact with the art world and who are physically and/or mentally isolated.

This major survey exhibition brings well-deserved

attention to this compelling work, sharing it with a

broad audience and expanding on its impact on a

range of renowned international artists. The exhibition

sparks critical dialogue concerning the categories of

contemporary art practice, especially the notion of

“outsider art,” and challenges audiences to rethink the

limitations of such categories. It is clear why works by

these artists have been increasingly recognized as

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

sting; 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.


Lawrence Rinder is Director of

the UC Berkeley Art Museum

DQG�3DFL¿F�)LOP�$UFKLYH��KDYLQJ�previously held the position of Dean

of the California College of the Arts

and been the contemporary art

curator at the Whitney Museum of

American Art. He is also a writer

of art criticism, poetry, drama and

¿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 200

exhibitions and projects with artists. He has contributed

essays and interviews to more than 50 publications and

art magazines including Artforum, Frieze, $UW�0RQWKO\� and Afterall. He was the recipient of the 2011 ICI Agnes

Gund Award.

17

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

CREATE CATALOGUE

Paperback. 176 pages. 2011.

ISBN: 9780971939790. $27.50

A fully illustrated publication

published by University of California,

%HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F�Film Archive accompanies the

exhibition. The exhibition catalogue

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.

BASIC FACTS

Number of artists: 20

Number of works: 103

Space required: 4,500–5,000 square feet

Tour dates: May 2011 through May 2013


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&UHDWH�EULQJV�XS�VHYHUDO�LPSRUWDQW�TXHVWLRQV�WKDW�UHPDLQ�XQDQVZHUHG��DQG�SHUKDSV�ZLOO�QRW�EH�DQVZHUHG�IRU�VRPH�WLPH��+RZ�DUH�WKHVH�DUWLVWV�GLIIHUHQW�RU�WKH�VDPH�DV�RWKHUV�IHDWXUHG�LQ�PDMRU�LQVWLWXWLRQV"�+RZ�GRHV�DQ�DUWLVW¶V�SDVW�RU�SUHVHQW�FRQGLWLRQ�DIIHFW�WKH�UHFHSWLRQ�RI�WKHLU�ZRUN"�,V�WKH�LPDJH�RI�³RXWVLGHU´�DUW�H[SORLWHG�E\�WKH�PDLQVWUHDP�LQ�WKH�VDPH�ZD\�DV�RWKHU�PLQRULWLHV��VXEFXOWXUHV��RU�IULQJH�VRFLHWLHV"�7KH�VXFFHVV�DQG�LPSRUWDQFH�RI�WKH�H[KLELWLRQ�LV�LQ�LWV�SRVLQJ�RI�WKHVH�TXHVWLRQV��DQG�WKH�RSHQLQJ�RI�D�GLDORJXH�WKDW�PD\�EH�FRQWLQXHG�E\�WKH�DUW�ZRUOG��ERWK�LQVLGH�DQG�RXW��—Amelia

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18

IMAGE TRANSFER

ICI EXHIBITIONS

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

IMAGE TRANSFER: PICTURES IN A REMIX CULTURE spotlights evolving attitudes toward the appropriation, recuperation, and repurposing of extant photographic imagery. Artists, as both producers and consumers in today’s vast image economy, freely adopt and adapt materials from myriad sources so that imagery culled from the Internet, magazines, newspapers, advertisements, television, films, personal and public archives, studio walls, and from other works of art are all fair game. IMAGE TRANSFER brings together artists who divert commonplace, even ubiquitous visual materials into new territories of formal and idiomatic expression, and will explore several questions. How are artists using clipped, copied, grabbed, or downloaded images, and what do such artistic positions relate to the viewer vis-à-vis the work? How do such synthesized images operate in visual culture? Do these works critique our media-saturated age or are they only symptomatic of it? What can these processes and these composite images tell us about the state of photography today?


Sara Krajewski is Curator at the Henry Art Gallery. 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, Madison, Wisconsin and the Harvard Art Museum, Cambridge, Massachusetts.

ARTISTS INCLUDE

Sean Dack, Karl Haendel, Jordan Kantor, Matt Keegan, Carter Mull, Lisa Oppenheim, Marlo Pascual, Amanda Ross-Ho, Sara VanDerBeek, Siebren Versteeg, Erika Vogt, Kelley Walker

IMAGE TRANSFER CATALOGUE

Foreword by Sylvia Wolf; essay by Sara Krajewski. Published by the Henry Art Gallery.9.75 x 7.5 inches. 102 pages. 71 color illustrations. 2010. ISBN: 978-0935558494. $25.00

This exhibition catalogue explores the pervasive phenomenon of the “remix” as it is absorbed by the visual artists and “played back” through their work.

BASIC FACTS

Number of artists: 12Number of works: 40Space required: 4,000–5,000 square feetTour dates: October 2010 through April 2013For further booking details, see page 56

19IMAGE TRANSFER: PICTURES IN A REMIX CULTURE

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VOLUME 1

Curators include: Mai Abu ElDahab (Egypt/Belgium), Magali Arriola (Mexico), Ruth Auerbach (Venezuela), Lars Bang Larsen (Denmark), Zoe Butt (Australia/Vietnam), Yane Calovski (Macedonia), Amy Cheng (Taiwan), Lee Weng Choy (Singapore), Ana Paula Cohen (Brazil), Joselina Cruz (Philippines), Sergio Edelsztein (Argentina/Israel), Charles Esche (U.K./Netherlands), Lauri Firstenberg (U.S.), Alexie Glass-Kantor (Australia), Julieta Gonzalez (Venezuela), Anthony Huberman (Switzerland/United States), Mami Kataoka (Japan), Constance Lewallen (U.S.), Lu Jie (China), Raimundas Malasauskas (Lithuania/France), Francesco Manacorda (Italy), Chus Martinez (Spain), Viktor Misiano (Russia), David Moos (Canada), Deeksha Nath (India), Simon Njami (Cameroon/France), Hans Ulrich Obrist �6ZLW]HUODQG�8�.��-DFN�3HUVHNLDQ��3DOHVWLQH��-RVp�Roca (Colombia), Bisi Silva (Nigeria), Franklin Sirmans (U.S.), Kathryn Smith (South Africa), Susan Sollins (U.S.), Mirjam Varadinis (Switzerland), and WHW (Croatia)

Artists include: Vyacheslav Akhunov (Uzbekistan), Meris Angioletti (Italy), Alexander Apóstol (Venezuela/Spain), Vartan Avakian (Lebenon), Azorro Group (Poland), Sammy Baloji (DR Congo), Yason Banal (Phillipines), Guy Ben-Ner (Israel), Andrea Büttner (Germany/United Kingdom), Robert Cauble (United States), Chen Chieh-MHQ��7DLZDQ��&KWR�GHODW�:KDW�LV�WR�EH�GRQH"��5XVVLD��Manon de Boer (The Netherlands/Belgium), Jos de Gruyter and Harald Thys (Belgium), Angelica Detanico & Rafael Lain (Brazil), Kota Ezawa (Germany/U.S.), Tamar Guimarães (Brazil/Denmark), Dan Halter (Zimbabwe/South Africa), Ranbir Kaleka (India), Beryl Korot (U.S.),

Nestor Kruger (Canada), Anja Medved (Slovenia), Tracey 0RIIDWW��$XVWUDOLD��7XҩQ�$QGUHZ�1JX\ӉQ��3K��1DP�Thuc Ha (Vietnam), Ho Tzu Nyen (Singapore), Wanda Raimundi-Ortiz (U.S.), Daniela Paes Leao (Portugal/The Netherlands), Elodie Pong (Switzerland), Tracey Rose (South Africa), Edwin Sanchez (Colombia), Michael Stevenson (New Zealand/Germany), Stephen Sutcliffe (U.K.), Yukihiro Taguchi (Japan), Ulla Von Brandenburg (Germany/France), and Zhou Xiaohu (China)

BASIC FACTS

Number of artists or artist groups: 35Number of works: 356SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOHAvailable dates: now through December 2012

(Volume 2 is available starting Fall 2012)For further booking details, see page 56

PROJECT 35 is a program of single-channel videos selected by 35 international curators who have each chosen one work by an artist that they think is important for audiences around the world to experience today.

Drawing on the expertise of ICI’s extensive network of curators, PROJECT 35 traces a complexity of regional and global connections among practitioners from places as varied as Colombia, the Congo, and the Philippines, as well as demonstrates the extent to which video is now one of the most important and far-reaching mediums for con-temporary artists. 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.

PROJECT 35ICI EXHIBITIONS

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7KHUH�LV�DQ�DEXQGDQFH�RI�FRS\�SDVWLQJ�DQG�FURVV�HGLWLQJ�in Project 35. It makes the issues of authorship and FRS\ULJKW�VHHP�HYHU�VR�SDVVp��7KH�QDWXUH�RI�WKH�PHGLXP�KDV�FKDQJHG�WKH�ZD\�ZH�ORRN�DW�RZQHUVKLS��XQGRXEWHGO\�so. And in Alice in Wonderland��RU�:KR�LV�*X\�'HERUG"�(2003),�5REHUW�&DXEOH�OLWHUDOO\�ULSV�WKH�LPDJHV�IURP�WKH�'LVQH\�FODVVLF��PHWLFXORXVO\�UH�FRQ¿JXULQJ�WKH�QDUUDWLYH��WR�GULYH�$OLFH�RQ�D�VHDUFK�IRU�)UHQFK�6LWXDWLRQLVW�� *X\�'HERUG��,W¶V�<RX�7XEH�PDJLF��ZLWK�DUW�VFKRRO�WZLVW��—Emily Bour, Aesthetica Magazine, July 2011

7KHVH�GD\V�LW�PLJKW�VHHP�OLNH�D�IRUJRWWHQ�PHGLXP��EXW�WKH�KXPEOH�YLGHRWDSH�KDV�PDGH�D�VLJQL¿FDQW�FRQWULEXWLRQ�WR�DUW��7HFKQRORJ\�PDNHV�WKLQJV�KDSSHQ��,Q�WKH�FDVH�RI�SRUWDEOH�YLGHR�WHFKQRORJ\��ZKLFK�KDV�EHHQ�ZLWK�XV�IRU�OLWWOH�PRUH�WKDQ��\HDUV��LW�KDV�HQJHQGHUHG�DQ�DUW�IRUP²YLGHR�DUW²DQG�ZD\V�RI�GLVVHPLQDWLQJ�LW�WKDW��HYHQ�EHIRUH�WKH�ULVH�RI�<RX7XEH��HPDQFLSDWHG�DUW�PDNLQJ�IURP�WKH�JDOOHU\�V\VWHP��,QGHSHQGHQW�&XUDWRUV�,QWHUQDWLRQDO��,&,��LV�D�1HZ�<RUN�EDVHG�RUJDQL]DWLRQ�RQO\�D�IHZ�\HDUV�\RXQJHU�WKDQ�WKH�PHGLXP��GHGLFDWHG�WR�SURGXFLQJ�H[KLELWLRQV�DQG�FRQQHFWLQJ�FXUDWRUV�IURP�DURXQG�WKH�JOREH��—Dylan Rainforth, 6\GQH\�0RUQLQJ�+HUDOG, July 2011

ANNOUNCING VOLUME 2

Following the widespread popularity and success of Project 35, ICI is now collaborating with 35 more curators to produce 3URMHFW��9ROXPH��This new compilation will be available starting Fall 2012. A sneak peek of the participating curators includes:

Leeza Ahmady (Afghanistan/U.S.), Daina Augaitis (Canada), Regine Basha (U.S.), Rosina Cazali (Guatemala), Christopher Cozier (Trinidad and Tobago), 5LIN\�(IIHQG\��,QGRQHVLD��1¶*RQp�)DOO��6HQHJDO��(OHQD�Filipovic (Belgium), Amirali Ghasemi (Iran), Vít Havránek (Czech Republic), Hou Hanru (U.S./China), Virginija Januskeviciute (Lithuania), Abdellah Karroum (Morocco), Sun Jung Kim (South Korea), Pablo Leon de la Barra (Mexico/U.K.), Yandro Miralles (Cuba), Srimoyee Mitra (Canada), Nat Muller (The Netherlands), Sharmini Pereira (Sri Lanka), Natasa Petresin-Bachelez (France), Kathrin Rhomberg (Austria), Mats Stjernstedt (Sweden), David Teh (Thailand), Philip Tenari (China), Christine Tohme (Lebanon), Alexis Vaillant (France), Raluca Voinea (Romania), and Adnan Yildiz (Germany)

PROJECT 35

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Within two years do it exhibitions were being created

all over the world, from Reykjavik to Siena, Bangkok to

Bogotá. In 1997 ICI collaborated with Obrist to create

a do it that took place in 25 cities across North America

from Boise, Idaho to Memphis, Tennessee and Regina,

6DVNDWFKHZDQ��DQG�LQ��H�ÀX[�ZRUNHG�ZLWK�2EULVW�to produce an on-line version that could be “done” at

home. To date do it has occurred in at least 90 different

places globally, including Australia, China, Denmark,

)UDQFH��*HUPDQ\��0H[LFR��3RUWXJDO��5XVVLD��6DQ�-RVp��Slovenia, and Uruguay. With each incarnation new

instructions are added, so that today more than 300

artists have contributed to the project. Furthermore, the

exhibition is unique in every location because it is the

local community that responds to the instructions and

therefore no two outcomes are ever the same. This

means that the generative and accumulative aspects

of GR�LW¶V ongoing presentation are less concerned with

notions of the “copy” or of the “reproduction” of artworks

than with revealing the nuances of human interpretation,

the potential of translation, and the heterogeneity of a

participatory art project on a global scale.

Nearly 20 years after the initial conversation took place

do it has become the longest-running and most far-

reaching exhibition to ever happen, giving new meaning

to the concept of the “Exhibition in Progress.” Constantly

evolving and morphing into different versions of itself,

do it has grown to encompass “do it (museum)”, “do it

(home)”, “do it (TV)”, “do it (seminar),” as well as some

anti-GR�LW¶V��a philosophy GR�LW� and most recently a

UNESCO children’s do it.

The 20th anniversary version of the exhibition will include

the extensive archive of catalogues and documentation

IURP�ERWK�³RI¿FLDO´�DQG�³XQRI¿FLDO´�UHDOL]DWLRQV�RI�do it, presented alongside the largest selection to date of

instructional works. Venues will select at least 20 of

the works to present from a list of almost 200, and this

will include 25 newly commissioned pieces from artists

selected by Obrist and ICI. An online component to the

exhibition will also be available to venues to further

document and share the exhibition’s purview.

BASIC FACTS

Number of artists or artist groups: Approximately 200

Number of works: Approximately 200

6SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOH��WKRXJK�DW�OHDVW��square feet

Tour dates: January 2013 through December 2014


Please check ICI’s website for information about placing an order for the

publication and upcoming related events, www.curatorsintl.org.

JUST ANNOUNCED!Curated by Hans Ulrich Obrist

To mark the 20th anniversary of this landmark project, Hans Ulrich Obrist and ICI are collaborating on an upcoming publication and exhibition that will present DO IT’s his-tory and give new potential to its future. DO IT began in Paris in 1993 with a discussion between the artists Christian Boltanski and Bertrand Lavier and Obrist, who was ex-perimenting with how exhibition formats could be made more flexible and open-ended. The conversation developed into the question of whether a show could be made from “scores” or written instructions by artists, inspired by movements such as Fluxus, and which could be openly interpreted every time they were presented. To test the idea Obrist invited 13 artists to send instructions, which were then translated into 9 different languages and circulated internationally as a book.

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Hans Ulrich Obrist is co-director of the Serpentine Gallery in London. Prior to this, he was Curator of the 0XVpH�G¶$UW�0RGHUQH�GH�OD�9LOOH�GH�Paris from 2000 to 2006, as well as curator of Museum in progress, Vienna, from 1993 to 2000. Obrist has co-curated over 250 exhibitions

VLQFH�KLV�¿UVW�H[KLELWLRQ��the Kitchen show (World Soup) in 1991, including Cities on the Move (2007); 1st Berlin Biennale (1998); /DERUDWRULXP (1999); Utopia Station (2003); 1st & 2nd Moscow Biennale (2005 and 2007); Lyon Biennale (2007); and ,QGLDQ�+LJKZD\ (2008–2011). Obrist is the editor of a series of conversation books published by Walther Koenig. He has also edited the writings of Gerhard Richter, Gilbert and George and Louise Bourgeois. He has contributed to over 200 book projects, and recent publications include $�%ULHI�+LVWRU\�of Curating, dontstopdontstopdontstopdontstop, The IXWXUH�ZLOO�EH��ZLWK�0�0 (Paris), ,QWHUYLHZ�ZLWK�+DQV�Peter Feldmann, and Ai Wei Wei Speaks, along with two volumes of his selected interviews. The Marathon series of public events was conceived by Hans Ulrich Obrist LQ�6WXWWJDUW�LQ��7KH�¿UVW�LQ�WKH�6HUSHQWLQH�VHULHV��the Interview Marathon (2006), involved interviews with OHDGLQJ�¿JXUHV�LQ�FRQWHPSRUDU\�FXOWXUH�RYHU��KRXUV��conducted by Obrist and architect Rem Koolhaas. This was followed by the Experiment Marathon, conceived by Obrist and artist Olafur Eliasson (2007), the Manifesto Marathon (2008), the Poetry Marathon (2009), Map Marathon (2010), and the Garden Marathon (2011).

In 2009 Obrist was made an Honorary Fellow of the Royal Institute of British Architects (RIBA). In March 2011 he was awarded the Bard College Award for Curatorial Excellence. 2011 also marks the launch of the Institute of the 21st Century, a collaborative project devoted to archiving and disseminating Obrist’s Interview Project.

CALL FOR DO IT DOCUMENTATION

In order to develop an up-to-date compendium of the history and the future of do it, ICI is launching a call for documentation of do it exhibitions done spontaneously, residentially, on a small scale or a large scale—essentially any and all material from a realization of do it WKDW�PD\�KDYH�EHHQ�H[FOXGHG�IURP�WKH�RI¿FLDO�H[KLELWLRQ�history. Please contact Alex Kleiman, Research Assistant, at [email protected] or 212 254 8200 x126 with information on any publications, photographs, videos, DQG�RU�RWKHU�WH[WXDO�GRFXPHQWDWLRQ�UHODWLQJ�WR�DQ\�RI¿FLDO�RU�XQRI¿FLDO�do it exhibitions you were involved in or organized. ICI will continue accepting documentation on various do it iterations through April 2, 2012.

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24

Curated by Harrell Fletcher and Jens Hoffmann

Proposing an alternative to the standard contemporary art biennial, PEOPLE’S BIENNIAL recognizes a wide array of artistic expression present in many communities across the U.S. The openness of this model is intended to question the often exclusionary and insular nature of selecting art, and focus on cities that are not considered the primary art capitals. PEOPLE’S BIENNIAL began with 6 months of curatorial research by guest curators Harrell Fletcher and Jens Hoffmann in collaboration with five regional museums and art centers in Portland, Oregon, Scottsdale, Arizona, Rapid City, South Dakota, Winston-Salem, North Carolina, and Haverford, Pennsylvania. The curators visited each city to participate in a series of public events and open calls that led to the selection of artists and works for the exhibition. In each locale, the curators have explored the little-known, the overlooked, the marginalized and excluded, building an exhibition that challenges established curatorial models and traditional notions of artistic product.

ARTISTS INCLUDE

Caleb Belden, Mary Bordeaux, Ally Drozd with Judge Evans and the Portland Community Court, Laura Deutch, Gary Freitas, Jorge Figueroa, Sylvia Gray (with the Elsewhere Collaborative), Jim Grosbach, Nicole Harvieux, Warren Hatch, Jake Herman, Maiza Hixson, David Hoelzinger, Howard Kleger, Cymantha Diaz Liakos, Ellen Lesperance, Jonathan Lindsay, Dennis Newell, Bob Newland, Raymond Mariani, Alan Massey, Jim McMillan, Jennifer McCormick, Beatrice Moore and The Mutant Piñata Show (with piñatas by Mike Maas, Ana Forner, Chris Clark, Tom Cooper, and Koryn Woodward), Joseph Perez, Bernie Peterson, Bruce Price, David Rosenak, JJ Ross, Andrew Sgarlet, Robert Smith-Shabazz, Rudy Speerschneider, Andrea Sweet, James Wallner, Presley H. Ward, Paul Wilson For latest developments on the exhibition, tour, publication, and related events, please visit the 3HRSOH¶V�%LHQQLDO blog on ICI’s website, www.curatorsintl.org


Harrell Fletcher is an artist who has worked collaboratively and individually on socially engaged, interdisciplinary projects for more than 15 years. His work has been exhibited throughout the United States and in Europe. He is a professor of art and social practice at Portland State University in Portland, Oregon.

Jens Hoffmann is director of the CCA Wattis Institute for Contemporary Arts, San Francisco. He has curated over three-dozen exhibitions since the late 1990s. He was director of exhibitions at the Institute of Contemporary Arts in London from 2003 to 2007. Hoffmann is

an assistant professor at the California College of the Arts, San Francisco, and guest professor at the Nuova Accademia de Belle Arti, Milan. In 2011 he curated the 12th Istanbul Biennial and is currently curating the 9th Shanghai Biennial to open in October 2012.

PEOPLE’S BIENNIAL

ICI EXHIBITIONS

25

EXHIBITIONS ITINERARY

Portland Institute for Contemporary ArtPortland, Oregon

September 10, 2010–October 17, 2010

Dahl Arts CenterRapid City, South Dakota

January 14, 2011–March 27, 2011

Southeastern Center for Contemporary ArtWinston-Salem, North Carolina

July 8, 2011–September 18, 2011

Scottsdale Museum of Contemporary ArtScottsdale, Arizona

October 15, 2011–January 15, 2012

Cantor Fitzgerald Gallery, Haverford CollegeHaverford, Pennsylvania

January 27, 2012–March 2, 2012

PEOPLE’S BIENNIAL CATALOGUE

3HRSOH¶V�%LHQQLDO��$�*XLGH�WR�$PHULFD¶V�0RVW�([FLWLQJ�$UWLVWVPublished by ICI. 6.5 x 9.5 inches. 136

pages. 2011. ISBN: 9780916365837.

$35.00

Distributed by DAP, the 3HRSOH¶V�Biennial catalogue chronicles the

curatorial process of Fletcher and

+RIIPDQQ¶V�UHVHDUFK�DQG�YLVLWV�WR�HDFK�RI�WKH�¿YH�FLWLHV��The publication includes a conversation between the

curators, journalistic entries from the participating venues’

staff, statements from each of the selected artists, and

extensive photographic documentation of the exhibition

organization process, community-based events, selected

artwork, and resulting exhibition.

For information about how to order a copy of the 3HRSOH¶V�%LHQQLDO catalogue, please visit ICI’s website, www.curatorsintl.org.

PEOPLE’S CONFERENCE

In conjunction with the exhibition’s last stop at Haverford

College, a two-day conversation was co-organized

with Haverford College’s John B. Hurford ‘60 Center

for the Arts and Humanities and the ICA University of

Pennsylvania to delve deeper into questions about

regionalism, display, and structures of support for under-

recognized artists in ways that push the boundaries of

curatorial, artistic, and institutional innovation.

Friday, February 24

4:30–6:30pm

Haverford College, Sharpless Auditorium, KINSC

370 West Lancaster Avenue

Haverford, Pennsylvania, 19041

Exhibition co-curators Harrell Fletcher and Jens

+RIIPDQQ�UHÀHFWHG�RQ�WKH�SURFHVV�RI�PDNLQJ�WKH�¿UVW�3HRSOH¶V�%LHQQLDO, as well as its potential for future

iterations. Moderated by Renaud Proch, Deputy

Director, ICI.

Saturday, February 25

11am–5pm

Institute of Contemporary Arts, University of Pennsylvania

118 South 36th Street

Philadelphia, Pennsylvania, 19104

This day-long conversation proposed a question in two

parts: How can one contextualize and display art that

exists outside the norms of the mainstream art world

in an innovative manner, and how can structures of

display transform into ongoing systems of support for

DUWLVWV"�0RGHUDWHG�E\�3HRSOH¶V�%LHQQLDO co-curators

Harrell Fletcher and Jens Hoffmann, speakers included

Christopher Cook, Tom Finkelpearl, Paula Marincola,

John Muse, Peter Nesbett, John Ollman, J. Morgan

Puett, Julien Robson, Ingrid Schaffner, Astria Suparak,

Andrew Suggs, Nato Thompson, and Transformazium.

People’s Conference was funded, in part, with a professional development

grant from The Pew Center for Arts & Heritage, through the Philadelphia

Exhibitions Initiative. The ICA thanks The Spiegel Fund to Support

Contemporary Culture and the Visual Art.

PEOPLE’S BIENNIAL

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:KLOH�ZRUNVKRSV�SURYLGH�DQ�RYHUYLHZ�RI�VSHFL¿F�VNLOOV�and information, group discussions and one-on-one advising sessions offer participants individual feedback and guidance. Taking full advantage of New York’s art world as a primary learning tool, site visits with professionals in their workplace help contextualize issues of exhibition making.

ICI continues working with participants long distance to ¿QDOL]H�WKHLU�SURSRVDOV�IRU�SXEOLFDWLRQ�RQ�,&,¶V�ZHEVLWH��www.curatorsintl.org.

SUMMER 2012: CONTEMPORARY CURATORIAL PRACTICE

Application Deadline: April 63URJUDP�'DWHV��-XO\��±��Focusing on new models for curating and exhibition development, ICI’s annual Summer Intensive offers curators the opportunity to meet colleagues from around the world and share ideas on how to push the parameters of their practice.

FALL 2012: CURATING BEYONDEXHIBITION-MAKING

$SSOLFDWLRQ�'HDGOLQH��-XO\��Program Dates: October 21–30&XUDWLQJ�%H\RQG�([KLELWLRQ�0DNLQJ�ZLOO�EH�WKH�¿UVW�program in the world to offer training to curators on the challenges and logistics surrounding public events and educational programs, including discursive projects that unfold over time, durational pedagogical events and new forms of curatorial publishing.

PAST INSTRUCTORS AND ADVISORS INCLUDE

ICI Staff; -HUHP\�$GDPV, CUE Art Foundation; Cecilia Alemani, independent curator; Yona Backer, Third Streaming; Regine Basha, independent curator; Nicholas Baume, Public Art Fund; Mark Beasley, Performa; Klaus Biesenbach, MoMA PS1; Claire Bishop, CUNY Graduate Center; Kalia Brooks, Museum of Contemporary African Diasporan Arts; Dan Cameron, Orange County Museum of Art;�-LP�Campbell, artist; Doryun Chong, MoMA; -DPHV�&RKDQ, James Cohan Gallery; Michael Conner, Marian Spore; Kari Conte, International Studio and Curatorial Program; Sarah Cook, CRUMB; Mark Dion, artist; Claire Gilman, The Drawing Center; Theresa Gleadowe, independent curator; RoseLee Goldberg, Performa; Beryl Graham, CRUMB; Susan Hapgood, Mumbai Art Room; 6R¿D�+HUQDQGH]�&KRQJ�&X\, Colección Patricia Phelps de Cisneros; Matthew Higgs, White Columns; Andy Horwitz, Lower Manhattan Cultural Council; 0DU\�-DQH�-DFRE, School of Art Institute of Chicago; $QD�-DQHYVNL, MoMA; 9LUJLQLMD�-DQXVNHYLFLXWH, Contemporary Art Centre, Vilnius, Lithuania; (XQJLH�-RR, New Museum; Christopher Lew, MoMA PS1; Maria Lind, Tensta Konsthall; Brett Littman, The Drawing Center; Raimundas Malasauskas, independent curator; Richard Marshall, Lever House; Anne Pasternak, Creative Time; -��0RUJDQ�3XHWW, artist; Nancy Spector, Solomon R. Guggenheim Foundation; Mari Spirito, 303 Gallery; -RYDQD�6WRNLF, Abramovic Studio; Nato Thompson, Creative Time; Nicola Trezzi, Flash Art; Christian Rattemeyer, MoMA; Anton Vidokle��H�ÀX[��Allison Weisburg, Recess Activities, Inc.; Fred Wilson, artist; and more



THE CURATORIAL INTENSIVE: NEW YORK 2012

Recognizing there are few opportunities for emerging professionals to receive practical training and guidance while also holding down a job, the Curatorial Intensive is targeted toward self-motivated individuals—working independently or in institutions—who would benefit from a week of intensive conversations around the issues and questions that regularly arise for curators. These range from the pragmatics of developing an exhibition and building working relationships with artists to the theoretical aspects of understanding how to turn a concept into a project and effectively communicate ideas.

27

REPORT: FALL 2011: CURATING PERFORMANCE

Last November ICI produced the Curatorial Intensive in association with the Performa 11 Biennial to create the ¿UVW�HYHU�WUDLQLQJ�SURJUDP�RQ�FXUDWLQJ�YLVXDO�SHUIRUPDQFH�art. Over 10 days participants explored how the presentation of performance in an art context is being theorized and implemented today, including logistical and conceptual concerns arising from the commissioning, production, interpretation, and documentation of the genre. By day the course included workshops, discussions, critiques, and advisement sessions to develop individual project proposals and by night the participants attended Performa 11 events and premieres.

13 participants from Canada, China, Germany, India, Ireland, the Netherlands, the U.K., and 2 U.S. states were selected to participate in the Curatorial Intensive from November 13–22 in New York. Their exhibition proposals will be published on ICI’s website, www.curatorsintl.org in May 2012.

Over 10 days participants worked with ICI staff and other leading practitioners including Klaus Biesenbach, Director, MoMA PS1, and Curator-at-Large, Museum

of Modern Art, New York; Claire Bishop, Associate Professor, Art History, CUNY Graduate Center, New York; RoseLee Goldberg, Founding Director and Curator, Performa; $QD�-DQHYVNL� Associate Curator of Performance, Museum of Modern Art, New York; Christopher Lew, Assistant Curator, MoMA PS1; Robert Longo, artist; Matthew Lyons, Curator, The Kitchen; Raimundas Malasauskas, independent curator; -RYDQD�6WRNLF, Director, Abramovic Studio, and Curator, Location 1; Nancy Spector, Deputy Director and Chief Curator, Solomon R. Guggenheim Foundation; and Martha Wilson, artist and founder of Franklin Furnace performance space.

For more information about the Curatorial Intensive training programs, visit ICI’s website, www. curatorsintl.org or contact Chelsea Haines at [email protected].

The Curatorial Intensive is made possible, in part, by grants from The 'HGDOXV�)RXQGDWLRQ��7KH�+DUW¿HOG�)RXQGDWLRQ��7KH�+RUDFH�:��*ROGVPLWK�Foundation, The Milton and Sally Avery Arts Foundation, The Robert Sterling Clark Foundation, and The Toby D. Lewis Philanthropic Fund; by support from the ICI Board of Trustees; and by generous contributions from James Cohan and the supporters of ICI’s Access Fund.

7KH�&XUDWRULDO�,QWHQVLYH�JDYH�PH�VSDFH�WR�DFWXDOO\�WKLQN�DERXW�FXUDWLQJ��ZKLFK�,�DSSUHFLDWHG��,�ZDV�DEOH�WR�GHYHORS�D�SURSRVDO�WKDW�,¶P�DOUHDG\�ZRUNLQJ�WR�LPSOHPHQW�ZLWKLQ�P\�LQVWLWXWLRQ²LW�ZDV�KXJHO\�YDOXDEOH�WR�ERXQFH�LGHDV�RII�D�UDQJH�RI�LQGLYLGXDOV�GXULQJ�WKH�SURJUDP�IRU�IHHGEDFN�GLVFXVVLRQ��,�UHWXUQHG�KRPH�ZLWK�D�UHQHZHG�VHQVH�RI�SXUSRVH�


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3DUWLFLSDQWV�UHFHLYHG�DQ�LQWURGXFWLRQ�WR�WKH�¿HOG�RI�curatorial practice engaging with a wide range of current curatorial thinking in a critical environment that provided an international context for understanding contemporary art and exhibition making today.

The program consisted of two days of seminars during which the selected participants attended closed-door seminars and discussions at the J.J. School of Art with experienced curators, and other prominent professionals invited from across Asia and Europe. On the third day a public forum included 8 presentations and 2 panel discussions on pressing curatorial issues around the world.

Guest lecturers for the program included Shaina Anand, co-Initiator, CAMP; Annie Fletcher, Curator, Van Abbemuseum; Kate Fowle, Director, ICI; Annapurna Garimella, designer and art historian; Susan Hapgood, Director, Mumbai Art Room; Heejin Kim, Director, Pool Art Space; Arshiya Lokhandwala, founder of Lakeeren Art Gallery, Mumbai, India, art historian and curator; Christiane Mennicke-Schwarz, Artistic Director, Kunsthaus Dresden; Shivaji Panikkar, Dean, School of Culture & Creative Expressions, Bharat Ratna B.R. Ambedkar University; Sharmila Samant, artist; Vidya Shivadas, independent curator and critic; Gayatri Sinha, art critic and curator; and Pooja Sood, Director, KHOJ International Artists’ Association.

This event developed directly out of the successful prior collaboration, What Is Curating?, an intensive hands-on series of workshops organized by ICI and MPC in December 2010.

THE CURATORIAL INTENSIVE: MUMBAI

The Mumbai Curatorial Intensive developed and implemented by ICI in collaboration with the Mohile Parikh Center (MPC) took place in Mumbai from December 12–14, 2011.

This three-day event offered a forum on contemporary curatorial practice focusing on contemporary art and was geared toward the emerging professional curator. 13 participants from across India, Singapore, and Sri Lanka were selected from an open call application process to participate in the program.


PARTNERPROGRAMS

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29

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THE CURATORIAL INTENSIVE: MUMBAI

7KH�SURJUDP�VHOHFWHG�H[FHOOHQW�VSHDNHUV�WKDW�KDYH�ZRUNHG�LQ�(XURSH��86$��,QGLD�DQG�$VLD��ZKLFK�LV�QHFHVVDU\�IRU�DQ�LQWHUQDWLRQDO�XQGHUVWDQGLQJ��,W�LV�ZHOO�RUJDQL]HG��ZLWK�H[FHOOHQW�UHDGLQJV�DQG�YHU\�DSSURDFKDEOH�VSHDNHUV�DQG�FRRUGLQDWRUV��7KH�YHQXH�ZDV�DQ�H[FHOOHQW�FKRLFH�DV�LW�KDG�DQ�KLVWRULFDO�EDFNJURXQG�and special aura.

After listening to the lectures I feel more fearless to HQJDJH�LQ�LQGHSHQGHQW�SURMHFWV�DQG�FUHDWH�P\�RZQ�H[KLELWLRQV��,W�KDV�PDGH�PH�TXHVWLRQ�WKH�WUDGLWLRQDO�IRUPV�RI�H[KLELWLRQ�DQG�HQJDJH�LQ�PRUH�H[SHULPHQWDOZ�SURMHFWV�and ideas. The Curatorial Intensive allowed me to FRQQHFW�ZLWK�GLIIHUHQW�SHRSOH�,�ZRXOGQ¶W�KDYH�KDG�DFFHVV�to otherwise and I want to continue this network to learn PRUH�DERXW�WKHLU�ZRUNLQJ�SURFHVVHV��H[FKDQJH�LGHDV��DQG�WKLQN�DERXW�IXWXUH�FROODERUDWLRQV��7KH�UHDGLQJV�ZHUH�D�JUHDW�VRXUFH�RI�NQRZOHGJH�DERXW�FXUUHQW�FXUDWRULDO�DUW�SUDFWLFHV��ZKLFK�KDV�KHOSHG�PH�EURDGHQ�P\�SHUVRQDO�perspective.

NEW CURATORIAL INTENSIVE IN BEIJING, CHINA

Application Deadline: May 9Program Dates: August 5-11

In Summer 2012, ICI is planning a new Curatorial Intensive in Asia. In collaboration with the Ullens Center for Contemporary Art and The Central Academy of Fine Arts (CAFA) in Beijing, China, ICI will lead this 7-day program, titled The Museum of the Future: Curating Institutions. The course will examine various strategies to creatively build infrastructures for contemporary art institutions that respond to the changing needs of artists and new publics.

For more information about this and other international iterations of the Curatorial Intensive, visit ICI’s website www.curatorsintl.org, or contact Chelsea Haines at [email protected].

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PARTNERPROGRAMS

The 7-day program will focus on case studies with artists

who have produced works at Inhotim as well as public

panel discussions and closed-door seminars relating

WR�FRQWH[W�VSHFL¿FLW\��)DFXOW\�LQFOXGHV�Kate Fowle

Director, ICI; -DPHV�/LQJZRRG Co-Director, Artangel;

Rodrigo Moura, Curator, Inhotim; independent curators

Victoria Noorthoorn and Adriano Pedrosa; Allan Schwartzman, Chief Curator, Inhotim; and -RFKHQ�9RO]� Artistic Director, Inhotim.

The Curatorial Intensive at Inhotim is organized in

DI¿OLDWLRQ�ZLWK�D�SRVW�JUDGXDWH�VHPLQDU�DW�WKH�)HGHUDO�University of Minas Gerais.

10 to 14 applicants working internationally will be

selected to participate in the Curatorial Intensive.

Individuals applied with a description of a curatorial

project that he or she will develop through the program.

2QFH�¿QDOL]HG��WKH�FXUDWRULDO�SURSRVDOV�ZLOO�EH�SXEOLVKHG�on ICI’s website.

ABOUT INSTITUTO INHOTIM

Instituto Inhotim is a unique site that offers a broad

ensemble of art works, displayed outdoors as well

as in both temporary and permanent galleries, all

located inside a botanical garden of extraordinary

beauty. Decreed a Civil Society Organization of Public

Interest, Inhotim offers, in addition to these areas of

artistic enjoyment and entertainment, environmental

research work, educational actions, and an important

program of social inclusion and citizenship for the local

population. The art collection comprises over 500 works

by artists of national and international renown such as

Adriana Varejão, Helio Oiticica, Cildo Meireles, Chris

Burden, Matthew Barney, Doug Aitken, and Janet Cardiff.

Inhotim distinguishes itself from other museums by

offering artists unique conditions for developing their work

inside the park.

THE CURATORIAL INTENSIVE: INHOTIM

Organized from April 22–28, 2012, the Curatorial Intensive will employ Instituto Inhotim in Brazil as a case study to explore how curatorial practices negotiate issues of commissioning and adaptation of site-specific works; the interpretation and recreation of lost and unrealized projects; and concepts of the expanded museum and exhibition, such as curating through collection building; the spatial expansion of the institution; and new forms of outreach and audience development.

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Following art historian Claire Bishop’s seminar on October

27, independent curator Sheryl Conkelton responded via

PEI’s blog:

Several weeks ago in the panel room at the

Center, Claire Bishop led myself and 5 other

curators in a conversation about the recent social

turn in contemporary art. Although many scholars

have linked this turn to the expansion of artistic

forms and institutional critique of the 1960s and

‘70s, Bishop is interested in the socially engaged

and collaborative art making that developed out

of politicized art and identity politics in the early

1990s. She discussed with us in depth three

exhibition projects from 1993: Sonsbeek 93, a

sculpture biennial situated in Sonsbeek Park in

Arnhem, curated by Valerie Smith; Culture in

Action, curated in Chicago by Mary Jane Jacob;

DQG�3URMHW�8QLWp��RUJDQL]HG�LQ�/H�&RUEXVLHU¶V�8QLWp�G¶+DELWDWLRQ�LQ�)LUPLQ\�E\�<YHV�$XSHWLWDOORW��Each produced “projects” (as opposed to objects

and installations, a term that emerged around that

time to describe this type of art making) intended

WR�UHFRQ¿JXUH�RWKHUV¶�FUHDWLYLW\��(DFK�RI�WKHVH�SURMHFWV�SODFHG�DUWLVWV�LQ�VSHFL¿F�ORFDWLRQV�DQG�cultural contexts and asked them to produce work

that would collaborate with local resources.

All of these shows, almost 20 years gone, are

known to most of us only through texts and

photographs—documentation rather than actual

experience. They are historical narratives that

have evolved beyond their circumstances to be

seen as case studies if not potential models.

Our conversation about them quickly turned

to a discussion of how we might value these

kinds of art productions (less object and more

event, based in transaction rather than material

production), and the disparate ways in which

differently motivated projects operate. We talked

about how the pressures for art to be historically

and geographically located, and socially relevant

and productive—sometimes deliberately excluding

aesthetic effect—present challenges: certainly

for institutions, but also for curatorial practice,

exhibition, and dissemination strategies. We

also considered the audiences, who, if they are

not active participants, may be located outside

SURMHFWV�ZLWKRXW�VXI¿FLHQW�PHDQV�WR�DFFHVV�their meanings. For many contemporary artists

the notion of art as a set of intrinsic values has

been replaced with a concern for sociability, and

the exhibition has shifted toward a process of

facilitation. Evolving from the tensions among

social, aesthetic, and political practices, what we

now call “social practice” has generated a new

critical horizon, and with it comes an imperative

to discover, or construct, criteria that address

QHZ�IRUPV�RI�VLJQL¿FDWLRQ²QRW�VR�HDVLO\�VROYHG��as we’ve seen in recent accounts, but a key

discourse in this moment.

Sheryl Conkelton is a curator and art historian living in

Philadelphia. She teaches at Moore College of Art and

Design.

To access the Philadelphia Exhibitions Initiative’s blog, visit

www.pcah.us/exhibitions/blog.


THE CURATORIAL INTENSIVE FOR THE PHILADELPHIA EXHIBITIONS INITIATIVE AT THE PEW CENTER FOR ARTS & HERITAGE

For its second collaboration with the PEI, ICI is organizing a series of 8 seminars for 6 established curators based in the Philadelphia area. The course takes place over 8 half-to-full day sessions from October 2011 to June 2012.

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Yulia Aksenova organized 33 Fragments of Russian Performance, a collaboration between the Garage Center for Contemporary Culture and Performa 11. The exhibition included performance archives, photographs and videos documenting Russian performance in both the historical avant-garde of the 1920s and contemporary periods. Presented in the Performa Hub in New York last November, it featured a lecture by renowned Russian art critic Alexandra Obukhova and a performance by Andrey Kuzkin.

Ieva Astahovska is organizing an ongoing research project in Latvia, commissioned by the Ministry of Culture and aimed at creating a contextual background for the collection of the future Museum of Contemporary Arts. “It is rewriting a history [of Soviet art], a process that is taking place in the East and the West simultaneously,” says Astahovska.

Freya Chou is now part of the curatorial team for The Two Year project (2Y), a response to the short-term, dislocated, and spectacularized nature of the biennial industries, which include a series of events at Taipei institutions in 2011 and 2012.

Michele Horrigan is the curator and director of Askeaton Contemporary Arts in County Limerick, Ireland. Along with organizing an annual residency program, she is currently commissioning 5 artists to produce new DUWZRUNV�EDVHG�RQ�7KH�+HOO¿UH�&OXE��D�VHFUHW�VRFLHW\�based in Askeaton in the 18th century.

Sam Korman recently curated Art & Leisure, a pop-up exhibition in Portland, Oregon in September 2011.

Maaike Lauwaert is working on a 4-month-long project on performance art at Stroom Den Haag, an independent center for art and architecture in The Netherlands. The project’s working title is ([SDQGHG�3HUIRUPDQFH and it aims at exploring different notions of the longevity of performance art. The project will take place end of 2012.

Michal Novotny recently curated a solo show of the DUWLVW�$PDQGH�,Q�DW�*DOHULH�8�'REUpKR�LQ�3UDJXH��+H�LV�also the newly appointed director of the FUTURA Centre for Contemporary Art. His Curatorial Intensive project, Monochrom, debuted at Školská 28, Prague, on January 23, 2012.

Sarah Thompson is currently working on a project at the BRC (Bowery Residents’ Committee) in their new space on West 25th Street to curate the artworks of the residents into the newly renovated space.

Banu Çiçek Tulu recently presented “From Knowledge to the Public: Online Publications as Polysystems” at the inaugural workshop for L’Internationale, a new transinstitutional organization comprised of 5 European museums and artists’ archives based on the shared use of collections and archives.

Sarah Rifky is currenty an agent for dOCUMENTA (13), which will take place in Kassel, Germany, from June 9–September 16, 2012.

Naima Keith has recently been appointed Assistant Curator at the Studio Museum in Harlem.

Since the Curatorial Intensive’s inception, a number of participants have successfully actualized the exhibition proposals that they developed through the course, and continue to be active in the curatorial field.


ALUMNI UPDATES

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CURATORIAL RESEARCH FELLOWSHIP

,&,¶V�¿UVW�&XUDWRULDO�5HVHDUFK�)HOORZ��6RItD�2ODVFRDJD�(2011–12) is using her fellowship time as a means of investigating educational and organizational models that FRXOG�LQÀXHQFH�DSSURDFKHV�WR�FXUDWLQJ��LQWHUURJDWLQJ�the critical and practical intersections between public programming and utopian communities. Olascoaga’s research is focused around the development of three projects: exploring formats for collective work and discussion, designing educational models for community HQJDJHPHQW��DQG�UHÀHFWLQJ�RQ�WKH�QHHG�IRU�XWRSLDQ�models.

ABOUT THE FELLOW

Sofía Olascoaga is an independent curator working in the intersections between art and education by activating spaces for critical thinking and collective action. Olascoaga was a Curatorial Fellow at the Whitney Museum of American Art’s Independent Study Program in 2010 and prior to that received her BFA from La Esmeralda National School of Fine Arts in Mexico City. From 2007 to 2010 Olascoaga was Head of Education and Public Programs at Museo de Arte Carrillo Gil in Mexico City, where she founded Estudio Abierto, an interdisciplinary programming platform that challenges event formats and the museum’s relationship to its communities. She was educational advisor and public SURJUDP�PDQDJHU�IRU�WKH�¿UVW�JUDQW�LQLWLDWLYH�%DQFRPHU�MACG Program for Young Artists in 2008–10.

Over the next year ICI is providing a framework for creating discourse around these curatorial projects and Olascoaga’s research in progress was presented as part of ICI’s public programs in the Curatorial Hub on October 18, 2011.

THE 2012 COLECCIÓN PATRICIA PHELPS DE CISNEROS TRAVEL AWARD FOR CENTRAL AMERICA AND THE CARIBBEAN

The Colección Patricia Phelps de Cisneros Travel Award for Central America and the Caribbean is a collaboration between ICI and the Colección Patricia Phelps de Cisneros that will annually support a contemporary art curator based anywhere in the world who wishes to travel to conduct research about art and cultural activities in Central America and the Caribbean. Intending to generate new collaborations with artists, curators, museums, cultural centers, and/or collections in the region, the Travel Award will support curatorial residencies, studio visits, and archival research.

7KH�¿UVW�DZDUG�ZLOO�EH�JLYHQ�LQ�KRQRU�RI�FXUDWRU�9LUJLQLD�3pUH]�5DWWRQ��±��ZKR�ZDV�LQWHUQDWLRQDOO\�renowned for her work with contemporary artists in Central America and the Caribbean. She was the founder of the art space, library, and foundation TEOR/p7LFD��DQG�WKH�GLUHFWRU�RI�WKH�0XVHR�GH�$UWH�\�'LVHxR�Contemporáneo de Costa Rica.

In addition to the Travel Award grantee, one applicant ZLOO�EH�LQYLWHG�IRU�D��WR��ZHHN�UHVLGHQF\�DW�7(25�p7LFD�in San Jose, Costa Rica. This opportunity is designed to introduce curators to the contemporary art scene of Costa Rica through studio visits, meetings with arts professionals, and visits to exhibitions.

As a resource complementing the Travel Award, ICI is building an online platform that provides information about the institutions, archives, collections, and cultural activities in the region, and will include accounts from the Travel Award Grantees.


In 2011, ICI initiated a new platform for in-depth curatorial research through the creation of a Curatorial Research Fellowship to support international practitioners and to create an environment for concentrated and thorough engagement in their particular area of interest. And this year ICI is collaborating with the Colección Patricia Phelps de Cisneros on a research award that will enable a curator to travel and conduct research in Central America and the Caribbean.

CURATORIAL RESEARCH


DISPATCHDISPATCH is ICI’s quarterly online journal that features a different curator’s point of view on current developments in art with each edition. Practitioners based in cities around the world are invited to use DISPATCH as their virtual base, building their research over time through text, image, and video. Past issues have been published from Mexico City, Ho Chi Minh City, San Francisco, Berlin, Mumbai, Thessaloniki, Beijing, New York, and Warsaw.

For the 10th issue of DISPATCH, independent curator Lucía Sanromán explores Proyecto Coyote, the collaboration she instigated between Estación Tijuana (Tijuana, Baja California, Mexico), Taller 7 (Medellín, Antioquia, Colombia), and KDXQGHQVFKLOG*$5$*(��/D�-ROOD��&DOLIRUQLD��DV�SDUW�of the program entitled (VSDFLRV�$Q¿WULRQHV�for Encuentro Internacional de Medellín MDE11�

Excerpt from Issue #10 of DISPATCH

The ghost of cultural tourism appears in many of the

processes generated by visiting biennials in far-off

locations. A sense of exaggerated nativism through

the idealization of place and misunderstanding of

homegrown processes are constant risks that befall

visiting producers, while self-exoticized “locals” frequently

attempt to exemplify some type of essential and

coherent identity. Always present is the impossibility of

authentically observing, experiencing, and representing

D�VSHFL¿F�FRQWH[W��HYHQ�ZKHQ�WKH�PHWKRGV�DQG�V\VWHPV�XVHG�WR�FDSWXUH�WKDW�H[SHULHQFH�PD\�EH�¿UPO\�REMHFWLYH��or even empirical. These observations were central

preoccupations when renowned Tijuana artist, Marcos

Ramírez ERRE, asked me to generate a project at his

independent space (VWDFLyQ�7LMXDQD�in response to an

invitation from the (QFXHQWUR�,QWHUQDFLRQDO�GH�0HGHOOtQ�0'(��(QVHxDU�\�DSUHQGHU��/XJDUHV�GHO�FRQRFLPLHQWR�

HQ�HO�DUWH��0'(��7HDFKLQJ�DQG�/HDUQLQJ��6LWHV�RI�Knowledge Through Art)—a multi-venue art biennial “not

biennial” in Medellín, Colombia, then preparing its second

edition.

0'(��, curated by Nuria Enguita, Evan Grinstein,

Bill Kelley Jr., and Conrado Uribe, took place from

September to December 2011 throughout Medellín. The

biennial positioned pedagogy itself as a curatorial axis

and active space of aesthetic and cultural production in

RUGHU�WR�UHGH¿QH�WKH�ZD\V�LQ�ZKLFK�VXFK�SURMHFWV�DUH�invested and embedded in the various communities that

constitute their main audiences and participants. One

of the (QFXHQWUR¶V programs was (VSDFLRV�$Q¿WULRQHV

(Host Spaces)—a platform that involved 5 independent

residency spaces in Medellín in order to co-produce the

residencies of 10 invited independent spaces throughout

Latin America, and elsewhere, for the biennial. Estación

Tijuana’s residency was hosted by the generous and

tireless Taller 7, situated in downtown Medellín, and

was organized with the aid of the art salon and “cultural

search engine” haundeschildGARAGE—located in

the elegant enclave of La Jolla, California—thereby

stretching the coordinates of this unique collaboration

between distant sites and spaces.

3UR\HFWR�&R\RWH (Coyote Project), as our proposal is

titled, took 0'(��’s focus on education as point of

DISPATCH: Tijuana

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GHSDUWXUH��ZLWK�D�VSHFLDO�HPSKDVLV�RQ�3DXOR�)UHLUH¶V�ÀXLG�and cyclic relationship between teacher and student, as quoted in the (QFXHQWUR¶V curatorial statement:

…teaching does not occur without learning, and by that I mean that the act of teaching requires someone who teaches and someone who learns. To teach and to learn function in such a way that, on the one hand, the person who teaches also learns since he or she recognizes knowledge acquired before and, on the other, by observing the curiosity with which the student works towards learning, the educator discovers questions, accomplishments and errors about what they are teaching.1

:LWK�WKLV�GH¿QLQJ�VWDWHPHQW�LQ�PLQG��ZH transformed Taller 7 into the studio of Estación Tijuana in order to “learn from Medellín”—to paraphrase the Venturi’s celebrated title Learning from Las Vegas.

Note1 Freire, Paulo, Cartas a quien pretende enseñar, 1992, p. 28. As quoted in the MDE11 curatorial statement in http://www.slideshare.net/museodeantioquia/encuentro-internacional-de-medelln-mde11 Translation by the author.

———

DISPATCH will be updated throughout February and March with examples and information from the 13 projects that occurred through 3UR\HFWR�&R\RWH.

ABOUT THE AUTHOR

Lucía Sanromán is the curator of 3UR\HFWR�&R\RWH� She is an independent curator and writer and served as Associate Curator at the Museum of Contemporary Art San Diego from 2006 to 2011, where she curated -HQQLIHU�6WHLQNDPS��Madame Curie (2011), Viva la 5HYROXFLyQ��$�'LDORJXH�ZLWK�WKH�

8UEDQ�/DQGVFDSH�(co-curated with Pedro Alonzo, 2010), and Here Not There: San Diego Art Now (2010). She DOVR�FXUDWHG�D�ODUJH�VFDOH�VLWH�VSHFL¿F�LQVWDOODWLRQ�E\�Los Angeles-based artist Ruben Ochoa (2010) and monographic exhibitions by Hector Zamora, Joshua Mosley, and Nina Katchadourian among others. Her exhibition Anomalia at the University Art Gallery at UCSD is on view from February 16 to May 12, 2012.

3UR\HFWR�&R\RWH was organized by Estación Tijuana and Taller 7 for (VSDFLRV�$Q¿WULRQHV�RI�0'(��(QFXHQWUR�,QWHUQDFLRQDO�GH�0HGHOOtQ in association with The haudenschildGARAGE. Additional support was made possible thanks to the generosity of El Consejo Nacional Para La Cultura y Las Artes, El Instituto Nacional De Bellas Artes, Instituto de Cultura de Baja California, and Patronato de Arte Contemporáneo A.C. (PAC).

DISPATCH

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Excerpt from seminar with Terry SmithTerry Smith: What I’m trying to do with this seminar is identify a kind of curatorial thought—a particular mode or practice that is curatorial in a way that you could say is parallel to the practices of thought that contemporary art criticism takes on contemporary art history.

Is there a way of speaking about contemporary art from a curator’s perspective that is particularly a curatorial DSSURDFK"�$QG�LI�WKHUH�LV��ZKDW�LV�LW"

Kate Fowle: It’s interesting, I’m not sure that’s ever really EHHQ�GLVFXVVHG�LQ�WKH�¿HOG��:KDW¶V�FOHDU�LV�WKDW�WKHUH�LV�D�job called curating and then there is a curatorial practice wherein it’s a way of life and an ongoing process that develops a way of thinking and looking. Of course the two aren’t mutually exclusive; at best, they happen together.

Sarah Demeuse: I think it’s important to historicize your question. It used to be art historians mainly doing curating and caring for objects in a museum context. Now we have people commissioning and actually thinking together with artists and a wide range of places where exhibitions take place, so there’s a more of an abstract cloud around the curator. And then, cotemporaneous to that, you have the mushrooming of a ton of curatorial programs that also produce these hybrid languages of curating.

Sofía Olascoaga: Infrastructures for production are a key aspect often left outside the explanation of FXUDWRULDO�SURMHFWV��EXW�DUH�VLJQL¿FDQW�WR�XQGHUVWDQGLQJ�the conditions of cultural production. The analysis of the type of institutions, forms of funding, institutional politics, public diversity, history of the context, etc. opens up elements to understand how a curator may critically QHJRWLDWH�KLV�KHU�UROH�LQ�D�VSHFL¿F�FRQWH[W�

Doryun Chong: A long time ago, one of my mentors actually gave me a list of the different roles, different hats you have to wear as a curator. I think one key decision a curator makes is to take a producer or productive position rather than a critical position. I mean, as a curator, you are supposed to produce something, right, whether it’s an exhibition, or whatever it is. Then, at the same time, you are supposed to enable artists; you’re a facilitator. Then if you are working for an institution, because the institution is your vessel, you’re supposed to know that vessel very well, to make it the best medium through which many things can happen. If you’re an independent curator WKHQ�\RXU�YHVVHO�LV�SHUKDSV�OHVV�GH¿QHG�RU�PXFK�ELJJHU��Then it’s much more challenging to pull all these different elements together.


THINKINGCURATING

On Thursday, October 20, 2011 ICI hosted a closed-door seminar and subsequent book launch of CONTEMPORARY ART: WORLD CURRENTS with art historian Terry Smith.

The seminar included curators Leeza Ahmady, Kalia Brooks, Doryun Chong, Sarah Demeuse, Ruba Katrib, Olga Kopenkina, Sofía Olascoaga, and Diana Nawi, and considered how curating functions in relation to categories of contemporary art. Furthermore, seminar participants considered the notion of the curatorial as a methodological and theoretical positioning.

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NEW PUBLICATION SERIES

Following this seminar, Terry Smith has continued to work on 7KLQNLQJ�&RQWHPSRUDU\�&XUDWLQJ, developing an extensive text that explores what makes “curating” a VSHFL¿F�SUDFWLFH�WKDW�JHQHUDWHV�XQLTXH�ZD\V�RI�WKLQNLQJ�about contemporary art.

This fall, the publication 7KLQNLQJ�&RQWHPSRUDU\�Curating�ZLOO�EH�ODXQFKHG�DV�WKH�¿UVW�LQ�D�QHZ�VHULHV�of publications, produced by ICI. The Perspectives 2Q�&XUDWLQJ�VHULHV�SXWV�IRUZDUG�WLPHO\�UHÀHFWLRQV�E\�curators, art historians, critics, and artists in response to current developments and pressing issues in the rapidly FKDQJLQJ�¿HOG�RI�LQWHUQDWLRQDO�FXUDWRULDO�SUDFWLFH�

7KLQNLQJ�&RQWHPSRUDU\�&XUDWLQJ will be available fall 2012.

ABOUT THE AUTHOR

Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh and Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine Arts, University of New South Wales, Sydney. He was Power Professor of Contemporary Art and Director of the Power Institute at the University of Sydney. A leading authority in the theory of contemporary world art, he is the author of a number of books, most recently :KDW�LV�&RQWHPSRUDU\�Art? (University of Chicago Press, 2009).

$OWKRXJK�PXVHXPV�KDYH�QRW�EHHQ�DEDQGRQHG��FXUDWRUVKLS�LV�QR�ORQJHU�WLHG�WR�WKHP��H[FHSW�E\�FRQVHUYDWLYH�GH¿QLWLRQV��ZKLFK�GUDZ�D�GLVWLQFWLRQ�EHWZHHQ�WKH�curator�GHYRWHG�DERYH�DOO�WR�WKH�FDUH�DQG�conservation of collections and the exhibition-maker who GRHV�RQO\��RU�PRVWO\��ZKDW�WKH�QDPH�VXJJHVWV��,QVWHDG��FXUDWLQJ�QRZ�HQFRPSDVVHV�QRW�RQO\�H[KLELWLRQ�PDNLQJ�EXW�DOVR�SURJUDPPLQJ�DW�PDQ\�NLQGV�RI�DOWHUQDWLYH�YHQXH��DQG�LV�RIWHQ�DGMXQFW�WR�HYHQ�WKH�PRVW�H[SHULPHQWDO�artspace. —Terry Smith

THINKING CONTEMPORARY CURATING

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CURATOR’S PERSPECTIVE

The CURATOR’S PERSPECTIVE is a free, itinerant public discussion series ICI developed as a way for international curators to share their research and experiences with audiences in New York. Through these talks, ICI has begun to assemble, document, and disseminate a wide variety of international perspectives on art today. In the past year audiences have heard perspectives on art, culture, and exhibition making from curators based in London, Ljubljana, Beirut, San Francisco, Jerusalem, Minas Gerais, Brazil, and Eindhoven, The Netherlands. In spring 2012 practitioners based in Stockholm, Guatemala City, and Vienna will talk about what they’re most interested in at the moment, including artists and the socio-political contexts that are shaping practices now.

On Wednesday, February 15, ICI launched the 2012 Curator’s Perspective series with a lecture by Maria Lind at the James Gallery at the CUNY Graduate Center. Lind spoke on the Tensta Konsthall in Stockholm, where she has been Director since January 2011.

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 Chelsea Haines at [email protected].

The 2012 Curator’s Perspective program is made possible in part by a grant from the Robert Sterling Clark Foundation and by the support of the ICI Board of Trustees.

UPCOMING EVENTS

Curator’s Perspective: Rosina CazaliSaturday, March 173–4:30pmThe New Museum235 BoweryNew York, New York, 10002

Rosina Cazali, independent curator, former Director of the Centro Cultural de España of Guatemala and 2010 recipient of the John Simon Guggenheim Grant, will speak on her research on contemporary art in Guatemala.

Curator’s Perspective: Kathrin RhombergWednesday, May 166:30–8pmAustrian Cultural Forum New York11 East 52nd StreetNew York, New York, 10022

Vienna-based independent curator Kathrin Rhomberg presents a lecture, “The Virtue of Unprofessionalism,” for the third Curator’s Perspective of 2012, co-presented with the Austrian Cultural Forum New York. Rhomberg’s lecture takes stock of the constantly increasing number of exhibitions realized at the highest imaginable standards, questioning if professionalism and standardization, while ¿W�IRU�WKH�HFRQRPLF�V\VWHP��PD\�QRW�EH�WKH�EHVW�SRVVLEOH�structure for art.

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39CURATOR’S PERSPECTIVE

CURATOR’S PERSPECTIVE: PAST PROGRAMS

Hou Hanru

On September 28, 2011, Hou Hanru, Director of Exhibitions and Public Programs at the San Francisco Art Institute, spoke on the highly unique style of curatorial practice he has developed over the past 25 years while organizing many exhibitions and biennials around the world.

Exhibitions are totally physical. It’s really about the experience in the site, so it’s not simply visual, and of course it’s not only conceptual. It’s about mobilizing all of your senses. So basically an exhibition always consists of movement, lights, sounds, and forms, and these are all functioning together as a performance. I would say in this sense exhibitions are quite performative.

:KHQ�,�WKLQN�DERXW�WKH�GLI¿FXOW\�RI�FXUDWLQJ�WRGD\��LW¶V�QRW�D�FRQFHSWXDO�GLI¿FXOW\��,W¶V�QRW�VLPSO\�about the problem of having a great idea. On the contrary, it’s precisely how you as a curator translate an idea into a physical fact and process, so you forget the concept at the end. I think the worst exhibition in the world is the exhibition that is organized like a book. We see this a lot, an exhibition that takes the artwork as an illustration of a concept. I think an exhibition is not necessary for this; frankly, it’s too expensive. Through exhibition making we must spend the money, time, and energy to produce a language that cannot be replaced by other forms.

Hou Hanru is the Director of Exhibitions and Public Programs, and Chair of the Exhibitions and Museum Studies program at the San Francisco $UW�,QVWLWXWH��$�SUROL¿F�ZULWHU�DQG�FXUDWRU��+RX�LV�D�FRQVXOWDQW�IRU�VHYHUDO�cultural institutions internationally, and a correspondent for various journals on contemporary art. He curated the 10th International Istanbul Biennial in 2007 and the 10th Lyon Biennial in 2009.

Rodrigo Moura

On November 9, 2011, Rodrigo Moura shared his work as curator at Instituto Inhotim, the outdoor contemporary art museum located in Minas Gerais, Brazil.

In 2004, when I started working at Instituto Inhotim, the founder and visionary of the project, Bernardo Paz, was in the early stages of creating it as a unique place to experience a new way for the display of contemporary art. The initial ideas came from lively conversations he’d had in previous years with some major Brazilian artists. The spatial nature of the most important works of these artists posed a challenge in how to show them properly; this is a problem that has been largely overlooked by many museums. Additionally, he determined to place these works on permanent display creating the possibility for real public access to the collection. In this sense ,QVWLWXWR�,QKRWLP�LV�WKH�¿UVW�LQWHUQDWLRQDO�FROOHFWLRQ�of contemporary art permanently open to the public in Brazil.

It is important to highlight some of the aspects that made the success of Inhotim possible. 7KH�¿UVW�LV�UHODWHG�WR�DQ�LQWHQVH�SURFHVV�RI�professionalization, which began back in the early years of the project. From the very beginning Paz formed a dynamic and independent curatorial team of which I am proudly part of, along with Jochen Volz and Allan Schwartzman, together creating the program for the development of collection, and even before opening to the public in 2006, an education department was formed to take into account important aspects of our local context. Since the beginning we prioritized an agenda of social transformation.

Rodrigo Moura is a curator, editor, and art writer. He has been Curator at Inhotim (Minas Gerais, Brazil) since 2004. He has written extensively on arts and culture for Brazilian newspapers and international art press.

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Curators from around the world discussed critical issues in their practice, examining the possible impact of exhibitions and related curatorial activities on cultural and social change. Key questions were addressed as points of departure for a broader theoretical and practical DQDO\VLV�RI�WKH�¿HOG��WKURXJK�FRQYHUVDWLRQ�DPRQJVW�colleagues from various institutions and alternative spaces, as well as those working independently.

Speakers included Ute Meta Bauer (MIT); Shelley Bernstein (Brooklyn Museum); Suzanne Cotter (Guggenheim Abu Dhabi Project); Tom Finkelpearl (Queens Museum of Art); Eungie Joo (New Museum); Weng Choy Lee (School of the Art Institute of Chicago); Chus Martinez (dOCUMENTA [13]); Rodrigo Moura (Inhotim); Hans Ulrich Obrist (Serpentine Gallery); Yasmil Raymond (Dia Art Foundation); Ralph Rugoff (Hayward Gallery); Nato Thompson (Creative Time); Christine 7RKPH��$VKNDO�$ZDQ��DQG�$QWRQ�9LGRNOH��H�ÀX[��Kate Fowle (ICI) and Nancy Spector (Guggenheim Foundation) moderated the program.

DISCUSSION TOPICS INCLUDED

End Results: For many curators and artists working today, the exhibition no longer serves as the culminating manifestation of their work. For some, it is merely one step along a trajectory of research and planning. For others it has become an entirely dispensable model. This discussion focused on alternative modes of curatorial activity and the expanded notion of what constitutes an exhibition.

Authorship and Agency: As the relationship between artist and curator increasingly blurs, the notion of authorship comes to the fore. Addressing the question RI�FXUDWRULDO�DJHQF\�LQ�DQ�H[SDQGHG�¿HOG�RI�SURGXFWLRQ��participants looked at the shifting distinctions between facilitation and the creative process.

6LWH�6SHFL¿FLW\��,Q�D�ZRUOG�RI�JOREDO�FXOWXUDO�ÀRZV��GRHV�WKH�DUW�KLVWRULFDO�QRWLRQ�RI�VLWH�VSHFL¿FLW\��DV�LW�GHYHORSHG�in the post-Minimalist practices of the 1960s and ‘70s) still resonate, or is it now just a nostalgic attachment to SODFH"�7KLV�GLVFXVVLRQ�IRFXVHG�RQ�GLIIHUHQW�PRGHV�RI�³VSHFL¿FLW\´�LQ�XVH�WRGD\��LQFOXGLQJ�DUW�FUHDWHG�LQ�UHODWLRQ�to social and political contexts, as well as art adapted to museum architecture or situated in an expanded public realm.

Curating as Activism and the Social Responsibility of the Museum: The intersection of global cultural activity (including the building of new museums and emerging biennial models) with the political realities encountered around the world today raises issues of social responsibility. This discussion asked whether curatorial practice can have meaningful social or political impact, as well as what the responsibility of the curator and the museum should be to address and/or ameliorate injustice.

Transnational Currents: With the recent emergence of transnationality as an intellectual framework to rethink WKH�FRQFHSW�RI�JOREDOL]DWLRQ�DQG�UHJLRQDO�VSHFL¿F�VWXGLHV��the question arises in both the academy and museum whether the term applies to actual art production or if it is just a discursive model for interpretation. This discussion asked what it means to curate a transnational exhibition in a world of shifting geo-political, cultural, and social realities.


CRITICAL EDGEOF CURATING

ICI and the Guggenheim Foundation organized a two-day program from November 3–4, 2011 exploring leading questions around contemporary curating. Developed on the occasion of the exhibition, “Maurizio Cattelan: All,” the first day was a private ses-sion between curators held in the Guggenheim Museum’s rotunda and the second was a public symposium that welcomed over 150 people to the auditorium.

41 THE CRITICAL EDGE OF CURATING

COMMENTS FROM THE FIELD

NO END IN SIGHTAnton Vidokle: I see the artist as someone who sees

art as an integral part of human social life and who

can discover or renounce a social identity in his or her

encounter with art. Another approach of the artist could

be to check out of the present and work with the future

public, which is an existing tradition in art and literature.

However, I do not have so much faith in the public of the

future. Or maybe I think that in the future, the art of our

time may very well become incomprehensible because

of how incredibly historically contingent contemporary

art seems to be. In order to understand today’s art in

WKH�IXWXUH�\RX�PD\�KDYH�WR�UHSURGXFH�WKH�YHU\�VSHFL¿F�context of our time in its minutia. TV shows, fashion

magazines, Hollywood movies, popular music, comic

supermarket circulars, and so forth, which is something

far beyond what a didactic museum wall text does for

Renaissance paintings, for example.

Then there is also the question of artistic agency. Agency

basically means a capacity to act, but what does it mean

WR�DFW�DV�DQ�DUWLVW"�5HFHQWO\�,¶YH�EHHQ�WKLQNLQJ�D�ORW�DERXW�the notion of artistic sovereignty, which basically means

to me that as an artist I should be able to determine the

content and form of my artwork, the methodology I use to

make it, and so forth. This seems to be rather common-

sensical now, yet artists did not have such possibilities

only a couple of hundred years ago, prior to which they

were largely hired labor by the aristocracy and so forth.

TRANSNATIONAL CURRENTSYasmil Raymond: This is also very complex—what is

WUDQVQDWLRQDO�DQG�ZKDW�LV�WUDQV�UDFLDO"�,�GRQ¶W�WKLQN�ZH�can sit comfortably now because these terms sound

better than globalization or feel more current than calling

something international art. All these terms are very

problematic and I think that’s why we need to return back

to the basics. We need to ask questions about art and

artists, and why and how we make exhibitions. We need

to ask ourselves: do we like art, and if so what is it we

ZDQW�WR�GR�ZKHQ�ZH�FXUDWH�DQ�H[KLELWLRQ"�:KDW�LV�LW�WKDW�we want to reveal about that process of production, when

DQ�DUWLVW�WDNHV�VRPHWKLQJ�DQG�PDNHV�DQHZ"�7KHVH�DUH�really interesting, logical, knowledge-based questions

that can be asked of practice that is happening all over

the world. I think that is where we need to focus our

energies.

Video recordings of 7KH�&ULWLFDO�(GJH�RI�&XUDWLQJ conference are

available for viewing on ICI’s website, www.curatorsintl.org.

CRITICAL EDGEOF CURATING

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42

Today newly formed museums, foundations, and alternative spaces have created more permanent infrastructures for multiple contemporary art worlds, while connectivity through websites and social media enable concepts of the local, regional, and international to take on very different meanings; the singular “time, space, modernity” continuum of Western art history—the one that traditionally propels museums—is starting to be reconsidered, and curators are more frequently experimenting with processes within ever-widening sociopolitical frameworks, as if decentralization and instability has now been accepted as the status quo. Are institutions now transnational sites of exchange RU�FLUFXODWLRQ"�:KDW�LV�WKH�UROH�RI�LQWHUQDWLRQDO�H[KLELWLRQV"�7R�EHJLQ�WR�XQUDYHO�WKHVH�TXHVWLRQV��,&,�is developing a series of discussions to explore what “international” means in curatorial practice today.

On September 26, 2011, East Jerusalem-based curator Jack Persekian was joined in a closed-door discussion at the ICI Curatorial Hub by Doryun Chong, Kate Fowle, Richard Flood, Kathy Halbreich, Eungie Joo, Maria Lind, Nancy Spector, and Anton Vidokle to discuss these issues and more. This discussion was part of a larger conversation series ICI organized in the U.S. with Jack Persekian in September and October 2011.

-DFN�3HUVHNLDQ: My interest in international curating and in the Sharjah Biennial over the past 7 years has really been with developing infrastructure. The Biennial was an opportunity to address some of the needs in the Middle East where there’s not much in place in terms of support for artists and the production of art. I thought that I could use the recurring nature of the Biennial as an opportunity to start supporting artists with producing work, as well as offering residencies, connections to other institutions, and

initiating discursive programs such as the March Meeting. The March Meeting actually started with a closed-door VHVVLRQ��OLNH�WKLV�RQH��DPRQJ�SHRSOH�ZKR�ZRUN�LQ�WKH�¿HOG�around many, many topics. This meeting led to a second, and then the third was made open, and the fourth time I thought, “okay, we seem to have something here.” The premise of the event was transformed into somehow mapping the art calendar in the Middle East over the coming year or two. This allowed the different participants to present their current ideas and projects, or those they want to work on, giving people the chance to start thinking toward collaborations, or eliminating duplication, and giving us all a sense of everyone’s areas of interest.

CURATINGWORLDWIDE

In 1997 leading curators from around the world met in Italy to discuss the (then) uncharted territory of curating large-scale exhibitions in widely diverse international contexts, from Pittsburgh to Johannesburg, Cairo to Havana. Throughout the conversations participants emphasized how the curatorial role had necessarily expanded to encompass the negotiation of politics as well as complex relationships with bureaucracies and audiences. 15 years later, on September 26, 2011, ICI convened a closed-door conversation among leading international curators to discuss these topics.


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43EDUCATION & PUBLIC PROGRAMS

Intended to better facilitate the informal exchange of ideas and experiences between professionals, the Curatorial +XE�SURYLGHV�D�ÀH[LEOH�SURMHFW�VSDFH�IRU�WDONV��VFUHHQLQJV��and training programs and also houses a library of periodicals and books from institutions all over the world.

UPCOMING EVENTS

Curator Talk with Hou Hanru & Book Launch of Paradigm Shifts (2006–2011)Saturday, March 10, 4–6pm

ICI celebrates the launch of Paradigm Shifts: Walter DQG�0F%HDQ�*DOOHULHV�([KLELWLRQV�DQG�3XEOLF�3URJUDPV��6DQ�)UDQFLVFR�$UW�,QVWLWXWH��–��, a publication that collects ephemera, images, and texts from the San Francisco Art Institute’s exhibitions and public programs over the past 6 years under the direction of internationally renowned curator, Hou Hanru.

Dialogues in Contemporary Art: Take 1In Collaboration with AhmadyArtsTuesday, March 13, 7–8:30pm

Hitomi Iwasaki, Curator and Director of Exhibitions at Queens Museum of Art, and Herb Tam, Curator and Director of Exhibitions at the Museum of Chinese in America, speak with Leeza Ahmady about their curatorial research on the presence of Asia in Caribbean culture and art.

Constance Lewallen and William WegmanTuesday, April 3, 6:30–8pm

Constance Lewallen, co-curator of The California ([SHULPHQW��1HZ�$UW�&LUFD��, and William Wegman, pioneer video artist, conceptualist, photographer, SDLQWHU��DQG�ZULWHU��GLVFXVV�&DOLIRUQLD�DUWLVWV¶�VLJQL¿FDQW�contributions in Conceptual art, video, performance, and installation art in the late 1960s and early 1970s. Rarely seen Wegman videos will be screened, followed by a conversation about the artist’s early work and those with whom he associated.

Dialogues in Contemporary Art: Take 2In Collaboration with AhmadyArtsTuesday, May 8, 7–8:30pm

Mariam Ghani and Leeza Ahmady speak about their contributions to the dOCUMENTA(13) “100 Notes—100 Thoughts” notebook series, and share their thoughts DQG�SHUVSHFWLYHV�RQ�WKH�UHFHQW�LQÀX[�RI�LQWHUQDWLRQDO�art activities in Kabul, Afghanistan. This event will also launch Ghani and Ahmady’s Notebooks in New York.

ICI Annual Book SaleFriday, May 25–Sunday, May 27

Get your hands on ICI’s past and rare exhibition catalogues as well as current publications like the highly acclaimed 0DUWKD�:LOVRQ�6RXUFHERRN and 3HRSOH¶V�%LHQQLDO��$�*XLGH�WR�$PHULFD¶V�0RVW�([FLWLQJ�$UWLVWV for sale at special prices.

CURATINGWORLDWIDE

CURATORIALHUB

In September 2011 ICI debuted the CURATORIAL HUB at ICI’s 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.

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The ICI Library, like the Curatorial Hub it is part of, serves to document the recent developments in contemporary art through the lens of international curatorial practice. It offers a unique platform for research and an accessible resource for curators living in or coming through New York.

In addition, the ICI Library is the permanent home of the Cleopatra’s Library. A Brooklyn-based collaborative and art space, Cleopatra’s began this project in 2008 by inviting over 300 curators whom they collectively admired to take part in the formation of a reference library. Since then, this ever-expanding bookshelf has functioned as an open resource to the public, built upon over time with thought-through contributions by colleagues, mentors, and friends, professionals in various disciplines within the arts. All 300 curators were asked to make a donation RI�WKHLU�FKRLFH��UHÀHFWLQJ�WKHLU�SHUVRQDO�LQWHUHVWV��curatorial concerns they feel most strongly about, or the philosophical, theoretical or aesthetic movements that drive them.

This unique project continues to evolve with the contributions of curators who are part of ICI’s international network. The ICI Library is quickly developing, and its holding can be looked up through an online search engine accessible on ICI’s website.

With an eye to continuously grow the Library, ICI welcomes donations of books, catalogues and exciting volumes to complement our collection. To donate books, please contact us to make sure they are what the Library currently needs, and to arrange for delivery.

ICI is also developing opportunities for catalog exchanges with other publishing institutions, setting up regular exchanges among organizations with an interest in being part of an international art network.

For more information about the Library, visit ICI’s website, or contact Bridget Finn at [email protected] or 212 254 8200 x124.

NETWORK & ACCESS

ICI LIBRARYThe ICI Library is a resource for recent developments in contemporary art through the lens of international curatorial practice. Growing out of ICI’s 36-year publishing history the reference collection includes catalogues, artists’ monographs, international art journals and periodicals, and theoretical texts relevant for curatorial research. It can be searched via ICI’s website and publicly referenced at the Curatorial Hub.

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45

Now in its second year of existence, the Network houses, a full listing of all its members including links to personal projects and websites; and an online guide to all highly sought-after professional curatorial opportunities. Through the Curator’s 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. With the recent launch of ICI’s redesigned website the Network now has a new look, making all of our featured curatorial opportunities easier to access. Many more improvements are still underway both online and in New York with opportunities for members at the Curatorial Hub.

ICI is implementing new developments to the Curator’s Network.

* Once you have joined the Curator’s Network, become part of our group on LinkedIn for even more professional networking opportunities;

�� ,&,�LV�UROOLQJ�RXW�D�EL�PRQWKO\�QHZVOHWWHU�WR�DOO�curators on the Network, directing them to important information, opportunities, text and articles, as well as exclusive offers from ICI;

�� ([SDQGLQJ�RXWVLGH�RI�LWV�YLUWXDO�SODWIRUP��WKH�&XUDWRU¶V�Network now offers its members more integration with the Curatorial Hub. Select programs at the +XE�FRQQHFW�GLUHFWO\�ZLWK�FXUDWRUV�DI¿OLDWHG�ZLWK�WKH�Network.

Subscription to the Curator’s Network is $100 per year. Membership is now by application only. For more information or to apply, visit ICI’s website, www.curatorsintl.org.

NETWORK & ACCESS

CURATOR’SNETWORK

ICI LIBRARYThe 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 210 members from over 25 countries, all profession-als in the field, who share a desire to build and open up their interests and research through international connections.

46

Since 1990 ICI has commissioned artists to produce limited-edition works in support of the organization’s innovative programs and publications. Unique collaborations with John Baldessari, Louise Bourgeois, Olafur Eliasson, Joseph Kosuth, Ernesto Neto, and Kiki Smith, among others, have resulted in exclusive editions ranging from prints and photographs to sculptures. Most recently, ICI produced a suite of 12 prints with Jacob Kassay and this year, we are collaborating with Rashid Johnson on a new limited edition.

Currently available ICI limited editions include works by John Baldessari, Bernd & Hilla Becher, Jane Hammond, Jacob Kassay, Robert Morris, Robert Rauschenberg, Tim Rollins and K.O.S., Laurie Simmons, and Pat Steir. Available through ICI’s website, www.curatorsintl.org

For more information please contact Bridget Finn, Special Programs Manager at [email protected] or by calling 212 254 8200 x124.

ANNOUNCING RASHID JOHNSON EDITION

In March 2010 ICI patrons had the rare opportunity to visit Rashid Johnson in his Brooklyn studio and to hear directly from the artist about his plans following his New York institutional debut solo exhibition at Sculpture Center. Two years on, as Johnson prepares for major solo shows at the Museum of Contemporary Art, Chicago, and the South London Gallery, England, ICI is working with him on a new limited-edition artwork. The mirrored sculpture, exclusive to ICI, will be launched in May to coincide with the inaugural NADA NYC Art Fair.

In the meantime you can register your interest in this new edition by contacting Bridget Finn, Special Programs Manager at [email protected].

LIMITEDEDITIONS

In 2011, ICI has collaborated with JACOB KASSAY to realize the artist’s first limited-edition artwork. Launched last fall, Kassay’s edition is a suite of prints based on the 12 pages that make up The Buffalo News. In the coming months ICI will release a new limited edition with RASHID JOHNSON.

NETWORK & ACCESS

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JACOB KASSAY: UNTITLED 1–12

In October 2011 ICI privately launched 8QWLWOHG��–��,

WKH�¿UVW�OLPLWHG�HGLWLRQ�DUWZRUN�SURGXFHG�E\�DUWLVW�-DFRE�Kassay. When ICI invited Kassay to collaborate on this

new work, it gave him the opportunity to realize a piece

he had long wanted to create. Signaling an anticipated

new development in his practice, 8QWLWOHG��–�� is a suite

of 12 silkscreen prints that expands on his interest in

experimental processes and rigorous systems, while

exploring how to slow down the “digestion” of information.

8VLQJ�WKH�¿QDO�HGLWLRQ�RI�The Buffalo News from August

29, 2011 (the local newspaper from the artist’s hometown

as published on his birthday), Kassay has produced

12 unique works, each in an edition of 5, using all the

sheets that comprised the newspaper that day. Using a

printing process that involves coating each double spread

in mineral oil to create a screen that captures the front

and the back, as well as the texture of each page, the

resulting works resonate with a fragility of line and form

WKDW�LPSDUWV�WKH�ÀHHWLQJ�QDWXUH�RI�WKH�GDLO\�QHZV�

Three of each of the 12 unique images are being sold

individually, and two have been made available as full

portfolios.

ICI would like to thank Jacob Kassay, August Arbizo and Eleven Rivington

for their generous support in the development of ICI; and Kayrock

Screenprinting for the production. Thanks also to Nicholas Gottlund.

When I learned to print we used oiled positives from WKH�;HUR[�PDFKLQH�WR�FUHDWH�VLONVFUHHQV��7KDW¶V�ZKHQ�,�¿UVW�JRW�LQWHUHVWHG�LQ�WKH�LGHD�RI�XVLQJ�D�QHZVSDSHU�DV�D�IRXQG�SRVLWLYH��SDUWLFXODUO\�EHFDXVH�WKH�WKLQQHVV�RI�WKH�SDSHU�HQDEOHG�WKH�LPDJH�DQG�WH[W�WR�FRPH�WKURXJK�IURP�ERWK�VLGHV�DW�RQFH��DV�LI�\RX�ZHUH�KROGLQJ�LW�XS�WR�D�ZLQGRZ��,W�PDNHV�WKH�³QHZV´�XQUHDGDEOH�DQG�WKH�JULGGHG�OD\RXW�EHFRPHV�DOPRVW�JHVWXUDO�

For this new piece I wanted to print onto the same kind RI�PDWHULDO�WKDW�LV�XVHG�WR�SURGXFH�WKH�QHZVSDSHU��VR�WKDW�WKH�LQWHUYHQWLRQ�RI�WKH�VRXUFH�LV�VXEWO\�SUHVHQW�LQ�WKH�ZRUN��(DFK�VKHHW�RI�7KH�%XIIDOR�1HZV�LV�XVHG�WR�FUHDWH�D�XQLTXH�VFUHHQ�WKDW�FDSWXUHV�DOO�WKH�QXDQFHG�GHWDLO�RI�WKH�SDJH��ZKLFK�LV�UHQGHUHG�XQXVDEOH�DIWHU�WKLV�SURFHVV��DGGLQJ�WR�WKH�GHOLFDF\�RI�WKH�UHVXOWLQJ�LPDJHV��$V�,�VHH�WHFKQRORJ\�DGYDQFH�,�VHH�OHVV�XVH²QRW�IRU�WKH�QHZVSDSHU²EXW�IRU�WKH�FRQWLQXDO�GLVVHPLQDWLRQ�RI�PRPHQWDU\�LQIRUPDWLRQ��.QRZOHGJH�VKRXOGQ¶W�KDYH�VXFK�direction. — Jacob Kassay on producing the limited

editions Untitled 1–12, 2011

UPCOMING EVENT

NADA NYCFriday May 4–Monday May 7, 2012

548 West 22nd Street

New York, NY 10011

Join ICI at the inaugural NADA NYC art fair taking place

at the former DIA Building in Chelsea. ICI’s project

booth will feature a selection of its limited editions and

upcoming new collaborations, as well as a fresh and

informative look at our exhibitions, events, publications,

and training opportunities.

NETWORK & ACCESS

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48

Debuting in March, ICI CONVERSATIONS is hosted in a range of exclusive settings throughout New York City, bringing you insider’s perspectives on today’s hot topics—from how a world-class collection is made, to what the art critics really think of this season’s biennials and triennials, as well as insights from leading curators on their current top picks of young artists and intimate conversations with artists who are on the rise this year.

SERIES SCHEDULE

Building the Collection: Howard Rachofsky in Conversation with Allan SchwartzmanThursday, March 8, 5:30–6:30pm, followed by a wine reception Hosted by Sotheby’s

Since 1997 Cindy and Howard Rachofsky have worked with internationally renowned curator and advisor Allan Schwartzman to create one of the nation’s most important private collections of contemporary art, housed in the Rachofskys’ Richard Meier-designed home in Dallas, 7H[DV��-RLQ�,&,�WR�OHDUQ�¿UVW�KDQG�KRZ�WKH�FROOHFWLRQ¶V�curatorial themes have shaped the acquisition process, what both men look for in deciding which works to collect, and which artists they are keeping their eyes on now. Critical Outlook: Lindsay Pollock in Conversation with Ben Lerner and Richard VineMonday, March 26, 6:30–8pm Hosted by Art in America

%H�RQH�RI�WKH�¿UVW�WR�VHH�$UW�LQ�$PHULFD¶V�QHZ�HGLWRULDO�suites in SoHo while joining Editor-in-Chief Lindsay Pollock as she debates the highs and lows of the Whitney Biennial 2012 and the New Museum triennial 7KH�8QJRYHUQDEOHV with her fellow critics: Richard Vine is Art in America’s Senior Editor, Ben Lerner, a poet and writer, has been invited to review this year’s triennial for the magazine.

NETWORK & ACCESS

PATRONS EVENTS

ICI CONVERSATIONS

Connecting you to the pulse of today’s art world, ICI CONVERSATIONS is a new series of thought-provoking events that offers unprecedented access to the artists, critics, collectors, gallerists, curators, and museum directors who are influencing the contemporary art world today.

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49NETWORK & ACCESS

Curators’ Top Picks Under 35: Suzanne Cotter, 1HYLOOH�:DNH¿HOG��DQG�-RmR�5LEDVMonday, April 16, 6:30–8pm

Hosted by Sotheby’s

This is a unique opportunity to gain insight from three of

the most progressive curators working today: Suzanne

Cotter (Solomon R. Guggenheim Foundation Curator,

*XJJHQKHLP�$EX�'KDEL�3URMHFW��1HYLOOH�:DNH¿HOG�(curator, writer, and commentator on contemporary art,

culture, and photography), and João Ribas (Curator, MIT

List Visual Arts Center). Join ICI for a presentation in

which each curator will discuss 5 artists under 35 years

ROG�WKDW�WKH\�EHOLHYH�FRXOG�EHFRPH�WKH�PRVW�LQÀXHQWLDO�practitioners of their generation.

The Artist’s Voice: Kerstin Brätsch in Conversation with Massimiliano GionoWednesday, May 2, 6:30–8pm

Hosted by Gavin Brown’s Enterprise

Artist Kerstin Brätsch will discuss the diversity of her

practice—from her large abstract paintings to the

installations made in collaboration with artist Adele Röder

under the name DAS INSTITUT—with and Massimiliano

Gioni, Associate Director and Director of Exhibitions at

the New Museum, Artistic Director at the Nicola Trussardi

Foundation, and recently named Artistic Director of the

upcoming Venice Biennale. Brätsch gained widespread

attention in the 2009 New Museum triennial Younger

than Jesus, co-curated by Gioni, and is currently working

WRZDUG�KHU�KLJKO\�DQWLFLSDWHG�¿UVW�VROR�H[KLELWLRQ�LQ�1HZ�York, which opens in September 2012 at Gavin Brown’s

Enterprise.

The Artist’s Voice: David Lamelas in Conversation with Christian RattemeyerTuesday, May 15, 6:30–8pm

Hosted by Michele Maccarone

Long respected as an “artist’s artist,” David Lamelas has

divided his time between his native Buenos Aires, Los

Angeles, and London since the 1960s, when he occupied

an active role in Argentina’s avant-garde. To insiders the

YHWHUDQ�DUWLVW�LV�NQRZQ�IRU�KLV�LQÀXHQFH�RQ�JHQHUDWLRQV�of conceptual artists but now he is also gaining

widespread international recognition for his ground-

breaking work. Lamelas will be in conversation with

Christian Rattemeyer, Associate Curator, Department of

Drawings, MoMA New York, who is currently working on a

publication on the artist’s practice. The encounter, hosted

by Michele Maccarone at her Lower Manhattan loft, will

give you fresh insight on the surprising subjectivity and

KXPRU�WKDW�XQGHUSLQV�/DPHODV¶V�VWUXFWXUDOLVW�¿OPV��PHGLD�installations, and performances. Lamelas’s most recent

solo exhibition was at Maccarone Gallery, New York, in

January 2012.

Dinner at the Home of Eileen and Michael Cohen,with special guest Richard ArmstrongWednesday, May 30, 6:30–9pm

Hosted by Eileen and Michael Cohen

7KH�VHULHV�¿QDOH�LV�DQ�HYHQW�QRW�WR�PLVV��ZLWK�WKH�exclusive opportunity for dinner with Eileen and Michael

Cohen at their SoHo loft, in the company of special

guest speaker Richard Armstrong, Director of the

Solomon R. Guggenheim Museum and Foundation.

Share the evening with friends amidst an esteemed

private collection while Armstrong imparts his unique

insights into recent developments in the international

artworld garnered as he leads the way forward for the

Guggenheim in New York, Venice, Bilbao, and Berlin, as

well as the Abu Dhabi Project, and plans for a museum in

Finland.

TICKET INFORMATION

$1,500Series TicketPersonal access to all ICI CONVERSATIONS events,

including the Annual Dinner.

$1,000Series Companion TicketAccompanying access, only available with a Series

Ticket.

*ICI CONVERSATIONS tickets are limited and available

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The ICI CONVERSATIONS series helps support

ICI’s exhibitions, events, publications, and training

opportunities in New York and around the world. ICI is

D��F��QRQ�SUR¿W�RUJDQL]DWLRQ�DQG�HDFK�WLFNHW��OHVV�$500, is tax-deductible.

For more information please contact Bridget Finn at bridget@curatorsintl.

org or by calling 212 254 8200 x124.

PATRONS EVENTS

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THE FORUMNETWORK & ACCESS

Responsive to your personal schedule and location, ICI can offer an art “concierge service” when you travel independently. Through this concierge service we seek to tailor city-by-city content based on your needs and requests. In addition, you will stay tuned to the latest happenings through a regular Director’s Newsletter with recommendations of must-see exhibitions and projects.

INTERNATIONAL FORUM SPRING 2012 CALENDAR

Building the CollectionThursday, March 8, 2012 As part of ICI Conversations, Howard Rachofsky and Allan Schwartzman will discuss the evolution of Rachofsky’s collection. Following the talk there will be a wine reception and the opportunity to preview Sotheby’s Contemporary Evening Sale. (See page 48)

What is the Role of A “Parainstitution?”SwedenMarch 28–April 1, 2012Join ICI’s Executive Director Kate Fowle in Stockholm as she meets with curators Sofía Hernández Chong Cuy and Maria Lind at the Tensta Konsthall for a panel discussion on what it means to be a truly international organization “without walls.”

Curators’ Top Picks Under 35 April 16, 2012Curators Suzanne Cotter (Guggenheim Abu Dhabi), 1HYLOOH�:DNH¿HOG��,QGHSHQGHQW�&XUDWRU�DQG�3URGXFHU��and Joao Ribas (MIT List Visual Arts Center) will present ¿YH�DUWLVWV�XQGHU��\HDUV�RI�DJH�SUHGLFWHG�WR�EH�WKH�XS�DQG�FRPLQJ�LQÀXHQWLDO�SUDFWLWLRQHUV�RI�WKHLU�JHQHUDWLRQ��This event is part of the ICI Conversations series. (See page 48)

ICI Hub Event with Constance Lewallen and William WegmanApril 3, 2012Join curator Constance Lewallen and artist William Wegman at ICI’s Hub. Rarely seen Wegman videos will be screened, followed by a conversation about the artist’s early work and those associated with it. International Forum members are invited to attend an imitate dinner with Lewallen following the talk��(See page 43)

Curatorial Intensive Instituto InhotimApril 22–28, 2012Meet up with ICI at the incomparable Instituto Inhotim in Minas Gerais, Brazil. This is your chance to visit this impressive collection, have introductions to the people behind it, and see ICI’s Curatorial Intensive training program in action while meeting the participants from all over the world. (See page 30)

Ernesto Neto at Tanya Bonakdar Gallery May 4, 2012Join ICI, Tanya Bonakdar Gallery, New York, and Galeria Fortes Vilaca, Sao Paulo, for a special brunch and a conversation between Kate Fowle and Ernesto Neto about his most recent work on view in the exhibition.

ICI Exhibitions in San Francisco, CAMay 4–5, 2012Three exhibitions, /LYLQJ�DV�)RUP��)$;� and California ([SHULPHQW��6WDWH�RI�0LQG are all on view at the same time in the San Francisco Bay area. Join venue Directors and ICI for an exclusive tour with insider knowledge into these exhibitions.

ICI in Hong KongMay 20–21, 2012Meet with ICI’s Executive Director Kate Fowle at the Hong Kong International Art Fair, one of the most talked-about art events in Asia this year, and join her for drinks to review the best moments of the fair.

Documenta 13 and Art BaselJune 9–17, 2012ICI heads to Germany to meet up with patrons of the International Forum for personalized introductions and tours of Documenta 13. Then catch up in Switzerland at Art Basel for a recap of the hottest picks of the year’s hottest art events.

Stayed tuned for more summer updates…

For more information about the International Forum, contact Marika Kielland at [email protected].

Whether near of far, patrons of the INTERNATIONAL FORUM can join ICI for ex-clusive, behind-the-scenes programs, including travel opportunities, studio visits, and events throughout the year that draw from ICI’s international networks. Enjoy travel and conversation with like-minded supporters while letting ICI guide and connect you with the curators, collectors, artists, and institutions that are making a difference in shaping contemporary art today.

51

ANNUAL BENEFIT

On November 7, 2011 ICI welcomed over 300 guests to LWV�$QQXDO�%HQH¿W�DW�WKH�3ULQFH�*HRUJH�%DOOURRP��DQG�honored Matthew Higgs and John Waters for pushing the limits of what is possible in art and for their innovation and independent thinking. The unforgettable evening designed by Fête featured mouthwatering hors d’oeuvres by Thomas Preti and desserts by Pie Corps and Artisanal Bistro and Fromagerie, sponsored by Pat Bell, as well as homemade rugelach by Rita Yohalem. The evening’s many toasts were made complete with the dazzling ICI signature cocktail consisting of Starr African Rum and Royal Rose Simple Syrups which was concocted by Royal Rose co-creator Forrest Butler, ZKLOH�WKH�EDU�ÀRZHG�DOO�QLJKW�ZLWK�VSLULWV�DQG�EHYHUDJHV�by Starr African Rum, Tito’s Handmade Vodka, Abita Beer, Royal Rose Simple Syrups, Sant’ Arturo Wines, Alacrán Tequila, and VOSS Water.

The party came alive with the DJ stylings of '-�3HWHU -D\ and Spencer Sweeney and a performance by Emily Sundblad, and the live and silent auction helped raise funds for ICI’s programming in 2012.

7KH�,&,�%HQH¿W�$XFWLRQ�IHDWXUHG�H[FOXVLYH�DUWZRUNV�E\�Ricci Albenda, Tauba Auerbach, Peter Halley, Jacob Kassay, Trevor Paglen, Alex Prager, Cindy Sherman, David Shrigley, Ned Vena, and Amy Yao; commissioned portraits by Jeanette Mundt, Vik Muniz, Carrie Mae Weems, and William Wegman; and a variety of art experiences including a studio visit with Christo, a New York art and architecture tour with Polly Apfelbaum and Stan Allen, and tailored trips to Marfa and Los Angeles.

,&,�ZLVKHV�WR�WKDQN�WKH��%HQH¿W�FR�FKDLUV�DQG�committee for its dedication to a successful event, as well as all the sponsors whose generosity made the evening a great success; August Uribe, Senior Vice President and Senior Specialist in Impressionist & Modern Art at Sotheby’s, who conducted the Live Auction for the third year running; Miha Studio for providing the staff wardrobe for the evening; and all those who gave so generously to support ICI’s activities in New York and around the world.

6WD\�WXQHG�WR�¿QG�RXW�DERXW�RXU��$QQXDO�%HQH¿W�WKLV�IDOO��&RQWDFW�Marika Kielland at [email protected] to receive information and updates.

Last November ICI celebrated another great year at its Annual Benefit, with over 300 guests honoring two of the art world’s leading stars—Matthew Higgs and John Waters. ICI Trustee Emerita Agnes Gund presented Matthew Higgs with the Agnes Gund Cu-ratorial Award and John Waters with the Leo Award, giving them artworks specially produced by Dave Muller for this occasion.

NETWORK & ACCESS

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52

On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions have made a year of expanded, interrelated ICI programs worldwide possible. Donations provide crucial support to our exhibitions, public events, publications, and training initiatives. For this we are ever 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.

SPECIAL THANKS TO OUR INDIVIDUAL SUPPORTERS

Noreen and Ahmar Ahmad, Cecilia Paola Alemani, Patricia Bell, Johnny Berkenstadt, Melva Bucksbaum and Raymond Learsy, Barbara Chapman, Kristen Chiacchia, Eileen Cohen, Haro and Bilge Cumbusyan, Gabriella De Ferrari, Edward R. Downe Jr., Peter Fleissig, Maxine J. Frankel, Carol Franklin, Emily Frick, Anita Friedman, The Glenstone Foundation, Babette Goodman, Bruce Greenwald and Karyn Ginsberg, John Goldsmith, Regina Gross, Agnes Gund, Kim Heirston, Alexandra and Paul Herzan, Jon Hutton, Belinda Kielland, Younghee Kim-Wait, Michael L. Klein, Helen Kornblum, Alex Lakatos, Shawn and Peter Leibowitz, Dorothy Lichtenstein, David Lusk, Jonathan Mallow, Gracie Manison, Beatrix and Gregor Medinger, Karen Moore, Susan and Marvin Numeroff, Beverly and Peter Orthwein, Stephen and Patricia Oxman, Greg and Karina Plotko, Jane L. Richards, Barbara Robinson, Carol Rollo, Lisa Roumell, Jane Dresner Sadaka, Pamela Sanders, Laura and Jeff Schaffer, BZ and Michael Schwartz, Charles and Patricia Selden, The Robert K. Steel Family Foundation, Lynn Sobel, Susan C. Sollins, Mari Spirito, Jeremy E. Steinke, Jerome L. Stern Family Foundation, Andrew Stone, Marion Stroud, Nonie and John Sullivan, David Teiger, Dorsey Waxter, Georgia Welles, Elizabeth Erdreich White, Virginia Bloedel Wright, James Zang.

THE GERRIT L. LANSING EDUCATION FUND

In 2010 ICI created the Gerrit L. Lansing Education Fund in memory of ICI’s long-time Chairman and friend. The fund was developed to support education and training programs for curators, honoring what *HUULW�LGHQWL¿HG�DV�,&,¶V�FHQWUDO�PLVVLRQ��\HDUV�DJR��³WR�HQKDQFH�SXEOLF�DSSUHFLDWLRQ�RI�FRQWHPSRUDU\�DUW�through educational materials and activities included in ,&,¶V�SURJUDPV�´�Enduring Gerrit’s legacy, the Fund has provided scholarships to Curatorial Intensive participants; contributed to making the Curator’s Perspective series possible; and supported a large-scale conference with CUNY Graduate Center and the New Museum entitled The Now Museum.

Special thanks to all those who gave to the Gerrit L. Lansing Education Fund and in particular, to our $1,000+ donors:

Anne Bass, Brook and Roger Berlind, Raymond Bermay, Leon and Debra Black, Melva Bucksbaum and Ray Learsy, Gale and Shelby Davis, Roberta and Steven Denning, Gordon and Jean Douglas, Lawrence Flinn, Jr., Bill Frist, Carol and Arthur Goldberg, Mrs. Robert Grace, Jeannie and T Grant, Peter and Laurie Grauer, Hunter Gray, Agnes Gund, Len and Fleur Harlan, Alex and Paul Herzan, Marlene Hess and James Zirin, Ann and Gilbert Kinney, Arlene and Robert Kogod, Wynn Kramarsky, Ken Kuchin, Ronald and Jo Carole Lauder, Evelyn and Leonard Lauder, Karne and Richard LeFrak, Dorothy Lichtenstein, Glenn and Susan Lowry, Michael Margitich, Marie and Jim Marlas, Liz and Arthur Martinez, Hank McNeill, Bee and Gregor Medinger, Mary Morgan and David Callard, Beverly and Peter Orthwein, The Overbrook Foundation, Mitchell and Emily Rales, Barbara and John Robinson, Beth Rudin DeWoody, Anna Marie and Robert Shapiro, Gillian and Bob Steel, Mickey and Leila Straus, David Teiger, Jeanne Thayer, Julie and Hans Utsch, Charlotte Weber, Diana and Billy Wister, Cecilia and Ira Wolfson, Virginia and Bagley Wright.

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Thank you to the foundations who made programming possible in Fall 2011 and to those funding new developments in 2012: The Andy Warhol Foundation for the Visual Arts ($90,000), Robert Sterling Clark Foundation ($60,000), Horace W. Goldsmith Foundation ($30,000), Elizabeth Firestone Graham Foundation ($25,000), The Dedalus Foundation ($20,000), 7KH�+DUW¿HOG�)RXQGDWLRQ��7RE\�'��/HZLV�Philanthropic Fund ($10,000), Helena Rubinstein Foundation ($7,000), and Milton & Sally Avery Arts Foundation ($2,000).

A two-year grant in 2010 from the Andy Warhol Foundation for the Visual Arts came at a critical time as ICI reinvented the exhibitions program, and was central to enabling ICI to develop and sustain collaborations with more curators, artists, and host institutions than ever before. In 2011 ICI’s ([KLELWLRQV�LQ�D�%R[ successfully traveled around the world and throughout the U.S. including, Harald Szeemann: Docuementa 5, FAX, and 5D\PRQG�3HWWLERQ��7KH�3XQN�<HDUV��–��, and most UHFHQWO\�WKH�GHEXW�RI�WKH�VRXQG�DUW�ÀH[LEOH�H[KLELWLRQ�With Hidden Noise at the Aspen Art Museum. In this same year, a total of 11 exhibitions were presented at 36 venues in 9 countries worldwide and across the U.S. spanning from California to Taiwan. Thanks to the Andy Warhol Foundation’s support, ICI will launch 4 new exhibitions in 2012, including Create, a major group show that brings together work by artists with developmental disabilities, sparking critical dialogue concerning the categories of contemporary art practice, especially the notion of “outsider art.” Living as Form (The Nomadic Version), ICI’s newest ([KLELWLRQV�LQ�D�%R[ will launch in September, followed by the major shows The California ([SHULPHQW��1HZ�$UW�&LUFD�� and Performance Now: 7KH�)LUVW�'HFDGH�RI�7KH�1HZ�&HQWXU\�

A grant from the Robert Sterling Clark Foundation in 2011 provided crucial funds to continue building ICI’s international outreach, enabling greater audiences worldwide access to the organization’s resources about current curatorial practice. With the Foundation’s support, ICI has expanded and improved programs such as the short-course professional training initiative, the Curatorial

Intensive, and the public talk series in New York City, the Curator’s Perspective. Last summer, thanks in part to the Foundation, ICI’s website was completely redesigned and relaunched increasing the organization’s online visibility while also expanding the platform for ICI’s professional online resources, the Curator’s Network, and DISPATCH. Furthermore, the Foundation enabled the continued VXSSRUW�IRU�WKH�SURGXFWLRQ�RI�ÀH[LEOH�DQG�JHQHUDWLYH�shows, and the establishment of ICI’s Curatorial Hub.

With the continued success of the Curatorial Intensive in New York, there is an increasing demand for available courses in cites and countries worldwide. In 2011, in addition to two New York programs that has enabled ICI to bring curators from across the U.S. (including California, Colorado, and Oregon) and around the world to New York City to share in practical training, establishing unique networks for curatorial collaboration, ICI also hosted an Intensive in collaboration with the Philadelphia Exhibitions Initiative, and for the second year running, a 3-day course in Mumbai, India. In April 2012 a full 9-day program at the Instituto Inhotim in Minas Gerais, Brazil, will take place. We would like to thank the Dedalus Foundation for their visionary belief in the program. Their early—and continued—support for the Curatorial Intensive, together with grants from the�7RE\�'��/HZLV�3KLODQWKURSLF�)XQG, the Helena Rubinstein Foundation, and the Milton & Sally Avery Arts Foundation, laid the ground for the development of ICI’s training initiative, which is the organization’s fastest-growing program.

7KH�+RUDFH�:��*ROGVPLWK�)RXQGDWLRQ�supported ICI for over 10 years, giving us a solid base from which to develop and improve exhibitions and public programs. In 2011 we are proud to enter a new partnership with the +DUW¿HOG�)RXQGDWLRQ, whose $15,000 grant provided additional funding to support the Curatorial Intensive and the growth of resources and programming in the Curatorial Hub; including a series of seminars, talks, round-table discussions, development of the library, and the expansion of the online platform, the Curator’s Network.

For 2012 ICI received its largest-ever single grant for publishing from the Elizabeth Firestone Graham Foundation, which facilitates the production of three new publications in 2012–2013. These will include; an anthology celebrating the 20th anniversary of do it, perhaps the most famous and wide-reaching traveling exhibition in the world; the second iteration of the 6RXUFHERRN� where ICI collaborates with an artist to compile a comprehensive collection of research, articles, writings, letters, and personal commentaries; and a new series of publications titled 3HUVSHFWLYHV�2Q�Curating WKDW�SURYLGHV�WLPHO\�UHÀHFWLRQV�E\�FXUDWRUV��DUW�historians, critics, and artists who respond to current developments and pressing issues in the rapidly FKDQJLQJ�¿HOG�RI�LQWHUQDWLRQDO�FXUDWRULDO�SUDFWLFH��7KH�¿UVW�of the series, 7KLQNLQJ�&RQWHPSRUDU\�&XUDWLQJ, is being written by art historian Terry Smith.

NETWORK & ACCESS

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ACCESS FUNDICI’s Access Fund was established in 2009 to support venues and curators from around the world partake in ICI’s programming. A diverse group of ICI donors have made the Access Fund a reality with gifts ranging from $50 to $5,000, enabling ICI to achieve the goal of our founding mission: to connect emerging and established curators, artists, and institutions in forging international networks and generating new forms of collaboration through the production of exhibitions, events, publications, and curatorial training.

Throughout the last year over 50 supporters donated to the Access Fund. Their joint efforts provided scholarships for emerging curators to attend the Curatorial Intensives in New York and made possible the presentations of exhibitions at emerging and underfunded venues around the world who have shown an active interest in developing international collaborations, such as Project 35 and FAX.

For the most recent New York iteration of the Curatorial Intensive, partial and full scholarships were given to Rattanamol Johal (New Delhi, India), You Mi (Beijing, China), Martyn Coppell (Berlin, Germany), Capucine Perrot (London, U.K.), and Jaime Austin (San Francisco, California). Thanks in part to supporters of the Access )XQG��WKHVH�¿YH�HPHUJLQJ�FXUDWRUV�ZHUH�DEOH�WR�WUDYHO�WR�New York to participate in the Intensive. The Access Fund also supported ICI, in collaboration with the Mohile Parikh Center, to host a 3-day long Intensive in Mumbai, India, this December. The program brought together curators and professionals from all across India and the world, to discuss and learn about contemporary art, with the emerging professional curator in mind.

Since the establishment of ICI’s Curatorial Hub in September, there have been a series of Hub events with curators exploring the social, political, cultural, and physical contexts through which art is presented and discussed. This fall, with support from the Access Fund, curators in the midst of developing and researching pressing topics were offered the opportunity to present DQG�GLVFXVV�WKHLU�¿QGLQJV�ZLWK�SHHUV��UH¿QLQJ�DQG�aiding their thinking. ICI also hosted three closed-door GLVFXVVLRQV�ZLWK�SURIHVVLRQDOV�IURP�WKH�¿HOG��

Events supported by the Access Fund included conversations with: independent curators Yandro Miralles, Sofía Olascoaga, Leeza Ahmady, Manuela Moscoso, Sarah Demeuse, and Olga Kopenkina; Doryun Chong (Associate Curator, Painting & Sculpture, MoMA); Kathy Halbreich (Associate Director, MoMA); Jack Persekian (Founding Director, Al-Ma’mal Foundation, Jerusalem); Maria Lind (Director, Tensta Konsthalle); Eungie Joo (Director and Curator, Education & Public Programs, New Museum); Richard Flood (Director of Special Projects, New Museum); Anton 9LGRNOH��DUWLVW�DQG�FR�IRXQGHU�RI�H�ÀX[��1DQF\�6SHFWRU�(Deputy Director and Chief Curator, Guggenheim Foundation); Kalia Brooks (Director of Exhibitions, MoCADA); Ruba Katrib (Associate Curator Museum of Contemporary Art, North Miami); Diana Nawi (Assistant Curator, Guggenheim Abu Dhabi Project); Alex Farquharson (Executive Director, Nottingham Contemporary); Pilot Press (Liz Linden and Sarah Kennedy); Amirali Ghasemo (Director Parkingallery Project Space, Tehran); and art historian Terry Smith.

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ACCESS ICINETWORK & ACCESS

ICI STAFF

Kate FowleExecutive [email protected]

Alaina Claire FeldmanExhibitions [email protected] 254 8200 x127

Bridget FinnSpecial Programs [email protected] 254 8200 x124

Frances Wu GiarratanoExhibitions [email protected] 254 8200 x129

Chelsea HainesEducation & Public Programs

[email protected] 254 8200 x126

Susan HapgoodSenior [email protected]

Marika KiellandDevelopment [email protected] 254 8200 x125

Alexandra KleimanLibrary [email protected] 254 8200 x126

Renaud ProchDeputy [email protected] 254 8200 x128

Mandy SaCommunications Manager [email protected] 254 8200 x121

ICI BOARD OF TRUSTEES

Gerrit L. Lansing** &KDLUPDQ�(PHULWXV

Sydie Lansing +RQRUDU\�&KDLU

Patterson Sims Chairman

Melville StrausBarbara Toll

Vice Chairs

Jeannie Grant President

James CohanAnn Schaffer Vice Presidents

Jeffrey BishopJill BrienzaChristo & Jeanne-Claude**Ann CookSusan CooteMaxine Frankel 7UXVWHH�(PHULWDCarol Goldberg 7UXVWHH�(PHULWDHunter C. GrayMarilyn GreeneAgnes Gund 7UXVWHH�(PHULWDJo Carole LauderCaral G. Lebworth 7UXVWHH�(PHULWD Laure LimVik MunizMel SchafferSusan Sollins* ([HFXWLYH�'LUHFWRU�(PHULWDNina Castelli Sundell* 7UXVWHH�(PHULWDSarina TangVirginia Wright� 7UXVWHH�(PHULWD

*ICI Co-founder**In Memoriam

Ken Tyburski ([�2I¿FLR�7UXVWHH

Kate Fowle ([HFXWLYH�'LUHFWRU

Independent Curators International401 Broadway, Suite 1620New York, NY 10013T +1 212 254 8200 F +1 212 477 [email protected]/curatorsintlwww.twitter.com/curatorsintl

56 ICI EXHIBITIONS

BOOKINGINFO

For a detailed project description, participation fee, checklist, and images for any of the exhibitions listed, please contact Frances Wu Giarratano, Exhibitions Manager, at 212 254 8200 x129, or [email protected]

SCHEDULING

([KLELWLRQV�DUH�DYDLODEOH�GXULQJ�WKH�WRXU�GDWHV�VSHFL¿HG��For exhibitions other than Project 35, FAX, and Living as Form��ERRNLQJ�LV�RQ�D�¿UVW�FRPH��¿UVW�VHUYHG�EDVLV��pending approval of an institution’s facility report. Once GDWHV�DUH�DJUHHG��,&,�VHQGV�D�ERRNLQJ�FRQWUDFW�WR�FRQ¿UP�all arrangements.

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. Please contact Fran Wu Giarratano, Exhibitions Manager, at 212 254 8200 x129, or [email protected] for details.

REGISTRATION / INSURANCE / SHIPPING

Each artwork comes with installation and handling instructions and a condition report. Exhibitions are 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.

The California Experiment (page 10)

Create (page 16)

DO IT (page 22)

FAX (page 9)

Harald Szeemann: Documenta 5 (page 7)

Image Transfer: Pictures in a Remix Culture (page 18)

Living as Form (page 4)

Martha Wilson (page 14)

Performance Now(page 12)

Project 35 (page 20)

Raymond Pettibon: The Punk Years, 1978–86 (page 6)

With Hidden Noise(page 8)

CURRENT AND FUTURE EXHIBITIONS W/ AVAILABILITY

clockwise: Raymond Pettibon, 7ULSSLQJ�&RUSVH��µ0\�6LVWHU�%HGURRP¶, Single Page, 1981; Installation view of People’s Biennial at SECCA, Winston-Salem, NC; Jacob Kassay, 8QWLWOHG��, 2011. Silkscreen on archival newsprint. 24 5/16” x 27” (framed). Edition of 5; August Uribe, ,&,��$QQXDO�)DOO�%HQH¿W��1RYHPEHU��-RKQ�%DOGHVVDUL��OHDWKHU�WRWH�EDJ�ZLWK�%RWNLHU��(GLWLRQ�RI��/DXULH�6LPPRQV��The Music of Regret, 2005. Film still. Act 3. Commissioned by Salon 94 and co-produced by Performa; Critical Edge of Curating: A conversation with Ralph Rugoff, Chus Martinez, and Ute Meta Bauer. November 4, 2011; Curatorial Intensive workshop with MoMA PS1 director Klaus Biesenbach, November 17, 2011

Independent Curators International (ICI) produces traveling exhibitions, events, publications, and training opportunities for diverse audiences around the world. Established in 1975 and headquartered in New York, ICI is a hub that provides access to the people and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art.

In 2011, 11 ICI exhibitions have been presented by 36 venues in 9 countries profiling the work of over 350 artists worldwide; 86 curators and artists from the U.S. and abroad have contributed to ICI’s talks programs, online journal, and conferences; and 47 emerging curators from 22 countries and 11 U.S. states have participated in the Curatorial Intensives, ICI’s short-course professional training program.

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