INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2011 PROGRAM INTER NA TIONAL NET WORKS Welcome 1

Spring/Summer Calendar 2

EXHIBITIONS Performance Now: The First Decade of the New Century 4 The California Experiment: New Art Circa 1970 6 Create 8 Martha Wilson 10 Exhibitions in a Box 13 With Hidden Noise 14 Harald Szeemann: Documenta 5 15 Raymond Pettibon: The Punk Years, 1978–86 16 Image Transfer: Pictures in a Remix Culture 18 Project 35 20 FAX 22 Experimental Geography 24 Mixed Signals: Artists Consider Masculinity in Sports 26 People’s Biennial 28

TRAINING AND RESEARCH Independent Vision Award 30 Training Programs 31 Curatorial Intensive 32 DISPATCH 34

EVENTS The Now Museum 36 Curator’s Perspective 38 The Curator’s Lounge 40

ACCESS Contact 41 Thank you 42 Support 44

Booking Info 48

Editor: Kate Fowle and in what way. For any reuse or dis- Designer: Scott Ponik tribution you must make clear to others Copy Editor: Alaina Claire Feldman the license terms of this work. You must Printing: Linco Printing, Queens, NY inform the copyright holder and editor of Big thanks to: Nancy Adajania and any reproduction, display, or distribution Ranjit Hoskote, John Baldessari, of any part of this publication. Amy Cheng, Doryun Chong, Michelle Jubin, Alex Kleiman, Weng Choy Lee, To receive a downloadable pdf Glenn Phillips, Loretta Yarlow version of this publication, or more copies by mail contact Bryan Granger, © 2011 Independent Curators Communications Administrator at International (ICI), and the authors. [email protected]

Reproduction rights: You are free to copy, display, and distribute the contents of this publication under the following conditions: You must attribute the work or any portion of the work reproduced to the author, and ICI, giving the article and publication title and date. If you alter, transform, or build upon this work, you may distribute the resulting work only under a license identical to this one, and only if it is stated that the work has been altered INDEPENDENT CURATORS INTERNATIONAL WELCOME

Welcome to the second edition of of the famous 1972 Documenta) traveled to India in Independent Curators International December for ICI’s course on curating. Co-organized (ICI)’s new semi-annual brochure, in Mumbai with the Mohile Parikh Centre, the program giving you up-to-date information on brought together 20 participants from Mumbai, Pune, our exhibitions, events, publications, and Bangalore to develop their practices. At the be- training programs, studio visits, and ginning of 2011, Documenta 5 was in Eastern Europe other projects in development at ICI at CAC in Vilnius, Lithuania, and then KIM? in Riga, this season. Lativa, where talks and workshops generated out of the material were programmed in conjunction with the This issue begins with two words—International exhibition. These presentations are the result of ICI’s first Networks—that build on our last headline—Independent curatorial residency, wherein Lithuanian curator Virginija Thinking—to explore further what the very name of the Januskeviciute spent six weeks researching and working organization implies today. We’ve been thinking a lot in our New York office, demonstrating how concurrent about these words in relation to the potential for sus- ICI programs are enabling ongoing and varied dialogues tained exchange between artists and curators around with professionals. the world, and in light of new media platforms that are increasingly enabling the movement of ideas across na- So, what’s new at ICI this Spring? tional and geographic borders. But, the question of how to really, meaningfully, engage with colleagues around This March we will be presenting ‘The Now Museum: the world still remains. Contemporary Art, Curating Histories, Alternative Models’, co-organized with the PhD Program in Art While the 1990s saw a boom in the creation of biennials History at CUNY Graduate Center and the New Museum. that opened up dialogues between diverse practitioners, This 3-day conference aims to bring historians of con- the last decade has seen the evolution of new models temporary art, curators, and artists into dialogue inspired for institutions that have enabled sustained networks by questions around the museum and contemporary art and collaboration between artists, curators, and organi- history, as well as the extension of exhibition models and zations, generating new projects and research through the involvement of artists in the creation of institutional shared concerns based on practice and experience. For structures globally. ICI, this has led to expanded ways of thinking about how curating mediates and produces discourse as well as We are launching a new ‘Exhibition in a Box’, With generates exhibitions, pushing the parameters of what Hidden Noise, curated by sound artist Stephen Vitiello we consider the role of the curator to be today. as well as finalizing the production of three new exhibi- tions; Performance Now, curated by RoseLee Goldberg; Making international connections has been at the core of Create, co-curated by Matthew Higgs and Lawrence ICI’s mission since its inception in 1975, when the very Rinder; and The California Experiment, co-curated by first exhibition, Video Art USA introduced developments Constance Lewallen and Karen Moss. in the (then) new medium in five Latin American coun- tries. Now, in a different cultural context 36 years later, all We’re also publishing a new issue of our online journal of ICI’s new programs and exhibitions have, in their own DISPATCH and two new printed exhibition publications; way, expanded the possibilities not only of seeing work and, as ever, programming talks and studio visits with from artists around the world, but also of sharing curato- curators and artists who can give us a behind-the-scenes rial ideas: In 2010, 10 exhibitions were presented at 44 glimpse into what is important to practitioners today. venues in 14 countries; 34 talks and events with interna- tional professionals were programmed in collaboration On behalf of all the staff at ICI, we hope you will read on with venues in the U.S. and abroad; and 4 curatorial to find out more about ICI’s Spring/Summer initiatives, training programs were developed for 54 curators from and invite you to be a part of ICI’s International Network 16 countries. Furthermore, with our new, modular and in 2011. evolving exhibitions such as FAX, and Project 35, ICI has engaged with its network of curators world-wide to work with an increasingly broad range of artists and to share their works around the globe.

Understanding the importance of context, we are also generating programs highlighting historical precedents in the field. For example, the ‘Exhibition in a Box’ Harald Executive Director Szeemann: Documenta 5 (ICI’s archival exhibition Independent Curators International INDEPENDENT CURATORS INTERNATIONAL CALENDAR

EXHIBITIONS PROJECT 35 The Galleries at Moore College of Art and Design, Developed by enquiring curators and artists from Philadelphia; Press to Exit Project Space, Skopje, around the world, ICI’s exhibitions address key issues in Macedonia; Washington Pavilion of Arts and Science, contemporary culture and present diverse art practices South Dakota; Göteborgs Konsthall, Sweden; William in a variety of formats. Benton Museum of Art, University of Connecticut; New Orleans Museum of Art, Louisiana; Al Hoash Gallery, East Jerusalem; Indianapolis Museum of Art, Indiana; CREATE Mobile Museum of Art, Alabama; The Rebecca UC Berkeley Art Museum and Pacific Film Archive Randall Bryan Gallery, Coastal Carolina University, Berkeley, California Conway, South Carolina; TheCube Project Space, May 11–September 25, 2011 Taipei, Taiwan; Pratt Manhattan Gallery, New York. Ongoing through 2011 FAX Apex Gallery, South Dakota School of Mines and IMAGE TRANSFER: PICTURES IN A Technology REMIX CULTURE Rapid City, South Dakota Richard E. Peeler Art Center, DePauw University February 15–April 3, 2011 Greencastle, Indiana February 22–May 6, 2011 Carpenter Center for the Visual Arts Cambridge, Massachusetts March 7–April 3, 2011 HARALD SZEEMANN: Saint Paul Street Gallery DOCUMENTA 5 Auckland, New Zealand Contemporary Art Centre (CAC) April 8–30, 2011 Vilnius, Lithuania January 6–February 11, 2011

EXPERIMENTAL GEOGRAPHY KIM? Contemporary Art Centre The Foreman Art Gallery, Bishop’s University Riga, Latvia Sherbrooke, Canada February 18–March 27, 2011 January 21–March 21, 2011 MIXED SIGNALS: ARTISTS CONSIDER PEOPLE’S BIENNIAL Dahl Arts Center MASCULINITY IN SPORTS Middlebury College Museum of Art Rapid City, South Dakota Middlebury, Vermont January 14–March 27, 2011 February 3–April 17, 2011 Southeastern Center for Contemporary Art The Andy Warhol Museum Winston-Salem, North Carolina Pittsburgh, Pennsylvania July 8–September 18, 2011 May 28–August 7, 2011

For more information on ICI’s exhibitions, contact Fran Wu Giarratano at 212 254 8200 x29 or [email protected]

2 SPRING/SUMMER 2011

CURATOR’S PERSPECTIVE NEW YORK STUDIO EVENTS

Thursday, January 20, 7–8:30pm Wednesday, February 16, 6:30–8pm Curator’s Perspective with Katharine Stout (London) Jonas Wood Tanya Bonakdar Gallery, NYC Anton Kern Gallery, NYC

Monday, March 14, 7–8:30pm Monday, February 28, 6:30–8pm Curator’s Perspective with Zdenka Badovinac (Ljubljana) Brendan Fowler CUNY Graduate Center, NYC Untitled Gallery, NYC

Tuesday, May 24, 7–8:30pm Wednesday, March 30, 6:30–8pm Curator’s Perspective with Lamia Joreige (Beirut) Martha Wilson e-flux, NYC The artist’s Brooklyn studio

Wednesday, April 27, 6:30–8pm OTHER PUBLIC PROGRAMS Matt Keegan D’Amelio Terras, NYC Thursday, January 27, 12–4pm Curatorial Intensive Symposium: Philadelphia Monday, May 2, 6:30–8pm The Pew Center for Arts and Heritage, Philadelphia, PA Janine Antoni The artist’s Brooklyn studio Thursday–Sunday, March 3–6 ICI at INDEPENDENT Wednesday, May 25, 6:30–8pm 535 West 22nd Street, New York, NY Lisa Oppenheim The artist’s Manhattan studio Thursday–Sunday, March 10–13 The Now Museum: Contemporary Art, Curating Wednesday, September 14, 7:00–9:30pm Histories, Alternative Models NYSE Dinner with Adam D. Weinberg Hosted by the CUNY Graduate Center and the New A private collection in NYC (TBD) Museum, NYC Tuesday, September 27, 6:30–8pm Sunday, May 1, 2–3:30pm Julie Mehretu TransAmerican Connections The artist’s Manhattan studio Converge Curators Forum, NEXT Art Fair, Chicago, IL Wednesday, November 30, 6:30–8pm Monday, July 18, 10am–6pm Michael Joo Curatorial Intensive Symposium: New York The artist’s Brooklyn studio Location TBD, NYC

For more information about the Curator’s Perspective or ICI’s other ICI BENEFIT: SAVE THE DATE public programs, contact Chelsea Haines at 212 254 8200 x26 or [email protected] Wednesday, November 2, 2011, 6:30–10:30pm ICI’s Annual Fall Benefit Location TBD, NYC

To learn more about these events, please contact Bridget Finn at 212 254 8200 x24 or fi[email protected]

3 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 art departments, including most recently the Museum of Modern Art, and several museums currently being built will have dedicated performance spaces. Moreover, following Performa’s lead, biennials worldwide are making performance integral to their programs. PERFORMANCE NOW is an exhibition that shows how performance has come to be at the center of the discussion on the latest developments in contemporary art and culture.

The first decade of the 21st century has seen the emer- ABOUT THE GUEST CURATOR gence of a true globalism in the art world, with an ever- expanding map of knowledge and an understanding RoseLee Goldberg’s seminal study, of cultural developments internationally. A full immersion Performance Art: From Futurism in historical, political and religious subtexts of a broad to the Present (first published in range of cultures is now demanded of artists, curators 1979 and now in its third edition) and audiences. There has also been much reflection on is regarded as the leading text for the complexities of displaying, collecting, preserving understanding the development of and explaining conceptual material that had so profoundly the genre and has been trans- shaped artistic developments in the final decades of the lated into more languages (includ- twentieth century, yet which, paradoxically, was ephem- ing Chinese, Croatian, French, Japanese, Korean, eral and almost invisible. At the same time, contemporary Portuguese, and Spanish) than any other book of its performance is activating the museum, drawing new and kind. When director of the Royal College of Art (RCA) young audiences to these institutions. Gallery in London, Goldberg established a program that pioneered an integrative approach to curating exhibi- PERFORMANCE NOW will be made up of objects, tions, performance, and symposia, directly involving the ephemera, sound, and video, including material from various departments of the RCA in all aspects of the a number of key Performa commissions, and works exhibitions program. As curator at the Kitchen in New originating from around the world including South Africa, York she continued to advocate for multi-disciplinary China, Eastern Europe, the Americas and the Middle practices to have equal prominence by establishing the East. Encouraging a more engaged collaboration with exhibition space, a video viewing room, and a perfor- potential host organizations, ICI will invite curators from mance series. Most recently, her vision in the creation interested venues to participate in a series of discus- of Performa has set a precedent for performance art that sions on curating and presenting performance during the is now impacting museum programming and diverse upcoming Performa Biennial, Performa 11, which will audiences across the U.S. and abroad. take place in New York City from November 1–20, 2011.

4 PERFORMANCE NOW aula Court, P hoto by P remiere, 2009. remiere, P erforma P , a I Am Not Me, the Horse is Mine erforma P William Kentridge, courtesy of hoto by P erforma Commission, 2009. P , a erforma P Extracurricular Activity Projective Reconstruction #32, Plus ike Kelley, ike Kelley, aula Court, courtesy of M P

BASIC FACTS

A prelimanary checklist will be available in late March. For further information, please contact Fran Wu Giarratano at 212 254 8200 x29 or [email protected] Space required: 3,500 – 4,500 square feet, plus performance space if live performance is to be added Tour dates: September 2012 through September 2014 For further booking details see pg 48

5 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 of seminal conceptual and related avant-garde activities in the late 1960s and early 1970s and the critical interchange between artists living in the state. While these new forms emerged concurrently with those in other parts of the world, they still remain lesser known than their East Coast and European counterparts. THE CALIFORNIA EXPERIMENT identifies and investigates California artists’ significant contributions in Conceptual art, video, performance, and installation. The exhibition demonstrates the immense changes in artistic practice that coincided with the burgeoning number of art schools and university art departments, nonprofit art spaces, alternative galleries, and artist- run spaces and publications 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 approximately 150 works by 60 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, drawings, and paintings. Additionally, there is extensive performance documentation and ephemera.

ABOUT THE GUEST CURATORS Karen Moss is adjunct curator at Orange County Museum of Art, Constance M. Lewallen is ad- where she has curated exhibitions junct curator at the University of including 15 Minutes of Fame: California, Berkeley Art Museum Photographs from Ansel Adams and Pacific Film Archive where she to Andy Warhol (2010); Disorderly has curated many major exhibitions, Conduct Recent Art in Tumultuous including Everything Matters: Paul Times (2009) and Art Since the Kos, a Retrospective (2003); Ant 1960s: California Experiments Farm, 1968–1978 (2004); A Rose (2007-08) and co-curated the 2006 California Biennial. Has No Teeth: Bruce Nauman in the Moss teaches art history and curatorial practice in 1960s (2007), all of which toured and were accompanied graduate programs at Otis College of Art and Design and by catalogues. Her most recent exhibition for the Santa USC Roski School of Fine Arts. Monica Museum of Art was Allen Ruppersberg: You and Me or the Art of Give and Take (2009).

6 THE CALIFORNIA EXPERIMENT: NEW ART CIRCA 1970 CALIFORNIA ew York N allery, allery,

EXPERIMENT G ash N itchell-Innes & M ew York, and ew York, N Courtesy of the artist, Brooklyn, Courtesy of the artist, Brooklyn,

, 1972. First Lady (Pat Nixon)

osler, R artha M

ARTISTS INCLUDE PUBLICATION

Bas Jan Ader, Terry Allen, Ant Farm, Eleanor Antin, The exhibition will be accompanied by a 320-page pub- Asco (Glugio “Gronk” Nicandro, Patssi Valdez, Herrón, lication, with texts by Constance Lewallen, Karen Moss, and Harry Gamboa), Michael Asher, John Baldessari, Julia Bryan-Wilson, and Ann Rorimer. Published by UC Gary Beydler, George Bolling, Nancy Buchanan, Press, the book also includes short biographies of all of Chris Burden, Paul Cotton, Robert Cumming, Peter the artists and a selected bibliography, with 150 black- D’Agostino, Lowell Darling, Guy De Cointet, Terry Fox, and-white illustrations and 75 color plates. Howard Fried, Charles Gaines, David Hammons, Helen Mayer Harrison and Newton Harrison, Joe Hawley, Mel BASIC FACTS Henderson, Lynn Hershman, Douglas Huebler, Stephen Kaltenbach, Allan Kaprow, Robert Kinmont, John Knight, Participation fee: $30,000 Paul Kos, Suzanne Lacy, Stephen Laub, William Leavitt, Number of artists or artist groups: approximately 60 Fred Lonidier, Mike Mandel and Larry Sultan, Tom Number of works: approximately 150 Marioni, Paul McCarthy, James Melchert, Susan Mogul, Space required: 4,000 – 6,000 square feet Linda Montano, Bruce Nauman, Martha Rosler, Allen Tour dates: July 2012 through December 2013 Ruppersberg, Ed Ruscha, Sam’s Café, Daryl Sapien, For further booking details see pg 48 Ilene Segalove, Allan Sekula, Bonnie Sherk, Alexis Smith, Barbara T. Smith, T.R. Uthco, Ger Van Elk, William The California Experiment is a modified version of State Wegman, John Woodall, Alfred Young. of Mind: New California Art Circa 1970, an exhibition curated by Constance Lewallen and Karen Moss and co- organized by the Orange County Museum of Art and the University of California, Berkeley Art Museum and Pacific Film Archive. 7 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 Institute for Art and Disabilities Art Center (NIAD). These organizations were founded with the belief that exceptional creativity can emerge from anyone and they support the work of artists with developmental disabilities through a unique and highly successful approach to group studio practice. In individual and group shows, participating artists have challenged assumptions about the quality, character, and significance of work created by artists with disabilities. This major survey exhibition will bring well-deserved attention to this compelling work, sharing it with a broad audience and expanding on its impact on a range of renowned international artists. The exhibition will spark critical dialogue concerning the categories of contemporary art practice, especially the notion of “outsider art,” and challenge audiences to rethink the limitations of such categories. It will be clear why works by these artists have been increasingly recognized as a significant contribution to the field of contemporary art, both nationally and internationally, among artists, curators, critics, and collectors, as well as the broader cultural community. Several of the artists are now represented in the permanent collections of prominent institutions including the Museum of Modern Art, New York, and the San Francisco Museum of Modern Art.

ABOUT THE GUEST CURATORS Lawrence Rinder is Director of the UC Berkeley Art Museum and Matthew Higgs is the Director/ Pacific Film Archive, having previ- Chief Curator of White Columns, ously held the position of Dean of New York. From 2001 to 2004 he the California College of the Arts was Curator at the CCA Wattis and been the contemporary art Institute for Contemporary Arts, San Curator at the Whitney Museum of Francisco. Prior to that he was an American Art. He is also a writer Associate Director of Exhibitions of art criticism, poetry, drama, at the ICA, London. Since 1992 and fiction. Higgs has organized more than 200 exhibitions and projects with artists. He has contributed BASIC FACTS essays and interviews to more than 50 publications and art magazines including Artforum, Frieze, Art Monthly Participation fee: $12,000, for 10 weeks, plus incoming and Afterall. shipping Number of artists: 20 Number of works: 110 Space required: 4,500 – 5,000 square feet Tour dates: May 2011 through May 2013 For further booking details see pg 48

8 CREATE rt A rowth rowth G , 2003. Courtesy of Creative , 2003. Courtesy of Creative Untitled akland cott, O S , Judith Center avid Byrne D , n.d. Collection of Inner Limits cott, S William eyer, Berkeley eyer, M lizabeth E awn Colvin D isa L , 1994. Collection of Untitled , 2009. Collection of iles, M an Francisco S Repetition James cKenzie, M atrick lenn C. Voorhees, lenn C. Voorhees, P G John and

ARTISTS INCLUDE CREATE CATALOGUE

Mary Belknap, Jeremy Burleson, Attilio Crescenti, Daniel A fully illustrated publication will also accompany the ex- Green, Willie Harris, Carl Hendrickson, Michael Bernard hibition. The exhibition catalogue will feature images of Loggins, Dwight Mackintosh, John Patrick McKenzie, the art, an essay by Lawrence Rinder, and texts on each James Miles, Dan Miller, James Montgomery, Marlon of the artists by well-known poet, author, and playwright Mullen, Bertha Otoya, Aurie Ramirez, Evelyn Reyes, Kevin Killian. This publication will serve as an impres- Lance Rivers, Judith Scott, William Scott, William Tyler sive record of the exhibition and offer thoughtful insights about the significance and compelling history of these organizations, which deserve to be shared with audi- ences around the world.

9 ICI EXHIBITIONS MARTHA WILSON Initiated by Peter Dykhuis This artist’s 40-year career encapsulates the key debates in feminist and socially engaged practices, wherein identity and positioning are not just self-defined or projected, but also negotiated, disputed, and constantly re-imagined. The complex nature of Wilson’s work encompasses her activities as an artist since the early 1970s, her position as the director of Franklin Furnace, her music collaborations in DISBAND, and her key role as a founder of the GUERRILLA GIRLS. Responding to the wide scope of Wilson’s career, Peter Dykhuis has assembled a diverse collection of works in this retrospective that is intended as a flexible, modular and collaborative exhibition. Curators at each presenting institution may collaborate directly with the artist to select works from the overlapping stages of Wilson’s career. Selections may include examples of her conceptually-based performances, videos, and photo-texts, or focus on FRANKLIN FURNACE, DISBAND, or the GUERRILLA GIRLS. Presenting institutions will have the opportunity to further explore ways in which identity and contested histories can be presented in the context of their local constituencies and according to each venue’s programming priorities.

ABOUT THE ARTIST challenging institutional norms, the roles artists played within visual arts organizations, and expectations about Martha Wilson (b. 1947, Philadelphia) what constituted acceptable art mediums. is a pioneering feminist artist and gallery director, who over the past Marvin Taylor, respected cultural historian and librar- four decades has created innova- ian, once wrote, “Martha Wilson IS Franklin Furnace!” tive photographic and video works The mission of Franklin Furnace is to present, preserve, that explore her female subjectiv- interpret, proselytize and advocate on behalf of avant- ity through role-playing, costume garde art, especially forms that may be vulnerable due to transformations, and “invasions” of institutional neglect, their ephemeral nature, or politically other people’s personas. She began unpopular content. For twenty years, from 1976 to 1996, making these videos and photo/text works in the early Franklin Furnace occupied a storefront space in Tribeca 1970s when she was studying in Halifax, Nova Scotia, in Lower Manhattan, presenting historical and contem- and further developed her performative and video-based porary exhibitions of artists’ books as well as temporary practice after moving in 1974 to New York City, embark- installation and performance art to the public. Since its ing on a long career that would see her gain attention inception, Franklin Furnace has served the local, national across the U.S. for her provocative appearances and and international community of activist artists—art- works. In 1976, she also founded and then directed ists who have addressed urgent subjects such as war, Franklin Furnace, an artist-run space that championed poverty, disease, racism, sexism, and homophobia. In the exploration and promotion of artists’ books, in- the wake of the Culture Wars of the 1980s and 90s, stallation art, and video and performance art, further Franklin Furnace came to be identified with artists’ rights

10 MARTHA WILSON ontreal, Canada ontreal, M allery in G rt A llen E eonard & Bina eonard L at Martha Wilson Installation view of

to freedom of expression as a result of its presentation BASIC FACTS and support of the four artists who came to be known as the “NEA 4,” artists whose grants from the National Participation fee: $9,000 for 10 weeks, plus Martha Endowment for the Arts were revoked due to the subject Wilson’s travel and accommodations, and incoming matter of their art. Franklin Furnace “went virtual” on its shipping 20th anniversary, providing artists with a digital platform Number of works: To be determined. Selections to be for freedom of expression. made from the original 58 works, which form the basis from which each local curator selects objects ABOUT THE INITIATING CURATOR relevant to their own presentation, planned in collaboration with Martha Wilson. All crates will be Peter Dykhuis is Director and shipped to each venue, and any unexhibited objects Curator of the Dalhousie Art Gallery will be safely stored onsite. in Halifax, Nova Scotia. Prior to Space required: flexible that he was director of the Anna Tour dates: January 2011 through December 2012 Leonowens Gallery at the Nova For further booking details see pg 48 Scotia College of Art and Design, and a guest curator for the Art Gallery of Nova Scotia. His most recent exhibition is Giving Notice: Words on Walls.

11 MARTHA WILSON , DISBAND artha Wilson, M , and orr T iane D ischy, ischy, S onna Henes, Ingrid D ranet, G Ilona 1979–1982

For me, this extraordinary selection of wide-ranging texts conjures up a picture of a library—or perhaps they are housed in boxes and cup- boards?—of books, catalogs, jour- nals, and magazines that Wilson has collected over the years. When I look , 1974 at the Sourcebook’s table of con- tents, I experience viewing the last forty years through Wilson’s eyes, but the texts are also witnesses to the profound shifts during these decades in art and politics, and of Wilson’s powerful influence on the

Goddess from A Portfolio of Models changing concepts of feminist art and alternative spaces. —from Moira Roth’s Introduction (“Martha Wilson: artha Wilson, A Women With a Mind of Her Own”) M

MARTHA WILSON SOURCEBOOK

Scheduled for publication in Summer 2011, the Martha Wilson Sourcebook will be a collection of primary research materials consisting of rare archival documents (facsimiles of out-of-print catalogues, articles, etc.) and excerpts of landmark publications that examine shifting perspectives on identity and contested feminism, featuring documentation of Wilson’s actions and work among other materials. This book will offer a full sense of the complex and evolving identity of this artist and her time, and include excerpts from formative texts 1987 that influenced Wilson, such as Simone de Beauvoir’s The Second Sex, Erving Goffman’s The Presentation of Self in Everyday Life, and Susan Sontag’s On Photography. The book will reveal Wilson’s interest in the early provocative works of fellow artists Vito Acconci, Carolee Schneemann, Nancy Spero, and Lynda Benglis, and will also include in its entirety Lucy Lippard’s exhibition catalogue for c. 7,500, the groundbreaking Guerrilla Girls Review the Whitney, irls, 1974 exhibition of women Conceptual artists, which G

recognized the significance of Wilson’s work. uerrilla G

12 INDEPENDENT CURATORS INTERNATIONAL EXHIBITIONS IN A BOX COMPACT EXHIBITIONS THAT GENERATE EXPANSIVE IDEAS ICI’s newest series of shows celebrates the fact that interesting projects can come in small parcels, and takes its lead from initiatives such as Marcel Duchamp’s BOÎTE-EN-VALISE and George Maciunas’ FLUXKITS. Charged with a do-it- yourself imperative, each EXHIBITION IN A BOX provides source material from which venues can generate high-content, low-cost exhibitions, adapting and adding to the materials provided according to the space and facilities available. EXHIBITIONS IN A BOX include varying content such as small-scale artworks, videos, sound works, instruction works, ephemera and archive materials. These projects are suitable for different types of institutions, from libraries and artist-run spaces, to art centers, university galleries, museum project spaces, or education centers. Each box will arrive with materials ready to install, requiring little or no equipment for presentation. The projects are conceived to stimulate discussions and events, to be organized by the host venue. Virtually any configuration is possible: for example, the box contents may be added to with contributions from the host venue’s collections and archives, or can be the starting point for an exhibition that presents local artists’ practices in relation to a broader art issue or event. There are three categories of EXHIBITIONS IN A BOX: key historic precedents that influence art practice and exhibition making now; artist-initiated boxes; and a project series, focusing on one period or range of works from contemporary artists.

13 EXHIBITION IN A BOX WITH HIDDEN NOISE SOUND ART IN A BOX ICI’s newest EXHIBITION IN A BOX, 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 ready-made of a ball of string containing a mysterious sound-making object hidden in its folds, this exhibition brings together evocative sounds, some recognizable from traditional instruments and field recordings, and others masked through electronic processes.

With Hidden Noise is curated by Stephen Vitiello, ABOUT THE GUEST CURATOR an artist who has worked with sound for over 20 years, transforming anodyne noises into compelling Stephen Vitiello is a sound soundscapes. He has often collaborated with and media artist, whose sound preeminent musicians and visual artists, and has curated installations have been presented several sound and media programs such as the sound internationally both in public art component to the Whitney Museum’s exhibition The spaces and museums. Most recent American Century: Art and Culture 1950–2000. examples include A Bell For Every Minute, a site-specific project Featured artists include legendary composer Pauline commissioned by Creative Time for Oliveros as well as Steve Roden, Andrea Parkins and the High Line in New York (2010); the project’s curator, Stephen Vitiello. Sound art has and Tall Grasses, a solo exhibtion at the Salina Art a long lineage that can be traced back to the Futurist Center, Salina, Kansas (2010). Vitiello has collaborated Manifesto and through to subsequent movements and extensively, working with such artists as Tony Oursler, genres, such as Fluxus, conceptual art, performance Julie Mehretu, Joan Jonas, Steve Roden, Nam June Paik art, and up to the most recent artistic uses of the latest and Scanner. Originally from New York, Vitiello is now developments in new technologies. Over the last 15 based in Richmond, VA where he is on the faculty of years, a number of larger survey shows have tracked this Kinetic Imaging at Virginia Commonwealth University. history, but With Hidden Noise makes understanding and experiencing sound art accessible to a wider range ARTISTS INCLUDE of venues. Taylor Deupree, Jennie C. Jones, Pauline Oliveros, This self-contained sound art exhibition pairs down Andrea Parkins, Steve Peters, Steve Roden, Michael J. the installation scale to a single set of surround sound Schumacher, Stephen Vitiello speakers (5 speakers plus a subwoofer) adaptable to a broad range of spaces, allowing for many presentation BASIC FACTS possibilities. Also included are a number of books and catalogues on contemporary sound art that may be Participation fee: $500 per week, $1,500 for 4 weeks, distributed around the gallery for those who would like $3,000 for 10 weeks, plus incoming and outgoing to read more as they listen. A supplementary reading shipping from New York City list, videography, and programming suggestions are Space required: extremely flexible also provided by the curator, making this exhibition as Available dates: April 2011 through December 2013 adaptable and expandable as desired. For further booking details see 48

14 EXHIBITION IN A BOX DOCUMENTA 5 HARALD SZEEMANN: DOCUMENTA 5 This EXHIBITION IN A BOX explores a particularly controversial Documenta (the international exhibition occurring every 5 years in Kassel, Germany). In 1972, Documenta 5, directed by the influential Swiss curator, Harald Szeemann, was conceived as a 100-day event, with performances and happenings, outsider art, even non-art, as well as repeated Joseph Beuys lectures, and an installation of Claes Oldenburg’s Mouse Museum. The exhibition also launched The Artist’s Reserved Rights Transfer and Sale Agreement, which protects artists’ ongoing intellectual and financial rights. hoto by P ithuania. L rt Centre in Vilnius, in Vilnius, rt Centre A at Contemporary Harald Szeemann: Documenta 5 iksys M ndrew ndrew Installation view of A

Assembled by David Platzker, director of Specific Object BASIC FACTS in New York, Harald Szeemann: Documenta 5 includes the exhibition catalogue, ephemera, artists’ publications Participation fee: $500 per week, $1,500 for 4 weeks, and editions produced in conjunction with the exhibition, $3,000 for 10 weeks, plus incoming and outgoing as well as published reviews and critical responses. To shipping from New York City adapt this show to a local context, venues could host Space required: extremely flexible talks about contracts and rights, or work with groups to Tour dates: now through December 2012 generate their own 100-day series of events. For further booking details see pg 48

15 EXHIBITION IN A BOX THE PUNK YEARS RAYMOND PETTIBON: THE PUNK YEARS, 1978–86 This EXHIBITION IN A BOX taps into the steady stream of the Californian artist’s early graphic arts production, before he appeared on the contemporary art stage. Assembled by David Platzker, director of Specific Object in New York, the exhibition includes almost 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 such as Circle Jerks, Dead Kennedys, Hüsker Dü, Meat Puppets, The Ramones, Throbbing Gristle, and many more. While Pettibon remains a cult figure among underground music devotees for these early designs, over the past twenty years, he has acquired an international reputation as one of the foremost contemporary American artists working with drawing, text, and artists’ books. Crossing back and forth between music and the visual arts, the 44 zines, 120 fliers and posters, stickers and selection of album covers show Pettibon’s raw imagery, heavily shadowed technique, and characteristic visual punch in formation. To adapt the project to their own communities, presenting institutions might wish to invite innovative local designers to present their own graphics alongside this exhibition, or host performances by local bands.

BASIC FACTS

Participation fee: $500 per week, $1,500 for 4 weeks, $3,000 for 10 weeks, plus incoming and outgoing

, 1980 shipping from New York City Space required: extremely flexible Tour dates: now through December 2012 For further booking details see pg 48 Black Flag at The Mabuhay/Sun. Oct. 19 ettibon, P t. S

16 RAYMOND PETTIBON: THE PUNK YEARS, 1978–86

For its presentation of Raymond Pettibon: The Punk Years, 1978–86 the University Galleries at Florida Atlantic University collaborated with various departments in the university to build on the materials provided by

the ICI box. In one section of the gallery, they built a aton, Florida R stage where punk bands, including two bands created for the exhibition by the music department, performed throughout the duration of the show. The gallery also niversity in Boca

organized a daily screening program of rarely seen punk- U era films. tlantic A The zines, fliers, posters, and album covers were hung on roughed-up walls surrounded by Pettibon quotes, and in a contrasting gallery, a selection of post-punk era alleries at Florida works by Pettibon from south Florida public and private G art collections, demonstrated a development of the niversity

artist’s style and thematic interests. U , 1985 ive performance at the L

The Pettibon show has been a great opportunity to bring together different

Wein, Weib, und Gesang Weib, Wein, elements, disciplines and audiences. Collaborating with various departments in the university as well as with local talents and resources has been excitingly ettibon,

P productive. —Erica Ando, University Galleries, Florida Atlantic University, Boca Raton aymond R aton, Florida R niversity in Boca U tlantic A alleries at Florida G niversity U at the Raymond Pettibon pening reception of pening reception O

17 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 BASIC FACTS

Sara Krajewski has served as As- Participation fee: $12,000 for 10 weeks, plus incoming sociate Curator at the Henry Art shipping Gallery since 2005. She organized Number of artists: 12 the group exhibitions The Violet Number of works: 42 Hour (2008) and Viewfinder (2007) Space required: 4,000 – 5,000 square feet as well as solo projects with artists Tour dates: October 2010 through April 2012 Matthew Buckingham, Walid Raad, For further booking details see pg 48 Liz Magor, Steven Roden, Kelly Mark, and Santiago Cucullu. Her writing has appeared in Art on IMAGE TRANSFER CATALOGUE Paper, ArtUS, and other publications. Krajewski has held curatorial positions at Madison Museum of Contemporary 2010. Foreword by Sylvia Wolf; Art and Harvard Art Museum. essay by Sara Krajewski. 102 pp. 71 color illustrations, 9.75” x 7.5”. ARTISTS INCLUDE Published by the Henry Art Gallery. ISBN 978-0-935558-49-4. $25.00 Sean Dack, Karl Haendel, Jordan Kantor, Matt Keegan, Carter Mull, Lisa Oppenheim, Marlo Pascual, Amanda The exhibition catalogue explores Ross-Ho, Sara VanDerBeek, Siebren Versteeg, Erika Vogt, the pervasive phenomenon of the Kelley Walker. “remix” as it is absorbed by visual artists and “played back” through their work.

18 IMAGE TRANSFER: PICTURES IN A REMIX CULTURE eattle, Washington S allery in G rt A at Henry Image Transfer: Pictures in a Remix Culture Image Transfer: Installation view of

TALKING TRANSFERS: PANEL DISCUSSION

On October 1, 2010 at the Henry Art Gallery, exhibiting artists Jordan Kantor, Matt Keegan, Carter Mull, Lisa Oppenheim, Amanda Ross-Ho, Siebren Versteeg, and Erika Vogt participated in a panel discussion moderated by Seattle University Assistant Professor of Art History

Ken Allan. This panel offered personal perspectives from Pictures in a Remix Image Transfer: eattle, Washington the artists on the themes explored in the exhibition. S anel for P allery in G rtists rt A A ransfers, T , 2005- at Henry aula Cooper alking P T Culture

Where the work of the Pictures generation sought to teach viewers to read images critically, the twelve artists here are similarly instructive, demonstrating Andy Warhol and Sonny Liston Andy Warhol how to deploy images with culturally aware reflexivity. Importantly, nearly all ew York

N of them were born in the mid-1970s: old enough to have come of age before

allery, allery, the Internet, but young enough to have spent the majority of their adult lives Kelley Walker, Kelley Walker, Fly on Braniff (When you got it-flaunt it) 2007. Courtesy of the artist and G online. Thus the act of dislodging images from their original contexts—for aesthetic ends or as shorthand signifiers—is second nature, but tempered by historical perspective. Though all the work showcases this generational vantage, the most illuminating pieces explicitly comment on the psychological implications of living in today’s eminently visual culture. —Artforum Critics’ Picks, September 2010

19 ICI EXHIBITIONS PROJECT 35 PROJECT 35 is a program of single-channel videos selected by 35 international cura- tors who have each chosen one work by an artist that they think is important for audi- ences around the world to experience today. The resulting compendium is presented simultaneously in an ever-expanding number of venues. PROJECT 35 draws in ICI’s extensive network of curators to trace a complexity of re- gional and global connections among practitioners from places as varied as Colombia, the Congo, and the Philippines, as well as to demonstrate the extent to which video is now one of the most important and far-reaching mediums for contemporary artists. Taking advantage of video’s versatility, PROJECT 35 can be shown in almost any for- mat or space. It can be projected in a gallery, featured in monthly screenings, or shown on a monitor running in the café or education room. Each DVD is accompanied by a pdf with a short introduction to the work by the selecting curator, and the curators’ and artists’ bios.

CURATORS INCLUDE Kota Ezawa (Germany/United States), Tamar Guimarães (Brazil/Denmark), Dan Halter (Zimbabwe/South Africa), Mai Abu ElDahab (Egypt/Belgium), Magali Arriola Ranbir Kaleka (India), Beryl Korot (United States), Nestor (Mexico), Ruth Auerbach (Venezuela), Lars Bang Larsen Kruger (Canada), Anja Medved (Slovenia), Tracey Moffatt (Denmark), Zoe Butt (Australia/Vietnam), Yane Calovski (Australia), !"#$%&$'()*%+,"-.$%/%012%+34%!1"5%63% (Macedonia), Amy Cheng (Taiwan), Lee Weng Choy (Vietnam), Ho Tzu Nyen (Singapore), Wanda Raimundi- (Singapore), Ana Paula Cohen (Brazil), Joselina Cruz Ortiz (United States), Daniela Paes Leao (Portugal/The (Philippines), Sergio Edelsztein (Argentina/Israel), Charles Netherlands), Elodie Pong (Switzerland), Tracey Rose Esche (UK/Netherlands), Lauri Firstenberg (United (South Africa), Edwin Sanchez (Colombia), Michael States), Alexie Glass-Kantor (Australia), Julieta Gonzalez Stevenson (New Zealand/Germany), Stephen Sutcliffe (Venezuela), Anthony Huberman (Switzerland/United (United Kingdom), Yukihiro Taguchi (Japan), Ulla Von States), Mami Kataoka (Japan), Constance Lewallen Brandenburg (Germany/France), and Zhou Xiaohu (United States), Lu Jie (China), Raimundas Malasauskas (China) (Lithuania/France), Francesco Manacorda (Italy), Chus Martinez (Spain), Viktor Misiano (Russia), David BASIC FACTS Moos (Canada), Deeksha Nath (India), Simon Njami (Cameroon/France), Hans Ulrich Obrist (Switzerland/ Participation fee: $3,600; may be paid in quarterly United Kingdom), Jack Persekian (Palestine), José Roca installments of $900 (for organizations with an annual (Colombia), Bisi Silva (Nigeria), Franklin Sirmans (United operating budget of $100,000 or less, the fee can States), Kathryn Smith (South Africa), Susan Sollins be reduced to the following: organization’s annual (U.S.), Mirjam Varadinis (Switzerland), and WHW (Croatia) operating budget x 0.035) Number of artists or artist groups: 35 ARTISTS INCLUDE Number of works: 35 Space required: extremely flexible Vyacheslav Akhunov (Uzbekistan), Meris Angioletti (Italy), Available dates: now through December 2012. For later Alexander Apóstol (Venezuela/Spain), Vartan Avakian dates please contact ICI (Lebenon), Azorro Group (Poland), Sammy Baloji (DR For further booking details see pg 48 Congo), Yason Banal (Phillipines), Guy Ben-Ner (Israel), Andrea Büttner (Germany/United Kingdom), Robert Cauble (United States), Chen Chieh-jen (Taiwan), Chto delat/What is to be done? (Russia), Manon de Boer (The Netherlands/Belgium), Jos de Gruyter and Harald Thys (Belgium), Angelica Detanico & Rafael Lain (Brazil),

20 PROJECT 35

Ever since it began, the program has attracted great numbers of local viewers curious about and interested in contemporary image-making from different regions

pace in and under different cultural contexts. Through realizing S the screening in Taipei, TheCube opened up new roject roject

P possibilities for connecting to ICI’s international curatorial network. We created an intimate and relaxing heCube

T viewing ambience to accommodate this very flexible at and enjoyable presentation format. —Amy Cheng, Director and Founder of TheCube Project Space, Taipei,

Project 35 Taiwan aiwan T aipei, Installation view of T

My thanks to Project 35 and ICI for helping to make the 2nd Annual Greenfield Video Festival such a huge success. All in all, it was an exhilarating project. And of course, it gave so many of us the opportunity to see compelling video work by artists from around the world. —Loretta Yarlow, Director, University Gallery, University of Massachusetts, Amherst

PRESENTING VENUES INCLUDE roject roject

Al Hoash Gallery (Jerusalem, Palestine), 2nd Annual P Brick + Mortar International Video Art Festival heCube

(Downtown Greenfield, MA), Centre for Contemporary T Art, Lagos (Lagos, Nigeria), ceroinspiración (Quito, Ecuador), The Douglas Hyde Gallery, Trinity College Dublin (Dublin, Ireland), E Përditshmja (Tirana, Albania), The Galleries at Moore College of Art and Design (Philadelphia, Pennsylvania), Götenborgs Konsthall

(Götenborg, Sweden), Indianapolis Museum of Art aiwan T (Indianapolis, Indiana), LAXART (Los Angeles, California), aipei, visitors reading about the works at visitors reading Lifehouse, 33 Sinari Daranijo, Victoria Island, (Lagos, T Nigeria), Mobile Museum of Art (Mobile, Alabama), New pace in Orleans Museum of Art (New Orleans, Louisiana), North Project 35 S Carolina Museum of Art (Raleigh, North Carolina), Press to Exit Project Space (Skopje, Macedonia), Qendra Social (Social Center) (Tirana, Albania), The Rebecca

Randall Bryan Gallery (Conway, South Carolina), Saint useum of M Joseph College Art Gallery (West Hartford, Connecticut), San Art (Ho Chi Minh City, Vietnam), Serialworks (Capetown, South Africa), TheCube Project Space (Taipei, Taiwan), Washington Pavilion of Arts and Science torrs, Connecticut

(Sioux Falls, South Dakota), William Benton Museum of S Art (Storrs, Connecticut), Yaba College of Technology, Yaba (Lagos, Nigeria) student docent talk at the William Benton niversity of Connecticut in kopje, U S Project 35 rt, A A pace in S roject roject P

xit In the spirit of the many voices that came together to E create Project 35, NOMA has partnered with Tulane ress to ress

P University in gathering the voices of nine students, each

at of whom provided his or her analysis of one video in the exhibition… In addition to creating a brochure, Tulane

Project 35 University students will also present a public lecture on three videos from Project 35. —New Orleans Museum of Art acedonia creening of creening S M

21 ICI EXHIBITIONS FAX Curated by João Ribas, co-organized with The Drawing Center FAX is an evolving exhibition that started in New York in 2009, and has since then continued to be reconfigured, expanded, and localized as it is presented—often si- multaneously—in venues worldwide. FAX invites artists, architects, designers, scientists and filmmakers to think of the fax machine as a drawing tool, resulting in an exhibi- tion concerned with ideas of reproduction, obsolescence, distribution and mediation. Through the infinitely reproducible, yet erratic outcomes of producing works via the fax machine, this show displaces traditional notions of the hand that are still commonly associated with the medium of drawing, and instead foregrounds drawing as a genera- tive process. The first iteration of the exhibition featured a core of works by nearly 100 artists, includ- ing seminal examples of early telecommunications art. With every new incarnation, the hosting institutions are encouraged to invite additional artists to submit works, which are then permanently added to the show. New participants submit faxes throughout the duration of the presentation using a specially designed cover sheet by Dexter Sinister. Visitors view the collection of faxes on the walls or flip through archival binders to see over 500 pages of works. FAX is a constantly evolving exhibition and has traveled internationally around the world to cities such as Paris, New York, Winnipeg, Cortland, Knoxville, Rapid City, Auckland, Cape Town, and Mexico City.

ABOUT THE GUEST CURATOR BASIC FACTS

João Ribas is curator at the MIT Participation fee: $2,000 for 8 weeks, plus incoming and List Visual Arts Center and a widely outgoing shipping (exhibition is sent as discs of high published critic. He was previously resolution scans to be printed out at each venue.) curator at The Drawing Center Number of artists or artist groups: 100 + in New York, and has organized Number of works: 100 + over thirty exhibitions in the U.S. Space required: 100 – 5,000 square feet; completely and abroad. Ribas is the winner of flexible an Emily Hall Tremaine Exhibition Available dates: now through August 2012 Award (2010) and two consecutive For further booking details see pg 48 AICA Awards for Best Exhibition (2008/2009). He has contributed essays to numerous exhibition catalogs FAX CATALOGUE and monographs, and has been a visiting lecturer for institutions and organizations worldwide. He was 2009. Essay by João Ribas. previously adjunct faculty at the School of Visual Arts, 186 pages, softcover, all black and New York, and currently teaches at the Rhode Island white, 10.9 x 8.4" Co-published School of Design. by The Drawing Center and ICI. ISBN 978-0942324389. $25.00 To purchase go to ‘shop’ at ici-exhibitions.org

22 FAX

PARTICIPATING ARTISTS INCLUDE

Julieta Aranda, John Armleder, Roy Ascott, Tauba Auerbach, Fia Backström, Darren Bader, Cecil Balmond, BANK, Colby Bird, Pierre Bismuth, Barbara Bloom, Mel Bochner, Tobias Buche, Ian Burns, Cabinet Magazine, Etienne Chambaud, Cleopatra’s, Peter Coffin, Jan De Cock, Collage CenterWest, Liz Deschenes, HeHe (Helen Evans & Heiko Hansen), Morgan Fisher, Claire Fontaine, Yona Friedman, Aurélien Froment, Ryan

Gander, Wineke Gartz, Liam Gillick, Marisa González, , 2009. Courtesy the artist Dan Graham, Joseph Grigely, João Maria Gusmão &

Pedro, Paiva, Wade Guyton, Skuta Helgason, Charline Untitled von Heyl, Matthew Higgs, Eduardo Kac, Matt Keegan, Zoe Keramea, Tom Klinkowstein, Germaine Kruip, eter Coffin, Glenn Ligon, Ronald L. Mallett, Jackson Mac Low, P Corey McCorkle, Josephine Meckseper, Eric Mitchell, Simon Dybbroe Møller, Olivier Mosset, Warren Neidich, Kambui Olujimi, Serge Onnen, Hans Ulrich Obrist, Mai-Thu Perret, Michalis Pichler, William Pope.L, Seth Price, Blake Rayne, Tobias Rehberger, Kay Rosen, Amanda Ross-Ho, Pamela Rosenkranz, Arnd Seibert, Matt Sheridan Smith, Sonia Sheridan, Alexandre Singh, aris, France Dexter Sinister, Josh Smith, Anne Tardos, Cheyney P Thompson, Christian Tomaszewski, Wolfgang Tillmans, alerie in Edward Tufte, Stan VanDerBeek, Olav Westphalen, G ew Christopher Williams, Jack Whitten, Johannes N at

Wohnseifer, Cerith Wyn Evans FAX

**Every venue that participates in FAX also invites artists to contribute to the show, and in turn, more than 200

artists from all over the world have been added to the Installation view of exhibition.

“One thing I like about this exhibit is that it evolves,” says [par- ticipating artist] Molly Springfield, whose own contribution

Y will explore an N 1888 precursor of the facsimile machine called a “telautograph”. You can come to the museum and ew York, College in Cortland, ew York,

N see the exhibit on one day, and come back a niversity of U week later, and tate S everything will

allery, allery, have changed. G —Baltimore Sun, owd D September 2009 at FAX Installation view of

23 ICI EXHIBITIONS EXPERIMENTAL GEOGRAPHY Curated by Nato Thompson EXPERIMENTAL GEOGRAPHY explores the distinctions between geographical study and artistic experience of the earth, as well as the junctures where the two realms col- lide. The exhibition presents a new practice through a wide range of mediums including sound and video installations, photography, sculpture, and experimental cartography created by eighteen artists or artist teams from seven countries including the United States. As curator Nato Thompson states, “EXPERIMENTAL GEOGRAPHY considers numerous aesthetic approaches that emerge from interpreting space as a cultural phe- nomenon. As the artists and researchers in this exhibition comfortably move between discursive territory from geography, to urban planning, to cartography to art, so too should the audiences. This project has no intention of being seen from the tired lens of removed art practice, but instead as a laboratory to consider the aesthetic and political engagement with the spaces that shape who we are.”

ABOUT THE GUEST CURATOR BASIC FACTS

Nato Thompson is Chief Curator at Participation fee: $14,000 for 10 weeks, plus incoming Creative Time, New York, as well shipping as a writer and activist. Among his Number of artists or artist teams: 18 public projects for Creative Time Number of works: 24 are Key to the City, Democracy in Space required: 4,500 – 5,000 square feet America: The National Campaign, Available dates: April 2011 through December 2011 Waiting for Godot in New For further booking details see pg 48 Orleans, a project by Paul Chan in collaboration with The Classical EXPERIMENTAL GEOGRAPHY CATALOGUE Theatre of Harlem, and Mike Nelson: A Psychic Vacuum. Thompson was formerly a curator at MASS MoCA, 2008. Essays by Nato Thompson, where his exhibitions included The Interventionists: Art Jeffrey Kastner, and Trevor Paglen, in the Social Sphere and Ahistoric Occasion: Artists with contributions from Matthew Making History. Coolidge, Iain Kerr, Lize Mogel and Damon Rich. 168 pages, 91 color ARTISTS INCLUDE and 5 black-and-white illustrations, 8 1/2 x 11". Co-published by ICI Francis Alÿs, AREA Chicago, The Center for Land Use and Melville House. ISBN 978-0-09- Interpretation (CLUI), The Center for Urban Pedagogy 163658-6. $29.95 (CUP), e-Xplo, Ilana Halperin, kanarinka (Catherine To purchase go to ‘shop’ at ici-exhibitions.org D’lgnazio), Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen The Pittsburgh Post-Gazette recognizes the “mind- Rothenberg, Spurse, Deborah Stratman, Daniel Tucker, expanding” exhibition Experimental Geography in its Alex Villar, Yin Xiuzhen Beyond the Best of 2010 list.

24 EXPERIMENTAL GEOGRAPHY

Sometimes called radical cartography, counter cartography, or experimental , 2007. geography, the new field is populated by geographers, cartographers, artists, and designers who want to convey the kinds of information usually omitted in conventional maps.

EXPERIMENTAL The traveling group show Experimental Geography — organized by Creative

“James Thomas Harbison” Time chief curator Nato Thompson, on view at Museum London in Ontario through January 2 — includes works by Mogel, Paglen, and others who aglen, P deploy data suggestively. —“Remaking the Map”, ArtNews, October 2010 evor r GEOGRAPHY T in Connection with the (CIA Officer Wanted Abduction of Abu Omar from Milan, Italy) Courtesy the artist ntario, Canada O ondon, L ondon in L useum M at Experimental Geography Installation view of ntario, Canada O ondon, L ondon in L useum M at , 2003. Courtesy the artists Experimental Geography The Road Map ultiplicity, ultiplicity, Installation view of M

25 ICI EXHIBITIONS MIXED SIGNALS MIXED SIGNALS: ARTISTS CONSIDER MASCULINITY IN SPORTS Curated by Christopher Bedford Photographer Collier Schorr has said, “I want to show the whole temperature of mas- culinity because […] from the outside, masculinity has been depicted in very black-and- white terms.” Despite all that has changed since sexual and social identity became a hot-button topic in art production and discourse throughout the 1970s, ‘80s, and ‘90s, one American stereotype still remains particularly entrenched: that of the straight male athlete, as someone who is typically aggressive, hyper-competitive, and emotionally undemonstrative. The artists selected for MIXED SIGNALS focus on the American stereotype of the male athlete by appropriating, riffing on, complicating, and variously re-presenting athletic imagery. The 40 works in the exhibition, from the mid-1990s to the present, demonstrate that the male athlete is a far more ambiguous, polyvalent figure in our collective cultural imagination than ever before.

ABOUT THE GUEST CURATOR ARTISTS INCLUDE

Christopher Bedford is Chief Curator Matthew Barney, Mark Bradford, Marcelino Gonçalves, at the Wexner Center. Recent Lyle Ashton Harris, Brian Jungen, Kurt Kauper, Shaun El exhibitions include a survey of C. Leonardo, Kori Newkirk, Catherine Opie, Paul Pfeiffer, Mark Bradford’s work that opened Marcos Rios, Collier Schorr, Joe Sola, Sam Taylor-Wood, in Columbus in May 2010 and will Hank Willis Thomas travel to the ICA Boston, MCA Chicago, Dallas Museum of Art, and BASIC FACTS SFMOMA, as well as smaller shows of work by Alyson Shotz and Susan Participation fee: $15,000 for 10 weeks, plus incoming Phillipsz, and a group exhibition entitled Hard Targets. shipping Projects in progress include solo presentations of work Number of artists or artist groups: 15 by Erwin Redl, Tobias Putrih and MOS, Katy Moran, Number of works: 40 Joel Morrison, Nathalie Djurberg, and Paul Sietsema, Space required: Approximately 5,000 square feet as well as a Facture and Fidelity: Painting, 1945–2013, Available dates: September through December 2011 co-organized with Katy Siegel, which will open at the For further booking details see pg 48 Wexner Center in 2013. He has written extensively on art for publications including Artforum, Art in America, Listed in Modern Art Notes as one of the “Top 10 Frieze, and October. Exhibitions of 2010”

26 MIXED SIGNALS: ARTISTS CONSIDER MASCULINITY IN SPORTS ondon L , 2008 (detail). Courtesy of Jay Jopling/White Cube, 3 Minute Round -Wood, -Wood, aylor T am S

MIXED SIGNALS CATALOGUE

2009. Essays by Christopher ladstone Bedford and Julia Bryan-Wilson, G and an excerpt from an essay by Judith Butler. 72 pages, 58

color illustrations, 10 1/2 x 8 3/8". , 2005. Courtesy Published by ICI. ISBN 978-0- 916365-81-3. $22.95 To purchase go to ‘shop’ at ici-exhibitions.org DRAWING RESTRAINT 10 ew York ew York N atthew Barney, atthew Barney, allery, allery, M G

27 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 six 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 have 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.

ABOUT THE GUEST CURATORS ARTISTS INCLUDE

Harrell Fletcher is an artist who has Caleb Belden, Mary Bordeaux, Ally Drozd with Judge worked collaboratively and individu- Evans and the Portland Community Court, Laura ally on socially engaged, interdisci- Deutch, Gary Freitas, Jorge Figueroa, Sylvia Gray (with plinary projects for more than fifteen the Elsewhere Collaborative), Jim Grosbach, Nicole years; his work has been exhibited Harvieux, Warren Hatch, Jake Herman, Maiza Hixson, throughout the United States, and in David Hoelzinger, Howard Kleger, Cymantha Diaz Liakos, Europe. He is a professor of Art and Ellen Lesperance, Jonathan Lindsay, Dennis Newell, Bob Social Practice at Portland State Newland, Raymond Mariani, Alan Massey, Jim McMillan, University in Portland, Oregon. Jennifer McCormick, Beatrice Moore and The Mutant Piñata Show (with piñatas by Mike Maas, Ana Forner, Jens Hoffmann is Director of Chris Clark, Tom Cooper, and Koryn Woodward), Joseph the CCA Wattis Institute for Perez, Bernie Peterson, Bruce Price, David Rosenak, Contemporary Arts, San Francisco. JJ Ross, Andrew Sgarlet, Robert Smith-Shabazz, Rudy He has curated over three-dozen Speerschneider, Andrea Sweet, James Wallner, Presley exhibitions since the late 1990s. H. Ward, Paul Wilson He was director of exhibitions at the Institute of Contemporary Arts in London from 2003 to 2007. Hoffmann is an adjunct professor at the California College of the Arts, San Francisco, a guest professor at the Nuova Accademia de Belle Arti, Milan, and a faculty member at Goldsmiths College, University of London. He is the co-curator for the 12th Istanbul Biennial in fall 2011.

28 PEOPLE’S BIENNIAL

I was raised on a ranch where Wyoming, Montana and South Dakota meet. I documented elements of that life for thirty years. For a time I concentrated on pro- ducing rodeo action images. Rodeo photography was, as I try to make all my endeavors, a way to earn at , 1983 least a modest income while prac- ticing a craft that I viewed—at its best—as art at the time. My rodeo photos are also historical docu- ments of events and their partici- pants. If art resulted, well, great! —Bob Newland, South Dakota Keepin’ kids off drugs in South Dakota akota akota), D D outh outh S S ewland ( apid City, apid City, N R Bob rts Center in The People’s Biennial recounts A ahl some interesting stories that could D have otherwise gone unheard, and at for me, that’s reason enough to go check things out. Additionally, Singularity: Operating

the show goes where no TBA has Biennial People’s , 2010

rizona), gone before—into the realm of the A purely accessible. It’s a refreshing (OS): 1.0 exhibit. —The Portland Mercury, Installation view of ary Freitas ( ary Freitas September 2010 G System

EXHIBITION ITINERARY PUBLICATIONS

Portland Institute for Contemporary Art For latest developments on the exhibition, tour, publica- Portland, Oregon tion, and related events, please visit the People’s Biennial September 10–October 17, 2010 blog on ICI’s homepage at www.ici-exhibitions.org

Dahl Arts Center Published this summer and distributed by DAP, People’s Rapid City, South Dakota Biennial 2010: A Guide to America’s Most Amazing January 14–March 27, 2011 Artists will chronicle the curatorial process of Fletcher and Hoffmann’s research and visits to each of the Southeastern Center for Contemporary Art five cities. The publication will include a conversa- Winston-Salem, North Carolina tion between the curators, journalistic entries from the July 8–September 18, 2011 participating venues’ staff, statements from each of the selected artists; and extensive photographic documenta- Scottsdale Museum of Contemporary Art tion of the exhibition organization process, community- Scottsdale, Arizona based events, selected artwork, and resulting exhibition. October 15, 2011–January 15, 2012 PEOPLE’S GALLERY Cantor Fitzgerald Gallery, Haverford College Haverford, Pennsylvania An offshoot of the exhibition, People’s Gallery will January 27–March 2, 2012 be opening this March in the Mission District of San Francisco. Based on the curators’ desire to work more in depth with a few of the artists, the gallery will include five solo shows and one group show, giving wider audiences an opportunity to view some of the work more intimately.

29 ICI TRAINING AND RESEARCH INDEPENDENT VISION THE GERRIT LANSING INDEPENDENT VISION AWARD, established in 2010 to mark the organization’s 35th anniversary and to honor the memory of ICI’s long-time Chairman, reflects ICI’s commitment to supporting international curators early in their careers. The award is intended for an early to mid-career curator who has shown exceptional creativity and prescience in his/her exhibition making, research, and related writing. DORYUN CHONG, Associate Curator of Painting and Sculpture at MoMA, was selected to receive the inaugural Independent Vision Award for his global understanding of artworks and their contexts. As part of the award, Chong received a research grant and will develop an ICI project in 2011. In addition, Chong was interviewed by Executive Director Kate Fowle, with the transcript featured on ICI’s website.

Kate Fowle: What got you interested in curating? ‘90s. Instead you are representative of the next genera- tion in terms of how your knowledge and experiences Doryun Chong: I had a strong inter- seep into your research and exhibition-making. While est in archaeology and pre-modern, you are using words like ‘margin’ and ‘periphery’ which religious art—from medieval Euro- again come out of 90’s rhetoric, my sense is that you are pean to Buddhist and Hindu—that not thinking of them in the same way at all? led to thinking a lot about iconogra- phy and also the use of mythologies DC: You are totally right. I think the field of curating bor- and narratives, which are concerns rowed a lot from anthropology in the 90’s, but there was I’m still attracted to. a little bit of temporal deferral insofar as really inhabit- ing a process of thinking, or an approach to research. I made the switch to modern, then contemporary periods In that sense I am a kind of ethnographer or something, via social and cultural anthropology, focusing on topics but definitely of the next generation and from a different such as labor relations in places like Southeast Asia, perspective. Of course I could do this because I learned which was close enough, but sufficiently different from so much from the predecessors who realized important my cultural background to make it interesting for me. projects in the previous decade.

KF: I can see how the relationship between your inter- est in iconography and anthropology resonates in your current practice, from sitting at a desk and researching via books, to the kind of ‘field research’ you are engaged ryun Chong at ICI ICI at Chong ryun

with in traveling extensively to see work and meet with o artists. But more than that, this background perhaps D reflects why you have a particular interest in artists who are themselves looking at social and cultural issues, or who are conducting research on how the world ‘works’. What’s interesting though, is that I don’t feel that your curatorial practice is in any way taking an ethnographic Kate Fowle interviewing offices approach to understanding what’s happening interna- To read the full interview or to learn more about Doryun Chong, please tionally, which was certainly a trend of curating in the visit ICI’s website at www.ici-exhibitions.org

30 ICI TRAINING AND RESEARCH TRAINING PROGRAMS TRAINING PROGRAMS: INTERNATIONAL RESEARCH ICI is currently producing a series of training programs for practitioners at different levels in their careers, focused on exploring issues of the international through contemporary curatorial practice.

It is increasingly recognized that as contemporary art INTRODUCTION TO CURATORIAL PRACTICE has evolved, the role of the curator has followed suit. Practitioners are now mediators or cultural producers, as A Graduate Seminar at New York University much as keepers of institutional mandates or purveyors Over the course of the Spring 2011 semester, this class of taste. Working relationships with artists are becom- will focus on working processes and building a frame- ing more complex as the scope and ambition of projects work for creating a deeper and more personal under- grow and challenge exhibition norms. Following this, ideas standing of what curating entails and what the so-called on the relationship between art, site, and audience have ‘international’ art world is. Using the programming, cura- expanded, and the ways that organizations are structured torial networks and history of ICI as a central case study, and administered have become more diverse. It could be students will research into social, cultural and political said that curating is now a ‘field’ rather than a job. contexts for producing exhibitions.

Guest lecturers for the course include Mexico City- based independent curator Pip Day; Director of Public Programs at the Hirshhorn Museum, Milena Kalinovska; ew Center for

P and artist, Martha Wilson.

PHILADELPHIA CURATORIAL INTENSIVE

With the Philadelphia Exhibitions Initiative at The Pew Center for Arts & Heritage This course, which took place from October 2010– January 2011, was developed with the Philadelphia rts & Heritage. January 27, 2011

Curatorial Intensive symposium panel. A Exhibitions Initiative (PEI) at The Pew Center for Arts & Heritage for a group of emerging to mid-career curators In parallel with the developments of the curatorial role working in various institutions in Philadelphia, and fo- is the evolution of what it means to be ‘international,’ cused on how to extend networks and develop research or to work internationally. The concept of the interna- practices that could enhance participants’ current cura- tional curator and the development of mega or ‘global’ torial practices. exhibitions proliferated out of the biennial structures of the 1990s—which in turn influenced and were influenced Guest faculty for the program included Doryun by many texts defining internationalism, multiculturalism Chong, Associate Curator, Department of Painting and and globalism in relation to art practice—and has now Sculpture, MoMA, New York; Olga Egorova and Dmitry been affected dramatically with the increasing numbers Vilensky, artist collective Chto delat, St. Petersburg; of contemporary institutions that have been established Weng Choy Lee, art critic, and Director of Projects, around the world. These factors, together with the pro- Research, and Publications, Osage Foundation, Hong liferation of networking through the internet and social Kong; and Nat Muller, independent curator, Rotterdam. media, have meant that concepts of ‘local’ and ‘interna- tional’ take on very different forms today. For more information about our training programs, please contact Chelsea Haines at [email protected] or 212 254 8200 x26

31 ICI TRAINING AND RESEARCH CURATORIAL INTENSIVE

Applications must include a 300-word description of an exhibition idea that the applicant would like help in developing. This proposal should cover an exhibition concept or key idea, and any artists that the applicant is considering for inclusion. Also required is a current resume, plus a short letter of intent that outlines why applicants want to participate in the Curatorial Intensive, and an example of a recent exhibition that has made an impact on the applicants.

The program fee is $1,500. Participants will be responsi- ble for covering travel and accommodation expenses. In its commitment to make the Curatorial Intensive acces- sible to individuals from diverse economic backgrounds, ICI will offer generous scholarship packages, subsidiz- ing or eliminating program fees and travel expenses for several program participants.

Program Dates Application Deadline July 10–18, 2011 March 18, 2011

Recognizing the need to support curatorial talent and to provide low-cost practical training in the current eco- nomic climate, ICI initiated the Curatorial Intensive—the first major short-course training program for emerging curators in the United States. In 2010, the first year of the program, ICI organized two iterations of the Curatorial Intensive, bringing to New York 31 emerging curators from 13 countries and 11 U.S. states, to work with and learn from some of today’s leading art world figures. ctober 24, 2010 O This July, individuals will again be selected from an open competition to come to New York for the next Curatorial Intensive, consisting of a rigorous schedule of seminars, tutorials, workshops, discussions, and critiques, as well as site visits to local institutions and artists’ stu- dios. In addition to ICI’s core faculty and guest lecturers, teachers and advisors for this program include inde- Curatorial Intensive workshop. pendent curators Cecilia Alemani, Regine Basha, and Teresa Gleadowe; Kate Fowle, Executive Director, ICI; For further information about the Curatorial Intensive, and to apply, please visit our website or contact Chelsea Haines at haines@ici- Sofia Hernandez Chong Cuy, Curator of Contemporary exhibitions.org or at 212 254 8200 x26 Art, Colección Patricia Phelps de Cisneros; Matthew Higgs, Director and Chief Curator, White Columns; and The Curatorial Intensive is made possible, in part, by grants from the Robert Sterling Clark Foundation, the Dedalus Foundation, the Helena Christian Rattemeyer, Associate Curator, Department Rubinstein Foundation, and the Milton and Sally Avery Arts Foundation; of Drawing, MoMA. and by generous contributions from Toby Devan Lewis, James Cohan, and the supporters of ICI’s Access Fund.

32 CURATORIAL INTENSIVE

CURATING IN THE PUBLIC REALM MUMBAI

Last October in New York, ICI organized the Curatorial ICI’s pilot international iteration of the Curatorial Intensive for emerging international curators who wanted Intensive took place in Mumbai, India from December to learn about curating in the public realm. From an open 14–16, 2010. The course was developed in partnership competition, 14 individuals from Australia, Bulgaria, with the Mohile Parikh Centre—a cultural organization Colombia, England, Ireland, Israel, Serbia, and 6 U.S. focused on further education in Mumbai—as a three-day states were selected to study with some of today’s introduction to curating, and was hosted at Chatterjee & leading practitioners working within the rapidly grow- Lal, a gallery in the art district of Colaba. ing field known as public practice, including Nicholas Baume, Director and Chief Curator, Public Art Fund; Led by ICI’s Senior Advisor Susan Hapgood, who is Claire Bishop, Associate Professor, PhD Program in Art based in Mumbai, and ICI Deputy Director Renaud History, CUNY Graduate Center; Jim Campbell, artist; Proch, the course was completed by 20 participants and Mary Jane Jacob, Professor and Executive Director of was formulated as an introduction to curatorial practice Exhibitions, SAIC; and Nato Thompson, Chief Curator, and to the role of the curator in relation to artists, space, Creative Time. institutions, and audiences.

Guest speakers for the course included: Geetha Mehra, Director of Sakshi Gallery and curator of Finding India,

YC. an exhibition of Indian Art; Pooja Sood, a New Dehli- N based independent curator and the Director of KHOJ International Artists’ Association; and Maithili Parekh, Deputy Director at Sotheby’s Art Auction House in Mumbai.

Working through conceptual as well as practical con- siderations, the course introduced ICI’s Exhibition in a Box, Harald Szeemann: Documenta 5 as a teaching tool. Using the archival material at hand, the group worked ovember 1, 2010 Curatorial Intensive symposium at 16 Beaver, Curatorial Intensive symposium at 16 Beaver, N through the concept of producing and encouraging events within the presentation of Documenta 5, as the exhibition aims to prioritize audience engagement and experience; and the debate on art and democracy that was introduced by Joseph Beuys in his 100 days of lec- tures on the subject, engaging directly and actively with his audience. ovember 1, 2010 N ecember 16, 2010 D Curatorial Intensive: Fall 2010. Class picture. Curatorial Intensive: Fall 2010. Class picture.

This was a great way to kick start my exhibition idea that umbai. Class picture. umbai. Class picture.

I have been mulling over for several years. The Curatorial M Intensive has given it shape and I hope an unstoppable momentum. As for my career, this time with ICI has shaped the way I am thinking of my role at my workplace.

An unexpected outcome of this intensive is a new sense Curatorial Intensive of confidence among my peers and artists. Not to men- tion meeting so many fabulous individuals, with whom I The Curatorial Intensive was unique in allowing us to hope to keep in touch. —Curatorial Intensive participant interact with gallerists, curators, facilitators, and organiz- ers. It helped a lot in understanding various aspects of ICI publishes the participants’ exhibition proposals online after they have curating and mounting exhibitions, recognizing the vari- completed the program. To see these, go to the Curatorial Intensive sec- tion of our website ous formats possible. I am looking forward to following these modules in my future projects. —K.N. Venkatesh, Bangalore, participant

33 ICI TRAINING AND RESEARCH 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 different 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, and Berlin.

For the fourth issue of critical empathy to a triennial in Brisbane, or developing DISPATCH (October a research project in Utrecht—we find ourselves work- 2010), Mumbai-based ing with interlocutors and collaborators in what we think cultural theorists and of as nth fields. All nth fields have similar structural, curators Nancy Adajania spatial and temporal characteristics. In structural terms, and Ranjit Hoskote these are receptive and internally flexible institutions, compiled a lexicon of rhizomatic and self-sustaining associations, or periodic provisional terms that platforms. In spatial terms, these are either programmati- have helped them navi- cally nomadic in the way they manifest themselves, or gate today’s environ- extend themselves through often unpredictable transre- ment of global cultural gional initiatives, or are geographically situated in sites to production. which none (or few) of their participants are affiliated by citizenship or residence. Temporally, the rhythm of these Excerpt from Notes Towards a Lexicon of Urgencies engagements is varied: it traverses a range of untested encounters, from face-to-face meetings and discussions To our generation of cultural producers, location has long through email and Skype, and can integrate multiple time ago liberated itself from geography. We map our location lines for conception and production. on a transregional lattice of shifting nodes representing

intense occasions of collegiality, temporary platforms , of convocation, and transcultural collaborations. As we

move along the shifting nodes of this lattice, we produce alerie G outcomes along a scale of forms ranging across informal

conversations, formal symposia, self-renewing caucus- Spelling Dystopia ani.

es, periodic publications, anthologies, traveling exhibi- S tions, film festivals, biennials, residencies, and research aroan el aroan

projects. This global system of cultural production takes M eipzig its cue from the laboratory: as in all laboratories, the em- L rt, 2 channel video installation.

phasis is on experiment and its precipitates. However, to A ina Fischer & the extent that this system is relayed across a structure igen + N 2008-09. E of global circulations, it also possesses a dimension of theatre: a rather large proportion of its activity is in the In these complex circumstances, the architecture of be- nature of rehearsal and restaging. longing can never be static. In our own practice as theo- rists and curators, we have drafted different versions of it In this DISPATCH, we would like to address the dilem- in different places. We have drawn on various models of mas as well as the potentialities of a mode of cultural emotionally and intellectually enriching locality, includ- production that is based on global circulations yet is not ing the mohalla (an Urdu/Hindi word meaning a web of merely circulatory; and a mode of life that is based on relationships inscribed within a grid of lanes, streets and transnational mobility but is not without anchorage in houses), the kiez (a Germano-Slavic, specifically Berlin regional predicaments. word, meaning much the same thing, and conferring on the resident the privilege of non-anxious belonging), the Everywhere and increasingly—whether we are teaching adda (a Hindi/Bengali term meaning a venue for friendly at a para-academic platform in Mumbai, engaging in conversation and animated debate), and the symposium curatorial discussions or conducting research in Berlin, (not the academic format but its original, a Greek word co-curating a biennial in Gwangju, contributing to an signifying a drinking party that was also a venue for international exhibition in Karlsruhe, responding with philosophical discussion).

34 DISPATCH

There are two contending logics at work in the global the friction of practical politics—in the form of mass system of cultural production. On the one hand is the mobilizations, populist ideologies and media manipula- institutional logic of repetition, associated with the ven- tion—abrades the cultural domain. All this builds into ues of cultural production; on the other, the participatory an unfolding sequence of urgencies; to deal with this logic of recursion, expressed by the agents of cultural in a manner that is more than tactical and reactive, we production. The former generates a momentum of itera- have found it useful to assemble a provisional lexicon of tive continuity and a centripetal accumulation of author- urgencies. ity (for example, the sheer editionality of Documenta, the Venice Biennale or the Whitney Biennal; and the continu- Through DISPATCH, we share 11 selected keywords ous translation of alumni from various curatorial studies that help us articulate a response to the most pressing programs into the personnel in the cultural economy). questions that impinge on our practice as theorists and The latter can produce self-critical disruption and a curators, and serve as rubrics with which to manage our centrifugal diffusion of dissidence (for example, the suc- often unruly evidentiary material. We will move according cessive curatorial ruptures and renewals of a biennial to an internal logic or genealogy of concepts, rather than or other large-scale periodic exhibition; and the artis- alphabetically, as we present these entries. tic, theoretical and curatorial radicalizations, although eventually absorbed within the system, of anti-aesthetic 1. Critical Transregionality art, institutional critique, the anthropological turn, the 2. The Dividual Self pedagogical turn, the relational turn, and the emphasis 3. Emplacement on the archive). 4. Heaviness 5. Convocation 6. Transient Pedagogy

, 7. Geniza 8. Detour amaguchi 9. Jujitsu Radio Solaris 10. The Agoratic Condition ani. S 11. A Contributory Ethic edia, Japan M aroan el aroan nd A M To read the full DISPATCH Notes towards a Lexicon of Urgencies, please rts

A visit ICI’s website ina Fischer & N 2005. 10 channel video installation. Y Center for

The war of the logics is waged throughout the system: in successive editions of biennials, time-bound publication programs, interdisciplinary academic adventures, and elhi, India grant cycles for research. As emphases shift and priori- D ew N ties change, the instrument of cultural policy reveals its . , 2008. Installation for hidden aspect as a punitive weapon. Extinct? The result: orphan bodies of research, an archipelago of garwal, abandoned archives, and island universes of knowledge A avi drifting in a discursive outer space. And all the while, R 48°C Public Art Ecology

Nancy Adajania is an independent Ranjit Hoskote is a poet, cultural curator and cultural theorist who has theorist and independent curator. written and lectured extensively on He is the author of nineteen books, contemporary Indian art, especially including five collections of poetry, new media art and its political and most recently Vanishing Acts: New & cultural contexts, at venues such as Selected Poems 1985-2005 (2006) Documenta 11, Kassel; ZKM, Karl- and Die Ankunft der Vögel (2006), sruhe; the Neuer Berliner Kunstver- and has authored nine monographs, ein and the Transmediale, Berlin; the most recently, Zinny & Maidagan: Danish Contemporary Art Foundation, Copenhagen; Lot- Compartment/ Das Abteil (2010). Hoskote has curated tringer 13, München; and Kunsthalle Wien and MuMoK, 21 exhibitions of contemporary Indian and international Vienna, among others. As Editor-in-Chief of Art India art, and has just been appointed as Commissioner for (2000-2002), Adajania developed a discursive space for India’s first-ever national pavilion for the 54th Venice emergent new media and interactive public art practices Biennale (2011). and social projects on a global level.

35 ICI EVENTS THE NOW MUSEUM CONTEMPORARY ART, CURATING HISTORIES, ALTERNATIVE MODELS This conference aims to tackle key questions around the museum as an institutional entity and contemporary art as an art historical category. Speakers will provide an overview of developments across the Americas, Europe, Asia, Africa, and the Middle East. Particular attention will be paid to the construction of historical narratives (or their abandonment) through collection displays; the role of research in relation to contemporary art; the alternative models that are already having an impact, and their relationship to more traditional museum infrastructures. Organized by ICI, the PhD Program in Art History at CUNY Graduate Center, and the New Museum.

SPEAKERS INCLUDE Friday, March 11, 10am–6pm Elebash Recital Hall, CUNY Graduate Center Bruce Altshuler, Richard Armstong, Zdenka Badovinac, Carlos Basualdo, Ute Meta Bauer, Dara Birnbaum, Claire Revisiting The Late Capitalist Museum Bishop, Johanna Burton, Manuel Borja-Villel, Paul Chan, In 1990, Rosalind Krauss published her seminal es- Beatriz Colomina, Okwui Enwezor, Anthony Huberman, say on museums of contemporary art, arguing that the Annie Fletcher, Kate Fowle, Massimiliano Gioni, Martin increased scale of museum architecture led the viewer’s Grossmann, Eungie Joo, Pamela M. Lee, Maria Lind, attention to focus on a sublime experience of space Lu Jie, Gabi Ngcobo, Gabriel Pérez-Barreiro, Katy Siegel, itself, rather than to the works of art displayed within it. Terry Smith, Philippe Vergne, and Dominic Willsdon. To what extent have Krauss’s arguments been fulfilled in the last twenty years? And have compelling alternatives TICKETS to her diagnosis arisen in its wake?

Whole conference Responses by Bruce Altshuler, Director, Program $30 (general)/$22 (members)/$15 (students with I.D.) in Museum Studies, New York University; Manuel Per day Borja-Villel, Director, Museo Nacional Reina Sofia, $16 (general)/$12 (members)/$8 (students with I.D.) Madrid; Beatriz Colomina, Professor, Department of Architecture, Princeton University. Chaired by Johanna For more information and to purchase tickets: Burton, Director, Bard Center for Curatorial Studies. www.newmuseum.org/events. Dialogue: Sources of the Contemporary Museum SCHEDULE When did the sources of curatorial activity that we con- sider to be ‘contemporary’ emerge, and where? Thursday, March 10, 7–9pm New Museum A conversation with Carlos Basualdo, Keith L. and Katherine Sachs Curator of Contemporary Art at the Prologue: Exhibition Machines Philadelphia Museum of Art, and Curator at MAXXI, A conversation between artist Paul Chan and Philippe Rome, and Pamela M. Lee, Professor in the Department Vergne, Director, Dia Art Foundation of Art and Art History, Stanford University.

36 THE NOW MUSEUM

Dialogue: The Artist’s Perspective R. Guggenheim Foundation; curator and artist Gabi A conversation with artist Dara Birnbaum and Ute Meta Ngcobo, Johannesburg; and Gabriel Pérez-Barreiro, Bauer, Associate Professor and Director, Visual Arts Director, Colección Patricia Phelps de Cisneros. Chaired Program, MIT by Eungie Joo, Director and Curator of Education and Public Programs, New Museum. Contemporanizing History/Historicizing the Contemporary What do contemporary museums stand for today? Recent attempts to define the ‘contemporary’ as an era Responses by Katy Siegel, Professor, Department of distinct from the modern and the post-modern have all Art, Hunter College and Dominic Willsdon, Curator of revolved around the question of a relationship to history. Education and Public Programs, San Francisco Museum How do we periodise the contemporary? Does the dis- of Modern Art. tinction between modern and contemporary art hold up in a global context? Has this changed relationship to his- tory, and an awareness of art’s new geographies, been Sunday, March 13, 2–6pm made apparent in recent museum collection practices? New Museum

Panelists include Okwui Enwezor, Director, Haus der Graduate Students Respond Kunst, Munich; Annie Fletcher, Curator, Van Abbe Short papers by graduate students Museum, Eindhoven; Massimiliano Gioni, Curator, Chaired by Claire Bishop, Kate Fowle, and New Museum, New York; and Terry Smith, Professor Martin Grossmann, Professor, School of Art and of Contemporary Art History and Theory, University Communication, University of São Paolo. of Pittsburgh. Chaired by Claire Bishop, Associate Professor of Art History, CUNY Graduate Center. OTHER PROGRAMS

Saturday, March 12, 12–6pm May 1, 2011, 2–3:30pm New Museum Converge Curators Forum Next Art Fair Extending Infrastructures Part I: Chicago, IL Platforms & Networks The last decade has seen the evolution of new models TransAmerican Connections for institutions that enable the development of networks This panel discussion will bring together curators from and collaborations between artists, curators, and orga- the five regional arts institutions across the US who nizations. These have established platforms from which worked with ICI on developing the exhibition People’s to generate programming and accumulate research that Biennial. Curated by Harrell Fletcher and Jens Hoffmann, goes beyond the national or localized mandates of the People’s Biennial is a survey of artists in five regional traditional contemporary art museum, and which instead communities that resulted from a year of research car- encourage the accumulation of knowledge and projects ried out in collaboration with local art institutions, which through shared concerns based on experience and are now hosting the exhibition during its tour. As such, practice. What new ways of thinking about collecting art, the panelists represent a unique network of collaborative recording history, and producing discourse have these curatorial practice stretching across the country. They generated? will discuss their role as the curators on the ground who spearheaded the research about local artists beyond the Panelists include Zdenka Badovinac, Director, Moderna conventional structure offered by MFA programs and Galerija, Ljubljana; Anthony Huberman, Distinguished commercial galleries. They will share their experiences Lecturer, Hunter College, & Director, The Artist’s Institute, with the exhibition and talk about how the exhibition New York; Maria Lind, Director, Tensta Konsthall, model has started to build the potential for the expan- Stockholm; and Lu Jie, Director,and Chief Curator, Long sion of this network of institutions, artists, and curators March Project, Beijing. Chaired by Kate Fowle, Director, on a local and national level. Independent Curators International. Moderated by Jens Hoffmann, Director, CCA Wattis Extending Infrastructures, Part II: Institute for Contemporary Arts, and co-curator of Bricks & Mortar People’s Biennial, panelists include Matthew Callinan, How are the tangible, physical manifestations necessary Campus Exhibitions Coordinator, Haverford College, PA; for the development of contemporary art infrastructures Cassandra Coblentz, Associate Curator, Scottsdale conceptualized for a specific region, emphasis, or audi- Museum of Contemporary Art, AZ; Kristan Kennedy, ence? What is necessary to participate meaningfully in Visual Art Curator, Portland Institute of Contemporary international and local contexts? Panelists will discuss Art, OR; Steven Matijcio, Curator of Contemporary Art, the development of contemporary art infrastructures Southeastern Center for Contemporary Art, NC; today including the birth of new museums, the relevance and Mary Maxon, Curator of Exhibits, The Dahl Arts of the model, the future of patronage, and challenges. Center, SD. Panelists include Richard Armstrong, Director, Solomon

37 ICI EVENTS CURATOR’S PERSPECTIVE THE CURATOR’S PERSPECTIVE is a free, itinerant public discussion series that ICI introduced in 2009 as a way for international curators to share their research and ex- periences 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 from curators around the globe. In the past year, New York audiences have heard perspectives on art, culture, and exhibition-making from curators in Quito, Ecuador; Lagos, Nigeria; Tel Aviv, Israel; Ho Chi Minh City, Vietnam; Vilnius, Lithuania; Los Angeles, U.S.; and Singapore. In Spring 2011, practitioners from London, UK; Ljubljana, Slovenia; and Beirut, Lebanon will talk about what they’re most interested in at the moment, including artists, exhibitions, and their views on recent developments in the art world.

SPRING 2011 PROGRAM galerija’s 2000+ Arteast Collection. She has been systematically dealing with the processes of redefining Thursday, January 20, 7–8:30pm history and with the questions of different avant-garde Katharine Stout traditions of contemporary art, starting with the exhibi- Hosted by Tanya Bonakdar Gallery tion Body and the East— From the 1960s to the Present, 521 West 21st Street which premiered at the Moderna galerija, Ljubljana in New York, NY 10011 1998 before traveling to Exit Art in New York in 2001.

Tuesday, May 24, 7–8:30pm Katharine Stout is Curator of Contemporary British Art at Lamia Joreige Tate Britain and Associate Director of the Drawing Room, Hosted by e-flux London. At Tate, Stout has curated various aspects of 41 Essex Street the contemporary program including numerous Turner New York, NY 10002 Prize exhibitions, most recently in 2010, as well as the Turner Prize Retrospective in 2007. Lamia Joreige is an internationally renowned artist and Monday, March 14, 7–8:30pm one of the founders and the Co-Director of the Beirut Zdenka Badovinac Arts Center, Lebanon. The Beirut Arts Center is one of Hosted by the CUNY the leading non-profit alternative art spaces in the Middle Graduate Center East, providing a forum for cutting-edge contemporary The James Gallery art in the region and internationally. 365 Fifth Avenue All events in the Curator’s Perspective series are free of charge and open New York, NY 10016 to the public. For more information about upcoming events, please visit our website or contact Chelsea Haines at [email protected] or Zdenka Badovinac has been Director of Moderna 212 254 8200 x26 galerija/ Museum of Modern Art, Ljubljana since 1993. The 2011 Curator’s Perspective program has been made possible, in Badovinac has curated numerous exhibitions present- part, by grants from the Trust for Mutual Understanding, the Robert ing both Slovenian and international artists, and initiated Sterling Clark Foundation, and The Andy Warhol Foundation for the the first collection of Eastern European art, Moderna Visual Arts; and by the support of the ICI Board of Trustees.

38 CURATOR’S PERSPECTIVE

GLENN PHILLIPS WENG CHOY LEE ecember 12, 2010 D ovember 9, 2010 N useum. M ew N he Kitchen. T ee. L hillips. P lenn G erspective: Choy erspective: Weng P P s Curator’s Curator’s Curator’

Glenn Phillips, Principal Project Specialist and In December 2010, ICI organized its second Curator’s Consulting Curator in the Department of Architecture Perspective tour with Singapore-based art critic and and Contemporary Art at the Getty Research Institute in curator Weng Choy Lee, organized as part of ICI’s new Los Angeles, gave a timely Curator’s Perspective lecture programing initiatives that connect international practi- focusing on approaches to curating exhibitions about tioners with audiences across North America. Lee trav- (and reconstructing works from) performance art in the eled to Chicago, San Francisco, Philadelphia, and new 1970s. York to discuss his thoughts on biennials, evaluating this now-pervasive exhibition format in Asia. What’s at the core of a lot of the discussion around “re-dos” today is the question of whether they Of the cultural phenomena exemplary of capital- should even happen at all, since they essentially re- ism and globalization, the international biennial has move the ephemeral nature of ephemeral artworks become a paradigmatic form of bringing together and allow them to be commoditized and absorbed and displaying a large group of visual objects into the art market and into our standard conven- from around the world. Geography and ethnicity tions of institutional display, thereby de-politicizing are privileged in biennials, to the extent that one works that have previously been seen as inherently could describe their mode of knowledge as ethno- political precisely because they couldn’t be bought geographic. And yet, the very form of the biennial and sold and lent in a standard way. […] But what’s exhibition elides the distances between its various the curator’s role in deciding what form the work assembled representations. There is the assump- should take in the gallery? tion that, no matter how great the distances— mainly in space, occasionally in time—art works […] Reconstructions are not straightforward proj- from anywhere can be presented together, that is, ects, because times have changed, and materials seen together as part of an increasingly globalized have changed, and artists have changed — you world. will usually find that just about any artist will want to introduce changes to the work, because artists But is this assumption valid? […] Following Sanjay are interested in the things that interest them now, Krishnan’s scholarship, I’d like to proffer a stra- not then, and there’s not a rulebook you can refer tegic disavowal of the global. To argue against to that tells you which changes are OK and which the assumption of the global perspective is not to aren’t when you’re making a reconstruction. I think deny the social and material changes the world is nobody really knows what the right thing to do undergoing. But what we need to recognize are is with reinventions and reconstructions, except the perspectives that interrupt the global gaze. To to say that there’s no single approach that’s right share in the practices of art history is not necessar- for all pieces, and that curators really need to ily to bring everything together into a single, unified consider all the angles of a piece, even if it might perspective; such sharing can also make possible entail trying to convince an artist to take a different an appreciation of the distances in between these approach than they currently want. […] And as time different practices. goes on more and more curators are going to be involved in doing this type of work as a regular part Listen to the full podcast of the Curator’s Perspective: Weng Choy Lee at the New Museum on Art on Air: artonair.org. Participating institutions for of their job. Lee’s Curator’s Perspective tour included the Art Institute of Chicago, IL; CCA San Francisco, California; ICA Philadelphia, Pennsylvania; and the New Museum, New York.

See page 31 for ICI’s current programs focusing on what “international” means in curatorial practice. 39 ICI EVENTS THE CURATOR’S LOUNGE THE CURATOR’S LOUNGE is ICI’s hub at select art fairs for artists, curators, galler- ists, collectors and art enthusiasts to come together and exchange ideas about contem- porary art. Through talks, tours, and other public events, THE CURATOR’S LOUNGE provides access to leading professionals, creating a platform that encourages hybrid practices in the art world. ibas, and Kate Fowle [left to R Curator led tours with Jens ecember 3-4, 2010. D Let’s talk: Let’s João Hoffmann, right].

ICI AND NADA ICI’s displays included current, past and rare exhibition catalogues for sale at special fair prices. The booth also In 2010, ICI and the New Art Dealers Alliance (NADA) vended copies of curator Jens Hoffmann’s new jour- revitalized the series, Let’s talk, by offering museum nal, The Exhibitionist, a publication that focuses on the groups and NADA audiences the exclusive opportunity practice and history of exhibition making and on current to engage with respected international curators in fast- curatorial models. Hoffmann is the co-curator of ICI’s paced tours of the fair. Every afternoon curators shared exhibition People’s Biennial. their thoughts and interests in a selection of works from a variety of booths, as well as broader thoughts on Deputy Director Renaud Proch moderated a conver- how artists were developing their practices. The list of sation with Martha Wilson & others in a panel titled tour leaders included Kate Fowle, Director, ICI; “Experimental Libraries” as part of the book fair Jens Hoffmann, Director, CCA Wattis Institute for conference series. Contemporary Arts; Ruba Katrib, Associate Curator, MoCA Miami; René Morales, Curator, Miami Art ICI AND INDEPENDENT Museum; João Ribas, Curator, MIT List Visual Arts Center; and Franklin Sirmans, Chief Curator of In 2011, ICI invites you to join us once again for the Contemporary Art, LACMA. We look forward to working second edition of INDEPENDENT, the award winning with NADA once again at NADA Miami, 2011. temporary exhibition forum, taking place at the former DIA Center for the Arts building at 548 W 22nd Street. ICI AND NEW YORK ART BOOK FAIR AT MOMA PS1 INDEPENDENT takes place from March 3-6, 2011, during New York Art Fair Week. ICI will be hosting The In November 2010, ICI joined the New York Art Book Curator’s Lounge, so please stop by to share a coffee Fair at MoMA PS1 and celebrated 35 years of ICI publi- with ICI staff and to learn more about how ICI con- cations, as well as taking the opportunity to showcase nects emerging and established curators, artists, and limited edition prints, including works by John Baldessari, institutions. Laurie Simmons, and Robert Rauschenberg.

40 INDEPENDENT CURATORS INTERNATIONAL THE CURATOR’S ACCESS ICI

ICI STAFF ICI BOARD OF TRUSTEES ICI thanks the following Trusts and Foundations Kate Fowle Gerrit L. Lansing for their generous support LOUNGE Executive Director Chairman Emeritus of the organization and its [email protected] programming: Sydie Lansing Alaina Claire Feldman Honorary Chair Affirmation Arts Fund Exhibitions Assistant AG Foundation [email protected] Patterson Sims CEC ArtsLink T +1 212 254 8200 x27 Chairman Helena Rubinstein Foudation Horace W. Goldsmith Foundation Bridget Finn Melville Straus Robert Sterling Clark Foundation Special Programs Manager Barbara Toll The Andy Warhol Foundation for the fi[email protected] Vice Chairs Visual Arts T +1 212 254 8200 x24 The Dedalus Foundation T.A. Fassburg The Milton and Sally Avery Arts Frances Wu Giarratano President Foundation Exhibitions Manager The National Endowment for the [email protected] James Cohan Arts T +1 212 254 8200 x29 Jeannie Grant The Trust for Mutual Understanding Ann Schaffer Toby Devan Lewis Bryan Granger Vice Presidents Communications and Office With special thanks to the Liman Administrator Jeffrey Bishop Foundation for supporting the [email protected] Jill Brienza development and production of this T +1 212 254 8200 x21 Christo & Jeanne-Claude** Spring/Summer brochure. Susan Coote Chelsea Haines Maxine Frankel And to ICI’s supporters who have Education and Public Programs Carol Goldberg made very generous contributions Manager Trustee Emerita to the Gerrit Lansing Education [email protected] Hunter C. Gray Fund and the Access Fund; who T +1 212 254 8200 x26 Marilyn Greene further ICI’s relationships with artists Agnes Gund through participation in the New Kristin Nelson Trustee Emerita York Studio Events; who attend our Development Manager Jo Carole Lauder public events and training programs; [email protected] Caral G. Lebworth and who collaborate with us on proj- T +1 212 254 8200 x25 Trustee Emerita** ects all over the world. Vik Muniz Renaud Proch Mel Schaffer Thanks also to our sponsors for Deputy Director Susan Sollins* ICI’s 35th Anniversary Party on [email protected] Executive Director Emerita December 9, 2010: T +1 212 254 8200 x28 Nina Castelli Sundell* Pat Bell, Brooklyn Brewery, Tito’s Trustee Emerita Vodka, Starr Rum, Magners Cider, Susan Hapgood Sarina Tang and Morgans Hotel Group. Senior Advisor (based in Mumbai) Virginia Wright [email protected] Trustee Emerita Independent Curators International (ICI) *ICI Co-founder 799 Broadway, #205 **In Memoriam New York, NY 10003 T +1 212 254 8200 Ken Tyburski F +1 212 477 4781 Ex-Officio Trustee [email protected] www.ici-exhibitions.org Kate Fowle www.facebook.com/curatorsintl Executive Director www.twitter.com/curatorsintl 41 ICI ACCESS THANK YOU 2010 turned out to be a wonderful 35th birthday year for ICI! To all our supporters and partners, thank you for showing your confidence in what ICI does. 2010 was the first year for many new events, exhibitions, and training programs, expanding greatly the ways in which ICI interacts with artists and curators.

35TH ANNIVERSARY PARTY to honor artists and long-time ICI Trustees Christo & Jeanne-Claude at an event in memory of ICI Chairman, Gerrit Lansing. neliis neliis n A nn A

arilyn Complementing John Baldessari’s new logo design in its M ary Hilliard M rustee oldberg; ICI oldberg;

T 35th year, which was featured on the evening’s invita- G edit: rustees ee szczynski and tions and on the back of this brochure, ICI debuted its T L o M

ose newest limited edition––a kid leather tote bag designed R rtha a by the artist and handbag designer Monica Botkier. A M feature in the New York Times style section this winter

irector Kate Fowle with irector caused a stir in the fashion and art worlds, so read on to D oto credit: credit: oto h

P learn how you too can start toting one around. ongo, and curator L und with artist Fred Wilson; ICI und with artist Fred obert R G rustee Christo and friends, photo cr BRAZIL 2010 T gnes A eene and Jill Brienza; r chaffer, artist chaffer, rustee Clockwise from top left: ICI Clockwise from S T G Beadnell. ICI

ICI ended its 35th year in style with a birthday bash at iterói, Brazil N the Park Avenue Armory on December 9th. Artists, cura-

tors, and art world figures donated their time to ICI’s live useum, M rt

and silent auctions of art experiences. Winning bidders A walked away with a commissioned animal portrait by Ann Craven, an astrological reading by Dan Graham, a private guided tour of Spiral Jetty and Smithson’s old haunts, and much, much, more. iterói Contemporary N Visit to the Visit Y. Y. N ays,

R In November, drawing on the expertise of our interna-

ecember 9, 2010. tional contacts from the region, ICI took 16 of its sup- tellar D S

n porters on a contemporary art tour of Brazil. The trip to O hoot”,

S São Paulo, Rio de Janeiro, and Belo Horizonte celebrat- ed 35 years of creative exchange with Latin America, that started with ICI’s very first exhibition in 1975, which oszczynski

M began its tour in São Paulo. artha M earlstein performance “

P For over eight days the group was treated to many lix hoto:

A Image courtesy of the artist and P incredible meetings with some of the Brazilian contem- porary art world’s finest figures, including collectors, ICI honored RoseLee Goldberg and Doryun Chong, dealers, artists, and curators. Extending ICI’s internation- with awards presented by Klaus Biesenbach, and looks al networks and outreach further into Latin America, this forward to collaborating with both curators on projects was the beginning of new collaborations and relation- in 2011. Earlier in the Fall, ICI also had the opportunity ships with organizations across the country.

42 THANK YOU eisewitz. R THANK YOU , 2010 at the Once in Love dition E imited L aleria with the owner and artist Caio G eto N rnesto E uciana Brito L aulo, Brazil P ão Visit to Visit S io de Janeiro R In addition to the institutions and galleries that made ICI’s trip so special, the group visited the studios of

Brazilian artists Carlos Bevilacqua, Mauricio Dias & Installation shot of the ICI and studio in artist’s Walter Riedweg, Beatriz Milhazes, Vik Muniz, Ernesto Neto, Eder Santos, Daniel Senise. Participants toured HAMPTONS LUNCHEON the private collections of Luciana Brito, Fernanda Feitosa & Heitor Martins, Eliana Finkelstein, Regina Pinho de To coincide with her participation in ICI’s public talk Almeida, and Ricardo Rego; and gained the enlighten- series the Curator’s Perspective, Vietnam-based curator ing perspectives of curators Rodrigo Moura, Jacopo Zoe Butt traveled to East Hampton with ICI staffers and Crispelli Visconti, Bernardo Paz, Adriano Pedrosa, supporters to attend and speak at a luncheon hosted Guilerme Bueno, and Marcio Botner. The trip culminated by ICI Trustee, Mickey Straus. Everyone reveled in the in a visit to Instituto Inhotim, a haven of contemporary beauty of the Hamptons, while listening to Butt’s per- art installations set in the remote region of Minas Gerais, spective on contemporary art in Vietnam and the ways in including works by Doug Aitken, Matthew Barney, Janet which her artist-run exhibition space and reading room, Cardiff & George Bures Miller, Yayoi Kusama, and Cildo San Art, is working to enhance exchange and cultivation Mereiles—a truly unique art institution and the perfect of contemporary art in Ho Chi Minh City. After the lunch, ending to a whirlwind tour of the country’s best contem- all in attendance could also read Butt’s DISPATCH on porary art. curatorial and artistic practice in Vietnam published on ICI’s website. lmeida. A inho de P egina R traus and featuring curator Zoe S ickey M rustee T aulo, Brazil P ão Visiting the home and private collection of Visiting S

A definite highlight of the trip, at Ernesto Neto’s studio in Rio de Janeiro the group took a first look at the limited edition artwork created by Neto especially for ICI in partnership with Tanya Bonakdar Gallery. This is the first unch in the Hamptons hosted by ICI editioned sculpture that the artist has produced. Trip par- L 2010 Butt, July, ticipants and ICI Members got the first chance to reserve one of the 20 editioned sculptures, but visit page 45 to In Summer 2011, ICI will again host an exclusive event learn how to reserve your place on ICI’s waiting list today. in the Hamptons, so stay tuned to ICI’s website to learn more.

43 ICI ACCESS SUPPORT ICI produces exhibitions, events, publications, and training opportunities, connecting emerging and established curators, artists, and institutions to forge international networks and generate new forms of collaboration. Without its supporters, who make possible the continuation and expansion of ICI’s many initiatives, ICI could not be the hub providing access to the people, ideas, and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art. Support ICI by joining a network of art world professionals and enthusiasts who champion collaborations with artists through limited editions and studio visits and who directly contribute to the global expansion of ICI’s exhibitions, public programs, educational initiatives, and international networks of curatorial exchange.

BECOME A FRIEND OF ICI ICI’s Access Fund was established in 2009 in order for ICI’s supporters to give directly to the core of ICI’s To become a Friend, make a 100% tax deductible founding mission––helping curators share the very best contribution of $100 or more to ICI’s Access Fund, and in contemporary art with venues that might not otherwise receive: be able to access these programs.

• Invitations to and advance notice of ICI’s travel- The Access Fund currently has over 40 contributors ing exhibitions, special events, limited editions who choose to directly support venues and curators and programming around the globe who cannot otherwise take advantage of ICI’s program- ming. In 2010 alone, contributors to the Access Fund • ICI’s semi-annual, printed brochure helped provide scholarships for emerging curators from Albania, Colombia, Egypt, Nigeria, and Singapore to • Subscription to ICI’s twice monthly eblast, come to New York City for ICI’s Curatorial Intensive keeping you up to date of ICI’s programming training program, while directly supporting the presenta- and exhibitions tion of ICI video exhibition Project 35 in Albania, Nigeria, Palestine, Taiwan, and Vietnam; and the Exhibition in a • 10% off on ICI’s 35-year history of exhibition Box: Documenta 5 in Latvia and Lithuania. catalogues and publications ICI’S ANNUAL FALL BENEFIT A donation of $500 or more to the Access Fund will get you individually named on ICI’s website and printed Save the date for this year’s big event! materials. Wednesday, November 2, 2011

Celebrate ICI’s commitment to art, education and cura- tors internationally at this cocktail party benefit and auc- tion. Contributions directly support ICI’s exhibitions and education programs. For more information on attend- ing the Benefit or on sponsorship of this special event, please contact the Development Department at 212 254 8200 x25 or [email protected]. ovember 2009 N ICI Fall Benefit.

44 SUPPORT

JOIN THE CURATOR’S NETWORK ICI LIMITED EDITIONS

Launched in 2010, ICI’s professional membership pro- gram, the Curator’s Network, was developed to bring together curators who want to share ideas and exchange information with others in the field.

In its inaugural year, the Curator’s Network connected its rapidly growing membership to a wide range of profes- , 2010. Courtesy of the artist sional resources, including the Curator’s Index, an online guide to all things curating. In the Index, ICI posts the Once in Love

information it thinks curators would like to know about, eto, including articles on curating and source materials N

for research; event listings and exhibition announce- rnesto E ments; current job and fellowship opportunities; calls for exhibition proposals and conference papers; and Ernesto Neto online versions of ICI publications and other little-known Once in Love, 2010 resources. Curator’s Network membership benefits also 33.3 x 33.3 x 33.3 centimeters include an online network directory and occasional offers Edition of 20 with 5 APs such as free day passes to the 2011 Armory Show. The Price: $5,000 fully tax-deductible annual subscription is $100. ICI’s newest limited edition artwork, Once in Love, with its combination of wood and mesh forms, bridges perfectly Neto’s past and current projects, as well as the future directions he hopes his art practice will take. ICI is thrilled to now release the last few works left in this exclusive limited edition, and should you fall in love with

iami, 2010 Once in Love, please contact [email protected] M with questions or to purchase yours today. NADA curator-led tour of curator-led s talk Let’ ote Bag. Courtesy of Botkier T NEW AT THE CURATOR’S INDEX dition E How Far Can You Push a Sound Without an Image? is imited an exhibition that takes the form of a radio broadcast. L Beginning with Marcel Duchamp’s 1913 compositions based on chance operations and Luigi Russolo’s Art of Noises (1914), the show samples artists’ record- ings through the 20th and 21st centuries. The hosts Lt Botkier/Baldessari Murnau, Monty Cantsin, and Matilde Martinko, thought- John Baldessari/Monica Botkier fully selected tracks from the artists’ recordworks collec- Leather Tote Bag tion of Steven Leiber, and will contextualize the show’s Edition of 300 voyage through 90 years of sound art. Price: $300 Limited Edition/$500 Signed Collector’s Edition + shipping First aired on May 15, 2010 in San Francisco and then at Hunter College in NY, hosted by Christopher Rivera. Long-time supporter John Baldessari designed ICI’s new look for its 35th year and then adapted an ICI exhibition The exhibition and broadcast have been curated by idea to fit beautifully on the face of a Monica Botkier Michele Fiedler in collaboration with Steven Leiber, designed bag. The gold dot is classic Baldessari, while Anouk-Lucie Andenmatten, Matthew Rana, and Shemoel the raw leather and metallic hardware are Botkier’s Recalde. signature. ICI featured this unique collaboration at NADA Miami Beach in December with great success, and will For further information on the Curator’s Network go to ICI’s website make them available again at ICI’s Curator’s Lounge www.ici-exhibitions.org or contact Bridget Finn at 212 254 8200 x24 or fi[email protected] at INDEPENDENT art fair in New York City in March. Purchase the bags online at www.ici-exhibitions.org or by contacting [email protected].

45 ICI ACCESS

NEW YORK STUDIO EVENTS 2011 Matt Keegan w York w e Wednesday, April 27 N In 30 years, ICI has programmed over 260 behind-the- 6:30–8pm rras, e scenes gatherings with emerging and established artists T D’Amelio Terras, NYC , courtesy of the elio

to give supporters exclusive access to artists’ creative m A ’ processes. The 2010 NYSE series included visits with D Marina Abramovi´c, Olaf Breuning, Rashid Johnson,

Jeffrey Vallance, Carrie Mae Weems, and Lawrence March 17, 2009 artist and Weiner. Now, the 2011 program continues in a new for- mat with nine ticketed events throughout the year. Janine Antoni Monday, May 2 Join us for ICI’s highly acclaimed year-round NYSE 6:30–8pm program in 2011, to gain the artists’ perspectives and The artist’s Brooklyn studio stay informed in today’s rapidly developing art world.

TICKET PRICING

$200 Each NYSE Ticket Lisa Oppenheim $500 Wednesday, May 25 Each NYSE Dinner Ticket 6:30–8pm $1,000 Package The artist’s Manhattan studio 6 NYSE Tickets $2,000 Package 8 NYSE Tickets 2 NYSE Dinner Tickets

Julie Mehretu Tuesday, September 27 Jonas Wood 6:30–8pm Wednesday, February 16 The artist’s Manhattan studio 6:30–8pm Anton Kern Gallery, NYC hoto: Chester Higgins P hoto: Joshua White P Michael Joo Wednesday, November 30 Brendan Fowler 6:30–8pm Monday, February 28 The artist’s Brooklyn studio inter 6:30–8pm D

Untitled Gallery, NYC adine ongacre- White ongacre- N L hoto: ndrea ndrea P A hoto: P 2011 NYSE Dinner with

ew York Adam D. Weinberg eWitt/ N L ),

Martha Wilson ol Wednesday, September 14 S ARS Wednesday, March 30 rt: 7–9:30pm A 6:30–8pm A private collection in NYC (TBD) ociety ( The artist’s Brooklyn studio S awoud Bey ights rove D R G hoto: rtists P A hoto: Kathy P This year’s prized evening will feature an exclusive talk by Adam D. Weinberg, Alice Pratt Brown Director of the Whitney Museum of American Art.

For more information or to purchase tickets, please visit ICI’s website or contact Bridget Finn at 212 254 8200 x24 or fi[email protected]

46 NEW YORK STUDIO EVENTS

PAST ICI NEW YORK STUDIO EVENTS INCLUDE Didn’t get to experience these studio visits for yourself? Vito Acconci, Ghada Amer, a.v.a.f., Alice Aycock, John Baldessari, Matthew Barney, Lynda Benglis, Louise Get insight into nearly 70 of the Bourgeois, Cecily Brown, John Cage, Sophie Calle, artists’ practices through Inside Janet Cardiff & George Bures Miller, John Chamberlain, the Studio, an ICI publication that Christo & Jeanne-Claude, Chuck Close, Gregory presents transcripts of the art- Crewdson, John Currin, Mark di Suvero, Eric Fischl, ists’ own words from their NYSE Philip Glass, Dan Graham, Cai Guo-Qiang, Peter presentations. Halley, Jenny Holzer, Joan Jonas, Donald Judd, Ilya Kabakov, Anish Kapoor, Alex Katz, Jeff Koons, Sean To purchase visit the ‘shop’ at ici-exhibitions.org Landers, Glenn Ligon, Maya Lin, Robert Longo, Robert Mapplethorpe, Marilyn Minter, Robert Morris, Vik Muniz, Takashi Murakami, Elizabeth Murray, Wangechi Mutu, Ernesto Neto, Isamu Noguchi, Yoko Ono, Tony Oursler, Roxy Paine, David Reed, Dorothea Rockburne, James Rosenquist, Susan Rothenberg, Tom Sachs, David Salle, Julian Schnabel, Dana Schutz, Andres Serrano, Joel Shapiro, Shahzia Sikander, Lorna Simpson, Kiki Smith, Nancy Spero, Doug & Mike Starn, Pat Steir, Frank Stella, Thomas Struth, Hiroshi Sugimoto, Fred Tomaselli, Richard Tuttle, Kelly Walker, John Waters, William Wegman, Fred Wilson, and Robert Wilson.

Art is supposed to be this public conversation about the placement of human beings in relation to objects in the world. (...) Art wants to be able to find platforms. The reason I’m supportive of ICI is that it offers that platform.

YC (...) They’re willing to do what a gallery or art space or N inner at the home of Frederico inner at the home of Frederico museum is supposed to do, which is to let people get up D and sing…and see what happens. —Lawrence Weiner vents cCausland, E M tudio S ew York ew York ève and Violy ève and Violy N S oldberg oldberg G rthur A pector, and pector, S inner D ancy N vents E tudio S Performance, for such a long time, was considered an ew York ew York

N alternative form of art. All my life, I have wanted to make mainstream work, and the show at MoMA actually made Kate Fowle, guest speaker at ICI’s this passage between alternative and mainstream. (...) I’ve been so impressed with how ICI has been evolving But how do you own a performance when it’s outcome and changing. It is inspirational for curators to see atten- is a memory about an experience in time and space and tion being paid to our craft. It isn’t often part of the dis- you have to have been there? Everything else is a repre- course and it’s becoming increasingly important as artists sentation.—Marina Abramovi ´c and institutions are becoming evermore global. This conversation that ICI is leading is really, really important. —Nancy Spector

47 INDEPENDENT CURATORS INTERNATIONAL BOOKING INFO

For a detailed project description, checklist, and images CURRENT AND FUTURE EXHIBITIONS W/ AVAILABILITY for any of the exhibitions listed, as well as to check spe- cific dates of availability, contact Frances Wu Giarratano, Exhibitions Manager, at 212 254 8200 x29, or [email protected]

SCHEDULING The California Experiment Martha Wilson (page 10) Exhibitions are available during the tour dates specified. (page 6) For exhibitions other than Project 35, and FAX, booking is on a first-come, first-served basis, pending approval of an institution’s facility report. When dates are agreed on, ICI sends a booking contract to confirm all arrange- ments. Mixed Signals: Artists PARTICIPATION FEE Create (page 8) Consider Masculinity in Sports (page 28) The participation fee covers the specified viewing 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 Experimental Geography upon signing the booking contract; the balance is due on (page 24) Performance Now the exhibition’s opening day. For organizations with an (page 4) annual operating budget of $100,000 or less, the fee for some exhibitions can be reduced.

REGISTRATION / INSURANCE / SHIPPING

Each artwork comes with installation and handling FAX (page 24) instructions and a condition report. Exhibitions are cov- Project 35 (page 20) ered 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 continental United States must also pay customs fees as well as outgoing shipping charges to the U.S. border. Harald Szeemann: Documenta 5 (page 15) Raymond Pettibon: EXHIBITION MATERIALS The Punk Years, 1978–86 (page 16) Each exhibition is accompanied by didactics, education materials, a sample press release, and press images. For most of the large-scale exhibitions, an illustrated catalogue will be provided, and a limited number of com- plimentary catalogues are supplied to each participating Image Transfer: Pictures venue. in a Remix Culture (page 18) With Hidden Noise (page 14) 48 Clockwise from top left: Installation view of Harald Szeemann: Documenta 5, Contemporary Art Centre in Vilnius, Lithuania. Photograph by Andrew Miksys; Gary Freitas, Singularity: Operating System (OS): 1.0, 2010; Chris Burden, Shoot, November 19, 1971. Performance at F Space, Santa Ana, CA. Photo courtesy University of California, Berkeley Art Museum and Pacific Film Archive. Gift of the Naify Family; Installation view of Image Transfer: Pictures in a Remix Culture, Henry Art Gallery in Seattle, Washington; ICI’s trip to Brazil, November, 2010; The Curator’s Perspective: Weng Choy Lee. New Museum. December, 2010; Let’s talk: Curator led tour with João Ribas. December, 2010; Mike Kelley, Extracurricular Activity Projective Reconstructive #32, Plus, a Performa Commission 2009. Photo by Paula Court, cour- tesy of Performa; Curatorial Intensive New York, October, 2010; Curatorial Intensive Mumbai, December, 2010; Curatorial Intensive Workshop, October 24, 2010 Established in 1975, Independent Curators International (ICI) produces exhibitions, events, publications, and training for diverse audiences around the world. A catalyst for independent thinking, ICI connects emerging and established curators, artists, and institutions, to forge international networks and generate new forms of collaboration.

Working across disciplines and historical precedents, the organization is a hub that provides access to the people, ideas, and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art. Y 10003 N ew York, ew York, ICI, 799 Broadway, #205 ICI, 799 Broadway, N

In 2010 ICI produced 10 exhibitions that included the work of 250 artists and which were presented at 44 venues in 14 countries. In addition, the organization programmed 34 talks and events in the U.S. and abroad with international artists and curators, and developed 4 short-course curatorial training programs for 54 curators from 16 countries.