INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2012 PROGRAM INDE PEN DENT PRAC TICE TABLE OF CONTENTS

1 Welcome 2 Spring/Summer 2012 Calendar

EXHIBITIONS

4 Living as Form (The Nomadic Version) 6 Raymond Pettibon: The Punk Years, 1978–86 7 Harald Szeemann: Documenta 5 ICI 8 With Hidden Noise 9 FAX 10 The California Experiment: New Art Circa 1970 12 Performance Now 14 Martha Wilson 16 Create 18 Image Transfer: Pictures in a Remix Culture 20 Project 35 22 do it 24 People’s Biennial

EDUCATION & PUBLIC PROGRAMS

26 Curatorial Intensive 28 Partner Programs 32 Alumni Updates 33 Curatorial Research 34 DISPATCH 36 Thinking Contemporary Curating 38 The Curator’s Perspective 40 The Critical Edge of Curating 42 Curating Worldwide 43 The Curatorial Hub 44 ICI Curatorial Library

NETWORKS & ACCESS

45 The Curator’s Network Editor: Mandy Sa Reproduction rights: You are free to 46 ICI Limited Editions Designer: Scott Ponik copy, display, and distribute the contents Copy editor: Audrey Walen of the publication under the following 48 ICI Conversations Printing: Linco Printing, Queens, NY conditions: You must attribute the work 50 International Forum or any portion of the work reproduced Big thanks to: Doryun Chong, Sheryl to the author, and ICI, giving the article 51 2011 Annual Fall Benefit Conkelton, Sarah Demeuse, Hou Hanru, and publication title and date. If you 52 Thank You Rodrigo Moura, Sofía Olascoaga, Jack alter, transform, or build upon this work, Persekian, Yasmil Raymond, Lucía you may distribute the resulting work 54 Access Fund Sanromán, Terry Smith, and Anton only under a license identical to this 55 Access ICI Vidokle. one, and only if it is stated that the work has been altered and in what way. For 56 Booking Information © 2012 Independent Curators any reuse or distribution you must make International (ICI), and the authors. 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.

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Above (top): Independent Curators International in Tribeca, New York, NY; (bottom): Dead Letters Office Hours at the ICI Curatorial Hub, February 10, 2012. INDEPENDENT CURATORS INTERNATIONAL 1 WELCOME

On behalf of all the staff at means in curating today, which was continued in the Independent Curators International pages of Mousse Magazine (February 2012) and will be (ICI), it gives me great pleasure to further explored during another residency this spring at welcome you to our semi-annual the Gertrude Contemporary in Australia. ICI is excited brochure. This issue marks a to be developing numerous international partnerships milestone for ICI, following 2 years including a travel award for curatorial research in Central of development in new programs America and the Caribbean in collaboration with the and international collaborations that Colección Patricia Phelps de Cisneros; a program of have enabled us to better achieve Curatorial Intensives with the Instituto Inhotim, Minas our mission: to connect emerging and established Gerais, Brazil, and the Ullens Center for Contemporary curators, artists, and institutions through the production Art, Bejing, China; and a curatorial fellowship with the of exhibitions, events, and publications, and to provide Institut Français to be hosted by ICI in New York. opportunities for curatorial training. Read on to find out everything you need to know about Last year, in particular, was an eventful one for ICI. We upcoming ICI events, training programs, exhibitions and launched the Curatorial Hub, which provides a unique membership opportunities in the coming months, as well meeting point, event space, and temporary operational as updates on the results of our activities last fall. Finally, base in New York for curators from across the U.S. I want to extend a sincere thank you to Ellen Liman and and around the world. The redesigned ICI website also the Liman Foundation for again making the production of went live, and quickly became the virtual hub of all our this brochure possible. activities. While our physical Hub encourages dialogue between curators and artists, critics, and other art aficionados, the website has become the portal through 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 Kate Fowle happening in contemporary art worldwide. Executive Director Independent Curators International 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.

Reflecting increased interest in ICI’s activities globally, 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 the first iteration of the ICI Reading Room. During this residency we also launched a new discussion series on the increasingly important subject of what “international” 2 SPRING/SUMMER 2012 CALENDAR MARCH

EVENTS CURATORIAL INTENSIVE Project 35 June 2011–June 2012 ICI CONVERSATIONS Curatorial Intensive: The Wild Imaginings SPACE Gallery Building the Collection: Wednesday, March 22–Thursday, March 23 Portland, Maine Howard Rachofsky and Allan Schwartzman Philadelphia Exhibitions Initiative June 7, 2011–June 24, 2012 Thursday, March 8, 5:30–7:30pm The Pew Center for Arts & Heritage Michele and Donald D’Amour Museum of Sotheby’s, New York Fine Arts Springfield, Massachusetts Book Launch & Curator Talk EXHIBITIONS September 2011–September 2012 Hou Hanru: Paradigm Shifts The College of Wooster Art Museum Saturday, March 10, 4–6pm Raymond Pettibon: The Punk Years, Wooster, Ohio The Curatorial Hub, New York 1978–86 March 7–28 People’s Biennial Dialogues in Contemporary Art: Take 1 Visual Arts Center January 27, 2011–March 2, 2012 In Collaboration with AhmadyArts Boise State University, Boise, Idaho Cantor Fitzgerald Gallery Tuesday, March 13, 7–8:30pm Haverford College The Curatorial Hub, New York FAX Haverford, Pennsylvania February 26–April 5 RIVET READING GROUP University of Hawaii Art Gallery Sarah Demeuse and Manuela Moscoso Honolulu, Hawaii Wednesday, March 14, 7–8:30pm March 2–June 23 The Curatorial Hub, New York Utah Museum of Contemporary Art Salt Lake City, Utah THE CURATOR’S PERSPECTIVE Rosina Cazali Living as Form (The Nomadic Version) Saturday, March 17, 3–4:30pm March 10–May 12 New Museum, New York Kadist Art Foundation San Francisco, California ICI CONVERSATIONS March 16–June 8 Critical Outlook: Lindsay Pollock, Ben Museo de Arte de Sinaloa Lerner, and Richard Vine Sinaloa, Mexico Monday, March 26, 6:30–8pm Art in America, New York

APRIL

EVENTS CURATORIAL INTENSIVE Project 35 June 2011–June 2012 HUB EVENT Curatorial Intensive: The Wild Imaginings SPACE Gallery Connie Lewallen and William Wegman Thursday, April 12 Portland, Maine Tuesday, April 3, 6:30–8pm Philadelphia Exhibitions Initiative June 7, 2011–June 24, 2012 The Curatorial Hub, New York The Pew Center for Arts & Heritage Michele and Donald D’Amour Museum of Fine Arts RIVET READING GROUP The Curatorial Intensive: Inhotim Springfield, Massachusetts Sarah Demeuse and Manuela Moscoso Sunday, April 22–Saturday, April 28 September 2011–September 2012 Wednesday, April 11, 7–8:30pm Instituto Inhotim The College of Wooster Art Museum The Curatorial Hub, New York Minas Gerais, Brazil Wooster, Ohio April 1–29, 2012 ICI CONVERSATIONS CentrePascu Art Curators’ Top Picks Under 35: Suzanne EXHIBITIONS Biel, Switzerland Cotter, Neville Wakefield, and João Ribas FAX Monday, April 16, 6:30–8pm February 26–April 5 Sotheby’s, New York University of Hawaii Art Gallery Honolulu, Hawaii Journal Launch and Curator Talk March 2–June 23 ArteEast: Iran Issue Utah Museum of Contemporary Art Saturday, April 28, 3–4:30pm Salt Lake City, Utah The Curatorial Hub, New York Living as Form (The Nomadic Version) The Curatorial Intensive Symposium: March 10–May 12 Inhotim Kadist Art Foundation Saturday, April 28 San Francisco, California Instituto Inhotim March 16–June 8 Minas Gerais, Brazil Museo de Arte de Sinaloa Sinaloa, Mexico SPRING/SUMMER 2012 3

MAY–JUNE

EVENTS ICI CONVERSATIONS Living as Form (The Nomadic Version) Dinner at the Home of Eileen and Michael March 10–May 12 ICI CONVERSATIONS Cohen with Richard Armstrong Kadist Art Foundation The Artist’s Voice: Kerstin Brätsch and Wednesday, May 30, 6:30–9pm San Francisco, California Massimiliano Gioni Home of Eileen and Michael Cohen, March 16–June 8 Wednesday, May 2, 6:30–8pm New York Museo de Arte de Sinaloa Gavin Brown’s Enterprise, New York Sinaloa, Mexico

The Curator’s Lounge at NADA NYC CURATORIAL INTENSIVE Project 35 Friday, May 4–Monday, May 7, 2012 June 2011–June 2012 NADA NYC, New York Curatorial Intensive: The Wild Imaginings SPACE Gallery, Portland, Maine Thursday, May 17 June 7, 2011–June 24, 2012 Dialogues in Contemporary Art: Take 2 Monday, June 4 Michele and Donald D’Amour Museum In Collaboration with AhmadyArts Philadelphia Exhibitions Initiative of Fine Arts, Springfield, Massachusetts Tuesday, May 8, 7–8:30pm The Pew Center for Arts & Heritage September 2011–September 2012 The Curatorial Hub, New York The College of Wooster Art Museum Wooster, Ohio ICI CONVERSATIONS EXHIBITIONS May 1–31, 2012 The Artist’s Voice: David Lamelas and Zanabazar Fine Art Museum Christian Rattemayer FAX Ulaanbaatar, Mongolia Tuesday, May 15, 6:30–8pm March 2–June 23 Loft of Michele Maccarone, New York Utah Museum of Contemporary Art Salt Lake City, Utah THE CURATOR’S PERSPECTIVE May 4–July 22 Kathrin Rhomberg San Francisco Arts Commission Gallery Wednesday, May 16, 6:30–8pm San Francisco, California Austrian Cultural Forum, New York

HUB EVENTS ICI Annual Book Sale Friday, May 25–Sunday, May 27, 11am–5pm The Curatorial Hub, New York

JULY–AUGUST

EVENTS EXHIBITIONS

The Curatorial Intensive Symposium: Project 35 New York August 29–December 7, 2012 Tuesday, July 17 Richard E. Peeler Art Center The Curatorial Hub, New York Greencastle, Indiana The Curatorial Intensive Symposium: September 2011–September 2012 Beijing The College of Wooster Art Museum Saturday, August 11 Wooster, Ohio Ullens Center for Contemporary Art and August 19–June 2, 2013 The Central Academy of Fine Arts North Carolina Museum of Art Beijing, China Raleigh, North Carolina

FAX CURATORIAL INTENSIVE May 4–July 22 San Francisco Arts Commission Gallery The Curatorial Intensive San Francisco, California Sunday, July 8–Tuesday, July 17 The Curatorial Hub, New York Image Transfer: Pictures in a Remix Culture August 15–October 15 The Curatorial Intensive: Beijing Newcomb Art Gallery Sunday, August 5–Saturday, August 11 New Orleans, Louisiana Ullens Center for Contemporary Art and The Central Academy of Fine Arts *Check our website for regular updates on all our exhibitions, events, and programs, www. curatorsintl.org. 4 ICI EXHIBITIONS LIVING AS FORM LIVING AS FORM (THE NOMADIC VERSION) Curated by Nato Thompson, co-organized with Creative Time ICI’s newest EXHIBITION IN A BOX adds a twist to the fast-growing collection of compact shows designed to generate big ideas. LIVING AS FORM (THE NOMADIC VERSION) is an unprecedented, international project exploring over 20 years of cultural works that blur the forms of art and everyday life, emphasizing participation, dialogue, and community engagement.

In collaboration with 25 curators from around the ABOUT THE GUEST CURATOR world, Nato Thompson has selected 48 socially engaged projects produced in the last 20 years as the Nato Thompson is Chief Curator at foundation of this exhibition. “Something historically Creative Time, New York, as well unique is happening in cultural production that requires as a writer and activist. Among his different rules for art than those of the 20th century,” public projects for Creative Time says Thompson, “This culturally-savvy method of are Tania Bruguera’s Immigrant civic production has manifested in everyday urban life Movement International, Democracy and growing civil unrest. Living as Form is an opportunity in America: The National Campaign, to cast a wide net and ask: how do we make sense of this and Waiting for Godot, a project by work, and in turn, how do we make sense of the world Paul Chan held in New Orleans. His book Seeing Power: we find ourselves in?” Living as Form (The Nomadic Art and Activism in the Age of Cultural Production was Version) will provide a broad look at a vast array of published in March 2012 by Melville House Publishing. practices that appear with increasing regularity in fields Thompson was formerly a curator at MASS MoCA, and ranging from theater to activism, and urban planning to he also curated ICI’s Experimental Geography, which visual art. traveled to 8 venues in North America.

Further increasing the diversity of practices that are BASIC FACTS represented in the show, each hosting institution will select additional works to add to the traveling Space required: extremely flexible exhibition that is being toured via hard drive. In addition Tour dates: March 2012–December 2014 to expanding the content of the exhibition, each For further booking details, see page 56 collaborating venue will organize site-specific, socially engaged, commissioned projects or events that connect to the theme and “activate” the show. As the essence of the works is rooted in social engagement, the venue is also encouraged to provide participatory experiences that possess some sort of political or community-based content for visitors to encounter. , at Essex Street Market,

Living as Form (The Nomadic Version) is the flexible, expanding iteration of Living as Form, a site-specific project presented by Creative Time in the historic Essex Living As Form Market in New York from September 24–October 16, 2011. Installation view of Time. Photo courtesy of Creative York. New LIVING AS FORM 5

The palpable public archive in and events surrounding An enthralling, philosophically provocative round-up of Living As Form (which was free to attend) was a 20 years’ worth of socially engaged art. —Ken Johnson, refreshing change from some of the more insular (pay- New York Times, September 2011 to-attend), sometimes fanciful, idea-generating events of late. Here was a collaborative, thoughtful effort, executed in real terms and providing tools for action. —Mercedes Kraus, Urban Omnibus, October 2011 As part of the global network of Complaints Choir, Chicago citizens gathered to sing a compilation of complaints – about Chicago, other As part of the global network Complaints Choir, people, about world issues, and themselves. Courtesy of Clare Britt, 2007.

ARTISTS INCLUDE LIVING AS FORM CATALOGUE

Ai Weiwei, Ala Plástica, Jennifer Allora and Guillermo Living As Form: Socially Engaged Calzadilla, Alternate ROOTS, Appalshop, Claire Barclay, Art from 1991–2011 Basurama, BijaRi, Cemeti Art House, Chto delat? (What By Nato Thompson. With essays is to be done?), Complaints Choir, Céline and Gavin by Claire Bishop, Carol Becker, Wade Condorelli, Minerva Cuevas, Cybermohalla Teddy Cruz, Brian Holmes, Shannon Ensemble, Decolonizing Architecture Art Residency, Josh Jackson, Maria Lind, and Anne Greene, Federico Guzmán and Alonso Gil, Fritz Haeg, Pasternak. Published by MIT Helena Producciones, Jeanne van Heeswijk, Fran Ilich, Press. 280 pages. 2012. ISBN: Farid Jahangir and Sassan Nassiri, Bita Fayyazi, Ata 0262017342. 2012. Hasheminejad and Khosrow Hassanzedeh, Suzanne Lacy, Lara Almarcegui, Los Angeles Poverty Department, Rick The exhibition is accompanied by a publication produced Lowe, Mammalian Diving Reflex/Darren O’Donnell, Mardi by Creative Time, that forms a landmark survey of Gras Indian Community, Zayd Minty, The Mobile Academy, socially engaged art including more than 100 projects Vik Muniz, Oda Projesi, Wendelien van Oldenborgh, Pase selected by a 30-person curatorial advisory team; each Usted, Navin Rawanchaikul, Athi-Patra Ruga, Katerina project is documented by a selection of color images. 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 6 ICI EXHIBITIONS THE PUNK YEARS RAYMOND PETTIBON: THE PUNK YEARS, 1978–86 Curated 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.

BASIC FACTS

Space required: extremely flexible Available dates: selected dates through December 2012 For further booking details, see page 56 Raymond Pettibon, Pettibon/Semaphore 1986. Gallery,

While Pettibon remains a cult figure among underground at the University Gallery 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 Raymond Pettibon back and forth between music and the visual arts, this project shows Pettibon’s raw imagery, heavily shadowed technique, and characteristic visual punch in formation, and includes 44 ‘zines, 120 fliers and posters, and a Installation view of UMass Lowell, Massachusetts. 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 at MOCA, Tucson, Arizona. Tucson, at MOCA, performance of Black Flag, enrich the context and show Pettibon in his original milieu.

To adapt the project to their own communities and bring Raymond Pettibon 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. Installation view of ICI EXHIBITIONS 7 THE PUNK DOCUMENTA 5 HARALD SZEEMANN: DOCUMENTA 5 Curated by David Platzker YEARS 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.

In 2011 Harald Szeemann: Documenta 5 was presented ABOUT THE GUEST CURATOR at two emerging European art centers. CAC Vilnius, Lithuania, offered the project in their Reading Room, David Platzker is the director of a research and exhibition space dedicated to book art Specific Object, an innovative and archives. It then traveled to kim? Contemporary gallery, bookshop, and think tank Art Centre in Riga, Latvia, and was, in both places, dedicated to artists’ publications the subject of public discussions and events around ranging from ephemeral materials to Szeemann’s curatorial innovations and the historical unique artworks produced between aspects of Documenta 5, such as the introduction of the 1960 and 1990. Prior to founding Artist’s Reserved Rights Transfer and Sale Agreement, Specific Object, Platzker was the written by Seth Siegelaub and Bob Projansky, which executive director of Printed Matter, protects artists’ ongoing intellectual and financial rights a non-profit institution dedicated to the promotion of with regard to their production. 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

Space required: extremely flexible Available dates: now through December 2012

, 1975. For further booking details, see page 56 at the Contemporary Art Centre, at the Contemporary Documenta 5 aus / from Saltoarte (aka: How the Dictatorship of Parties Can Overcome) Installation view of Lithuania. Vilnius, Joseph Beuys, 8 ICI EXHIBITIONS WITH HIDDEN NOISE 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.

Sound art has a long lineage that can be traced from the ABOUT THE GUEST CURATOR “Futurist Manifesto” through subsequent movements and genres, such as Fluxus, conceptual art, and performance Stephen Vitiello is a sound art, up to the most recent artistic uses of the latest and media artist whose sound developments in new technologies. Over the last 15 installations have been presented years a number of larger survey shows have tracked this internationally both in public spaces history, but With Hidden Noise makes understanding and and museums. His large-scale experiencing sound art accessible to a wider range of installation All Those Vanished venues. Engines commissioned by MASS MoCA opened in September 2011. This self-contained sound art exhibition pairs down Tall Grasses, a solo exhibition, was on view at the the installation scale to a single set of surround sound Salina Art Center, Salina, Kansas (2010); Vitiello has speakers (5 speakers plus a subwoofer) adaptable to a collaborated extensively, working with such artists as broad range of spaces, allowing for many presentation Tony Oursler, Julie Mehretu, Joan Jonas, Steve Roden, possibilities. Also included are a number of books Nam June Paik, and Scanner. He has received numerous and catalogues on contemporary sound art that may awards including a Guggenheim Fellowship for Fine Arts, be distributed around the gallery for those who would Creative Capital funding in the category of Emerging like to read more as they listen. A further reading list, Fields, and an Alpert/Ucross Award for Music. Originally videography, and programming suggestions are provided from New York, Vitiello is now based in Richmond, by the curator, making this exhibition as adaptable and Virginia, where he is on the faculty of Kinetic Imaging at expandable as desired. Virginia Commonwealth University.

ARTISTS INCLUDE

Taylor Deupree, Jennie C. Jones, Pauline Oliveros, 2011 Artists 2011

© Andrea Parkins, Steve Peters, Steve Roden, Michael J. Schumacher, Stephen Vitiello , 1916. BASIC FACTS

Space required: extremely flexible With Hidden Noise With Tour dates: June 2011 through December 2013 For further booking details, see page 56 Marcel Duchamp, Paris/Succession York/ADAGP, Rights Society (ARS), New Marcel Duchamp. ICI EXHIBITIONS 9 WITH HIDDEN FAX Curated by João Ribas, co-organized with The Drawing Center An exhibition investigating and proposing the fax machine as a tool for art production, NOISE 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.

Since then, FAX has appeared at venues all over the ABOUT THE GUEST CURATOR world, at times simultaneously, offering the added possibility of collaboration. Each participating institution João Ribas is curator at the MIT invites up to 20 additional artists to submit works, thereby List Visual Arts Center and a widely expanding the exhibition at every stop. All new additions published critic. He was previously are archived within The Drawing Center’s collection, curator at The Drawing Center creating an evolving document of all participants. The in New York, and is the winner of result—an ongoing cumulative project—is an exhibition three consecutive AICA exhibition concerned with ideas of reproduction, obsolescence, awards (2008–2010) and of an distribution, and mediation. Emily Hall Tremaine Exhibition Award (2010). His recent exhibitions Since the opening of the tour, more than 200 artists from include Cheyney Thompson (MIT List Visual Arts around the world have been added to the exhibition, and Center, 2012) and Manon de Boer: Between Perception the project has been reconfigured in countless ways. and Sensation (Contemporary Art Museum, St. Louis, The Contemporary Museum in Baltimore, for example, 2011): He has contributed essays to numerous exhibition expanded the exhibition with “Music by FAX” where a catalogues and monographs, and has been a visiting number of composers were invited to fax in musical lecturer for institutions and organizations worldwide. 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,

completely flexible London, UK. at South London Gallery,

Available dates: now through December 2012 FAX For further booking details, see page 56 Installation view of 10 ICI EXHIBITIONS CALIFORNIA EXPERIMENT

THE CALIFORNIA EXPERIMENT: NEW ART CIRCA 1970 Curated 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.

ABOUT THE GUEST CURATORS Karen Moss is adjunct curator at the Orange County Museum of Art, Constance M. Lewallen is adjunct where she has curated exhibitions curator at the University of including 15 Minutes of Fame: California, Berkeley Art Museum Photographs from Ansel Adams and Pacific Film Archive where to Andy Warhol (2010); Disorderly she has curated many major Conduct Recent Art in Tumultuous exhibitions, including The Dream of Times (2009), and Art Since the the Audience: Theresa Hak Kyung 1960s: California Experiments Cha (1951–1982) (2001); Everything (2007–2008) and co-curated the 2006 California Biennial. Matters: Paul Kos, a Retrospective Moss previously held curatorial positions at the San (2003); Ant Farm, 1968–1978 (2004); A Rose Has Francisco Art institute, Walker Art Center, Santa Monica No Teeth: Bruce Nauman in the 1960s (2007), all of Museum of Art, and the Museum of Contemporary Art, which toured nationally and internationally and were Los Angeles. Moss teaches art history and curatorial accompanied by catalogues. In 2009 she curated Allen practice in graduate programs at Otis College of Art and Ruppersberg: You and Me or the Art of Give and Take for Design and USC Roski School of Fine Arts. the Santa Monica Museum of Art. CALIFORNIA EXPERIMENT 11 . Courtesy at Orange Untitled (Sound of Ice Melting) Bringing the War Home: House Beautiful Bringing the War Installation view of Paul Kos’s Installation view of Paul Kos’s Art, California. Photo: David Familian. County Museum of

A dense, seeming encyclopedic presentation of Conceptual art from , 1967-72. Photomontage from the series up and down the coast, shot through with various forms of satire, political fury, and emotional vulnerability. —Roberta Smith, New York Times,

First Lady (Pat Nixon) November, 2011 Martha Rosler, Martha Rosler, York. New and Mitchell-Innes & Nash Gallery, York of the artist, New

ARTISTS INCLUDE STATE OF MIND CATALOGUE

Adam II (the late Paul Cotton), Bas Jan Ader, Terry Hardcover. Published by UC Allen, Ant Farm, Eleanor Antin, Asco, Michael Asher, Press. 296 pages. 2011. ISBN: John Baldessari, Gary Beydler, George Bolling, Nancy 9780520270619. $39.95. Buchanan, Chris Burden, Robert Cumming, Peter d’Agostino, Lowell Darling, Guy de Cointet, Morgan The exhibition is accompanied by an Fisher, Terry Fox, Howard Fried, Charles Gaines, David extensive publication that offers a Hammons, Helen Mayer Harrison and Newton Harrison, comprehensive study of a time when Joe Hawley, Mel Henderson, Lynn Hershman, Douglas California became a vibrant center Huebler, Stephen Kaltenbach, Allan Kaprow, Robert for original art and exhibition making, and should be Kinmont, John Knight, Paul Kos, Suzanne Lacy, Stephen essential for anyone interested in contemporary art. The Laub, William Leavitt, Fred Lonidier, Mike Mandel, Tom publication offers itself as an extensive source of rare, Marioni, Paul McCarthy, Jim Melchert, Susan Mogul, primary images and fundamental essays by co-curators Linda Mary Montano, Bruce Nauman, Newport Harbor Art Constance M. Lewallen and Karen Moss, Julia Bryan- Museum, Martha Rosler, Allen Ruppersberg, Ed Ruscha, Wilson, and Anne Rorimer. Sam’s Café, Darryl Sapien, Ilene Segalove, Allan Sekula, Bonnie Sherk, Alexis Smith, Barbara Smith, Larry Sultan, BASIC FACTS T.R. Uthco, Ger van Elk, William Wegman, John Woodall, Alfred Young. Number of artists or artists groups: 58 Number of works: Approximately 150 The California Experiment is a modified version of State of Mind: New Space required: 4,000–6,000 square feet (required space California Art Circa 1970, an exhibition curated by Constance Lewallen and Karen Moss and co-organized by the Orange County Museum of Art is flexible, as certain larger installations are optional and the University of California, Berkeley Art Museum and Pacific and the total number of projection rooms is flexible) Film Archive. Tour dates: September 2012 through December 2013 For further booking details, see page 56 See page 43 for details about an upcoming related event with Constance Lewallen and artist William Wegman in ICI’s Curatorial Hub. 12 ICI EXHIBITIONS PERFORMANCE NOW PERFORMANCE NOW: THE FIRST DECADE OF THE NEW CENTURY Curated by RoseLee Goldberg In her groundbreaking book PERFORMANCE ART: FROM FUTURISM TO THE PRESENT (1979), art historian and curator RoseLee Goldberg showed that performance is central to the history of 20th century art. In 2005 she launched Performa 05, the first biennial of visual art performance, and predicted that performance would become “the medium of the 21st century.” Indeed, its time has come.

Museums around the world are establishing performance Performance Now is based on Goldberg’s forthcoming art departments, including most recently the Museum of book of the same name to be released by Thames & Modern Art, New York, and several museums currently Hudson in 2013. A definitive account of contemporary being built will have dedicated performance spaces. performance art and its profound impact on culture, Moreover, following Performa’s lead, biennials worldwide this ground-breaking book includes full color images are making performance integral to their programs. and features sections on politics, globalization, Performance Now shows how performance has come post-conceptual art, media/film, dance, theater, opera to be at the center of the discussions on the latest and music. developments in contemporary art and culture. The first decade of the 21st century has seen the emergence of ABOUT THE GUEST CURATOR a true globalism in the art world, with an ever-expanding map of knowledge and an understanding of cultural RoseLee Goldberg’s seminal developments around the world. A full immersion in study Performance Art: From historical, political, and religious subtexts of a broad Futurism to the Present (first range of cultures is now demanded of artists, curators, published in 1979 and now in its and audiences. There has also been much reflection on third edition) is regarded as the the complexities of displaying, collecting, preserving, and leading text for understanding the explaining conceptual material that had so profoundly development of the genre and has shaped artistic developments in the final decades of the been translated into more than 20th century, yet which, paradoxically, was ephemeral ten languages, including Chinese, Croatian, French, and almost invisible. At the same time, contemporary Japanese, Korean, Portuguese, and Spanish. When performance is activating the museum, drawing new and director of the Royal College of Art (RCA) Gallery in younger audiences to these institutions. London, Goldberg established a program that pioneered an integrative approach to curating exhibitions, Performance Now will be made up of objects, ephemera, performance, and symposia, directly involving the various sound, and video, including material from a number of departments of the RCA in all aspects of the exhibitions key Performa commissions, and works originating from program. As curator at The Kitchen in New York she around the world including South Africa, China, Eastern continued to advocate for multi-disciplinary practices to Europe, the Americas, and the Middle East. 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. PERFORMANCE NOW 13 PERFORMANCE NOW , 2007. Photo copyright Paula Court. Courtesy of Performa. Rooftop Routine Christian Jankowski,

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 35 Number of works: Approximately 50–60 Space required: 3,500–4500 square feet, plus performance space if live performance is to be added Tour dates: September 2012–September 2014 For further booking details, see page 56 , 2011. A Performa Commission Photo: Paula Court. Courtesy of Performa. A , 2011. Bliss Ragnar Kjartansson, 14 ICI EXHIBITIONS MARTHA WILSON 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.

Written into and out of art history according to the ABOUT THE GUEST CURATOR theories and convictions of the time, Wilson first gained attention through Lucy R. Lippard, who contextualized Peter Dykhuis is director/curator of her early work within the parameters of conceptual the Dalhousie Art Gallery in Halifax, practice as well as among other women artists. A year Nova Scotia. Prior to that he was later, in 1974, Wilson was denounced by Judy Chicago director of the Anna Leonowens after a performance presented at the Feminist Art Gallery at the Nova Scotia College Program at CalArts for “irresponsible demagoguery.” of Art and Design, and a guest She has also been regarded by many as prefiguring curator for the Art Gallery of Nova some of Judith Butler’s ideas on gender perfomativity Scotia. His most recent exhibitions though her practice, and more recently, in the words of were Douglas Walker: Other Worlds art critic Holland Cotter, she was described as one of “the and Giving Notice: Words on Walls. half-dozen most important people for art in downtown Manhattan in the 1970s.” BASIC FACTS

Responding to the wide scope of Wilson’s career, Peter Number of works: To be determined. Selections to be Dykhuis has assembled a diverse collection of works in made from the original 58 works, which form the basis this retrospective that is intended as a flexible, modular, from which each local curator selects objects relevant and collaborative exhibition. Curators at each presenting to their own presentation, planned in collaboration institution may collaborate directly with the artist to select with Martha Wilson. All crates will be shipped to each works from the overlapping stages of Wilson’s career. venue, and any unexhibited objects will be safely Selections may include examples of her conceptually stored onsite. based performances, videos, and photo-texts, or focus Space required: flexible on Franklin Furnace. Wilson will work with curators of the Tour dates: September 2012– December 2014 presenting institutions to further explore ways in which For further booking details, see page 56 identity and contested histories can be presented in the context of their local constituencies and according to Martha Wilson and Martha Wilson Sourcebook received the support of the each venue’s programming priorities. This might include National Endowment for the Arts. 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. MARTHA WILSON 15

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

Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces is a collection of primary research materials, rare archival documents, and excerpts of landmark publications that influenced Wilson, such as Simone de Beauvoir’s The Second Sex, Erving

Goffman’s The Presentation of Self in Everyday Life, and , 1974. Courtesy of the artist. Susan Sontag’s On Photography. 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 Portfolio of Models A its entirety Lucy Lippard’s exhibition catalogue for c. from 7,500, the groundbreaking 1973 exhibition of women

Conceptual artists, which first declared the significance of Goddess Wilson’s work. Martha Wilson,

This volume—with its sometimes glancing and sometimes obvious connections, as well as the surrounding flotsam of commercial publications (eliciting an immediate sense of the work’s cultural context)— conveys how Wilson thought about her work as it developed over the past 40 years. It is more revealing than an artists statement, and more compelling than an assessment of her work by an art historian. The oblique autobiography it offers is an important contribution to the study of feminist art, and a distinctive artists’ book, offering the archives as a salient site for future feminist art. —Aruna D’Souza, Bookforum, December 2012

Martha Wilson reading from the Sourcebook at P.P.O.W Gallery, New York. New Gallery, Martha Wilson reading from the Sourcebook at P.P.O.W For this illuminating new publication, the first of a projected series, Independent Curators International has devised Following the launch of the Sourcebook, Wilson a fresh conception for the artist’s monograph. In addition participated in a series of nationwide events including to the usual essays and reproductions, it’s also filled reading performances, book signings, lectures, and with photocopies of words and images taken from books panel discussions. On September 17 the Elizabeth A. Wilson actually owns, offering readers a chance to leaf Sackler Center for Feminist Art at the Brooklyn Museum through her library and discover a portrait of her mind… and ICI teamed up for an artist talk and book signing —Elisabeth Kley, Art Critical Online, November 2011 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 panel conversation that addressed the significance and

complexity of Martha’s work, as well as her position as

founder and director of Franklin Furnace. Additionally, on , 1972. October 6 ICI organized a reading by Martha Wilson from the Sourcebook and a private viewing of the artist’s solo exhibition, I have become my own worst fear, at P.P.O.W Gallery in New York. A similar book release and reading followed on October 25 at SF Camerawork in San Breast Forms Permutated Francisco, and finally, the Mills College Art Department and Art Museum in Oakland, California hosted a lecture and book launch with Wilson on October 26. Martha Wilson, Courtesy of the artist.

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16 ICI EXHIBITIONS CREATE Curated by Lawrence Rinder, with Matthew Higgs Organized by the UC Berkeley Art Museum and Pacific Film Archive CREATE is a major group exhibition presenting a selection of the most important works created over the past 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 ABOUT THE GUEST CURATORS attention to this compelling work, sharing it with a broad audience and expanding on its impact on a Lawrence Rinder is Director of range of renowned international artists. The exhibition the UC Berkeley Art Museum sparks critical dialogue concerning the categories of and Pacific Film Archive, having contemporary art practice, especially the notion of previously held the position of Dean “outsider art,” and challenges audiences to rethink the of the California College of the Arts limitations of such categories. It is clear why works by and been the contemporary art these artists have been increasingly recognized as curator at the Whitney Museum of a significant contribution to the field of contemporary American Art. He is also a writer art, both nationally and internationally, among artists, of art criticism, poetry, drama and curators, critics, and collectors, as well as the broader fiction. cultural community, and are now in the permanent collections of artists such as Cindy Sherman, Jeremy Matthew Higgs is the director/ Deller, Chris Offili, and Peter Doig and in institutions chief curator of White Columns, including the Museum of Modern Art, New York, and the New York. From 2001 to 2004 he San Francisco Museum of Modern Art. was Curator at the CCA Wattis Institute for Contemporary Arts, San Among the artists included are Judith Scott, William Francisco. Prior to that he was an Scott, John Patrick McKenzie, Evelyn Reyes, and Dan Associate Director of Exhibitions Miller. Each artist has sustained an art-making practice at the ICA, London. Since 1992 at the highest level for many years, and the range of their Higgs has organized more than 200 work is extraordinary: Judith Scott’s visceral sculpture exhibitions and projects with artists. He has contributed utilizes found materials wrapped in knotted yarn or essays and interviews to more than 50 publications and sting; William Scott’s humorous paintings incorporate art magazines including Artforum, Frieze, Art Monthly, sardonic urban motifs; John Patrick McKenzie’s lyrical and Afterall. He was the recipient of the 2011 ICI Agnes work employs the repetition of text drawn from pop Gund Award. 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. CREATE 17

ARTISTS INCLUDE CREATE CATALOGUE

Mary Belknap, Jeremy Burleson, Attilio Crescenti, Daniel Paperback. 176 pages. 2011. Green, Willie Harris, Carl Hendrickson, Michael Bernard ISBN: 9780971939790. $27.50 Loggins, Dwight Mackintosh, John Patrick McKenzie, James Miles, Dan Miller, James Montgomery, Marlon A fully illustrated publication Mullen, Bertha Otoya, Aurie Ramirez, Evelyn Reyes, published by University of California, Lance Rivers, Judith Scott, William Scott, William Tyler Berkeley Art Museum and Pacific 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 about the significance and compelling history of these organizations, which deserve to be shared with audiences around the world.

BASIC FACTS

Number of artists: 20 , March 27, 1986. Courtesy of the National Institute for Number of works: 103

Untitled Space required: 4,500–5,000 square feet Tour dates: May 2011 through May 2013 For further booking details, see page 56 Attilio Crescenti, Art and Disabilities, Richmond, CA.

Create brings up several important questions that remain unanswered, and perhaps will not be answered for some time. How are these artists different or the same as others featured in major institutions? How does an artist’s past or present condition affect the reception of their work? Is the image of “outsider” art exploited by the mainstream in the same way as other minorities, subcultures, or fringe societies? The success and importance of the exhibition is in its posing of these questions, and the opening of a dialogue that may be continued by the art world, both inside and out. —Amelia Sechman, Dailyserving.com, July 2011 at UC Berkeley Art Museum and Pacific Film Archive in Berkeley, California Archive in Berkeley, Art Museum and Pacific Film at UC Berkeley Create Installation view of 18 ICI EXHIBITIONS IMAGE TRANSFER IMAGE TRANSFER: PICTURES IN A REMIX CULTURE Curated by Sara Krajewski, co-organized with the Henry Art Gallery IMAGE TRANSFER: PICTURES IN A REMIX CULTURE spotlights evolving attitudes toward the appropriation, recuperation, and repurposing of extant photographic imagery. Artists, as both producers and consumers in today’s vast image economy, freely adopt and adapt materials from myriad sources so that imagery culled from the Internet, magazines, newspapers, advertisements, television, films, personal and public archives, studio walls, and from other works of art are all fair game. IMAGE TRANSFER brings together artists who divert commonplace, even ubiquitous visual materials into new territories of formal and idiomatic expression, and will explore several questions. How are artists using clipped, copied, grabbed, or downloaded images, and what do such artistic positions relate to the viewer vis-à-vis the work? How do such synthesized images operate in visual culture? Do these works critique our media-saturated age or are they only symptomatic of it? What can these processes and these composite images tell us about the state of photography today?

ABOUT THE GUEST CURATOR IMAGE TRANSFER CATALOGUE

Sara Krajewski is Curator at the Foreword by Sylvia Wolf; essay by Henry Art Gallery. She organized Sara Krajewski. Published by the the group exhibitions The Violet Henry Art Gallery.9.75 x 7.5 inches. Hour (2008) and Viewfinder (2007), 102 pages. 71 color illustrations. as well as solo projects with artists 2010. ISBN: 978-0935558494. Matthew Buckingham, Walid Raad, $25.00 Liz Magor, Steven Roden, Kelly Mark, and Santiago Cucullu. Her This exhibition catalogue explores writing has appeared in Art on the pervasive phenomenon of the Paper, ArtUS, and other publications. Krajewski has “remix” as it is absorbed by the held curatorial positions at the Madison Museum of visual artists and “played back” Contemporary Art, Madison, Wisconsin and the Harvard through their work. Art Museum, Cambridge, Massachusetts. BASIC FACTS ARTISTS INCLUDE Number of artists: 12 Sean Dack, Karl Haendel, Jordan Kantor, Matt Keegan, Number of works: 40 Carter Mull, Lisa Oppenheim, Marlo Pascual, Amanda Space required: 4,000–5,000 square feet Ross-Ho, Sara VanDerBeek, Siebren Versteeg, Erika Tour dates: October 2010 through April 2013 Vogt, Kelley Walker For further booking details, see page 56 IMAGE TRANSFER: PICTURES IN A REMIX CULTURE 19 at the Richard E. Peeler Art Center, DePauw University, Greencastle, Indiana DePauw University, Art Center, at the Richard E. Peeler Image Transfer Installation view of

The exhibition materials compare their work—which draws from a dizzying variety of sources, including the web, advertising, social media, newspapers, other works of art, and personal archives—to that of DJ culture. The comparison is more apt in some cases than others, and often the questions the show raises have more to do with how medium influences perception than with appropriation and other remix methods. But such quibbles aside, Image Transfer remains a thought- provoking show. —Andrea Appleton, Baltimore City Paper, November 2011 , 2009. Courtesy of the artist. Untitled artist Sara VanDerBeek delivering a lecture at Center for Art, Design delivering a lecture at Center for artist Sara VanDerBeek Image Transfer Culture, Baltimore, Maryland. and Visual Marlo Pascual, 20 ICI EXHIBITIONS PROJECT 35 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.

VOLUME 1 Nestor Kruger (Canada), Anja Medved (Slovenia), Tracey Moffatt (Australia), Tuấn Andrew Nguyễn & Phù Nam Curators include: Mai Abu ElDahab (Egypt/Belgium), Thuc Ha (Vietnam), Ho Tzu Nyen (Singapore), Wanda Magali Arriola (Mexico), Ruth Auerbach (Venezuela), Raimundi-Ortiz (U.S.), Daniela Paes Leao (Portugal/ Lars Bang Larsen (Denmark), Zoe Butt (Australia/ The Netherlands), Elodie Pong (Switzerland), Tracey Vietnam), Yane Calovski (Macedonia), Amy Cheng Rose (South Africa), Edwin Sanchez (Colombia), Michael (Taiwan), Lee Weng Choy (Singapore), Ana Paula Stevenson (New Zealand/Germany), Stephen Sutcliffe Cohen (Brazil), Joselina Cruz (Philippines), Sergio (U.K.), Yukihiro Taguchi (Japan), Ulla Von Brandenburg Edelsztein (Argentina/Israel), Charles Esche (U.K./ (Germany/France), and Zhou Xiaohu (China) 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 (Switzerland/U.K.), Jack Persekian (Palestine), José

Roca (Colombia), Bisi Silva (Nigeria), Franklin Sirmans York. New at Pratt Manhattan Gallery, (U.S.), Kathryn Smith (South Africa), Susan Sollins

(U.S.), Mirjam Varadinis (Switzerland), and WHW Project 35 (Croatia)

Artists include: Vyacheslav Akhunov (Uzbekistan), Meris

Angioletti (Italy), Alexander Apóstol (Venezuela/Spain), Installation view of Vartan Avakian (Lebenon), Azorro Group (Poland), Sammy Baloji (DR Congo), Yason Banal (Phillipines), Guy Ben-Ner (Israel), Andrea Büttner (Germany/United BASIC FACTS Kingdom), Robert Cauble (United States), Chen Chieh- jen (Taiwan), Chto delat/What is to be done? (Russia), Number of artists or artist groups: 35 Manon de Boer (The Netherlands/Belgium), Jos de Number of works: 35 Gruyter and Harald Thys (Belgium), Angelica Detanico & Space required: extremely flexible Rafael Lain (Brazil), Kota Ezawa (Germany/U.S.), Tamar Available dates: now through December 2012 Guimarães (Brazil/Denmark), Dan Halter (Zimbabwe/ (Volume 2 is available starting Fall 2012) South Africa), Ranbir Kaleka (India), Beryl Korot (U.S.), For further booking details, see page 56 PROJECT 35 21

ANNOUNCING VOLUME 2

Following the widespread popularity and success of Project 35, ICI is now collaborating with 35 more curators to produce Project 35: Volume 2. This new compilation will be available starting Fall 2012. A sneak peek of the participating curators includes: at Gertrude Contemporary, Fitzroy, Fitzroy, at Gertrude Contemporary,

Leeza Ahmady (Afghanistan/U.S.), Daina Augaitis Project 35 (Canada), Regine Basha (U.S.), Rosina Cazali (Guatemala), Christopher Cozier (Trinidad and Tobago), Rifky Effendy (Indonesia), N’Goné Fall (Senegal), Elena Filipovic (Belgium), Amirali Ghasemi (Iran), Vít Havránek Installation view of Australia (Czech Republic), Hou Hanru (U.S./China), Virginija Januskeviciute (Lithuania), Abdellah Karroum (Morocco), There is an abundance of copy/pasting and cross-editing Sun Jung Kim (South Korea), Pablo Leon de la Barra in Project 35. It makes the issues of authorship and (Mexico/U.K.), Yandro Miralles (Cuba), Srimoyee Mitra copyright seem ever so passé. The nature of the medium (Canada), Nat Muller (The Netherlands), Sharmini has changed the way we look at ownership, undoubtedly Pereira (Sri Lanka), Natasa Petresin-Bachelez (France), so. And in Alice in Wonderland, or Who is Guy Debord? Kathrin Rhomberg (Austria), Mats Stjernstedt (Sweden), (2003), Robert Cauble literally rips the images from the David Teh (Thailand), Philip Tenari (China), Christine Disney classic, meticulously re-configuring the narrative, Tohme (Lebanon), Alexis Vaillant (France), Raluca to drive Alice on a search for French Situationist, Voinea (Romania), and Adnan Yildiz (Germany) Guy Debord. It’s You Tube magic, with art school twist. —Emily Bour, Aesthetica Magazine, July 2011 at the Rebecca Randall Bryan Gallery, at the Rebecca Randall Bryan Gallery, at the Brick + Mortar International Project 35 Project 35 Installation view of South Carolina Conway, Installation view of Art Festival, Greenfield, Massachusetts Video

These days it might seem like a forgotten medium, but the humble videotape has made a significant contribution to art. Technology makes things happen. In the case of portable video technology, which has been with us for little more than 40 years, it has engendered an art form—video art—and ways of disseminating it that, even before the rise of YouTube, emancipated art-making from

the gallery system. Independent Curators International Taipei, TheCube Project Space, at (ICI) is a New York-based organization only a few years

younger than the medium, dedicated to producing Project 35 exhibitions and connecting curators from around the globe. —Dylan Rainforth, Sydney Morning Herald, July 2011 Installation view of Taiwan 22 ICI EXHIBITIONS DO IT 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.

Within two years do it exhibitions were being created all over the world, from Reykjavik to Siena, Bangkok to Bogotá. In 1997 ICI collaborated with Obrist to create a do it that took place in 25 cities across North America from Boise, Idaho to Memphis, Tennessee and Regina, Saskatchewan, and in 2004 e-flux worked with Obrist to produce an on-line version that could be “done” at home. To date do it has occurred in at least 90 different places globally, including Australia, China, Denmark, catalogues. do it France, Germany, Mexico, Portugal, Russia, San José, Slovenia, and Uruguay. With each incarnation new

instructions are added, so that today more than 300 Collection of artists have contributed to the project. Furthermore, the exhibition is unique in every location because it is the The 20th anniversary version of the exhibition will include local community that responds to the instructions and the extensive archive of catalogues and documentation therefore no two outcomes are ever the same. This from both “official” and “unofficial” realizations of do means that the generative and accumulative aspects it, presented alongside the largest selection to date of of do it’s ongoing presentation are less concerned with instructional works. Venues will select at least 20 of notions of the “copy” or of the “reproduction” of artworks the works to present from a list of almost 200, and this than with revealing the nuances of human interpretation, will include 25 newly commissioned pieces from artists the potential of translation, and the heterogeneity of a selected by Obrist and ICI. An online component to the participatory art project on a global scale. exhibition will also be available to venues to further document and share the exhibition’s purview. Nearly 20 years after the initial conversation took place do it has become the longest-running and most far- BASIC FACTS reaching exhibition to ever happen, giving new meaning to the concept of the “Exhibition in Progress.” Constantly Number of artists or artist groups: Approximately 200 evolving and morphing into different versions of itself, Number of works: Approximately 200 do it has grown to encompass “do it (museum)”, “do it Space required: extremely flexible, though at least 1,000 (home)”, “do it (TV)”, “do it (seminar),” as well as some square feet anti-do it’s, a philosophy do it, and most recently a Tour dates: January 2013 through December 2014 UNESCO children’s do it. For further booking details, see page 56

Please check ICI’s website for information about placing an order for the publication and upcoming related events, www.curatorsintl.org. DO IT 23

ABOUT THE GUEST CURATOR CALL FOR DO IT DOCUMENTATION

Hans Ulrich Obrist is co-director of In order to develop an up-to-date compendium of the the Serpentine Gallery in London. history and the future of do it, ICI is launching a call for Prior to this, he was Curator of the documentation of do it exhibitions done spontaneously, Musée d’Art Moderne de la Ville de residentially, on a small scale or a large scale— Paris from 2000 to 2006, as well essentially any and all material from a realization of do it as curator of Museum in progress, that may have been excluded from the official exhibition Vienna, from 1993 to 2000. Obrist history. Please contact Alex Kleiman, Research Assistant, has co-curated over 250 exhibitions at [email protected] or 212 254 8200 x126 with since his first exhibition, the Kitchen show (World Soup) information on any publications, photographs, videos, in 1991, including Cities on the Move (2007); 1st Berlin and/or other textual documentation relating to any official Biennale (1998); Laboratorium (1999); Utopia Station or unofficial do it exhibitions you were involved in or (2003); 1st & 2nd Moscow Biennale (2005 and 2007); organized. ICI will continue accepting documentation on Lyon Biennale (2007); and Indian Highway (2008–2011). various do it iterations through April 2, 2012. Obrist is the editor of a series of conversation books published by Walther Koenig. He has also edited the writings of Gerhard Richter, Gilbert and George and Louise Bourgeois. He has contributed to over 200 book projects, and recent publications include A Brief History of Curating, dontstopdontstopdontstopdontstop, The future will be... with M/M (Paris), Interview with Hans- 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 in Stuttgart in 2005. The first in the Serpentine series, the Interview Marathon (2006), involved interviews with leading figures in contemporary culture over 24 hours, conducted by Obrist and architect Rem Koolhaas. This was followed by the Experiment Marathon, conceived by Obrist and artist Olafur Eliasson (2007), the Manifesto Marathon (2008), the Poetry Marathon (2009), Map Marathon (2010), and the Garden Marathon (2011).

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. , 1996. , 1994 from do it at Centro Civico per l’Arte Contemporanea “La Untitled How to Kill A Bug A How to Kill Rirkrit Tiravanija’s Rirkrit Tiravanija’s 1996. Photo: Bruno Bruchi. Grancia,” Serra di Rapolano, Italy, John Baldessari, 24 ICI EXHIBITIONS PEOPLE’S BIENNIAL

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 ABOUT THE GUEST CURATORS

Caleb Belden, Mary Bordeaux, Ally Drozd with Judge Harrell Fletcher is an artist who Evans and the Portland Community Court, Laura has worked collaboratively and Deutch, Gary Freitas, Jorge Figueroa, Sylvia Gray (with individually on socially engaged, the Elsewhere Collaborative), Jim Grosbach, Nicole interdisciplinary projects for more Harvieux, Warren Hatch, Jake Herman, Maiza Hixson, than 15 years. His work has been David Hoelzinger, Howard Kleger, Cymantha Diaz Liakos, exhibited throughout the United Ellen Lesperance, Jonathan Lindsay, Dennis Newell, Bob States and in Europe. He is a Newland, Raymond Mariani, Alan Massey, Jim McMillan, professor of art and social practice Jennifer McCormick, Beatrice Moore and The Mutant at Portland State University in Piñata Show (with piñatas by Mike Maas, Ana Forner, Portland, Oregon. Chris Clark, Tom Cooper, and Koryn Woodward), Joseph Perez, Bernie Peterson, Bruce Price, David Rosenak, Jens Hoffmann is director of the CCA JJ Ross, Andrew Sgarlet, Robert Smith-Shabazz, Rudy Wattis Institute for Contemporary Speerschneider, Andrea Sweet, James Wallner, Presley Arts, San Francisco. He has curated H. Ward, Paul Wilson over three-dozen exhibitions since the late 1990s. He was director For latest developments on the exhibition, tour, publication, and related of exhibitions at the Institute of events, please visit the People’s Biennial blog on ICI’s website, www. curatorsintl.org 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 25

EXHIBITIONS ITINERARY

Portland Institute for Contemporary Art Portland, Oregon September 10, 2010–October 17, 2010

Dahl Arts Center Rapid City, South Dakota January 14, 2011–March 27, 2011 Andrea with Harrell Fletcher and artist

Southeastern Center for Contemporary Art Winston-Salem, North Carolina People’s Biennial People’s July 8, 2011–September 18, 2011

Scottsdale Museum of Contemporary Art Scottsdale, Arizona of Walkthrough Arizona Art, Sweet at Scottsdale Museum of Contemporary October 15, 2011–January 15, 2012 PEOPLE’S CONFERENCE Cantor Fitzgerald Gallery, Haverford College Haverford, Pennsylvania In conjunction with the exhibition’s last stop at Haverford January 27, 2012–March 2, 2012 College, a two-day conversation was co-organized with Haverford College’s John B. Hurford ‘60 Center PEOPLE’S BIENNIAL CATALOGUE for the Arts and Humanities and the ICA University of Pennsylvania to delve deeper into questions about People’s Biennial 2010: A Guide to regionalism, display, and structures of support for under- America’s Most Exciting Artists recognized artists in ways that push the boundaries of Published by ICI. 6.5 x 9.5 inches. 136 curatorial, artistic, and institutional innovation. pages. 2011. ISBN: 9780916365837. $35.00 Friday, February 24 4:30–6:30pm Distributed by DAP, the People’s Haverford College, Sharpless Auditorium, KINSC Biennial catalogue chronicles the 370 West Lancaster Avenue curatorial process of Fletcher and Haverford, Pennsylvania, 19041 Hoffmann’s research and visits to each of the five cities. The publication includes a conversation between the Exhibition co-curators Harrell Fletcher and Jens curators, journalistic entries from the participating venues’ Hoffmann reflected on the process of making the first staff, statements from each of the selected artists, and People’s Biennial, as well as its potential for future extensive photographic documentation of the exhibition iterations. Moderated by Renaud Proch, Deputy organization process, community-based events, selected Director, ICI. artwork, and resulting exhibition. Saturday, February 25 For information about how to order a copy of the People’s Biennial 11am–5pm catalogue, please visit ICI’s website, www.curatorsintl.org. 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 artists? Moderated by People’s Biennial 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. artist Laura Deutch talking to visitors in the Messages

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

People’s Biennial People’s Photo by Lisa Boughter. Motion Van. Contemporary Culture and the Visual Art. 26 EDUCATION & PUBLIC PROGRAMS CURATORIAL INTENSIVE 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.

While workshops provide an overview of specific skills PAST INSTRUCTORS AND ADVISORS INCLUDE and information, group discussions and one-on-one advising sessions offer participants individual feedback ICI Staff; Jeremy Adams, CUE Art Foundation; Cecilia and guidance. Taking full advantage of New York’s Alemani, independent curator; Yona Backer, Third art world as a primary learning tool, site visits with Streaming; Regine Basha, independent curator; professionals in their workplace help contextualize issues Nicholas Baume, Public Art Fund; Mark Beasley, of exhibition making. Performa; Klaus Biesenbach, MoMA PS1; Claire Bishop, CUNY Graduate Center; Kalia Brooks, ICI continues working with participants long distance to Museum of Contemporary African Diasporan Arts; finalize their proposals for publication on ICI’s website, Dan Cameron, Orange County Museum of Art; Jim www.curatorsintl.org. Campbell, artist; Doryun Chong, MoMA; James Cohan, James Cohan Gallery; Michael Conner, Marian Spore; SUMMER 2012: CONTEMPORARY Kari Conte, International Studio and Curatorial Program; CURATORIAL PRACTICE Sarah Cook, CRUMB; Mark Dion, artist; Claire Gilman, The Drawing Center; Theresa Gleadowe, independent curator; RoseLee Goldberg, Performa; Application Deadline: April 6 Beryl Graham, CRUMB; Susan Hapgood, Mumbai Art Program Dates: July 8–17 Room; Sofia Hernandez Chong Cuy, Colección Patricia Focusing on new models for curating and exhibition Phelps de Cisneros; Matthew Higgs, White Columns; development, ICI’s annual Summer Intensive offers Andy Horwitz, Lower Manhattan Cultural Council; curators the opportunity to meet colleagues from around Mary Jane Jacob, School of Art Institute of Chicago; the world and share ideas on how to push the parameters Ana Janevski, MoMA; Virginija Januskeviciute, of their practice. Contemporary Art Centre, Vilnius, Lithuania; Eungie Joo, New Museum; Christopher Lew, MoMA PS1; Maria FALL 2012: CURATING BEYOND Lind, Tensta Konsthall; Brett Littman, The Drawing EXHIBITION-MAKING Center; Raimundas Malasauskas, independent curator; Richard Marshall, Lever House; Anne Pasternak, Creative Time; J. Morgan Puett, artist; Nancy Spector, Application Deadline: July 27 Solomon R. Guggenheim Foundation; Mari Spirito, Program Dates: October 21–30 303 Gallery; Jovana Stokic, Abramovic Studio; Nato Curating Beyond Exhibition Making will be the first Thompson, Creative Time; Nicola Trezzi, Flash Art; program in the world to offer training to curators on the Christian Rattemeyer, MoMA; Anton Vidokle, e-flux; challenges and logistics surrounding public events and Allison Weisburg, Recess Activities, Inc.; Fred Wilson, educational programs, including discursive projects that artist; and more unfold over time, durational pedagogical events and new forms of curatorial publishing. CURATORIAL INTENSIVE 27 Curatorial Intensive site visit at MoMA PS1 with artist Clifford Owens, PS1 with artist Clifford Curatorial Intensive site visit at MoMA November 17, 2011. Curatorial Intensive workshop with RoseLee Goldberg of Performa, November 14, 2011.

The Curatorial Intensive gave me space to actually think about curating, which I appreciated. I was able to develop a proposal that I’m already working to implement within my institution—it was hugely valuable to bounce ideas off a range of individuals during the program for feedback/discussion. I returned home with a renewed sense of purpose. Curatorial Intensive workshop, November 13, 2011 Curatorial Intensive Advisement with curator Raimundas Malašauskas, Curatorial Intensive November 16, 2011.

REPORT: FALL 2011: CURATING PERFORMANCE of Modern Art, New York; Claire Bishop, Associate Last November ICI produced the Curatorial Intensive in Professor, Art History, CUNY Graduate Center, New association with the Performa 11 Biennial to create the York; RoseLee Goldberg, Founding Director and first-ever training program on curating visual performance Curator, Performa; Ana Janevski, Associate Curator art. Over 10 days participants explored how the of Performance, Museum of Modern Art, New York; presentation of performance in an art context is being Christopher Lew, Assistant Curator, MoMA PS1; theorized and implemented today, including logistical and Robert Longo, artist; Matthew Lyons, Curator, The conceptual concerns arising from the commissioning, Kitchen; Raimundas Malasauskas, independent curator; production, interpretation, and documentation of Jovana Stokic, Director, Abramovic Studio, and Curator, the genre. By day the course included workshops, Location 1; Nancy Spector, Deputy Director and Chief discussions, critiques, and advisement sessions to Curator, Solomon R. Guggenheim Foundation; and develop individual project proposals and by night the Martha Wilson, artist and founder of Franklin Furnace participants attended Performa 11 events and premieres. performance space.

13 participants from Canada, China, Germany, India, For more information about the Curatorial Intensive training programs, visit ICI’s website, www. curatorsintl.org or contact Chelsea Haines at Ireland, the Netherlands, the U.K., and 2 U.S. states were [email protected]. selected to participate in the Curatorial Intensive from November 13–22 in New York. Their exhibition proposals The Curatorial Intensive is made possible, in part, by grants from The will be published on ICI’s website, www.curatorsintl.org in Dedalus Foundation, The Hartfield Foundation, The Horace W. Goldsmith May 2012. 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 Over 10 days participants worked with ICI staff and from James Cohan and the supporters of ICI’s Access Fund. other leading practitioners including Klaus Biesenbach, Director, MoMA PS1, and Curator-at-Large, Museum 28 EDUCATION & PUBLIC PROGRAMS PARTNER PROGRAMS

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.

Participants received an introduction to the field of Guest lecturers for the program included Shaina Anand, curatorial practice engaging with a wide range of current co-Initiator, CAMP; Annie Fletcher, Curator, Van curatorial thinking in a critical environment that provided Abbemuseum; Kate Fowle, Director, ICI; Annapurna an international context for understanding contemporary Garimella, designer and art historian; Susan Hapgood, art and exhibition making today. Director, Mumbai Art Room; Heejin Kim, Director, Pool Art Space; Arshiya Lokhandwala, founder of Lakeeren The program consisted of two days of seminars during Art Gallery, Mumbai, India, art historian and curator; which the selected participants attended closed-door Christiane Mennicke-Schwarz, Artistic Director, seminars and discussions at the J.J. School of Art with Kunsthaus Dresden; Shivaji Panikkar, Dean, School experienced curators, and other prominent professionals of Culture & Creative Expressions, Bharat Ratna B.R. invited from across Asia and Europe. On the third Ambedkar University; Sharmila Samant, artist; Vidya day a public forum included 8 presentations and 2 panel Shivadas, independent curator and critic; Gayatri Sinha, discussions on pressing curatorial issues around art critic and curator; and Pooja Sood, Director, KHOJ the world. 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. Curatorial Intensive workshop, December 12, 2011. Curatorial Intensive workshop, December 12, 2011. THE CURATORIAL INTENSIVE: MUMBAI 29

After listening to the lectures I feel more fearless to engage in independent projects and create my own exhibitions. It has made me question the traditional forms of exhibition and engage in more experimentalw projects and ideas. The Curatorial Intensive allowed me to connect with different people I wouldn’t have had access to otherwise and I want to continue this network to learn more about their working processes, exchange ideas, and think about future collaborations. The readings were a great source of knowledge about current curatorial art practices, which has helped me broaden my personal perspective.

NEW CURATORIAL INTENSIVE IN BEIJING, CHINA Curatorial Intensive workshop, December 13, 2011. Application Deadline: May 9 Program Dates: August 5-11 The program selected excellent speakers that have worked in Europe, USA, India and Asia, which is In Summer 2012, ICI is planning a new Curatorial necessary for an international understanding. It is Intensive in Asia. In collaboration with the Ullens Center well organized, with excellent readings and very for Contemporary Art and The Central Academy of Fine approachable speakers and coordinators. The venue was Arts (CAFA) in Beijing, China, ICI will lead this 7-day an excellent choice as it had an historical background program, titled The Museum of the Future: Curating and special aura. 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]. Curatorial Intensive symposium, December 14, 2011. Exterior of the Ullens Center for Contemporary Art, Beijing, China. Exterior of the Ullens Center for Contemporary Curatorial Intensive participants, December 13, 2011. 30 EDUCATION & PUBLIC PROGRAMS PARTNER PROGRAMS

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.

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 The 7-day program will focus on case studies with artists Interest, Inhotim offers, in addition to these areas of who have produced works at Inhotim as well as public artistic enjoyment and entertainment, environmental panel discussions and closed-door seminars relating research work, educational actions, and an important to context specificity. Faculty includes Kate Fowle program of social inclusion and citizenship for the local Director, ICI; James Lingwood Co-Director, Artangel; population. The art collection comprises over 500 works Rodrigo Moura, Curator, Inhotim; independent curators by artists of national and international renown such as Victoria Noorthoorn and Adriano Pedrosa; Allan Adriana Varejão, Helio Oiticica, Cildo Meireles, Chris Schwartzman, Chief Curator, Inhotim; and Jochen Volz, Burden, Matthew Barney, Doug Aitken, and Janet Cardiff. Artistic Director, Inhotim. Inhotim distinguishes itself from other museums by offering artists unique conditions for developing their work The Curatorial Intensive at Inhotim is organized in inside the park. affiliation with a post-graduate seminar at the Federal 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. Once finalized, the curatorial proposals will be published on ICI’s website. Aerial view of Instituto Inhotim, Minas Gerais, Brazil. EDUCATION & PUBLIC PROGRAMS 31 PEI Curatorial Intensive participants (L to R: PEI Curatorial Intensive participants (L Ingrid Schaffner, Torchia, Robert Blackson, Richard Adelina Vlas).

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.

Following art historian Claire Bishop’s seminar on October event, based in transaction rather than material 27, independent curator Sheryl Conkelton responded via production), and the disparate ways in which PEI’s blog: differently motivated projects operate. We talked about how the pressures for art to be historically Several weeks ago in the panel room at the and geographically located, and socially relevant Center, Claire Bishop led myself and 5 other and productive—sometimes deliberately excluding curators in a conversation about the recent social aesthetic effect—present challenges: certainly turn in contemporary art. Although many scholars for institutions, but also for curatorial practice, have linked this turn to the expansion of artistic exhibition, and dissemination strategies. We forms and institutional critique of the 1960s and also considered the audiences, who, if they are ‘70s, Bishop is interested in the socially engaged not active participants, may be located outside and collaborative art making that developed out projects without sufficient means to access of politicized art and identity politics in the early their meanings. For many contemporary artists 1990s. She discussed with us in depth three the notion of art as a set of intrinsic values has exhibition projects from 1993: Sonsbeek 93, a been replaced with a concern for sociability, and sculpture biennial situated in Sonsbeek Park in the exhibition has shifted toward a process of Arnhem, curated by Valerie Smith; Culture in facilitation. Evolving from the tensions among Action, curated in Chicago by Mary Jane Jacob; social, aesthetic, and political practices, what we and Projet Unité, organized in Le Corbusier’s now call “social practice” has generated a new Unité d’Habitation in Firminy by Yves Aupetitallot. critical horizon, and with it comes an imperative Each produced “projects” (as opposed to objects to discover, or construct, criteria that address and installations, a term that emerged around that new forms of signification—not so easily solved, time to describe this type of art making) intended as we’ve seen in recent accounts, but a key to reconfigure others’ creativity. Each of these discourse in this moment. projects placed artists in specific locations and cultural contexts and asked them to produce work Sheryl Conkelton is a curator and art historian living in that would collaborate with local resources. Philadelphia. She teaches at Moore College of Art and Design. All of these shows, almost 20 years gone, are known to most of us only through texts and To access the Philadelphia Exhibitions Initiative’s blog, visit photographs—documentation rather than actual www.pcah.us/exhibitions/blog. 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 32 EDUCATION & PUBLIC PROGRAMS ALUMNI UPDATES

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.

Yulia Aksenova organized 33 Fragments of Russian Michal Novotny recently curated a solo show of the Performance, a collaboration between the Garage artist Amande In at Galerie U Dobrého in Prague. He is Center for Contemporary Culture and Performa 11. The also the newly appointed director of the FUTURA Centre exhibition included performance archives, photographs for Contemporary Art. His Curatorial Intensive project, and videos documenting Russian performance in both Monochrom, debuted at Školská 28, Prague, on January the historical avant-garde of the 1920s and contemporary 23, 2012. periods. Presented in the Performa Hub in New York last November, it featured a lecture by renowned Russian art Sarah Thompson is currently working on a project at critic Alexandra Obukhova and a performance by Andrey the BRC (Bowery Residents’ Committee) in their new Kuzkin. space on West 25th Street to curate the artworks of the residents into the newly renovated space. Ieva Astahovska is organizing an ongoing research project in Latvia, commissioned by the Ministry of Culture Banu Çiçek Tulu recently presented “From Knowledge and aimed at creating a contextual background for the to the Public: Online Publications as Polysystems” collection of the future Museum of Contemporary Arts. at the inaugural workshop for L’Internationale, a new “It is rewriting a history [of Soviet art], a process that is transinstitutional organization comprised of 5 European taking place in the East and the West simultaneously,” museums and artists’ archives based on the shared use says Astahovska. of collections and archives.

Freya Chou is now part of the curatorial team for The Sarah Rifky is currenty an agent for dOCUMENTA (13), Two Year project (2Y), a response to the short-term, which will take place in Kassel, Germany, from June 9– dislocated, and spectacularized nature of the biennial September 16, 2012. industries, which include a series of events at Taipei institutions in 2011 and 2012. Naima Keith has recently been appointed Assistant Curator at the Studio Museum in Harlem. 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 artworks based on The Hellfire Club, a secret society 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 Expanded Performance and it aims at exploring different notions of the longevity of

performance art. The project will take place end of 2012. curated by Michele Topochron, Alan Counihan installation for Askeaton, Ireland. 2011 Horrigan. EDUCATION & PUBLIC PROGRAMS 33 CURATORIAL RESEARCH

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 FELLOWSHIP THE 2012 COLECCIÓN PATRICIA PHELPS DE CISNEROS TRAVEL AWARD FOR CENTRAL ICI’s first Curatorial Research Fellow, Sofía Olascoaga AMERICA AND THE CARIBBEAN (2011–12) is using her fellowship time as a means of investigating educational and organizational models that The Colección Patricia Phelps de Cisneros Travel could influence approaches to curating, interrogating Award for Central America and the Caribbean is a the critical and practical intersections between public collaboration between ICI and the Colección Patricia programming and utopian communities. Olascoaga’s Phelps de Cisneros that will annually support a research is focused around the development of three contemporary art curator based anywhere in the world projects: exploring formats for collective work and who wishes to travel to conduct research about art and discussion, designing educational models for community cultural activities in Central America and the Caribbean. engagement, and reflecting on the need for utopian Intending to generate new collaborations with artists, models. curators, museums, cultural centers, and/or collections in the region, the Travel Award will support curatorial ABOUT THE FELLOW residencies, studio visits, and archival research.

Sofía Olascoaga is an independent curator working The first award will be given in honor of curator Virginia in the intersections between art and education by Pérez-Ratton (1950–2010) who was internationally activating spaces for critical thinking and collective renowned for her work with contemporary artists in action. Olascoaga was a Curatorial Fellow at the Whitney Central America and the Caribbean. She was the Museum of American Art’s Independent Study Program founder of the art space, library, and foundation TEOR/ in 2010 and prior to that received her BFA from La éTica, and the director of the Museo de Arte y Diseño Esmeralda National School of Fine Arts in Mexico City. Contemporáneo de Costa Rica. From 2007 to 2010 Olascoaga was Head of Education and Public Programs at Museo de Arte Carrillo Gil in In addition to the Travel Award grantee, one applicant Mexico City, where she founded Estudio Abierto, an will be invited for a 2 to 4 week residency at TEOR/éTica interdisciplinary programming platform that challenges in San Jose, Costa Rica. This opportunity is designed event formats and the museum’s relationship to its to introduce curators to the contemporary art scene communities. She was educational advisor and public of Costa Rica through studio visits, meetings with arts program manager for the first grant initiative Bancomer- professionals, and visits to exhibitions. MACG Program for Young Artists in 2008–10. As a resource complementing the Travel Award, ICI is Over the next year ICI is providing a framework for creating discourse building an online platform that provides information around these curatorial projects and Olascoaga’s research in progress was presented as part of ICI’s public programs in the Curatorial Hub on about the institutions, archives, collections, and cultural October 18, 2011. activities in the region, and will include accounts from the Travel Award Grantees. 34 EDUCATION & PUBLIC PROGRAMS DISPATCH

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

en el arte (MDE11: Teaching and Learning. Sites of Knowledge Through Art)—a multi-venue art biennial “not biennial” in Medellín, Colombia, then preparing its second edition. DISPATCH: Tijuana MDE11, 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 order to redefine the ways in which such projects are invested and embedded in the various communities that constitute their main audiences and participants. One of the Encuentro’s programs was Espacios Anfitriones (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 For the 10th issue of DISPATCH, independent Latin America, and elsewhere, for the biennial. Estación curator Lucía Sanromán explores Proyecto Tijuana’s residency was hosted by the generous and Coyote, the collaboration she instigated between tireless Taller 7, situated in downtown Medellín, and Estación Tijuana (Tijuana, Baja California, Mexico), was organized with the aid of the art salon and “cultural Taller 7 (Medellín, Antioquia, Colombia), and search engine” haundeschildGARAGE—located in haundenschildGARAGE (La Jolla, California) as part the elegant enclave of La Jolla, California—thereby of the program entitled Espacios Anfitrionesfor stretching the coordinates of this unique collaboration Encuentro Internacional de Medellín MDE11. between distant sites and spaces.

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 a specific context, even when the methods and systems used to capture that experience may be firmly objective, plazas públicas de Medellín Deriva Coyote: Tres or even empirical. These observations were central preoccupations when renowned Tijuana artist, Marcos Ramírez ERRE, asked me to generate a project at his Felipe Zúñiga, Universidad Nacional, Medellín, 2011. independent space Estación Tijuana in response to an invitation from the Encuentro Internacional de Medellín Proyecto Coyote (Coyote Project), as our proposal is MDE11: Enseñar y aprender. Lugares del conocimiento titled, took MDE11’s focus on education as point of DISPATCH 35 , 2011, paper bags, poems. , 2011, : Golozinas de Sal #4 Ausencia Gabriela Torres Olivares and Omar Pimienta, Torres Gabriela

departure, with a special emphasis on Paulo Freire’s fluid ABOUT THE AUTHOR and cyclic relationship between teacher and student, as quoted in the Encuentro’s curatorial statement: Lucía Sanromán is the curator of Proyecto Coyote. She is an …teaching does not occur without learning, and independent curator and writer and by that I mean that the act of teaching requires served as Associate Curator at the someone who teaches and someone who learns. Museum of Contemporary Art San To teach and to learn function in such a way that, Diego from 2006 to 2011, where on the one hand, the person who teaches also she curated Jennifer Steinkamp: learns since he or she recognizes knowledge Madame Curie (2011), Viva la acquired before and, on the other, by observing Revolución: A Dialogue with the the curiosity with which the student works towards Urban Landscape (co-curated with Pedro Alonzo, 2010), learning, the educator discovers questions, and Here Not There: San Diego Art Now (2010). She accomplishments and errors about what they are also curated a large scale site-specific installation by teaching.1 Los Angeles-based artist Ruben Ochoa (2010) and monographic exhibitions by Hector Zamora, Joshua With this defining statement in mind, we transformed Mosley, and Nina Katchadourian among others. Her Taller 7 into the studio of Estación Tijuana in order to exhibition Anomalia at the University Art Gallery at UCSD “learn from Medellín”—to paraphrase the Venturi’s is on view from February 16 to May 12, 2012. celebrated title Learning from Las Vegas. Proyecto Coyote was organized by Estación Tijuana and Taller 7 for Espacios Anfitriones of MDE11: Encuentro Internacional de Medellín in association with The haudenschildGARAGE. Additional support was made Note possible thanks to the generosity of El Consejo Nacional Para La Cultura 1 Freire, Paulo, Cartas a quien pretende enseñar, 1992, p. 28. As y Las Artes, El Instituto Nacional De Bellas Artes, Instituto de Cultura de quoted in the MDE11 curatorial statement in http://www.slideshare.net/ Baja California, and Patronato de Arte Contemporáneo A.C. (PAC). museodeantioquia/encuentro-internacional-de-medelln-mde11 Translation by the author.

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DISPATCH will be updated throughout February and March with examples and information from the 13 projects that occurred through Proyecto Coyote. 36 EDUCATION & PUBLIC PROGRAMS THINKING CURATING 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.

Excerpt from seminar with Terry Smith Doryun Chong: A long time ago, one of my mentors Terry Smith: What I’m trying to do with this seminar is actually gave me a list of the different roles, different hats identify a kind of curatorial thought—a particular mode or you have to wear as a curator. I think one key decision a practice that is curatorial in a way that you could say is curator makes is to take a producer or productive position parallel to the practices of thought that contemporary art rather than a critical position. I mean, as a curator, you criticism takes on contemporary art history. are supposed to produce something, right, whether it’s an exhibition, or whatever it is. Then, at the same time, you Is there a way of speaking about contemporary art from are supposed to enable artists; you’re a facilitator. Then if a curator’s perspective that is particularly a curatorial you are working for an institution, because the institution approach? And if there is, what is it? is your vessel, you’re supposed to know that vessel very well, to make it the best medium through which many Kate Fowle: It’s interesting, I’m not sure that’s ever really things can happen. If you’re an independent curator been discussed in the field. What’s clear is that there is a then your vessel is perhaps less defined or much bigger. job called curating and then there is a curatorial practice Then it’s much more challenging to pull all these different wherein it’s a way of life and an ongoing process that elements together. 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 curatorial projects, but are significant to understanding

the conditions of cultural production. The analysis of Terry Smith at reception for the launching of Terry Kate Fowle introduces Currents, Curatorial Hub at Art: World new publication Contemporary Smith’s ICI, October 20, 2011. 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 negotiate his/her role in a specific context. THINKING CONTEMPORARY CURATING 37 Contemporary Art: World Currents: Terry Smith discusses his new publication at a reception sponsored by Pearson and Independent Curators International, Terry Currents: Art: World Contemporary Curatorial Hub at ICI, October 20, 2011.

NEW PUBLICATION SERIES ABOUT THE AUTHOR

Following this seminar, Terry Smith has continued to Terry Smith is Andrew W. Mellon Professor of work on Thinking Contemporary Curating, developing Contemporary Art History and Theory at the University of an extensive text that explores what makes “curating” a Pittsburgh and Distinguished Visiting Professor, National specific practice that generates unique ways of thinking Institute for Experimental Arts, College of Fine Arts, about contemporary art. University of New South Wales, Sydney. He was Power Professor of Contemporary Art and Director of the Power This fall, the publication Thinking Contemporary Institute at the University of Sydney. A leading authority in Curating will be launched as the first in a new series the theory of contemporary world art, he is the author of of publications, produced by ICI. The Perspectives a number of books, most recently What is Contemporary On Curating series puts forward timely reflections by Art? (University of Chicago Press, 2009). curators, art historians, critics, and artists in response to current developments and pressing issues in the rapidly Although museums have not been abandoned, changing field of international curatorial practice. curatorship is no longer tied to them, except by conservative definitions, which draw a distinction Thinking Contemporary Curating will be available fall 2012. between the curator devoted above all to the care and conservation of collections and the exhibition-maker who does only, or mostly, what the name suggests. Instead, curating now encompasses not only exhibition making but also programming at many kinds of alternative venue, and is often adjunct to even the most experimental artspace. —Terry Smith 38 EDUCATION & PUBLIC PROGRAMS 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 UPCOMING EVENTS Curator’s Perspective series with a lecture by Maria Lind at the James Gallery at the CUNY Graduate Center. Lind Curator’s Perspective: spoke on the Tensta Konsthall in Stockholm, where she Rosina Cazali has been Director since January 2011. Saturday, March 17 3–4:30pm The New Museum 235 Bowery New 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 Rhomberg Wednesday, May 16 6:30–8pm Curator’s Perspective: Maria Lind speaks to audience, James February 15, 2011. Graduate Center, CUNY Gallery, Austrian Cultural Forum New York 11 East 52nd Street All events in the Curator’s Perspective series are free of charge and open New York, New York, 10022 to the public. For more information about upcoming events, visit ICI’s website, www.curatorsintl.org, or contact Chelsea Haines at chelsea@ curatorsintl.org. Vienna-based independent curator Kathrin Rhomberg presents a lecture, “The Virtue of Unprofessionalism,” The 2012 Curator’s Perspective program is made possible in part by a for the third Curator’s Perspective of 2012, co-presented grant from the Robert Sterling Clark Foundation and by the support of the ICI Board of Trustees. 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 fit for the economic system, may not be the best possible structure for art. CURATOR’S PERSPECTIVE 39

CURATOR’S PERSPECTIVE: PAST PROGRAMS

Hou Hanru Rodrigo Moura Curator’s Perspective: Rodrigo Moura introduced by Allan Schwartzman, Curator’s Perspective: Rodrigo Moura introduced by November 9, 2011. Armory, Avenue Park Curator’s Perspective: Hanru Hou presents Lecture, Hunter College, September 28, 2011.

On September 28, 2011, Hou Hanru, Director of On November 9, 2011, Rodrigo Moura shared his work Exhibitions and Public Programs at the San Francisco as curator at Instituto Inhotim, the outdoor contemporary Art Institute, spoke on the highly unique style of curatorial art museum located in Minas Gerais, Brazil. practice he has developed over the past 25 years while organizing many exhibitions and biennials around the In 2004, when I started working at Instituto world. Inhotim, the founder and visionary of the project, Bernardo Paz, was in the early stages of creating Exhibitions are totally physical. It’s really about it as a unique place to experience a new way the experience in the site, so it’s not simply visual, for the display of contemporary art. The initial and of course it’s not only conceptual. It’s about ideas came from lively conversations he’d had mobilizing all of your senses. So basically an in previous years with some major Brazilian exhibition always consists of movement, lights, artists. The spatial nature of the most important sounds, and forms, and these are all functioning works of these artists posed a challenge in how together as a performance. I would say in this to show them properly; this is a problem that sense exhibitions are quite performative. has been largely overlooked by many museums. Additionally, he determined to place these works When I think about the difficulty of curating today, on permanent display creating the possibility for it’s not a conceptual difficulty. It’s not simply real public access to the collection. In this sense about the problem of having a great idea. On Instituto Inhotim is the first international collection the contrary, it’s precisely how you as a curator of contemporary art permanently open to the translate an idea into a physical fact and process, public in Brazil. so you forget the concept at the end. I think the worst exhibition in the world is the exhibition that It is important to highlight some of the aspects is organized like a book. We see this a lot, an that made the success of Inhotim possible. exhibition that takes the artwork as an illustration The first is related to an intense process of of a concept. I think an exhibition is not necessary professionalization, which began back in the early for this; frankly, it’s too expensive. Through years of the project. From the very beginning Paz exhibition making we must spend the money, time, formed a dynamic and independent curatorial and energy to produce a language that cannot be team of which I am proudly part of, along with replaced by other forms. Jochen Volz and Allan Schwartzman, together creating the program for the development of Hou Hanru is the Director of Exhibitions and Public Programs, and Chair collection, and even before opening to the public of the Exhibitions and Museum Studies program at the San Francisco Art Institute. A prolific writer and curator, Hou is a consultant for several in 2006, an education department was formed to cultural institutions internationally, and a correspondent for various take into account important aspects of our local journals on contemporary art. He curated the 10th International Istanbul context. Since the beginning we prioritized an Biennial in 2007 and the 10th Lyon Biennial in 2009. 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. 40 EDUCATION & PUBLIC PROGRAMS CRITICAL EDGE OF 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.

Curators from around the world discussed critical issues Authorship and Agency: As the relationship between in their practice, examining the possible impact of artist and curator increasingly blurs, the notion of exhibitions and related curatorial activities on cultural authorship comes to the fore. Addressing the question and social change. Key questions were addressed as of curatorial agency in an expanded field of production, points of departure for a broader theoretical and practical participants looked at the shifting distinctions between analysis of the field, through conversation amongst facilitation and the creative process. colleagues from various institutions and alternative spaces, as well as those working independently. Site-Specificity: In a world of global cultural flows, does the art historical notion of site-specificity (as it developed Speakers included Ute Meta Bauer (MIT); Shelley in the post-Minimalist practices of the 1960s and ‘70s) Bernstein (Brooklyn Museum); Suzanne Cotter still resonate, or is it now just a nostalgic attachment to (Guggenheim Abu Dhabi Project); Tom Finkelpearl place? This discussion focused on different modes of (Queens Museum of Art); Eungie Joo (New Museum); “specificity” in use today, including art created in relation Weng Choy Lee (School of the Art Institute of Chicago); to social and political contexts, as well as art adapted to Chus Martinez (dOCUMENTA [13]); Rodrigo Moura museum architecture or situated in an expanded public (Inhotim); Hans Ulrich Obrist (Serpentine Gallery); Yasmil realm. Raymond (Dia Art Foundation); Ralph Rugoff (Hayward Gallery); Nato Thompson (Creative Time); Christine Curating as Activism and the Social Responsibility Tohme (Ashkal Awan); and Anton Vidokle (e-flux). of the Museum: The intersection of global cultural Kate Fowle (ICI) and Nancy Spector (Guggenheim activity (including the building of new museums and Foundation) moderated the program. emerging biennial models) with the political realities encountered around the world today raises issues of DISCUSSION TOPICS INCLUDED social responsibility. This discussion asked whether curatorial practice can have meaningful social or political End Results: For many curators and artists working impact, as well as what the responsibility of the curator today, the exhibition no longer serves as the culminating and the museum should be to address and/or ameliorate manifestation of their work. For some, it is merely one injustice. step along a trajectory of research and planning. For others it has become an entirely dispensable model. This Transnational Currents: With the recent emergence of discussion focused on alternative modes of curatorial transnationality as an intellectual framework to rethink activity and the expanded notion of what constitutes an the concept of globalization and regional-specific studies, exhibition. 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. THE CRITICAL EDGE OF CURATING 41

COMMENTS FROM THE FIELD

NO END IN SIGHT Anton Vidokle: I see the artist as someone who sees art as an integral part of human social life and who CRITICAL EDGE 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 OF CURATING 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 Chus conversation with Ralph Rugoff, A Critical Edge of Curating: November 4, 2011. Martinez, and Ute Meta Bauer. the future you may have to reproduce the very specific 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 to act as an artist? Recently I’ve been thinking a lot about 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 Eccles speaks with Nancy Spector, Tom Critical Edge of Curating: Kate Fowle, Rodrigo Moura, and Eungie Joo. November 4, 2011. were largely hired labor by the aristocracy and so forth.

TRANSNATIONAL CURRENTS Yasmil Raymond: This is also very complex—what is transnational and what is trans-racial? I don’t think we 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 want to do when we curate an exhibition? What is it that we want to reveal about that process of production, when an artist takes something and makes anew? These are really interesting, logical, knowledge-based questions Choy Lee speaks with Nancy Critical Edge of Curating: Weng Raymond, Yasmil and Kate Fowle, Suzanne Cotter, Spector, November 4, 2011. 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 The Critical Edge of Curating conference are available for viewing on ICI’s website, www.curatorsintl.org. Critical Edge of Curating: Nancy Spector and Kate Fowle. November 4, 2011. 42 EDUCATION & PUBLIC PROGRAMS CURATING WORLDWIDE 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.

Today newly formed museums, foundations, and initiating discursive programs such as the March Meeting. alternative spaces have created more permanent The March Meeting actually started with a closed-door infrastructures for multiple contemporary art worlds, session, like this one, among people who work in the field while connectivity through websites and social media around many, many topics. This meeting led to a second, enable concepts of the local, regional, and international and then the third was made open, and the fourth time I to take on very different meanings; the singular “time, thought, “okay, we seem to have something here.” The space, modernity” continuum of Western art history— premise of the event was transformed into somehow the one that traditionally propels museums—is starting mapping the art calendar in the Middle East over the to be reconsidered, and curators are more frequently coming year or two. This allowed the different participants experimenting with processes within ever-widening to present their current ideas and projects, or those sociopolitical frameworks, as if decentralization and they want to work on, giving people the chance to start instability has now been accepted as the status quo. thinking toward collaborations, or eliminating duplication, Are institutions now transnational sites of exchange and giving us all a sense of everyone’s areas of interest. or circulation? What is the role of international exhibitions? To begin to unravel these questions, ICI 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.

Jack Persekian: My interest in international curating and

in the Sharjah Biennial over the past 7 years has really Technology. Lecture with Jack Persekian. Massachusetts Institute of Boston. October 3, 2011. 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 EDUCATION & PUBLIC PROGRAMS 43 CURATING CURATORIAL WORLDWIDE HUB 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.

Intended to better facilitate the informal exchange of ideas Dialogues in Contemporary Art: Take 2 and experiences between professionals, the Curatorial In Collaboration with AhmadyArts Hub provides a flexible project space for talks, screenings, Tuesday, May 8, 7–8:30pm and training programs and also houses a library of periodicals and books from institutions all over the world. Mariam Ghani and Leeza Ahmady speak about their contributions to the dOCUMENTA(13) “100 Notes—100 UPCOMING EVENTS Thoughts” notebook series, and share their thoughts and perspectives on the recent influx of international Curator Talk with Hou Hanru & Book Launch of art activities in Kabul, Afghanistan. This event will also Paradigm Shifts (2006–2011) launch Ghani and Ahmady’s Notebooks in New York. Saturday, March 10, 4–6pm ICI Annual Book Sale ICI celebrates the launch of Paradigm Shifts: Walter Friday, May 25–Sunday, May 27 and McBean Galleries Exhibitions and Public Programs, San Francisco Art Institute (2006–2011), a publication Get your hands on ICI’s past and rare exhibition that collects ephemera, images, and texts from the San catalogues as well as current publications like the highly Francisco Art Institute’s exhibitions and public programs acclaimed Martha Wilson Sourcebook and People’s over the past 6 years under the direction of internationally Biennial: A Guide to America’s Most Exciting Artists for renowned curator, Hou Hanru. sale at special prices.

Dialogues in Contemporary Art: Take 1 In Collaboration with AhmadyArts Tuesday, 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 Wegman Tuesday, April 3, 6:30–8pm

Constance Lewallen, co-curator of The California Experiment: New Art Circa 1970, and William Wegman,

pioneer video artist, conceptualist, photographer, TIME Day reading with LIMITED Valentine’s Dead Letter Office Hours. BOMBLOG at the Curatorial Hub. and BOMB Magazine’s (LTO) ONLY February 10, 2012. painter, and writer, discuss California artists’ significant 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. 44 NETWORK & ACCESS ICI LIBRARY

The 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. The ICI Library

The ICI Library, like the Curatorial Hub it is part of, serves This unique project continues to evolve with the to document the recent developments in contemporary art contributions of curators who are part of ICI’s through the lens of international curatorial practice. It offers international network. The ICI Library is quickly a unique platform for research and an accessible resource developing, and its holding can be looked up through an for curators living in or coming through New York. online search engine accessible on ICI’s website.

In addition, the ICI Library is the permanent home of With an eye to continuously grow the Library, ICI the Cleopatra’s Library. A Brooklyn-based collaborative welcomes donations of books, catalogues and exciting and art space, Cleopatra’s began this project in 2008 by volumes to complement our collection. To donate books, inviting over 300 curators whom they collectively admired please contact us to make sure they are what the Library to take part in the formation of a reference library. Since currently needs, and to arrange for delivery. then, this ever-expanding bookshelf has functioned as an open resource to the public, built upon over time with ICI is also developing opportunities for catalog thought-through contributions by colleagues, mentors, exchanges with other publishing institutions, setting up and friends, professionals in various disciplines within regular exchanges among organizations with an interest the arts. All 300 curators were asked to make a donation in being part of an international art network. of their choice, reflecting their personal interests, curatorial concerns they feel most strongly about, or the For more information about the Library, visit ICI’s website, or contact philosophical, theoretical or aesthetic movements that Bridget Finn at [email protected] or 212 254 8200 x124. drive them. NETWORK & ACCESS 45 ICI LIBRARY CURATOR’S NETWORK The CURATOR’S NETWORK is ICI’s professional membership program. As an online community of curators from around the world, it facilitates international exchange and dialogue. The Network has over 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.

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;

• ICI is rolling out a bi-monthly newsletter to all curators on the Network, directing them to important information, opportunities, text and articles, as well as exclusive offers from ICI;

• Expanding outside of its virtual platform, the Curator’s Network now offers its members more integration with the Curatorial Hub. Select programs at the Hub connect directly with curators affiliated with the 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.

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. 46 NETWORK & ACCESS LIMITED EDITIONS 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.

Since 1990 ICI has commissioned artists to produce ANNOUNCING RASHID JOHNSON EDITION limited-edition works in support of the organization’s innovative programs and publications. Unique In March 2010 ICI patrons had the rare opportunity to collaborations with John Baldessari, Louise Bourgeois, visit Rashid Johnson in his Brooklyn studio and to hear Olafur Eliasson, Joseph Kosuth, Ernesto Neto, and Kiki directly from the artist about his plans following his Smith, among others, have resulted in exclusive editions New York institutional debut solo exhibition at Sculpture ranging from prints and photographs to sculptures. Most Center. Two years on, as Johnson prepares for major recently, ICI produced a suite of 12 prints with Jacob solo shows at the Museum of Contemporary Art, Kassay and this year, we are collaborating with Rashid Chicago, and the South London Gallery, England, ICI is Johnson on a new limited edition. working with him on a new limited-edition artwork. The mirrored sculpture, exclusive to ICI, will be launched in Currently available ICI limited editions include works by May to coincide with the inaugural NADA NYC Art Fair. John Baldessari, Bernd & Hilla Becher, Jane Hammond, Jacob Kassay, Robert Morris, Robert Rauschenberg, In the meantime you can register your interest in this new Tim Rollins and K.O.S., Laurie Simmons, and Pat Steir. edition by contacting Bridget Finn, Special Programs Available through ICI’s website, www.curatorsintl.org Manager at [email protected].

For more information please contact Bridget Finn, Special Programs Manager at [email protected] or by calling 212 254 8200 x124. New York Studio Event: Rashid Johnson at the artist’s studio, March Studio Event: Rashid Johnson at the artist’s York New 18, 2010. John Baldessari, leather tote bag with Botkier, 2010, Edition of 300. John Baldessari, leather tote bag with Botkier, NETWORK & ACCESS 47

JACOB KASSAY: UNTITLED 1–12

In October 2011 ICI privately launched Untitled 1–12, the first limited-edition artwork produced by artist Jacob Kassay. When ICI invited Kassay to collaborate on this LIMITED 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, Untitled 1–12 is a suite of 12 silkscreen prints that expands on his interest in experimental processes and rigorous systems, while EDITIONS exploring how to slow down the “digestion” of information. Using the final edition of The Buffalo News from August , 2011. Silkscreen on archival newsprint. 24 5/16” x 27” , 2011. 29, 2011 (the local newspaper from the artist’s hometown as published on his birthday), Kassay has produced Untitled 1 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 Jacob Kassay, (framed). Edition of 5. and the back, as well as the texture of each page, the resulting works resonate with a fragility of line and form that imparts the fleeting nature of the daily news.

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. , 2011. Silkscreen on archival newsprint. 24 5/16” x 27” , 2011. Untitled 11 Jacob Kassay, Jacob Kassay, (framed). Edition of 5. ICI’s edition with Jacob Kassay, in process. edition with Jacob Kassay, ICI’s

When I learned to print we used oiled positives from UPCOMING EVENT the Xerox machine to create silkscreens. That’s when I first got interested in the idea of using a newspaper as NADA NYC a found positive, particularly because the thinness of Friday May 4–Monday May 7, 2012 the paper enabled the image and text to come through 548 West 22nd Street from both sides at once, as if you were holding it up to a New York, NY 10011 window. It makes the “news” unreadable and the gridded layout becomes almost gestural. Join ICI at the inaugural NADA NYC art fair taking place at the former DIA Building in Chelsea. ICI’s project For this new piece I wanted to print onto the same kind booth will feature a selection of its limited editions and of material that is used to produce the newspaper, so upcoming new collaborations, as well as a fresh and that the intervention of the source is subtly present in informative look at our exhibitions, events, publications, the work. Each sheet of The Buffalo News is used to and training opportunities. create a unique screen that captures all the nuanced detail of the page, which is rendered unusable after this process, adding to the delicacy of the resulting images. As I see technology advance I see less use—not for the newspaper—but for the continual dissemination of momentary information. Knowledge shouldn’t have such direction. — Jacob Kassay on producing the limited editions Untitled 1–12, 2011 48 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.

Debuting in March, ICI CONVERSATIONS is hosted SERIES SCHEDULE in a range of exclusive settings throughout New York City, bringing you insider’s perspectives on today’s hot Building the Collection: Howard Rachofsky in topics—from how a world-class collection is made, to Conversation with Allan Schwartzman what the art critics really think of this season’s biennials Thursday, March 8, 5:30–6:30pm, followed by a wine and triennials, as well as insights from leading curators reception on their current top picks of young artists and intimate Hosted by Sotheby’s conversations with artists who are on the rise this year. 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, Texas. Join ICI to learn first-hand how the collection’s 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 Vine Monday, March 26, 6:30–8pm Hosted by Art in America

Be one of the first to see Art in America’s new editorial 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 The Ungovernables 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. 30th Annual New York Studio Events Dinner at the home of Marvin and Susan Numeroff, NYC, September 14, 2011. Studio Events Dinner at the home of Marvin and Susan Numeroff, York Annual New 30th NETWORK & ACCESS 49

Curators’ Top Picks Under 35: Suzanne Cotter, Dinner at the Home of Eileen and Michael Cohen, Neville Wakefield, and João Ribas with special guest Richard Armstrong Monday, April 16, 6:30–8pm Wednesday, May 30, 6:30–9pm Hosted by Sotheby’s Hosted by Eileen and Michael Cohen

PATRONS This is a unique opportunity to gain insight from three of The series finale is an event not to miss, with the the most progressive curators working today: Suzanne exclusive opportunity for dinner with Eileen and Michael Cotter (Solomon R. Guggenheim Foundation Curator, Cohen at their SoHo loft, in the company of special Guggenheim Abu Dhabi Project), Neville Wakefield guest speaker Richard Armstrong, Director of the (curator, writer, and commentator on contemporary art, Solomon R. Guggenheim Museum and Foundation. culture, and photography), and João Ribas (Curator, MIT Share the evening with friends amidst an esteemed EVENTS List Visual Arts Center). Join ICI for a presentation in private collection while Armstrong imparts his unique which each curator will discuss 5 artists under 35 years insights into recent developments in the international old that they believe could become the most influential artworld garnered as he leads the way forward for the practitioners of their generation. Guggenheim in New York, Venice, Bilbao, and Berlin, as well as the Abu Dhabi Project, and plans for a museum in The Artist’s Voice: Kerstin Brätsch in Conversation Finland. with Massimiliano Giono Wednesday, May 2, 6:30–8pm TICKET INFORMATION Hosted by Gavin Brown’s Enterprise $1,500 Artist Kerstin Brätsch will discuss the diversity of her Series Ticket practice—from her large abstract paintings to the Personal access to all ICI CONVERSATIONS events, installations made in collaboration with artist Adele Röder including the Annual Dinner. under the name DAS INSTITUT—with and Massimiliano Gioni, Associate Director and Director of Exhibitions at $1,000 the New Museum, Artistic Director at the Nicola Trussardi Series Companion Ticket Foundation, and recently named Artistic Director of the Accompanying access, only available with a Series upcoming Venice Biennale. Brätsch gained widespread Ticket. attention in the 2009 New Museum triennial Younger than Jesus, co-curated by Gioni, and is currently working *ICI CONVERSATIONS tickets are limited and available toward her highly anticipated first solo exhibition in New on a first-come first-served basis. York, which opens in September 2012 at Gavin Brown’s Enterprise. The ICI CONVERSATIONS series helps support ICI’s exhibitions, events, publications, and training The Artist’s Voice: David Lamelas in Conversation opportunities in New York and around the world. ICI is with Christian Rattemeyer a 501(c)(3) non-profit organization and each ticket, less Tuesday, May 15, 6:30–8pm $500, is tax-deductible. Hosted by Michele Maccarone For more information please contact Bridget Finn at bridget@curatorsintl. Long respected as an “artist’s artist,” David Lamelas has org or by calling 212 254 8200 x124. 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 veteran artist is known for his influence on generations 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 humor that underpins Lamelas’s structuralist films, media installations, and performances. Lamelas’s most recent solo exhibition was at Maccarone Gallery, New York, in

January 2012. Annual 30th Arthur Goldberg with Robert Longo at ICI’s Carol and September 14, 2011. Dinner, 50 NETWORK & ACCESS THE FORUM

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.

Responsive to your personal schedule and location, Curatorial Intensive Instituto Inhotim ICI can offer an art “concierge service” when you travel April 22–28, 2012 independently. Through this concierge service we seek Meet up with ICI at the incomparable Instituto Inhotim to tailor city-by-city content based on your needs and in Minas Gerais, Brazil. This is your chance to visit this requests. In addition, you will stay tuned to the latest impressive collection, have introductions to the people happenings through a regular Director’s Newsletter with behind it, and see ICI’s Curatorial Intensive training recommendations of must-see exhibitions and projects. program in action while meeting the participants from all over the world. (See page 30) INTERNATIONAL FORUM SPRING 2012 CALENDAR Ernesto Neto at Tanya Bonakdar Gallery Building the Collection May 4, 2012 Thursday, March 8, 2012 Join ICI, Tanya Bonakdar Gallery, New York, and Galeria As part of ICI Conversations, Howard Rachofsky Fortes Vilaca, Sao Paulo, for a special brunch and a and Allan Schwartzman will discuss the evolution of conversation between Kate Fowle and Ernesto Neto Rachofsky’s collection. Following the talk there will be a about his most recent work on view in the exhibition. wine reception and the opportunity to preview Sotheby’s Contemporary Evening Sale. (See page 48) ICI Exhibitions in San Francisco, CA May 4–5, 2012 What is the Role of A “Parainstitution?” Three exhibitions, Living as Form, FAX, and California Sweden Experiment: State of Mind are all on view at the same March 28–April 1, 2012 time in the San Francisco Bay area. Join venue Directors Join ICI’s Executive Director Kate Fowle in Stockholm and ICI for an exclusive tour with insider knowledge into as she meets with curators Sofía Hernández Chong these exhibitions. Cuy and Maria Lind at the Tensta Konsthall for a panel discussion on what it means to be a truly international ICI in Hong Kong organization “without walls.” May 20–21, 2012 Meet with ICI’s Executive Director Kate Fowle at the Curators’ Top Picks Under 35 Hong Kong International Art Fair, one of the most talked- April 16, 2012 about art events in Asia this year, and join her for drinks Curators Suzanne Cotter (Guggenheim Abu Dhabi), to review the best moments of the fair. Neville Wakefield (Independent Curator and Producer), and Joao Ribas (MIT List Visual Arts Center) will present Documenta 13 and Art Basel five artists under 35-years of age predicted to be the up June 9–17, 2012 and coming influential practitioners of their generation. ICI heads to Germany to meet up with patrons of the This event is part of the ICI Conversations series. (See International Forum for personalized introductions and page 48) tours of Documenta 13. Then catch up in Switzerland at Art Basel for a recap of the hottest picks of the year’s ICI Hub Event with Constance Lewallen and hottest art events. William Wegman April 3, 2012 Stayed tuned for more summer updates… Join curator Constance Lewallen and artist William For more information about the International Forum, contact Marika Wegman at ICI’s Hub. Rarely seen Wegman videos will Kielland at [email protected]. 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) NETWORK & ACCESS 51 ANNUAL BENEFIT 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.

On November 7, 2011 ICI welcomed over 300 guests to The ICI Benefit Auction featured exclusive artworks by its Annual Benefit at the Prince George Ballroom, and Ricci Albenda, Tauba Auerbach, Peter Halley, Jacob honored Matthew Higgs and John Waters for pushing the Kassay, Trevor Paglen, Alex Prager, Cindy Sherman, limits of what is possible in art and for their innovation David Shrigley, Ned Vena, and Amy Yao; commissioned and independent thinking. The unforgettable evening portraits by Jeanette Mundt, Vik Muniz, Carrie Mae designed by Fête featured mouthwatering hors d’oeuvres Weems, and William Wegman; and a variety of art by Thomas Preti and desserts by Pie Corps and experiences including a studio visit with Christo, a New Artisanal Bistro and Fromagerie, sponsored by Pat York art and architecture tour with Polly Apfelbaum and Bell, as well as homemade rugelach by Rita Yohalem. Stan Allen, and tailored trips to Marfa and Los Angeles. The evening’s many toasts were made complete with the dazzling ICI signature cocktail consisting of Starr ICI wishes to thank the 2011 Benefit co-chairs and African Rum and Royal Rose Simple Syrups which committee for its dedication to a successful event, as well was concocted by Royal Rose co-creator Forrest Butler, as all the sponsors whose generosity made the evening while the bar flowed all night with spirits and beverages a great success; August Uribe, Senior Vice President by Starr African Rum, Tito’s Handmade Vodka, Abita and Senior Specialist in Impressionist & Modern Art Beer, Royal Rose Simple Syrups, Sant’ Arturo Wines, at Sotheby’s, who conducted the Live Auction for the Alacrán Tequila, and VOSS Water. third year running; Miha Studio for providing the staff wardrobe for the evening; and all those who gave so The party came alive with the DJ stylings of DJ Peter generously to support ICI’s activities in New York and Jay and Spencer Sweeney and a performance by Emily around the world. Sundblad, and the live and silent auction helped raise funds for ICI’s programming in 2012. Stay tuned to find out about our 2012 Annual Benefit this fall. Contact Marika Kielland at [email protected] to receive information and updates. Kate Fowle and Matthew Higgs, photo by Martha Moszczynski. and Frankie Rice, photo by Dawn Blackman. John Waters 52 NETWORK & ACCESS THANK YOU On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions have made 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.

Our most sincere thanks go to Ellen Liman and the Liman Special thanks to all those who gave to the Gerrit L. Foundation for their ongoing support of this brochure, Lansing Education Fund and in particular, to our $1,000+ keeping you informed of ICI’s growing programs and donors: activities. Anne Bass, Brook and Roger Berlind, Raymond Bermay, SPECIAL THANKS TO OUR INDIVIDUAL Leon and Debra Black, Melva Bucksbaum and Ray SUPPORTERS Learsy, Gale and Shelby Davis, Roberta and Steven Denning, Gordon and Jean Douglas, Lawrence Flinn, Noreen and Ahmar Ahmad, Cecilia Paola Alemani, Jr., Bill Frist, Carol and Arthur Goldberg, Mrs. Robert Patricia Bell, Johnny Berkenstadt, Melva Bucksbaum and Grace, Jeannie and T Grant, Peter and Laurie Grauer, Raymond Learsy, Barbara Chapman, Kristen Chiacchia, Hunter Gray, Agnes Gund, Len and Fleur Harlan, Alex Eileen Cohen, Haro and Bilge Cumbusyan, Gabriella and Paul Herzan, Marlene Hess and James Zirin, Ann De Ferrari, Edward R. Downe Jr., Peter Fleissig, Maxine and Gilbert Kinney, Arlene and Robert Kogod, Wynn J. Frankel, Carol Franklin, Emily Frick, Anita Friedman, Kramarsky, Ken Kuchin, Ronald and Jo Carole Lauder, The Glenstone Foundation, Babette Goodman, Bruce Evelyn and Leonard Lauder, Karne and Richard LeFrak, Greenwald and Karyn Ginsberg, John Goldsmith, Regina Dorothy Lichtenstein, Glenn and Susan Lowry, Michael Gross, Agnes Gund, Kim Heirston, Alexandra and Paul Margitich, Marie and Jim Marlas, Liz and Arthur Martinez, Herzan, Jon Hutton, Belinda Kielland, Younghee Kim- Hank McNeill, Bee and Gregor Medinger, Mary Morgan Wait, Michael L. Klein, Helen Kornblum, Alex Lakatos, and David Callard, Beverly and Peter Orthwein, The Shawn and Peter Leibowitz, Dorothy Lichtenstein, David Overbrook Foundation, Mitchell and Emily Rales, Barbara Lusk, Jonathan Mallow, Gracie Manison, Beatrix and and John Robinson, Beth Rudin DeWoody, Anna Marie Gregor Medinger, Karen Moore, Susan and Marvin and Robert Shapiro, Gillian and Bob Steel, Mickey and Numeroff, Beverly and Peter Orthwein, Stephen and Leila Straus, David Teiger, Jeanne Thayer, Julie and Patricia Oxman, Greg and Karina Plotko, Jane L. Hans Utsch, Charlotte Weber, Diana and Billy Wister, Richards, Barbara Robinson, Carol Rollo, Lisa Roumell, Cecilia and Ira Wolfson, Virginia and Bagley Wright. 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 Gerrit identified as ICI’s central mission 25 years ago: “to enhance public appreciation of contemporary art

through educational materials and activities included in Fall Symposium, Curatorial Intensive: Curating Performance, November 22, 2011. ICI’s programs.” 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. NETWORK & ACCESS 53

Thank you to the foundations who made programming Intensive, and the public talk series in New York City, the possible in Fall 2011 and to those funding new Curator’s Perspective. Last summer, thanks in part to the developments in 2012: The Andy Warhol Foundation Foundation, ICI’s website was completely redesigned and for the Visual Arts ($90,000), Robert Sterling Clark relaunched increasing the organization’s online visibility Foundation ($60,000), Horace W. Goldsmith Foundation while also expanding the platform for ICI’s professional THANK YOU ($30,000), Elizabeth Firestone Graham Foundation online resources, the Curator’s Network, and DISPATCH. ($25,000), The Dedalus Foundation ($20,000), Furthermore, the Foundation enabled the continued The Hartfield Foundation ($15,000), Toby D. Lewis support for the production of flexible and generative Philanthropic Fund ($10,000), Helena Rubinstein shows, and the establishment of ICI’s Curatorial Hub. Foundation ($7,000), and Milton & Sally Avery Arts Foundation ($2,000). With the continued success of the Curatorial Intensive in New York, there is an increasing demand for available A two-year grant in 2010 from the Andy Warhol courses in cites and countries worldwide. In 2011, in Foundation for the Visual Arts came at a critical time as addition to two New York programs that has enabled ICI reinvented the exhibitions program, and was central ICI to bring curators from across the U.S. (including to enabling ICI to develop and sustain collaborations with California, Colorado, and Oregon) and around the more curators, artists, and host institutions than ever world to New York City to share in practical training, before. In 2011 ICI’s Exhibitions in a Box successfully establishing unique networks for curatorial collaboration, traveled around the world and throughout the U.S. ICI also hosted an Intensive in collaboration with the including, Harald Szeemann: Docuementa 5, FAX, and Philadelphia Exhibitions Initiative, and for the second Raymond Pettibon: The Punk Years, 1978–86, and most year running, a 3-day course in Mumbai, India. In April recently the debut of the sound art flexible exhibition 2012 a full 9-day program at the Instituto Inhotim in With Hidden Noise at the Aspen Art Museum. In this Minas Gerais, Brazil, will take place. We would like to same year, a total of 11 exhibitions were presented thank the Dedalus Foundation for their visionary belief at 36 venues in 9 countries worldwide and across the in the program. Their early—and continued—support U.S. spanning from California to Taiwan. Thanks to the for the Curatorial Intensive, together with grants from Andy Warhol Foundation’s support, ICI will launch 4 new the Toby D. Lewis Philanthropic Fund, the Helena exhibitions in 2012, including Create, a major group show Rubinstein Foundation, and the Milton & Sally Avery that brings together work by artists with developmental Arts Foundation, laid the ground for the development of disabilities, sparking critical dialogue concerning the ICI’s training initiative, which is the organization’s fastest- categories of contemporary art practice, especially the growing program. notion of “outsider art.” Living as Form (The Nomadic Version), ICI’s newest Exhibitions in a Box will launch in The Horace W. Goldsmith Foundation supported ICI September, followed by the major shows The California for over 10 years, giving us a solid base from which to Experiment: New Art Circa 1970 and Performance Now: develop and improve exhibitions and public programs. The First Decade of The New Century. In 2011 we are proud to enter a new partnership with the Hartfield Foundation, 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; at Berkeley Art Museum, Berkeley, California. Art Museum, Berkeley, at Berkeley an anthology celebrating the 20th anniversary of do it, Create perhaps the most famous and wide-reaching traveling exhibition in the world; the second iteration of the Sourcebook, where ICI collaborates with an artist to compile a comprehensive collection of research, Installation view of articles, writings, letters, and personal commentaries; and a new series of publications titled Perspectives On A grant from the Robert Sterling Clark Foundation in Curating that provides timely reflections by curators, art 2011 provided crucial funds to continue building ICI’s historians, critics, and artists who respond to current international outreach, enabling greater audiences developments and pressing issues in the rapidly worldwide access to the organization’s resources about changing field of international curatorial practice. The first current curatorial practice. With the Foundation’s support, of the series, Thinking Contemporary Curating, is being ICI has expanded and improved programs such as the written by art historian Terry Smith. short-course professional training initiative, the Curatorial 54 NETWORK & ACCESS ACCESS FUND ICI’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. at the Ezra and Mixed Signals Installation view of University. Cecile Zilkha Gallery at Wesleyan Conversation with Amirali Ghasemi, Director Conversation with ICI Tehran, of Parkingallery Project Space, December 20, 2011. York. Curatorial Hub, New

Throughout the last year over 50 supporters donated to Since the establishment of ICI’s Curatorial Hub in the Access Fund. Their joint efforts provided scholarships September, there have been a series of Hub events for emerging curators to attend the Curatorial Intensives with curators exploring the social, political, cultural, and in New York and made possible the presentations physical contexts through which art is presented and of exhibitions at emerging and underfunded venues discussed. This fall, with support from the Access Fund, around the world who have shown an active interest in curators in the midst of developing and researching developing international collaborations, such as Project pressing topics were offered the opportunity to present 35 and FAX. and discuss their findings with peers, refining and aiding their thinking. ICI also hosted three closed-door discussions with professionals from the field.

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

Curatorial Intensive Seminar at the Little Theatre, Curatorial Intensive Seminar at the Little Nariman Point, Mumbai. December NCPA, 14, 2011. Foundation, Jerusalem); Maria Lind (Director, Tensta Konsthalle); Eungie Joo (Director and Curator, Education For the most recent New York iteration of the Curatorial & Public Programs, New Museum); Richard Flood Intensive, partial and full scholarships were given to (Director of Special Projects, New Museum); Anton Rattanamol Johal (New Delhi, India), You Mi (Beijing, Vidokle (artist and co-founder of e-flux); Nancy Spector China), Martyn Coppell (Berlin, Germany), Capucine (Deputy Director and Chief Curator, Guggenheim Perrot (London, U.K.), and Jaime Austin (San Francisco, Foundation); Kalia Brooks (Director of Exhibitions, California). Thanks in part to supporters of the Access MoCADA); Ruba Katrib (Associate Curator Museum Fund, these five emerging curators were able to travel to of Contemporary Art, North Miami); Diana Nawi New York to participate in the Intensive. The Access Fund (Assistant Curator, Guggenheim Abu Dhabi Project); also supported ICI, in collaboration with the Mohile Parikh Alex Farquharson (Executive Director, Nottingham Center, to host a 3-day long Intensive in Mumbai, India, Contemporary); Pilot Press (Liz Linden and Sarah this December. The program brought together curators Kennedy); Amirali Ghasemo (Director Parkingallery and professionals from all across India and the world, Project Space, Tehran); and art historian Terry Smith. to discuss and learn about contemporary art, with the emerging professional curator in mind. NETWORK & ACCESS 55 ACCESS ICI

ICI STAFF ICI BOARD OF TRUSTEES Independent Curators International 401 Broadway, Suite 1620 Kate Fowle Gerrit L. Lansing** New York, NY 10013 Executive Director Chairman Emeritus T +1 212 254 8200 [email protected] F +1 212 477 4781 Sydie Lansing [email protected] Alaina Claire Feldman Honorary Chair www.curatorsintl.org Exhibitions Assistant www.facebook.com/curatorsintl [email protected] Patterson Sims www.twitter.com/curatorsintl 212 254 8200 x127 Chairman

Bridget Finn Melville Straus Special Programs Manager Barbara Toll [email protected] Vice Chairs 212 254 8200 x124 Jeannie Grant Frances Wu Giarratano President Exhibitions Manager [email protected] James Cohan 212 254 8200 x129 Ann Schaffer Vice Presidents Chelsea Haines Education & Public Programs Jeffrey Bishop Manager Jill Brienza [email protected] Christo & Jeanne-Claude** 212 254 8200 x126 Ann Cook Susan Coote Susan Hapgood Maxine Frankel Senior Advisor Trustee Emerita [email protected] Carol Goldberg Trustee Emerita Marika Kielland Hunter C. Gray Development Manager Marilyn Greene [email protected] Agnes Gund 212 254 8200 x125 Trustee Emerita Jo Carole Lauder Alexandra Kleiman Caral G. Lebworth Library Coordinator Trustee Emerita** [email protected] Laure Lim 212 254 8200 x126 Vik Muniz Mel Schaffer Renaud Proch Susan Sollins* Deputy Director Executive Director Emerita [email protected] Nina Castelli Sundell* 212 254 8200 x128 Trustee Emerita Sarina Tang Mandy Sa Virginia Wright Communications Manager Trustee Emerita [email protected] 212 254 8200 x121 *ICI Co-founder **In Memoriam Ken Tyburski Ex-Officio Trustee

Kate Fowle Executive Director 56 ICI EXHIBITIONS BOOKING INFO For a detailed project description, participation fee, CURRENT AND FUTURE EXHIBITIONS W/ checklist, and images for any of the exhibitions listed, AVAILABILITY please contact Frances Wu Giarratano, Exhibitions Manager, at 212 254 8200 x129, or [email protected]

SCHEDULING

Exhibitions are available during the tour dates specified. For exhibitions other than Project 35, FAX, and Living The California Experiment Living as Form (page 4) as Form, booking is on a first-come, first-served basis, (page 10) pending approval of an institution’s facility report. Once dates are agreed, ICI sends a booking contract to confirm all arrangements.

PARTICIPATION FEE Martha Wilson (page 14) The participation fee covers the specified viewing Create (page 16) period, with adequate additional time for installation and dismantling. For bookings longer than the specified period, the fee is pro-rated on a weekly basis; there is no fee reduction for shorter booking periods. For most exhibitions, a deposit of 30% of the exhibition fee is due upon signing the booking contract, the balance is due on Performance Now the exhibition’s opening day. For organizations with an DO IT (page 22) (page 12) 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 FAX (page 9) Project 35 (page 20)

Each artwork comes with installation and handling instructions and a condition report. Exhibitions are covered by ICI’s wall-to-wall fine arts insurance policy. For an additional $500 fee, shipping arrangements can be made by ICI; the participating institution is responsible for incoming shipping charges. Institutions outside the Harald Szeemann: Raymond Pettibon: continental United States must also pay customs fees as Documenta 5 (page 7) The Punk Years, 1978–86 well as outgoing shipping charges to the U.S. border. (page 6)

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 Image Transfer: Pictures catalogue will be provided, and a limited number in a Remix Culture With Hidden Noise of complimentary catalogues are supplied to each (page 18) (page 8) participating venue. clockwise: Raymond Pettibon, Tripping Corpse: ‘My Sister Bedroom’, Single Page, 1981; Installation view of People’s Biennial at SECCA, Winston-Salem, NC; Jacob Kassay, Untitled 11, 2011. Silkscreen on archival newsprint. 24 5/16” x 27” (framed). Edition of 5; August Uribe, ICI 2011 Annual Fall Benefit, November 7, 2011; John Baldessari, leather tote bag with Botkier, 2010. Edition of 300; Laurie Simmons, 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. ICI, 401 Broadway, Suite 1620 ICI, 401 Broadway, 10013 NY York, New

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.