Bloomberg 26 November 2010� New Contemporaries 23 January 2011 2010 Bloomberg New Contemporaries / 26 November 2010—23 January 2011 www.ica.org.uk/learning ICA

possible that we may consider someone note that we’re really working with people Bloomberg involved with an institution in another in the show at every level, especially New Contemporaries country but for me I really feel that it is around the public programme, providing more distinguished if you retain that different platforms and situations for 2010 prominence of just having artists. We have encounter and discussion. Interview had ‘advice’ from someone suggesting that we have a collector and a dealer on MATT � It is very much the On Friday 29 October 2010, ICA the panel, or someone from the internationalism of art schools and their Learning Coordinator Vicky Carmichael sponsorship board, but then it becomes reputation. met with Director of New something else and introduces agendas I interviewed Hannah Rickards who Contemporaries, Rebecca Heald and that aren’t about the work. was in New Contemporaries in 2003, and ICA Curator, Matt Williams to discuss For me I love looking at art with other asked her if she felt she had developed a the upcoming exhibition. artists, I think you really get a different core group. I don’t think she had an perspective. Just look at the short texts in opportunity to for that to happen so much. this year’s catalogue. We held a social event last night at the VICKY � The ICA’s Learning team ICA and I felt it was really successful in encourage students to visit the ICA and MATT � If you did get a dealer or collector bringing people together. have a responsibility to nurture their on the panel then it has the potential to interest and inspire their creativity. An become another version of the recent REBECCA � If you want broad brush I think exhibition like New Contemporaries is an Saatchi television programme. there is a real thirst or interest in the excellent tool and accessible platform for public to see work from this stage in us to use to achieve this. I’d like to start by REBECCA � It just turns into politics and it is people’s careers. And the way New opening up the processes within New not about that. At root it is about art so to Contemporaries is set up, its integrity, Contemporaries. How do you bring have it just artists has a coherence. It is means it survives and all the others come together your selection panel, and in turn true to the art through and through. and go. There is something innate about how do they select the work to exhibit? the need for it. VICKY � Each year it seems that there is REBECCA � There are pieces of paper with another new exhibition showcasing the MATT � I think it is because the principles names on that have been passed down best of recent graduates. Why do you of New Contemporaries have been so over generations! It is a very considered think it is important that New consistent over the years which is really and nuanced process and we treat it in a Contemporaries continues to exist and important. Plus as a curator New very secret way – we make sure the door what is it that sets it apart from the other Contemporaries is an opportunity to see is shut when we are discussing it! shows? fresh work and fresh ideas. It also You are looking to get a balance of provides you with an idea of what is being people, people who don’t already know REBECCA � Now there are so many different taught at present to the point whereupon each other, you don’t want consensus. shows that are along similar lines but house styles start to become apparent Ideally we want to have a couple of people there is something about New whilst reflecting themes within that we don’t know ourselves so you don’t Contemporaries that means for one contemporary culture. have that familiarity. We always aim to reason or another it has survived through have an international voice. So within that various ups and downs. I think this is VICKY � We are seeing more and more we are looking for different kinds of mostly due to its complete commitment to artist-run spaces providing affordable voices, people that work in different media art and quality. This is allowed to come studios, gallery and project space; for so people see that when they are looking through at every point because of the example The Woodmill in Bermondsey or to apply. With Mark this year and his anonymity of the process. Historically New TAP in Southend. Going back to the point practice we were hoping to get more Contemporaries has given a really vital about developing core groups – these performance through, but that didn’t and valuable platform to people at a really spaces are helping bring people together, happen so much. crucial point in their lives and careers, encouraging dialogue about their work when they are worried about what might and building networks. MATT � It is interesting as they all have a happen next. strong identity in their own practice for When Mike Nelson talks about being MATT � Well those spaces are great in example, you wouldn’t put Gabriel’s work in New Contemporaries, the same year as providing affordable space for artists; they any where near Dawn’s. What interests me , Edward Lipski, Simon Starling are often based in redundant buildings is that you always select artists – do you and among others, he says that would otherwise be left empty. They take into account if they have any that the experience of being in New can be used as a tool to promote young background in education, if they teach? Contemporaries and bobbing around in a artists and their agendas which is a really little group all together for a while gave positive thing. It reminds me a bit of REBECCA � Yes that’s a consideration, but it him this real feeling that they were all in and , the whole YBA doesn’t dictate. Mark teaches at this as a group - going through this thing and a sense of do it yourself. You Städelschule in Frankfurt, Dawn at the process and slightly uncertain time gain a huge amount of experience working Royal College and Gabriel has been a together. in this way. visiting tutor in different places, I know he It’s more complicated now because of enjoys it. They all get a lot from teaching the internationalism of art schools in the VICKY � How is New Contemporaries which I would think is part of their UK. So while Mike and his crowd at that different to going to a degree show, or art motivation for coming to New point might have had all that time together fair? Contemporaries. Last year we had all at New Contemporaries and as soon as artists and this year we are aiming along they started going to openings, they start MATT � I was talking to a group of the same lines although we may introduce to see each other around. Now, people students about New Contemporaries, this a writer. Essentially you are looking for are coming from all over to go to art one student asked why it was coming to people that aren’t associated with school and at the end of it they often the ICA, were we packaging it like an art institutions, especially in this country. It is leave again. This year it’s important to fair, and I said actually no, far from it. You Bloomberg New Contemporaries / 26 November 2010—23 January 2011 www.ica.org.uk/learning ICA

have all the history of the ICA, resources reasons, which does unfortunately that people engage with directly, serially in place working around the Learning infiltrate art schools, and their level of – you have to make it work in different programme, events and talks. It is ambition. ways, and it’s hard. It is a real challenge. probably more consumer friendly in the current political or commercial climate to REBECCA � You also get that with MATT � Even just the installation of the put it in a warehouse in East London. performative practice, and that is one if videos has been quite demanding, and But to put it in the ICA you have all the the things I find really strange in the New obviously each artist wants their work to historical context rather than a commercial Contemporaries submissions is that it is be presented as true to their original one. just not coming through. So that is installation as possible. It is about something to really build on the next little ensuring that the individual voices are REBECCA � To have input like that, to think while. It’s like the film/theatre thing where seen and heard and that the installation very distinctly about the commercial performance has got that real immediacy respects that voice but at the same time aspect of it or have people ask you and as the political climate becomes more we need to be careful that it doesn’t go difficult questions I enjoy that because it charged it is a very direct way to work and off at too many different tangents. It has helps me articulate what it is actually engage with audiences and it is definitely to feel like it is an exhibition; New about. going on, as born out by the programme Contemporaries is the umbrella – the here at the ICA. glue. MATT � I think there was also the question that perhaps the selectors had MATT � From my experience at art school REBECCA � You have to have punctuation an ulterior motive, or they are driven by a lot of the time you are dealing with a points. Last year installing at A Foundation their own tastes so it means that there are generation of staff that don’t understand Wolfgang Tillmans was one of the certain types of work that won’t be performance or performance isn’t really selectors and he is just so good at recognised and people miss out on this taking place. installing. We had had a few days of being opportunity because the selectors have so embroiled in it, and getting stuck at such a strong idea about what they want. VICKY � Matt, I’d like to ask you about the various points, and he just came in and he curatorial side of things; New gave a few pieces of advice – very few REBECCA � That is something the selectors Contemporaries is a pre-selected show of things that he said but they gave the show talked about and worried about very 49 artists, and a show that has already such a lift and an injection of exactly the actively during selection, questioning shown at A Foundation in Liverpool which right kind of energy. motivations for selecting things all the is a very different space to the ICA – apart time. In the end that is why there are a lot from anything else they have a lot more MATT � Wolfgang’s style has been of artists in the show this year. They were room! What is your approach in bringing incredibly influential; he has certainly very generous, basically going for the exhibition to the ICA, and how much informed the way artists and curators everything that ‘worked’, they really gave input do you have as curator at the ICA? install work. themselves a hard time about not being driven by their own tastes or preferences. MATT – I think ideally, at the A Foundation REBECCA � I guess what you really need they did have much more space and could throughout is clarity. What you often get in VICKY � We were talking the other day, show a greater volume of works, be more group shows they can get muddled up Matt, and you were saying New ambitious with what they did in some trying to make links with one persons work Contemporaries is a really good respects. The painters had an opportunity jumping around. When you have got so opportunity to spot themes arising in work to show more works. But space at the ICA many people in it the points at which you and further than that, as you said, a great is restricted so we will have to think long have clarity you tend to hang on to those. window into what is happening in art and hard about how the works will schools. I think it is great to see artists at physically engage and communicate with MATT � Yes, and emphasise them. It is this point in their career, and a real one another, and what is their relationship. going to be tricky, and a challenge, but I inspiration to current students. It must be Is it offensive, or positive; does it generate think a positive one. exciting to you to spot in a show those more questions? four or five artists who really stand out, I then expect to further discussed REBECCA � It will be fun! that you think you will keep your eye on in during the installation process with the future. Rebecca, Sacha and Mark Leckey who VICKY � What do you feel your has kindly offered to come in and assist responsibility is towards the artists post REBECCA � The selectors were quite keen to with the install, which will be really New Contemporaries? say that wasn’t going on, and as I say they interesting for me, hearing everyone’s were all keen to say that wasn’t the case. I perspective on a single piece of work REBECCA � That is something we are think I’ve noticed a difference in the work Sacha, of course is a very experienced working on now and definitely want to – last year seemed a lot more manageable curator, so it I’ll be interested to see how work on a lot more with our alumni. The somehow because I think that was right at Sacha looks and responds to work. Plus beginnings of the programme we are the beginning of people being a bit I’ve admired Mark’s practice for a number doing here is part of that. Informally we fearful, which manifested itself in terms of of years and of course Rebecca is one of have already been doing a little. scale. You know – in Australia they are all my contemporaries. Conversations are already happening still making massive stuff about landscape sharing bits of advice, people asking and the body. Very very different. REBECCA � I’ve only installed New practical questions about how many Contemporaries a couple of times but its limited editions they should do, or whether MATT � I received an email from a new always been the most positive experience we have heard of certain art fairs or gallery in New Zealand the other day, so I because there is such a good energy residencies. It is very much part of our looked at the artists and they all seemed around it and really, everybody wants the ethos. to be making huge constructions in work to sing. There is no ego – yes you massive warehouses which obviously just are looking for connections between MATT � I have more of a responsibility wouldn’t happen in London for a number things if they are there but also make each during the exhibition, to ensure that the of reasons, but primarily for economic persons work feel distinct and something artists’ works are presented in the best Bloomberg New Contemporaries / 26 November 2010—23 January 2011 www.ica.org.uk/learning ICA

light possible. That they are professionally department – what influence if any does installed and any information and content this bear on you role as Director of New surrounding the work is presented in a Contemporaries? Things to think about... first class manner. REBECCA � Well, I worked at Tate as long as VICKY � This exhibition is interesting in I worked at The Hayward, as long as I that it brings together a group of people worked at Sadie Coles HQ, and as long as Each New Contemporaries artist who are still at, or have recently left art I worked as a journalist, not quite as long has been asked to submit an audio school. As a team we are interested in the as I worked at Survival International (a description of their work. These effect that it will have on those people that charity that campaigns for Tribal Peoples). are available to listen to on the we are working with and how it might I’ve had all these very different kinds of ICA’s website. Ask students to encourage them to go to art school, or for experience that I think mean I have a very choose a piece of their work and those already there, further inspire them. fluid approach to working, a lot in describe it succinctly in 1-2 Do you have any advice you would give partnership, I don’t look at things as minutes. These can be recorded them? separate entities, I seek to include and shared. different voices although not to the point REBECCA � You should always encourage a that things fall apart! I was identified as sense of possibility. There is an example someone that could enable different kinds of someone who was in New of conversations and I’m really happy to Contemporaries last year, Richard Healy, be doing this now at so New he studied for his first degree in Contemporaries. I think working at Tate Between 1969 and 1983, New Manchester and he was invited to go and also taught me to be a little bit fearless… Contemporaries was run and do a talk where he had studied. One of selected by students. Encourage the things he said in his talk was that he VICKY � One thing I think is a really great students to organise their own was in New Contemporaries. The students way of working is that all the artists were exhibition, selecting and curating he was talking to said ‘no-one from here given a questionnaire asking them about works themselves. ever gets in to New Contemporaries.’ He their interest, key influences, people they asked how many of them had applied the would like to see give a talk. And then we previous year and no-one put their hand have really drawn on those responses to up! People don’t come from nowhere – build the programme to accompany the it’s instilling that sense of ‘give it a go’. show. From 1988 onwards a panel of MATT � Basically, what I’ve realised over REBECCA � That’s really important to me. artists and arts professionals are the last few years from working in the arts A chunk of my background is in peer-led brought together to select from is that if you don’t put yourself out there, and experimental ways of learning. It really the New Contemporaries work hard and most importantly do the struck me last year that there were so applications anonymously. Past homework then unless your incredibly many ideas flying around and no real way selectors have included critics lucky you might end up being very of capturing them. So definitely something (1998) and JJ disappointed. There are a lot of people to build on further because of the Charlesworth (2003), and out there calling themselves artists. Be knock-on. internationally renowned artists confident about what you do, and be including Rachel Whiteread (1994), aware of your own potential. VICKY � Yes and that feeds directly in to (1995), Sarah I spent three and a half years working as the relationship post-exhibition and Lucas (2002), (2004) studio manager for Keith Tyson which was continuing that with the artists. Also in and (2007). Ask a great experience and taught me a lot terms of their ownership of some elements your students to put together their about the professional side of being an of the process. own panel of selectors, and then artist. It made me realise what a big present to the rest of the group industry it is and in terms of the work REBECCA � There is also knock on for things who they have chosen and why. – making something that will last; thinking like marketing. about content, title, audience, how you are presenting yourself; what’s your angle? MATT � For me it was really interesting to see choices made, and people that I had REBECCA � This show, because it is never heard of being mentioned, it was a New Contemporaries uses anonymous, is not about teachers’ really good resource for me too as the adatabase (newcontemporaries. favourites – so often that is what happens. curator working on the exhibition. Also to adatabase.org) to house a digital The context in which it is selected the think about what might take place in the record of all the annual shows good work always shines through and it is bookshop, people to get in for talks, from 1989 to the present year. Ask less about the stuff around it. Sometimes professional development workshops and students to use this to research a people are discouraged because they people expressing an interest in being particular year, who were the don’t get top marks all the time but really involved in the learning programme. selectors, are there any key figures this show is not about that, it is not about that have gone on to have success doing it by the book. as an artist? MATT � At every institution there are always politics and teachers favourites, people that get more involved than others. That does shift how you look at things.

VICKY � Rebecca, you previously worked at Tate in the Education and Interpretation Bloomberg New Contemporaries / 26 November 2010—23 January 2011 www.ica.org.uk/learning ICA

Bruderkriegsoundsystem Free Free Gallery Talks Thursday 13 January 8.30�11pm Professional Practice Thursday 2 December 7pm The premiere of Bruderkriegsoundsystem Maria Fusco, Director of Writing, Gold- Workshops featuring Edwin Burdis, Mark Leckey and smiths College. Kieron Livingston, is a machine for Booking essential Thursday 9 December 7pm speaking the mind, generating noise and Stuart Comer, Curator of Film, Tate physical bonding. Artist-Run Spaces Modern. Free, booking essential, Theatre Saturday 27 November Thursday 6 January 7pm 12�2pm John Russell, artist. The Trouble With Sculpture Norwich-based Outpost Gallery gives Thursday 20 January 7pm 19 January 6.45pm invaluable insight into setting up a vibrant Brian Dillon, writer and UK editor Nathaniel Mellors, Keith Wilson, Richard and successful artist-run space. of Cabinet magazine. Wentworth, Martina Schmücker and Haroon Mirza join the curator and chair of Artist Residencies New Contemporaries, Sacha Craddock to Saturday 4 December discuss the relevance of sculpture. 12�2pm Free Gallery Tours £12 / £11 / £10 / £5 for students Andrew Hunt, Director of Wednesday�Friday 2�3pm Focal Point Gallery and Alessio ICA Gallery Assistants share their Booking Antonioni, Director of Gasworks & exhibition highlights. To book for groups or individuals contact Triangle Network, share their experience ICA Box Office on of artist residencies and their continuing Sunday 5 & 12 December 020 7930 3647 relevance. Sunday 9, 16 & 23 January 2pm With artists from Bloomberg New For more details on events visit Art School to Art World Contemporaries 2010. www.ica.org.uk/bnc2010 Saturday 15 January 12�2pm Alun Rowlands, artist and curator, leads 'On Potential or a Speculative Workshop Events for an Immanent Practice', considering The Trouble with Curating transitional zones between study and Thursday 9 December 6.45pm work. With Ian White, Adjunct Film Curator Curator and writer Andrew Renton chairs at Whitechapel Gallery. the discussion on how the role of the curator has developed and the fine line Dissemination between curator and artist. With with Saturday 22 January Emily Pethick, Director of The Showroom, 12�2pm Penelope Curtis, Tate Britain Director, Mark Fisher, author and lecturer at artist Steven Claydon and lecturer, writer Goldsmiths and University of East and artist Pavel Buchler. London, and Nina Power, senior lecturer £12 / £11 / £10 / £5 for students in philoshophy at Roehampton University discuss how the dissemination of artwork New Contemporaries and information on blogs’ and websites Archive Screenings has altered the way that artists distribute Saturday 11 & 18 December and discuss their practice. 2�3pm Free screenings from the New Contempo- raries film archive. Free, booking essential, Theatre Bloomberg New Contemporaries / 26 November 2010—23 January 2011 www.ica.org.uk/learning ICA

About Bloomberg Selectors ICA Learning New Contemporaries Programme 2010

ICA Learning creates opportunities for The highly regarded New Contemporaries Gabriel Kuri exploration and discussion, providing exhibition is a snapshot of today’s was born in Mexico in 1970, and studied participants with the tools and assurance emerging art landscape featuring 49 at Escuela Nacional de Artes Plásticas, to become informed spectators, confident artists working across film, sculpture, Mexico City, and Goldsmiths College of participators and inspired creators. photography, painting, animation and Art, London. This year he has solo shows Our dynamic, artist-led programme performance. Offering unparalleled at, Kunstverein Freiburg, Freiburg, provides opportunities for schools, access to new practice and ideas from Germany, Museion, Museo d’Arte Moderna families and community groups to engage across the UK, this exhibition sits at the e Contemporanea, Bolzano, Italy, in creative ways with the ICA’s exhibitions. heart of a dynamic and discursive Kunstverein Bielefeld, Bielefeld, Germany, Teachers may find it useful to visit the programme of discussions, workshops and and Houston University Museum, Houston exhibitions before bringing a group. We performances for both artists and (TX), USA. He has also contributed to encourage visits to take place between audiences. numerous international group shows 10am and 12pm Wednesday – Friday. including the 5th Berlin Biennale in 2008; Please contact Vicky Carmichael to Established in 1949 and presented at the Brave New Worlds, Colección Jumex, arrange a visit. ICA between 1964 and 1989, New Ecatepec, Mexico, 2008, Walker Art Contemporaries is a high-profile annual Center, Minneapolis, 2007; and Contact event offering art students and recent Unmonumental, New Museum, New York, V i c k y C a r m i c h a e l , L e a r n i n g C o o r d i n a t o r graduates essential recognition and 2007. He lives and works in Mexico City phone: +44 (0)20 7766 1458 support at a crucial stage in their and Brussels, Belgium. email: [email protected] development. A panel comprised of influential arts figures, predominantly Mark Leckey For more information and to view artists, selects participants through a was born in Birkenhead in 1964 and our archive of previous learning rigorous process that is open, fair and graduated from Newcastle Polytechnic in activities, please visit democratic. 1990. Notably he won the in www.ica.org.uk/learning 2008. He has exhibited widely both in the The selectors for 2010 are Gabriel Kuri, UK and internationally. He is currently Mark Leckey and Dawn Mellor. professor of film studies at Städelschule, Frankfurt am Main and was a founding member of the musical collectives Donateller and Jack too Jack.

Dawn Mellor was born in Manchester in 1970 and is a painter living and working in London. Her themes of work are misrepresentation, satirising hypocrisy of contemporary moral values, and the examination of notions of failure and success using contemporary celebrity culture. She has had numerous solo exhibitions in London, New York, Venice, and Brussels.