Lucas Murgida B

Total Page:16

File Type:pdf, Size:1020Kb

Lucas Murgida B Lucas Murgida b. Newburyport, MA, 1976 Current Artist-In-Residence at Grand Central Art Center, Santa Ana, Orange County, CA ​ ​ Education: San Francisco Art Institute, San Francisco, BFA, New Genres, 2002. ​ Iyengar Yoga Institute of San Francisco, Two-Year Teacher Training Program, 2008. ​ Teaching: San Francisco State, Guest Lecturer, 2017-present. ​ Conceptual Oregon Performance School (C.O.P.S), Teacher, 2010-present. ​ California College of the Arts, Guest Lecturer, 2010-present. ​ San Francisco Art Institute, Substitute Teacher and Guest Lecturer. 2004-present. ​ Saint Mary’s College, Moraga, CA. Guest Lecturer. 2007-present. ​ Stanford University, Guest Lecturer. 2004. ​ Employment/Artistic Research: Cybernet Media, Director/Videographer/Engineer/Photographer/Production-Assistant/Editor, SF, CA, 03/10-03/18. ​ ​ ​ Premier Locksmith, Locksmith/Assistant Manager, SF, CA, 02/07-06/11. ​ Lock World, Locksmith/Shop Manager, SF, CA, 09/02-02/07. ​ The Yoga Garden, Yoga Instructor, SF, CA, 04/08-01/10 ​ Selected Solo Shows and Exhibitions: •None of this is Real, Grand Central Art Center, Santa Ana, CA, 07/18-present. ​ ​ ​ •Stuck, collaboration with Jennifer Locke, ROCKSBOX Contemporary Fine Art, Portland, OR, 07/11. ​ •No Man’s Land, Vooruit Center for the Arts, Ghent, Belgium, 05/10. ​ ​ ​ •Grip, Grope, Grasp, and Fondle, at Portland State University’s Autzen Gallery, Portland, OR, 03/10. ​ ​ ​ •(W)hole, at The Charlie James Gallery, LA, CA, 08/09. ​ ​ ​ •The Lobster Trap Conundrum, at 826 Valencia St, SF, CA, 10/08. ​ ​ ​ •Egress, at RocksBox Contemporary Fine Art, Portland, OR, 09/07-10/07. ​ ​ ​ •Unshackle, at 826 Valencia St, San Francisco, CA, 02/05-03/05. ​ ​ ​ •The Service Show, at Amotion Studio, San Francisco, CA, 02/04-04/04. ​ ​ ​ •Burdens, at The Diego Rivera Gallery, San Francisco, CA, 03/02 ​ ​ ​ Selected Group Shows: •How to Escape from Zip-Ties, for Happening Tijuana, Tijuana, Mexico, 10/18. ​ ​ ​ •Consent, for Southern Exposures 39th anniversary show called 39 Forever, SF, CA, 10/13 ​ ​ ​ ​ ​ •The Locksmithing Graduate Institute, for the show Teach-In at Cypress College Art Gallery, Cypress, CA, 04/13. ​ ​ ​ ​ ​ ​ •How to Drill a Lock, for the Packard Jennings destructables.org launch party, SF, CA, 10/11. ​ ​ ​ •Anti-Houdini, for the Pieces of Utopia at The Lab, SF,CA, Curated by Sasha Petrenko, 08/11. ​ ​ ​ ​ ​ •Wappening #4, collaboration with Lee Walton, SF, CA and NYC, NY, 01/10. ​ •Private(s), produced for the Electrified II Exhibition at S.M.A.K. in Ghent, Belgium, 05/10. ​ ​ ​ ​ ​ •Dust to Dust, for The Interackje Art Fair in Piotrkow Trybunalski, Poland, 05/10. ​ ​ ​ •9/10, as part of the Conflux Art Festival, NY, NY, 09/08. ​ ​ ​ •Unshackle: Part #2, as part of Conflux Art Festival, Brooklyn, NY, 09/07. ​ ​ ​ •Close Calls, at The Headlands Center for the Arts, Marin, CA, 02/07. ​ ​ ​ •The Locksmithing Institute, as part of Excentra International Performance Festival, Frey Bentos, Uruguay, 10/06. ​ ​ ​ ​ •Fear of Touching curated by Anna Novakov, at Gallery 531, San Francisco, CA, 12/01. ​ ​ ​ •The Housing Project, curated by Werner Klotz, at the North Beach Housing Projects, SF, CA, 05/01. ​ ​ ​ •Paladar curated by Tony Labat in Conjunction with The Havana Biennial, at 1560 37th Street, Cuba, 11/00. ​ ​ ​ Collections: Berkeley Art Museum, 2010 Pam Martin Trust, 2010 Residencies: Artist in Residence, Grand Central Art Center, Cal State Fullerton, Santa Ana, CA, 03/18-present. ​ ​ Artist in Residence, Vooruit Center for the Artist, Ghent, Belgium, 2010. ​ ​ ​ Honors/Awards: Warhol Foundation for Visual Arts, sponsored residency with Grand Central Art Center, 03/18-present. ​ Nominated for a SECA awarded, 2002 and 2010. Co-op Bar Grant 2008, from The Collective Foundation ​ Recipient of Best in the Show, San Francisco Art Institute Spring Show, 05/02. ​ Press: What We Want is Free, 2nd Edition, SUNY Press, Ted Purves and Shane Selzer, 2014. ​ ​ LA Times, Lucas Murgida at Charlie James Gallery, Holly Myers, 08/21/09. ​ ​ ​ Art Forum, Lucas Murgida, Annie Buckley, 07/31/09. ​ ​ ​ Nuke Magazine, Lucas Murgida, Joseph Del Pesco, Page 77, 01/09. ​ ​ ​ New York Times, In Brooklyn, a Confluxion Junction, Martha Schwendener, 09/18/07. ​ ​ ​ ​ ​ Artweek, Close Call: 2007, Mark Van Proyen, 03/07. ​ ​ ​ .
Recommended publications
  • This Month in the Arts
    This Month in the Arts THE ART AND ART HISTORY DEPARTMENT JANUARY 2016 LOCAL AND REGIONAL EVENTS Visiting Artist Lecture Series, Hrag Vartanian January 14, 2016 Hrag Vartanian is the co-founder and editor-in-chief 4:30 pm of Hyperallergic, the award-winning art blogazine based in Art Annex, Room 107 Brooklyn, NY. His work has appeared in countless publica- tions, and he has been invited as a guest commentator on Al Jazeera, WNYC, KCRW, and other national and international media outlets. In addition to his writing and commentary, he has curated numerous exhibitions, including “#TheSocialGraph” which was the first exploration of the evolving landscape of social media art back in 2010. He regularly writes and lectures about performance art, the online art world, street art, and multicul- turalism. Free and open to the public Annual Templeton Colloquium, Convergent Cultures/Convergent Images January 29, 2016 Convergent Cultures/Convergent Images will look at 4:00-7:00 pm communication through the visual arts from a global per- Conference Center spective. Bridging the arts of Europe, Latin America, and Ballroom B the Middle East, the three colloquium speakers will address 550 Alumni Lane the cross-cultural and cross-regional nature of visual herit- UC Davis age and consider how contemporary responses to visual culture and identity are centered in their historical roots. Speakers Glaire Anderson, Professor, Art Department, University of North Carolina at Chapel Hill Glaire D. Anderson is an historian of medieval Islamic art, architecture and civiliza- tion. Her research focuses on the intersection of art, architecture, and court culture in early Islamic Iberia, the western Mediterranean, and the wider Islamic lands during the caliphal period.
    [Show full text]
  • Open Engagement, Art + Social Practice
    Friday, May 17 PUBLICS PROGRAMMING LUNCHTIME PROGRAMING Panel Exhibition Workshop Panel Open Platform For OE 2013 Lexa Walsh has collaborated with the curatorial teams to bring conference goers a selection of SOCIOLOGY (OF AND) FOR ALUMS AFRICAN SOLUTION TO AMERICAN PROBLEM: CARE AND RADICAL PEDAGOGY ARTIST TALK lunch time, food-related, programming. SOCIALLY ENGAGED ART PRACTICE A sampling of past, and current works made by alumni of PSU’s READ THE QUR’AN People take supplies from an abandoned school after hurricane For the last four years, Laurenn McCubbin has been working with If we understand the sociological imagination as one which MFA in Art and Social Practice program. Featured artists include Ghana ThinkTank will host a group reading and interactive dis- Katrina and start their own school in a grocery store. Teens and a group of sex workers, interviewing them about their lives in and FOODPHREAKING PDX searches out, designs and reveals interconnections between Katherine Ball, Varinthorm Christopher, Parallel University, Ar- cussion of the Qur’an with members from the community. This adults gather in a museum and lead 10-minute workshops on out of the industry. McCubbin asked them to send her an object FoodPhreaking PDX is a pop-up food hack lab that will be run- personal troubles and social issues, between biography and his- iana Jacob, Zach Springer, Hannah Jickling, Eric Steen, Lexa session will be used as an intercultural workspace, classroom, topics that they are passionate about. Adults with mental diver- that they associate with sex work, so that she could investigate ning in Portland, Oregon in May and June 2013.
    [Show full text]
  • Christine Hill
    CHRISTINE HILL 1968 Born in Binghamton, New York 1991 Bachelor of Fine Arts, Maryland Institute, College of Art, Baltimore, MD 2004 Guest Professorship, Bauhaus University Weimar 2007 Full Professorship with tenure. Bauhaus University Weimar. Lives and works in Berlin, Germany. SOLO EXHIBITIONS 2019 Galerie EIGEN+Art, Leipzig, Germany, Attention Economy, February 23 – March 3. 2017 Kunstraum Innsbruck, Innsbruck, Austria, Assets, February 17 – April 15. 2014 Galerie EIGEN + ART Berlin, Berlin, Germany, Sliding Scale, October 30 – December 13. 2012 GFZK (Museum of Contemporary Art, Leipzig, Germany, Hotel Volksboutique: A Project by Christine Hill, a long-term installation opening in November. Ronald Feldman Fine Arts, New York, Small Business, November 17-December 22, 2012. 2011 Galerie EIGEN+ART, Leipzig, Germany, Shop/Like, September.(catalogue) 2009 Ronald Feldman Fine Arts, New York, NY, Solo presentation at The Armory Show: The Volksboutique Armory Apothecary, March 5 – 8. Martin-Gropius-Bau, Berlin, Germany. Do-It-Yourself Bauhaus, Commissioned within Modell Bauhaus/Bauhaus: A Contemporary Model. July 22 – October 4. 2008 Galerie EIGEN+ART, Berlin, Germany. Revolution Flea Market. March 15 – April 19. 2007 IFA Galerie, Berlin. Volksboutique Collected Templates 1998-2007, November 2, 2007 - January 27 2008. 2006 Galerie EIGEN+ART, Berlin. Keep Shop. May 20 – June 24. Neue Gesellschaft für bildende Kunst: U2 Alexanderplatz. Welt der Weisheit. September 27 – October 28. 2005 Times Square Alliance, New York, NY. A Consumer's Guide to Times Square Advertising. Commissioned by Creative Time, Inc. January 19 – April 21. 2003 Museum of Contemporary Art, Cleveland, OH. Christine Hill: Pilot: Cleveland. February 21 – May 4. (catalogue) Ronald Feldman Fine Arts, New York, NY, Home Office.
    [Show full text]
  • Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer
    Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer Regina Almaguer heads a Public Art Consulting Service based in Orinda, California. She has worked on numerous public art projects for the San Francisco Arts Commission, Bay Area Rapid Transit, and other City agencies. She has over 20 years’ experience in public art planning, project management, contract administration and producing public art ordinances and program guidelines. She has extensive experience in working with government agencies as well as private developers and architects on complex projects. She has specialized experience and interest in art in transit programs. Michael Arcega Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. Though visual, his art revolves largely around language. Directly informed by Historic events, material significance, and the format of jokes, his subject matter deals with sociopolitical circumstances where power relations are unbalanced. As a naturalized American, there is a geographic dimension to Michael’s investigation of cultural markers. These markers are embedded in objects, food, architecture, visual lexicons, and vernacular languages. For instance, vernacular Tagalog, is infused with Spanish and English words, lending itself to verbal mutation. This malleability result in wordplay and jokes that transform words like Persuading to First wedding, Tenacious to Tennis Shoes, Devastation to The Bus Station, and Masturbation to Mass Starvation. His practice draws from the sensibility
    [Show full text]
  • Sustainability
    Queens Museum 2018 SUSTAINABILITY Open Engagement Table of Contents A note about this program: This document, just like the conference itself, is a Front and back cover: 4 Director’s Welcome Jökulsárlón Glacial Lagoon, Iceland, 2017 labor of love split between a tiny part-time staff and a Program Design: 5 Acknowledgments few interns. Please be kind and gentle with us if Lauren Meranda, Andrés Alejandro Chavez, 6 Curatorial Statement you see an error, omission, typo, or any other human Kate Heard mistake while reading this document. 7 OE 2018 Team 8 Locations Social Media 10 Queens Info Follow us on Instagram, Twitter and Facebook Schedule @openengagement 12 Overviews Share your posts from this year with #OE2018 18 Featured Presentations #OpenEngagement 19 Pre-Conference Find further details at 20 Open House www.openengagement.info 23 Saturday Parallel Sessions 26 Conversational Dinners OEHQ 28 Sunday Parallel Sessions OEHQ (information and registration) is our conference 31 Parties & Projects hub! OEHQ is the place for the most up-to-date 33 Open Platform information about the conference throughout the weekend, including any schedule or location changes. 36 Trainings Bronx Museum of the Arts Friday, May 11th: 6:00pm - 7:30pm 37 Featured Presenters 38 Contributor Bios Werwaiss Family Gallery, 2nd Floor, Queens Museum Saturday, May 12th: 9:00am – 5:00pm 42 Schedule at a Glance Sunday, May 13th: 9:00am – 4:00pm 2 3 Director’s Welcome Acknowledgements It is 6:12am and I have been in bed thinking about writing this I wish I could talk to Ted about where we are now.
    [Show full text]
  • YBCA Presents Tania Bruguera
    FOR IMMEDIATE RELEASE Media Contacts: Voleine Amilcar, 415.978.2700; [email protected] ​ Lainya Magana, 347.395.4155; [email protected] ​ ​ ​ Yerba Buena Center for the Arts Presents Tania Bruguera: Talking to Power / Hablándole al Poder An Unprecedented Collaboration with World-Renowned Cuban Political Artist Tania Bruguera Tania Bruguera reading from Hannah Arendt’s book The Origins of Totalitarianism ​ during the opening session of the Hannah Arendt International Institute of Artivism, Havana, May 20-24, 2015. Courtesy Studio Bruguera and Yo También Exijo Platform. Photo Pablo León de la Barra. Friday, June 16, 2017 through Sunday, October 29, 2017 Opening Night Party: Friday, June 16, 2017, 7 pm Yerba Buena Center for the Arts, 701 Mission Street, San Francisco CA 94103 SAN FRANCISCO - (April 26, 2017) Yerba Buena Center for the Arts (YBCA) presents Tania Bruguera: Talking to Power / Hablándole al Poder a survey of ​ ​ ​ ​ long-term artworks by the political artist Tania Bruguera. For more than 30 years Bruguera has worked at the intersection of activism and performance art to address structures of power, devise new utopian models of authority, and create alternative structures that aim to transform and redistribute power. This has resulted in art projects that take the form of social movements, newspapers, and schools—and even Bruguera’s own provocative self-nomination for the 2018 Cuban presidential election. Organized by YBCA and curated by Lucía Sanromán, director of visual ​ ​ arts, and Susie Kantor, curatorial associate, Tania Bruguera: Talking to Power / ​ ​ ​ ​ ​ Hablándole al Poder will present together for the first time Bruguera’s long-term ​ projects initiated between 1985 and 2017 that have sought to transform the ​ emotional and symbolic affect of art into political effectiveness.
    [Show full text]
  • STAFF REPORT DATE: July 17, 2013 TO: Honorable Members of The
    STAFF REPORT DATE: July 17, 2013 TO: Honorable Members of the Visual Arts Committee FROM: Zoë Taleporos RE: Artist Selection Panelists Our current procedure for selecting arts professionals for public art selection panels is to seek approval from the Arts Commission of a group of individuals on a per-project basis. The intent was to match the expertise of arts professionals with each particular public art opportunity. The proposed procedural change to selecting arts professionals as panelists is to create one large pool with an array of individuals with varying cultural emphasis from a range of art institutions. Public Art staff will draw from this pool for all selection panels in the Fiscal Year 2013/14. This will eliminate the need to repeatedly agenize the approval of panelists on the Visual Arts Committee (VAC) agenda and will reduce staff administration time. If Public Art Staff would like to add an arts professional to the pool, s/he may do so at any time. Additional arts professionals will presented to the VAC for approval. Bios of Arts Professionals for Panelist Pool FY 2013/14 Regina Almaguer Regina Almaguer heads a Public Art Consulting Service based in Orinda, California. She has worked on numerous public art projects for the San Francisco Arts Commission, Bay Area Rapid Transit, and other City agencies. She has over 20 years experience in public art planning, project management, contract administration and producing public art ordinances and program guidelines. She has extensive experience in working with government agencies as well as private developers and architects on complex projects.
    [Show full text]
  • Caroline Woolard CV 2021 References Included
    CV: Caroline Woolard CAROLINE WOOLARD Email [email protected] Portfolio https://art21.org/artist/caroline-woolard/ Phone XXX XXX XXXX TEACHING AND PROFESSIONAL EXPERIENCE ACADEMIC APPOINTMENTS 2017–present Assistant Professor of Fine Art, tenure-track, Hartford Art School, University of Hartford, Hartford, CT 2018-2020 Lecturer, Center for Public Action, Bennington College, Bennington, VT 2015–2018 Lecturer, MFA Fine Arts, School of Visual Arts, New York, NY 2011–2016 Lecturer, School of Design Strategies, The New School, New York, NY 2013–2014 Lecturer, BFA Sculpture, The Cooper Union for the Advancement of Science and Art, New York, NY 2013–2014 Lecturer, MFA Graduate Studies, Rhode Island School of Design, Providence, RI 2011 Lecturer, Art, Media, and Technology, The New School, New York, NY 2010 Part-Time Research Faculty, Steinhardt School, New York University, New York, NY 2009 Teaching Assistant, Steinhardt School of Art, New York University, New York, NY SELECTED ACADEMIC VISITING ARTIST APPOINTMENTS 2021 Finalist, Fulbright Scholar Program, (application, not awarded) Arnhem, Netherlands Finalist, The Marva and John Warnock Artist-in-Residence, (nominated, not received, $40,000) University of Utah, Salt Lake City, UT 2020 Harlan Boss Visiting Artist for Art, Participatory Culture, Social Practice, and Critical Theory at the University of Minnesota, Minneapolis, MN 2018–2020 Visiting Artist, Inaugural Walentas Fellow, Moore College of Art and Design, Philadelphia, PA 2019 Ruth Ann and Nathan Perlmutter Artist-in-Residence
    [Show full text]
  • Pickpocket Forever
    01 lemons in the supermarket to to the mid-point, she scoots There is the limitation of our WAYS OF SEEING the sounds of Fleet Foxes or closer to her end-point, until physical eyesight, which can by Claudia Altman-Siegel working out to Lady Gaga, our you have understood without be cybernetically enhanced by entire lives seem soundtracked. words the mass of your bodies telescopes, microscopes and I recently moved from the east What is the role of music in our and the physics of the mecha- cameras. On another level, our coast to San Francisco and I lives? And with music seem- nism that connects you. brains are evolutionarily devel- have spent a lot of time explor- ingly inundating us, can it still This course takes this under- oped to edit out most extra- ing the city on foot. I have been possess the same transforma- standing and looks at various neous information that enters especially inspired by the many tive qualities it once did? perspectives on the exponen- our eyes, information that it hidden stairways that make Using a multi-disciplinary ar- tial effects our movement and believes is not crucial to our walking the city an incredible ray of mediums, this course exchanges on the balance of survival. Still different are the pedestrian maze, and all of the will look into the shift in our this large see saw that we all sit things we choose not to see beautiful architecture, flowers, relationship to music, and what upon. We’ll join Slavoj Zizek due to habit or cultural neces- vistas and artistic interventions this could mean within a larger in a dump, Stewart Brand for- sity: the unappealing social along them.
    [Show full text]
  • CALIFORNIA COLLEGE of the ARTS San Francisco / Oakland
    NON-PROFIT ORG U.S. POSTAGE PAID 1111 eighth street PEWAUKEE, WI san francisco ca 94107-2247 PERMIT NO. 1209 @CACollegeofArts This issue of Glance was designed by Yasmeen Khaja and Min Young Kwak, both third-year students in @CACollegeofArts CCA’s Graphic Design Program. Yasmeen is minoring in Writing and Literature, which she pursues as her art facebook.com/CaliforniaCollegeoftheArts practice. Min Young hopes to combine her illustration CACollegeofArts and design skills in her career. youtube.com/user/CCAarts Glance uses the typefaces Avenir and Warnock, designed by Adrian Frutiger and Robert Slimbach, respectively. # ccarts A publication for the CCA community Sign up at cca.edu/subscribe to get CCA news and events delivered by email. You can also change your mailing CALIFORNIA COLLEGE OF THE ARTS preferences from postal mail to email here. San Francisco / Oakland Spring 2017 Glance CONTENTS Spring 2017 1 Letter from the President Volume 25, No. 2 FEATURE Editor 2 Studio Gang to Design New CCA Campus: Laura Kenney Q & A with Architect Jeanne Gang Contributors 4 Making Space: Diverse Bay Area Residencies Help Artists Flourish Susan Avila 8 Know Yourself: CCA Grads Fuel Educational Comics Company Chris Bliss Laura Braun 10 Townsquared: Alumni Form Startup’s Design Foundation Katie Conley ALUMNI STORIES Amanda Glesmann 12 Lily Williams (Animation 2014) Jennifer Jansen Laura Kenney 14 Matthew Jervis (Graphic Design 2004) Kindah Khalidy (Individualized 2011) Susannah Magers (MA Curatorial 16 Vinitha Watson (MBA Design Strategy 2010) Practice
    [Show full text]
  • This Month in the Arts
    This Month in the Arts THE ART AND ART HISTORY DEPARTMENT NOVEMBER 2015 LOCAL AND REGIONAL EVENTS Chie Fueki, Visiting Artist Lecture Series November 12, 2015 “The diverse influences in Chie Fueki’s work may in part reflect her 4:30 pm own history. Born in Yokohama, Japan, she was raised in São Art Annex, Room 107 Paulo, Brazil, earned an MFA from Yale, and now lives in Brooklyn. On small wood panels or large draped sheets of mulberry paper, Fueki’s paintings are embellished with bright dots of color, recalling appliquéd textiles or jewel boxes. These shimmering fields give the works a sensuous, intoxicating delight of the sort more often associated with decoration than with thoughtful contemporary painting. Under the bejeweled surfaces, though, lurk traditional landscape motifs, doubled and redoubled, sug- gesting Rorschach tests or the ambiguously infinite view in a hall of mirrors.”-Laura Newman Bomb Magazine 2002 Joby Barron (MFA 2010), Chasing Justice Nov. 19, 2015 - Inspired by the biblical exhortation of Deuteronomy (16:20) to “pursue justice and justice alone,” the Contemporary Feb. 21, 2016 Jewish Museum’s new exhibit ”Chasing Justice” features the work of Arnold Mesches, Johanna (Joby) Bar- Contemporary Jewish ron (MFA 2010), and Robbin Henderson, three artists of Jewish heritage who have, through activism, research, Museum and engagement with the government, produced bodies of work that explore different approaches to this Jewish San Francisco, CA commitment. From surveillance to arrest, the three artists shine a light on controversial government practices that often remain hidden, unseen, or forgotten. Design Museum, Rattled Sept. 21 - Nov.
    [Show full text]
  • A Distinct Itinerary in Space and Time Invites You to Explore Kadist’S Programs
    A guidebook offering an exploration of Kadist’s programs, this polyphonic collection of writings describes the institu- tion’s way of working and its collaborative approach. KADIST A Distinct I tinerary in Space and Time Dear Reader, KADIST A Distinct Itinerary in Space and Time invites you to explore Kadist’s programs. In conceiving this volume, we had in mind a guidebook that would offer a jour- ney into Kadist’s projects and its collaborative approaches. The aim is not to present a comprehensive archive, as our website does, but instead to collect a multiplicity of voices who have participated in the making of the organization and who speak from personal points of view: founders, advisors, team members, artists, and curators we have been working with since Kadist’s inception in 2001. This polyphonic collection of writings describes our way of working, conveying something of the fragile intimacy hidden behind the construction of an institution. From these voices, a multitude of facets appear, reflecting the contingen- cies, the questions, and the discussions inherent to the life of the organization. Traversing the space and the time of the book, Kadist’s mission statement runs throughout—a word every two pages—which you can read almost as a score or a flip-book. It is accompanied by a series of exhibition views, creating a visual timeline of Kadist’s exhibition history, each image documenting one Kadist project that took place in Paris, San Francisco, or elsewhere. The mission statement also determines the order of appearance of the contributions: its four sentences structure the four sections of the book, each one addressing Kadist through a specific angle: the organization, the collection, international programs, and local and online programs.
    [Show full text]