Independent Curators International Spring/Summer 2017

Independent Spring/Summer Curators 2017 International Calendar Highlights Spring/Summer 2017

March April May June July August

1 6 EN MAS’: Carnival and Performance Art of the Caribbean Curatorial Research Home Away from Home: The DuSable Museum (Chicago, IL) May 1– August 13, 2017 —————————————————————————————— Convening: Contemporary Indigenous Public Session Australian practices Frieze Brunch 8 12 (ICI Curatorial Hub) Tess Maunder (Randall’s Island, NY) What is Shared, What is Summer Cocktails (ICI Curatorial Hub) Offered with Chloë Bass (New York, NY) The Ocean After Nature 11 (ICI Curatorial Hub) School of the Museum of 12 Ja’nell Ajani and Fine Arts at Tufts (Boston, Curator’s Perspective: Lina Iris Viktor 20 Publishing Against the Grain MA) Through March 18 Emiliano Valdes (ICI Curatorial Hub) Curator’s Perspective: Stacion—Center for Contemporary Art (Pristina, Kosovo) (Americas Society) Salah Hassan July 10–August 10, 2017 ———————————————— The Ocean After Nature (New York, NY) Anne & Gordon Samstag Museum of Art (Adelaide, Australia) March 3–June 9, 2017 ————————————————————— do it 220 Cultura Contemporánea Push Play 19–25 24 (Córdoba, Argentina) Seattle University Curatorial Intensive Curator’s Perspective: August 18–October 27, 2017 (Seattle, WA) in Accra Trevor Schoonmaker Through March 4 (The New School) 25 6 Curatorial Intensive: Framing Femininity Public Symposium Martha Wilson and Chanel (DuBois Center, Von Habsburg-Lothringen Accra, Ghana) (ICI Curatorial Hub) 25 15 Renata Poljak: Partenza Curator’s Perspective: (ICI Curatorial Hub) Britta Peters and Kasper König do it (CUNY Graduate Center, Ilmin Museum of Art (Seoul, South Korea) April 28–July 9, 2017 —————————————————————————————— Skylight Room)

do it Universidade do Porto (Porto, Portuga) Through May 17 —————————————————

24–30 Check out ICI’s website for more upcoming exhibitions and Curatorial Intensive events, and to sign up to our mailing list to receive the latest in New Orleans information on our programs.

March April May June July August

24–30 Check out ICI’s website for more upcoming exhibitions and Curatorial Intensive events, and to sign up to our mailing list to receive the latest in New Orleans information on our programs.

30 Curatorial Intensive: Public Symposium Save the Date (Contemporary Arts Center, New Orleans) ICI Annual Beneﬁt & Auction Apichatpong Weerasethakul: The Serenity of Madness Museum of Contemporary Art and Design (Manila, Philippines) Through May 17 ——————— Wednesday, October 25 WELCOME “Through their work, curators have the opportunity to promote a diversity of thoughts; encourage critical thinking; articulate arguments; build an audience; and produce new views of the world, new realities.” This was how Jochen Volz, curator of the 32nd São Paulo Biennial, described the scope of the curatorial role last May during a Curator’s Perspective talk with ICI.

In these times of intense change, Volz’s words resonate with heightened relevance. Yet, these ideas have been central to ICI for the last four decades. Since it was established in 1975 by Susan Sollins and Nina Castelli Sundell as a “museum without walls”, ICI has retained three core tenets of its mission: to advance independent practice; to broaden access to contemporary art; and to support international engagement. ICI’s ever- expanding network of collaborators—curators, artists, and art spaces—stretches across all 50 U.S. states and in 65 countries. It fosters the exchange of ideas across borders, and helps strengthen local and regional art communities within an international framework.

A new exhibition beginning this summer, PUBLISHING AGAINST THE GRAIN, will exemplify these ideals. It draws from ICI’s network to bring together an international selection of independent curatorial publishing platforms—small journals, experimental publications, websites, radio, and other innovative forms of criticism. Compiled into a traveling reading room, these will be presented in dozens of art centers around the world over the next four years. The exhibition will debut in Kosovo, as part of an ongoing

3 partnership which began in 2013 with our colleagues at Stacion, in conjunction with their annual Summer School for artists, curators and writers from the region.

In the coming months, international art events will align in even greater numbers than usual, among them the Venice Biennale, Documenta, and Skulptur Projekte Münster. ICI collaborators and Curatorial Intensive alumni are behind various aspects of these exhibitions, including several national pavilions in Venice. And in March, we will welcome Kasper König and Britta Petters to New York to hear about Skulptur Projekte.

This year alone, ICI will realize 60 collaborative projects in up to 20 countries. Each of these collaborations uniquely reﬂects how ICI’s network impacts local and regional art scenes within an international framework. None of this would be possible without the commitment of everyone who makes ICI what it is today: the curators, the artists, our audience and collaborators around the world—in person, in print, and online; the trusts and foundations that support us; the many individuals who help us carry ICI’s mission to new heights; and ICI’s Board of Trustees, whose leadership and dedication have kept our two founders’ vision of a dynamic “museum without walls” going strong since 1975. Thank you!

—Renaud Proch Executive Director

4 TABLE OF CONTENTS

EXHIBITIONS Publishing Against the Grain 8 The Ocean After Nature 10 Apichatpong Weerasethakul 14 Salon de Fleurus 18 EN MAS’ 22 Documenta 5 24 do it 26

Spotlight: “Museum without walls” 28

EVENTS Curator’s Perspective 32 Curatorial Hub 34

CURATORIAL INTENSIVE Report: Manila 39 Alumni News 40 Alumni Proﬁle 42

RESEARCH Research Convening 44 Interview: Miguel A. Lopez 46 Publications 48

SUPPORT Annual Beneﬁt & Auction 52 Limited Editions 58 Patrons Groups 60 Thank You 62 Access ICI 64 EXHIBITIONS

6 Since 1975, ICI has produced itinerant exhibitions and proﬁled the work of more than 4,000 artists, working in countries worldwide, including Argentina, Afghanistan, Brazil, Canada, Czech Republic, Denmark, Ethiopia, England, France, Germany, Hong Kong, Iceland, Jamaica, Kosovo, Latvia, Lithuania, Mexico, New Zealand, Poland, Russia, Sweden, and Thailand.

ICI’s history has uniquely positioned the organization to reﬂect on the exhibitions and artworks that travel throughout the world and across social, political, and cultural borders. In the different contexts in which they take place, itinerant projects have the potential to build a shared understanding of artist practice and are solid foundations for exchange in the curatorial ﬁeld.

ICI exhibitions consider collaborative exchange and a curatorial direction led by a combined perspective of many. Providing platforms for diversification of curatorial models and authors also leads to a diversification of the art audience. Our projects aspire to reach out to audiences with unique cultural concepts and arguments. Furthermore, ICI exhibitions are conceived to generate new content and propositions at every venue; they adapt depending on their changing contexts. Hosting institutions become active participants in the exhibition as they take a role in reconfiguring the project, framing it or even expanding it.

7 Tour begins Summer 2017 Publishing Against the Grain

Art Against Art (Germany), Art Art Against Art, 2017. Image courtesy of Pages and ICI. Leaks, Art Practical (United States), Artes Visuales (Mexico), Artewolf social, political and aesthetic questions (Namibia), Bisagra (Peru) Chimurenga with a focus on community. (South Africa), Counter-Signals, Curators, artists, scholars, and art Curatorial Dictionary (Hungary), spaces from across ICI’s international East of Borneo (United States), network of collaborators selected key Exhausted Geographies (Pakistan), publishing projects which they felt were Fillip (Canada), Girls Like Us (The critical to each of their communities. In Netherlands), LIES (United States), addition, editors of the selected publi- Makhzin (United, States / Lebanon), cations suggested further inclusions, Oberon (Australia), Our Literal expanding the range represented and Speed (United States), Pages (The forming a genealogy of discourse. The Netherlands / Iran), Raking Leaves (Sri accumulation continues as the exhibi- Lanka), SALT. (United Kingdom), Scroll tions travels, and a new publishing proj- (Pakistan), Stationary (Hong Kong), ect is included at every site. The Trans-African (Pan-African), Publishing Against the Grain pro- Tráfico Visual (Venezuela), White vides a space for reading, thinking, and Fungus (Taiwan) ... and many others conversing, where slowing down can potentially become a form of intellectu- In the context of corporatization and al resistance. It encourages discursive commodifcation in culture, and in plac- public participation and self-refective es where free speech becomes ever investigation and invites visitors to dis- more precarious, independent publish- cover new perspectives and connect ing has shown extraordinary vitality different spheres of contemporary art in of critical importance. In traditional or a broad network of art and culture. experimental forms, publications have played a key role in the exchange of ideas, inquiry, and artistic practice, dis- For information contact [email protected] or call seminating and producing empowering 212 254 8200 x127 new knowledge. Publishing Against the Grain is a new exhibition that highlights the current state of independent art and curatorial publishing as it exists in small journals, experimental publications, websites, radio, and other innovative forms around the world. It is organized around projects that connect independent theoretical,

8 Selection of publications in Publishing Against the Grain, 2017. Image courtesy of ICI.

Pages, 2017. Image courtesy of Pages and ICI.

9 Tours through Spring 2019 standing of the ocean as a massive planetary network reflecting the con- The Ocean temporary ecological, cultural, political, and economic signifcance of a global- ized world. After The Ocean After Nature presents artists who in the last 15 years have come to depict a space not of other- Nature ness but of self-refection. The artists embrace personal themes of identity Curated by Alaina Claire Feldman and migration, alongside more univer- sal concerns related to tourism, trade, UNITED BROTHERS, Ursula Biemann, climate change, and the exploitation of CAMP, Yonatan Cohen and Rafi natural resources. Segal, Mati Diop, Maria D. Rapicavoli, The exhibition features works in a Drexciya, Peter Fend, Manuel Gnam, wide variety of media–including pho- Renée Green, Peter Hutton, Hyung S. tography, video, sculpture, music, and Kim, An-My Lê, Manny Montelibano, design. In addition, curators at each of Deimantas Narkevičius, the presenting venues will be invited to The Otolith Group, Ulrike Ottinger, include additional work by at least one Carissa Rodriguez, Allan Sekula local artist, as a way to connect local and Nöel Burch, Supersudaca concerns to an evolving international conversation. In their symbolism and narratives, seascapes have traditionally been an expression of power, defining history For information contact [email protected] or call 212 254 8200 x127 and forming identities. The Ocean After Nature explores a more recent under-

Lamin Fofana performance at School of the Museum of Fine Arts Boston, 2017. Courtesy of ICI. curatorsintl.org/exhibitions 10 PUBLICATION CURATOR This exhibition is accompanied by a cat- Alaina Claire Feldman is a curator and alogue, edited by the curator and featur- the Director of Exhibitions at ICI. ing essays, interviews, and excerpts of film scripts. (See page 54.)

An-My Lê, Ice Operations, Arctic Waters, USS New Hampshire, 2011/2012. Courtesy of the artist and Murray Guy, New York.

Yonatan Cohen & Rafi Segal, Territorial Map of the World (detail), 2013. Courtesy of the artists.

11 curatorsintl.org/exhibitions The Ocean After Nature, installation view, Yerba Buena Center for the Arts, San Francisco, 2016. Photograph by Charlie Villyard. 12 13 Tours through Winter 2019 following the artist’s response to the space. The survey is divided into distinct Apichatpong parts: one corresponds his private world, populated with beloved friends, Weerasethakul: family, and long-time collaborators; others consider the public experience through abstract dimensions of viewer- The Serenity ship, light, memory, and the poetics of temporal, spatial and spiritual displace- ment. The survey culminates with a se- of Madness lection of recent work addressing the social reality in his homeland. Curated by Gridthiya Gaweewong

Apichatpong Weerasethakul: The Serenity of Madness is a selective PUBLICATION survey of the work of Apichatpong This exhibition is accompanied by a new Weerasethakul, the internationally ac- Sourcebook, edited by Weerasethakul. claimed artist and independent flmmak- (See page 48.) er based in Chiang Mai. This exhibition presents more than 25 works following Weerasethakul’s practice from his frst CURATOR experimental flms to his most recent Gridthiya Gaweewong is the Artistic work, ranging across media from short Director of the Jim Thompson Art flms to video art, video diaries, prints Center, Bangkok. and archival material. For the past two decades, Weerasethakul’s refexive and non-lin- For information contact [email protected] or call 212 254 8200 x127 ear work has explored themes of faith, memory and rebirth, often drawing upon The exhibition and tour are made possible, in part, with the generous support of MAIIAM Museum of narrative traditions of his native Isaan Contemporary Art. region. His stories refect diverse literary and cinematic genres including science fction, adventure and myth, as well as the tradition of American experimental flm. In both his narrative flms and experimental projects, personal memories are interwoven with the ephemeral and supernatural, evoking the fuidity and distortions of history. Each presenting art space will have the opportunity to work with Weerasethakul to expand upon the scope of the exhibition, by drawing from their collections and archives, for instance, or showcasing additional screenings of his feature films; and to plan together the flow of the exhibition

curatorsintl.org/exhibitions 14 Apichatpong Weerasethakul: The Serenity of Madness, installation view, MCAD, 2017. Courtesy of MCAD and ICI.

Apichatpong Weerasethakul: The Serenity of Madness, installation view, MCAD, 2017. Courtesy of MCAD and ICI.

15 curatorsintl.org/exhibitions installation view

Apichatpong Weerasethakul: The Serenity of Madness,installation view, MCAD, 2017. Courtesy of MCAD and ICI. 16 17 Tours through Winter 2019 Salon de Fleurus

Salon de Fleurus is a contemporary reconstruction of Gertrude Stein’s Parisian salon that existed at 27 rue de Fleurus from 1904–34. It is an artwork that displays and references a story of modern art’s beginnings through one of the frst gathering places for artists such as Henri Matisse, Pablo Picasso, and Stein herself. It was in Stein’s salon that paintings Salon de Fleurus installation view, Stacion - Center for Contemporary Art, Prishtina, Kosovo, 2016. by Cézanne, Matisse and Picasso were seen exhibited together for the frst time both by her peers and transatlantic At the end of the day the importance of art experts who spread the word back copying is that it compels us to question home, eventually creating the American the importance of authenticity. —Clancy narrative of European modern art famil- Martin on Salon de Fleurus, Brooklyn iar today. Rail, 2014 Through painted reproductions exhibited within a constructed interior, the Salon de Fleurus questions where, why and how certain narratives of modern PUBLICATION art originated through the salon struc- Accompanying the exhibition is a broad- ture that first canonized them. When sheet catalogue designed by Garrick one looks at Picasso here, they are Gott. Each presenting venue produces viewing Picasso through the lens of a new edition. Stein. From 1992 to 2014 Salon de Fleurus existed as an installation in lower ABOUT Manhattan. Since then, it has appeared Salon de Fleurus is an educational in- in fragments in Beirut, Paris and Los stitution dedicated to assembling, pre- Angeles and is now touring as a com- serving, and exhibiting memories on plete artwork with ICI. The exhibition early modern art. contains painting reproductions as well as a historic timeline of Stein and her circle, a special edition newsprint-cat- For information contact [email protected] or call 212 254 8200 x127 alogue, and training script for a “door- man” or gallery monitor to best evoke Additional support for Salon de Fleurus is provided by the story of the salon to visitors. the Fine Art Dealers Association (FADA).

curatorsintl.org/exhibitions 18 19 Salon de Fleurus, installation view, Muzeum Sztuki, Łódź, 2016. Courtesy of Muzeum Sztuki and ICI. 20 21 Tours through Spring 2018 torical and contemporary Caribbean performance practices from Carnival in Santiago de los Caballeros, Port EN MAS’: of Spain, Fort-deFrance, Kingston, London and Brooklyn, to Junkanoo in Carnival and Nassau and the New Orleans second line—or in their own imaginary cartographies and invented performance Performance traditions. The resulting newly commissioned works took place according to different modes of public address Art of the and audience engagement including semi-private rituals at the margin of the Caribbean festival celebrations and street proces- sions in the midst of the carnival revelry. Curated by Claire Tancons and EN MAS’ brings together material Krista Thompson remnants or reconstitutions from the performances as well as photograph- Co-organized with Contemporary Arts ic and filmic interpretations thus also Center, New Orleans presenting some of the best photogra- phers, filmmakers and videographers John Beadle, Charles Campbell, working in the Caribbean. The exhibi- Christophe Chassol, Nicolás Dumit tion debuted at the Contemporary Arts Estévez, Marlon Griffth, Hew Locke, Center, New Orleans (CAC) in March Lorraine O’Grady, Ebony G. Patterson, 2015 and was designed by Gia Wolff. Cauleen Smith

Taking its title from a pun on “Mas” PUBLICATION (short for masquerade and synon- Edited by Claire Tancons, Krista ymous with carnival in the English- Thompson. Foreword by Neil Barclay, speaking Caribbean), EN MAS’ con- Renaud Proch. (See page 49.) siders a history of performance that does not take place on the stage or in the gallery but rather in the streets, ad- CURATORS dressing not the few but the many. EN Claire Tancons is a curator and art his- MAS’ introduces performance art with a torian. Krista Thompson is the Weinberg focus on the infuence that Carnival and College Board of Visitors Professor and related masquerading traditions in and Professor of Art History at Northwestern of the Caribbean and its diasporas have University. had on contemporary performance discourse and practice, in both the artistic and curatorial realms. For information contact [email protected] or call 212 254 8200 x127 Throughout the 2014 Caribbean Carnival season, EN MAS’ tracked EN MAS’: Carnival and Performance Art of the Caribbean is made possible by an Emily Hall Tremaine nine artists—John Beadle, Charles Exhibition Award. Additional support is provided by the Campbell, Christophe Chassol, Nicolás Andy Warhol Foundation for the Visual Arts, and the Institut français in support of African and Caribbean Dumit Estévez, Marlon Griffth, Hew Projects. Locke, Lorraine O’Grady, Ebony G. Patterson and Cauleen Smith—as they engaged, transformed, or critiqued his- curatorsintl.org/exhibitions 22 EN MAS’, installation view, CAC New Orleans, 2015. Courtesy of CAC and ICI.

23 curatorsintl.org/exhibitions Tours indefnitely comprehensive mega-shows to come. Harald Szeemann: Documenta 5, explores the many facets of this par- Harald ticularly controversial Documenta exhibition, which jumped outside the con- Szeemann: temporary art sphere into an expanded realm of activity, a legendary extrava- ganza that invited both visceral criticism Documenta 5 and praise. This exhibition, curated by David Platzker, includes the exhibition Curated by David Platzker catalogue, ephemera, artists’ publications and editions produced in con- 45 years later, Documenta 5, the ex- junction with the exhibition, as well as hibition that was criticized in 1972 as published reviews and critical respons- being “bizarre…vulgar…sadistic” by art es. The assembled materials provide a critic and essayist Hilton Kramer and rich jumping off point for art history stu- “monstrous… overtly deranged” by art dents, artists, and general audiences historian and art critic Barbara Rose, to plunge into the international contem- resonates today as one of the most porary art scene of 1972, to see what important exhibitions in history. Both this particularly fertile cultural moment hailed and derided by artists and crit- produced. ics, the exhibition was the largest, most expensive and most diverse of any exhibition anywhere, and foreshadowed For information contact [email protected] or call 212 254 8200 x127 all large-scale, collaboratively curated,

Harald Szeemann: Documenta 5, nstallation view, CAC Vilnius, 2011. Courtesy of CAC and ICI. curatorsintl.org/exhibitions 24 Harald Szeemann: Documenta 5, installation view, Université du Québec en Outaouais, 2017. Courtesy of UQO and ICI.

Harald Szeemann: Documenta 5, installation view, Université du Québec en Outaouais, 2017. Courtesy of UQO and ICI.

25 curatorsintl.org/exhibitions Tours through Winter 2018 versions appeared, including do it (museum), do it (home), do it (TV), do it do it (seminar), and an online do it in collaboration with e-fux, among others. A call to action, do it invites you to Curated by Hans Ulrich Obrist take part, to interpret, re-invent and generate ideas, creating new dynamic What would happen if an exhibition institutional and exhibition formats for never stopped? Since it began in 1993, years to come. with this question being asked by Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier, do it has DO IT ARCHIVE become the longest-running and most The do it (archive), curated by ICI and far-reaching exhibition to ever hap- Hans Ulrich Obrist in collaboration pen—constantly generating new ver- with Joseph Grigley, is a compilation sions of itself. of ephemera, photographs, and vid- In the more than 20 years since eos, that acts as an appendix to the Obrist, Boltanski, and Lavier mused exhibition, presenting the project’s vast over the potential of “scores,” or written history, its global reach, and evolution instructions by artists, to create exhi- over the past 20+ years. Organized by bition formats that could be more fexi- ICI the do it (archive) is available to be ble and open-ended, do it went from a presented alongside the larger do it selection of 12 instructions to an ongo- exhibition ing project including over 400 artists. Every time it was presented, in any of the more than 60 venues worldwide, do For information contact [email protected] or call 212 254 8200 x127 it was reinterpreted anew. Many new

do it, Galerija Umjetnina, Croatia, 2016. Courtesy of Galerija Umjetnina and ICI. curatorsintl.org/exhibitions 26 PUBLICATION CURATOR do it: the compendium by Hans Ulrich Hans Ulrich Obrist is Artistic Director of Obrist, published by ICI and DAP, the Serpentine Galleries, London. marks the exhibition’s 20th anniversary. It includes essays contextualizing do it, artists’ instructions from past editions, and newly commissioned instructions.

do it, installation view, Ulrich Museum of Art, 2016. Courtesy of The Ulrich Museum and ICI.

do it, installation view, The Episcopal Academy, 2015. Courtesy of Susan Coote and ICI.

27 curatorsintl.org/exhibitions ICI’s first traveling exhibition in 1975 Spotlight: heralded the visionary ambition and international scope of the new organization. It presented the work of artists who “Museum were innovators in video art, very early in the history of the medium, including without walls” Lynda Benglis, Nam June Paik, Keth Sonnier, and Vito Acconci. The exhibi- In 1975, two art world pioneers came tion served as the American represen- together to define the vision behind one tation in the São Paulo Biennial, and of the first organizations dedicated to was shown in four other venues across curators. They first met in Washington Latin America from 1975-76. DC: Susan Sollins was then the curator of education at the Smithsonian A few years later, Sollins and Sundell National Collection of Fine Arts, and worked with Martha Wilson and Peter Nina Castelli Sundell had moved there Frank on a unique survey exhibition of two years earlier from Cleveland, where artists’ publications that championed she had co-founded and run The New experimental and independent thought Gallery in 1968–a small art space which and a broad range of attitudes towards evolved to become the Museum of publishing, from ad-hoc to ephemeral, Contemporary Art Cleveland. experimental to activist. From 1978-80, it expanded the often informal distribution of these publications, reaching new audiences in art spaces across North America. 40 years later, the exhibition is a strong historical precedent to our latest program, Publishing Again the Grain.

Peter Frank and Martha Wilson, Artists’ Books U.S.A. exhibition catalogue, 1975.

Together, the pair imagined “a new concept—at once ‘museum without walls’, educational institution, and avant-gar- de artists’ representative,” as Michelle Snell summed up in a 1978 Art Journal feature on ICI. By offering curatorial Nam June Paik, TV Garden (Jardin de TV), 1974. advice and training, collaborating with Installation with video, in Video Art U.S.A., 1975–76. curators and art centers on organizing and presenting exhibitions, lectures, Working closely together in the early workshops and performances, ICI years of ICI shaped Sollins and Castelli helped increase access to contempo- Sundell’s understanding of how an in- rary art for broad audiences across the ternational network of curators, artists, U.S. and around the world. and art spaces could emerge through

28 collaboration. In 1990, they co-curated Team Spirit, which reflected on their own history of working with each other and focused on “the growing phenom- enon of collaborative art.” At the cusp of a new era of collaborative practice ushered in by Colab, the Guerrilla Girls, Gran Fury, and others, the exhibition drew a genealogy of international collaborations as a mode of production going back to the mid-1960s, including Equipo Cronica, General Idea, Gilbert & George, and Komar & Melamid.

Collaboration; access to contemporary art that is independent, critical, and experimental; international engagement Sollins, Susan and Nina Castelli Sundell. Team Spirit. and exchange–these ideas have been Independent Curators International (ICI), New York, central to ICI ever since it was estab- 1990. lished by Sollins and Castelli Sundell as a “museum without walls.” They form a strong foundation for the organization’s mission and a source of inspiration as we continue to innovate with new programs that serve art communities around the world.

Participants of the Curatorial Intensive in Buenos Aires. August 18–24, 2013.

29 EVENTS

30 Every year, ICI produces dozens of events that examine contemporary art through the work of curators. They open new perspectives on art from around the world, promote public conversations and provide an opportunity for continued learning. ICI events include talks by curators and artists, presentations of curatorial practices from across ICI’s international network of collaborators, as well as professional seminars and conferences.

In ICI’s Curatorial Hub in New York, free public events facilitate the informal exchange of ideas and experiences among curators, artists and New York audiences. The Curator’s Perspective talks feature international curators, and are presented with partnering institutions, including Hunter College, MoMA, Americas Society, and many more in New York and occasionally across the U.S. In addition, events related to ICI exhibitions take place internationally in collaboration with presenting art spaces; and closed- door seminars and public conferences bring together a multiplicity of international perspectives to further advance curatorial discourse, generating and sharing knowledge in the ﬁeld.

31 Curator’s Wednesday, March 15, 2017 Britta Peters and Kasper König Perspective CUNY Graduate Center Britta Peters and Kasper König will The Curator’s Perspective is a free, itin- present on the 2017 edition of the erant public discussion series featuring Skulptur Projekte Münster. König is U.S. and international curators. It was Artistic Director and Peters is Curator of developed as a way for audiences in Skulptur Projekte 2017. From June to New York to connect with timely infor- October 2017, 30 works will be on dis- mation and a wide variety of interna- play all over the city of Münster, rang- tional perspectives on contemporary art ing from sculpture and performative today. The series sheds light on move- art. Peters and König will give a brief ments and models that are still in for- introduction into the history of the ex- mation or have been overlooked. This hibition and discuss the plans for this year, speakers in the series will include year’s edition. curators based in Medellín, Münster, and New Orleans, addressing ques- Wednesday, April 12, 2017 tions about art, culture, and the artists and exhibitions they are most interested Emiliano Valdés in, as well as the socio-political contexts Americas Society that are shaping curatorial practice now. Emiliano Valdés is Chief Curator of the Medellín Museum of Modern Art (MAMM). The Museum recently ad- vanced an expansion project with the completion of a new building. Amid a growing and professionalizing arts scene in the city of Medellín, MAMM expanded its physical capacity, as well as its vision scope, institutional project. Valdés will speak of the goals and vision of behind this project, and how museums can play a role in the transformation of societies, particularly in the context of Latin America and its complex social, political and financial circumstances.

curatorsintl.org/events 32 Wednesday, May 24, 2017 All events in the Curator’s Perspective series are free of charge and open to the public. For more information Trevor Schoonmaker about upcoming events visit ICI’s website or contact The New School Kimberly Kitada at [email protected]. The 2017 Curator’s Perspective program is made pos- Trevor Schoonmaker, Artistic Director sible, in part, by a grant from the Hartfield Foundation, public funds from the New York City Department of of Prospect.4 (P.4) in New Orleans, is Cultural Affairs in partnership with City Council, and the shaping the fourth iteration of this in- the support of ICI’s Board of Trustees, and ICI’s Gerrit ternational contemporary art triennial, Lansing Education Fund. planned in coordination with the City of New Orleans’ tricentennial. He will present on his curatorial concept and reveal the artists selected for the exhibition, which opens in November 2017. Prospect features works by local, national, and international artists embed- ded within New Orleans, creating new cartographies of the city.

PAST PROGRAMS

On September 28, 2016, Sally Tallant, Director of the Liverpool Biennial, outlined the radical transformation of the Biennial in recent years, as the organization expanded to include and prioritize ongoing research, education and production, developing a creative community, and building the city as a place of artistic experimentation. Tallant’s presentation took place at the New School, New York, and was part of a US-wide lecture tour.

Tallant also addressed an audience of 60 US and international art professionals and colleagues at the Graham Foundation in Chicago, IL, as part of EXPO CHICAGO’s Curatorial Forum, organized in collaboration with ICI; and she gave a public lecture in Grand Rapids, MI, as part of a partnership between ICI and ArtPrize.

33 curatorsintl.org/events Curatorial Thursday, April 6, 2017 Home Away from Home Hub Presented by Tess Maunder Curatorial Intensive alumna and current Every year, ICI presents 20 free, public ISCP resident Tess Maunder (Tokyo events in the Curatorial Hub: curators ‘13) will discuss how contemporary and artists talks, panel discussions, Indigenous Australian practices are small press events, performative lec- being represented at an internation- tures, screenings, and reading ses- al level. Taking from the title of Archie sions. Featuring speakers from around Moore’s 2016 work, Home away from New York and the world, Hub events Home, this talk will consider prominent provide access to local and internation- projects by Australian born Indigenous al practices in an informal exchange of practitioners such as Tracey Moffatt, ideas and experiences among profes- Richard Bell, Judy Watson, Vernon Ah sionals and with the pubic. To remain Kee, Brook Andrew, among others. responsive to the latest developments in the field, events are scheduled and Tuesday, April 25, 2017 announced throughout the year. Unless otherwise noted, all Hub events are Renata Poljak’s Partenza held in the ICI Curatorial Hub, 401 Broadway, New York. Croatian artist Renata Poljak will de- but her 2016 short film, Partenza, for its US premiere. The film gauges the emotional consequences of living in economic exile while trying to make sense of visual territory, specifcally the sea. Following the screening, Poljak will speak about her recent publication, Don’t Turn Your Back on Me, and join in conversation with curator Ana Janevski.

The Curatorial Hub was established with the support of the Rockefeller Brothers Fund, and programs at the Hub were made possible in part by a grant from the Hartfield Foundation. The Hub programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Check ICI’s website for updates on Hub events.

curatorsintl.org/events 34 PAST PROGRAMS

Members of the What Would An HIV Doula Do? collec- Responding to the post-election political climate, artist tive discussed the group’s response to Art AIDS America, Joshua Rashaad McFadden spoke with writer Jordan on view at the Bronx Museum of Art in the Fall 2016. G. Teicher about politics, race, and identity. McFadden’s The exhibition sparked renewed forms of activism and recent work, After Selma, fnds parallels between the critique around its narrow representation of artists of 1965 march from Selma to Montgomery and today’s color. To bring attention to the response to this exhibi- Black Lives Matter movement. They also discussed his tion, the WWHDD collective had organized a series of publication, Come to Selfhood, which investigates black evenings of movement and discussion among members masculinity through juxtaposed images and personal of WWHDD and friends, led by artist Julie Tolentino. refections on intergenerational familial relationships.

Organized in collaboration with Denniston Hill, artist Hosted by ISCP, curator-in-residence Anne Szefer Yoshua Okón joined in conversation with ICI’s Renaud Karlsen spoke about the relationship between editori- Proch and artist Paul Pfeiffer. Okón was a 2016 art- al and curatorial work, taking as her starting point the ist-in-residence at Denniston Hill. He screened his new book series ‘Dublett’. This publication series (2012–15) video work, MIASMA, which was part of a project de- is comprised of four artist’s books by Annette Kierulf veloped with curator Edgar Alejandro Hernandez at the & Caroline Kierulf, Toril Johannessen, Pedro Gómez- non-proft testsite in Austin, TX. Speaking with Proch and Egaña and Elsebeth Jørgensen—each representing a Pfeiffer, Okón framed this video work within the context distinct work of art by the artist, in part through a series of his practice at large. of specially commissioned texts contributed by authors from a variety of disciplines.

35 curatorsintl.org/events CURATORIAL INTENSIVE

36 ICI’s Curatorial Intensive was established in 2010 as the world’s ﬁrst short-course training program for curators. Intended to bring working professionals together to gain new skills and perspectives on pragmatic aspects of curating, as well as to increase dialogue in curatorial ideas, the Intensive supports early- to mid-career curators working independently or institutionally in emerging and established art centers around the world. Programs are held in the U.S. and internationally with institutional partners. The Intensive has taken place in cities from Addis Ababa to Bogota, from New Orleans to Moscow; giving access to professional development and international engagement opportunities to a broader community of curators.

Each Curatorial Intensive program consists of a weeklong schedule of seminars, workshops, advisement sessions, and site visits, developed by ICI and led by prominent curators, artists, critics, and directors. Participants apply with an exhibition proposal to workshop throughout the program, and develop into a full proposal that can be realized.

An unparalleled, dynamic curatorial network of alumni has developed over the last 7 years, counting over 400 curators from 65 countries. They represent— and are shaping—the future of curatorial practice.

37 New Orleans Accra March 24–30, 2017 April 19–25, 2017

ICI returns to New Orleans this March This April, ICI organizes the inaugural for the third Curatorial Intensive in Curatorial Intensive in Accra, Ghana, the city since 2015, organized as part in collaboration with Foundation for of an ongoing collaboration with the Contemporary Art–Ghana (FCA). Contemporary Arts Center New Orleans Continuing ICI’s commitment to sup- and Prospect New Orleans, and with porting the development of curatorial the Joan Mitchell Center. Building upon practice and maintaining internation- past iterations of the program in the city, al networks in Africa, this is the fifth the Intensive continues to draw from Curatorial Intensive in Africa, following the cultural production of New Orleans past programs in Johannesburg, Addis and the greater Gulf of Mexico region. Ababa, Marrakech, and Dakar. Seminars, site visits, individual Seminars, site visits, individual meetings, and roundtable discussions meetings, and roundtable discussions will be led by a group of profession- will be led by a group of professionals als that includes: Andrea Andersson that includes: Ato Annan and Adwoa (Chief Curator of Visual Arts, CAC Amoah (Co-Directors, Foundation for New Orleans), Rashida Bumbray Contemporary Art–Ghana) Jeebesh (independent curator & choreogra- Bagchi (artist, Raqs Media Collective pher, New York), María del Carmen and curator, 2016 Shanghai Biennale), Carrión (Director of Public Programs María del Carmen Carrión (Director & Research, ICI), Remco de Blaaij of Public Programs & Research, ICI), (Senior Curator, CCA Glasgow), Reem Fadda (independent cura- Shana M. Griffin (activist, artist, tor, New York), Nana Oforiatta-Ayim and sociologist, New Orleans), Gia (Founder of ANO, Accra), Jimmy Hamilton (Director, Joan Mitchell Ogonga (Founder of Centre for Center, New Orleans), Rachel Ellis Contemporary Art, East Africa, Nairobi), Neyra (theorist and Assistant Professor Jay Pather (Associate Professor, of English, Wesleyan University), University of Cape Town & Director Renaud Proch (Executive Director, of the Gordon Institute for Performing ICI), and Trevor Schoonmaker (Artistic and Creative Arts), and Renaud Proch Director of Prospect.4 and Chief (Executive Director, ICI), among others. Curator and Patsy R. and Raymond D. Curator of Contemporary Art at the The Curatorial Intensive is made possible in part by Nasher Museum, Duke University), grants from the Andy Warhol Foundation for the Visual among others. Arts, the Ford Foundation, the Hartfield Foundation, and by generous contributions from the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund.

Additional scholarships for the Curatorial Intensive in New Orleans were generously provided by: Prospect New Orleans, kurimanzutto, Patronato de Arte Contemporáneo (PAC), Beta-Local, TEOR/éTica, and SAHA.

For more information on the Curatorial Intensive, visit ICI’s website, curatorsintl.org, or contact Kimberly Kitada at [email protected].

curatorsintl.org/curatorial-intensive 38 Report: Manila Refections from Carlos Quijon, Jr.

Manila is an erratic milieu. Indoor air-conditioning is always on full blast; but as soon as you step out it is hot and humid. As our Curatorial Intensive colleagues from else- where soon learned, it may take two hours to get to a supposedly-30-minutes-away destination because of traffc. For the homegrown participants living in a city adjacent to Manila, it can take up to four hours just to get to the Metropolitan Museum, which hosted us for the entire week. Indeed Manila is an ecology of delay, and as such, es- pecially erratic milieu in which to consider ideas of contemporariness. A reformulation of an idea by Yates McKee suffuses Manila and its habitué: “we are incontemporaneous with our living present.”

An presentation by Patrick Flores which started off the intense week of seminar, resonated throughout the Intensive: the deployment of the notions of delay and lagging behind as tools for slowing down, parsing, persistence, as an interval that inaugurates opportunity and potential, and never lethargy. This erratic milieu is the soil in which local diskarte—a know-how and cunning, cannot help but fourish. This is what I imagined when Flores discussed the idea of the geopoetic: how do we foster an environment in such a milieu that helps us persist in creating in such a milieu?

Rather than linger on Manila’s errancy, I chose to appreciate the unevenness of the poetic sited in specifc geographies, specifcities that manifested in the heterogeneity of the group’s concerns and affnities. To me, and perhaps to other participants in the Intensive in Manila, the experience gave the space and time necessary for slowing down. The lectures gave us the space and time needed to think for ourselves and with our peers. Talking with peers allowed me the latitude to think through my position in this erratic city, a city I have learned to love. Admiration is all I had listening to my colleagues Patricia Cariño and Sydney Stoudmire speak of their projects with an- abling eloquence. The time I spent talking to Asli Seven and Jessica Berlanga Taylor was full of interrogations and realizations that I will value as I engage with projects and ideas in the future.

Perhaps, the week’s intensity coupled with the surrounding errancy produced a vitality made ever more productive by the sheer heterogeneity of our group, our disloca- tions and collocations. It is a vitality that may only be drawn from such an intensity, be manifested from such a milieu, like a presence that is incontemporaneous with itself.

Carlos Quijon, Jr. is an independent curator and arts writer based in Manila, Philippines. This report details his experience of the Curatorial Intensive in Manila, in November 2016.

The Curatorial Intensive in Manila was made possible, in part, by a grant from the Ford Foundation, and the ICI’s Access Fund and the Gerrit Lansing Education Fund. Lead support for the program was provided by the National Commission for Culture and the Arts (NCCA) and the Office of Senator Loren Legarda. As part of a new partnership with the Joyce Foundation to support richer diversity in the curatorial field, new scholarships were made available to African, Latino/a, Asian, Arab, or Native American (ALAANA) curators based in Illinois, Indiana, Michigan, Minnesota, Ohio, or Wisconsin. Additional scholarships were provided by Patronato de Arte Contemporáneo (PAC) and SAHA..

39 curatorsintl.org/curatorial-intensive Alumni ALUMNI NEWS Vanini Belarmino (Fall ’12) was appointed Assistant Director of Programs Updates at the National Gallery of Singapore, Singapore. Karen Patterson The Road Less Traveled: Eoin Dara (Derry ’13) was appoint- Exhibition Series ed Head of Exhibitions at Dundee John Michael Kohler Arts Center, Contemporary Arts in Dundee, Sheboygan WI Scotland.

The Road Less Traveled is a series of Jamilee Lacy (Fall ’15) curated The ffteen exhibitions, inviting viewers on Newest Romantics: Sculptors of a yearlong exploration of art environ- Botanical Photography at the New Art ments. This series not only offers a rare Center in Newtown, MA (January 20– opportunity to experience the work of March 25, 2017). seventeen art-environment builders from the Arts Center’s world-renowned Salma Lahlou (Marrakech ‘15) co-cu- collection, it incorporates new writing rated In The Carpet, which investigates and works of art produced by scholars, exchanges between centers in Europe curators, musicians, and exception- and in Morocco with the mutual infu- al theorists from wide-ranging disci- ences between the practices of art and plines in response to the environments. craft. It is on view at ifa-Galerie Berlin Patterson developed this exhibition (January 20–March 12, 2017). proposal during the Fall 2015 Curatorial Intensive in New York. La Keisha Leek and Sadie Woods (Dakar ’16) curated Chicago on My Mind at University of Chicago’s Arts Incubator in Chicago, IL (January 20– February 26, 2017).

Lynnette Miranda (New Orleans ’16) curated ¿Qué Pasa, USA? at Charlotte Street Foundation in Kansas City, MO (November 18, 2016–January 7, 2017).

Tess Maunder (Tokyo ‘13) curated Folds of Belonging in Brisbane, on view at the Vibrant Laneways Outdoor Gallery for the 2017 BrisAsia Festival (January 27–February 19, 2017).

Martha Soemantri (Beijing ’12) was appointed Head of Visitation and Audience Development for Indonesia’s frst modern and contemporary art museum, Museum MACAN.

curatorsintl.org/collaborators 40 Installation image, The Newest Romantics: Sculptors of Sublime Imagery. New Art Center, Newton, MA. Photo: Lindsay Stapleton.

Installation image, Chicago on My Mind. University of Chicago’s Arts Incubator, Chicago, IL. Photo: Sara Pooley.

Rirkrit Tiravanija, Untitled, 2016 (folds of belonging, do Shilpa Gupta, Untitled Don’t See Don’t Hear Don’t we dream under the same sky), (2016), digital print, Speak, (2006), digital print, size variable. Courtesy the size variable. Courtesy of the artist, © Rirkrit Tiravanija. artist. Photo: Carl Warner. Photo: Carl Warner.

41 curatorsintl.org/collaborators power of the two party system in the Alumni Profile: U.S. Cousins’ census asks value and identity based questions that are quali- fed and hard to quantify. The questions Ross Stanton resist gerrymandering because they are subjective and nuanced. The Soulville Jordan Census presents a critical symbolic alternative that allows for conscience building about the Census. How would you define your work as a curator? Aram Han Sifuentes current project Offcial Unoffcial Voting Station: Voting As curators and artists we think about for Those Who Legally Can’t at the Jane symbols, and are usually good at using Addams Hull-House Museum is another them within galleries and public spaces. project that uses symbolic power to So I’ve been thinking about what kinds critic political bureaucracy. There are 11 of symbols are useful going forward. million immigrants and 6 million people with felony convictions that are barred What projects are you currently from voting. We at the Hull-House were working on? the hub for 15 Offcial Unoffcial Voting Stations across the country and in I’m currently organizing an exhibition Mexico that collected over two thousand that will open at Chicago’s Hyde Park unoffcial ballots from disenfranchised Art Center at the end of March called and discontented voters. the Black Presidential Imaginary. The exhibition is a continuation of I’m looking for artists and projects like The Presidential Library Project that these that offer and reveal symbolic al- explores cultural and artistic production ternatives of the political bureaucracies related to Barack Obama’s Presidency that confer power and maintain status and Black presidents in U.S. popular quo. Symbols work in the imagination, culture. The symbolism of a Black and that is pretty powerful territory in president is enormously powerful. To which is engaged. some, it is a threatening symbol and to others it is an empowering symbol. Ross Jordan is Curatorial Manager at Who are the artists you are excited the Jane Addams Hull-House Museum to work with right now? in Chicago, IL.

There are some great artists working in this territory. Aisha Cousins from New York is an artist that has been organizing the Soulville Census, a symbolic census that targets the Black diaspora and is a critique of the U.S. Census. In recent history the Census has been used to build gerrymandered districts by the Democratic and Republican par- ties to make safe districts that reduce the power of dissenting votes. This re- duces public power and amplifes the curatorsintl.org/collaborators 42 Aram Han Sifuentes and collaborators, The Official Unofficial Voting Station: Voting for All Who Legally Can’t. On view at Jane Addams Hull-House Museum through April 29, 2017 (Sara Pooley/JAHHM).

Ross Stanton Jordan. Photo by Jennifer Myxter-Iino.

43 curatorsintl.org/collaborators In conjunction with a forthcoming ret- Research rospective of Suzanne Lacy to be presented at the San Francisco Museum of Modern Art (SFMOMA) and Yerba Convening: Buena Center for the Arts (YBCA) in San Francisco, ICI co-organized a cu- Social Practice ratorial research convening focused on socially engaged art from February 27– March 1, 2017.

New models, methods, and strate- gies of presenting socially engaged art within an exhibition format in large- scale museums were examined, taking the work of Suzanne Lacy as a starting point. Participants questioned how to ‘look back’ at these projects, that involved so many people, and to experience today what these works meant then.

Curatorial Research Convening with SFMOMA and YBCA, ICI Curatorial Hub, New York (February 27, 2017).

44 PARTICIPANTS Rosenthal (Chief Curator, Hayward Gallery), Lucía Sanromán (Director Nancy Adajania (cultural theorist & cu- of Visual Arts, YBCA), Amanda Sroka rator, Bombay), Tania Bruguera (artist) (Assistant Curator of Contempoary Art, Julia Bryan-Wilson (Associate Philadelphia Museum of Art), Dominic Professor of Modern and Contemporary Willsdon (Leanne and George Roberts Art, UC Berkeley), María del Carmen Curator of Education & Public Practice, Carrión (Director of Public Programs & SFMOMA), Catherine Wood (Senior Research, ICI), Anne Ellegood (Senior Curator, International Art, Tate). Curator, Hammer Museum at UCLA), Rudolf Frieling (Curator of Media Arts, SFMOMA), Larissa Harris (Curator, Queens Museum of Art), Jeanne van Heeswijk (artist), Pablo Helguera (artist and Director of Adult and Academic Programs of the Education Department, MoMA), Suzanne Lacy (artist), Fionn Meade (curator & writer, Minneapolis), Glenn Phillips (Curator, Getty Research Institute), Renaud Proch (Executive Director, ICI), Stephanie

Curatorial Research Convening on Social Practice, Public Session, ICI Curatorial Hub, New York, March 1, 2017.

45 Latin American Art in the 90’s that only Miguel A. include certain countries. European and American art histori- Lopez ans and curators, who typically only looked at Brazil, Mexico, or Argen- Interview with Miguel A. Lopez, tina as “Latin America”, also influ- ICI’s 2016 Curatorial Vision Awardee enced those narratives. by Alaina Claire Feldman, ICI’s Director of Exhibitions Exactly. Virginia Perez-Ratton founded TEOR/éTica to contend with that. Now, ACF: You recently joined TEOR/ of course, the panorama has changed; éTica in San Jose, Costa Rica, but it’s not the ‘90s anymore. But there is had been previously curating exhibi- still a lot of work to be done in promot- tions freelance. ing over-looked artistic and critical practices. ML: I was appointed last year. You are currently mobilizing a se- Is this your frst institutional job? ries of conferences and publishing projects for TEOR/éTica—that has Yes, my frst. When I turned 30 in 2014, always been a tradition of the foun- I thought that maybe it’s time for me dation. But are you excited to create to join an institution and commit to art any new agendas? history in a different way—by building infrastructure. It was a coincidence be- We are in the middle of a process that cause my good friend Inti Guerrero in- has been very revealing, which aims formed me about the open call to apply to transform the institution into a more for the director position. I couldn’t imag- accessible and dynamic entity. We are ine a better job and place to work. questioning the ways “of doing” TEOR/ éTica, questioning the centrality of ex- TEOR/éTica has an extensive histo- hibitions within the program and the ry and draws an audience that really relationship we have to our immediate respects it. Viewers go there to be context. So we started with the idea of challenged. directorship and the fgure of the curator in order to mobilize a more collec- We have an enormous responsibility tive dynamic in decision-making. One because TEOR/éTica is one of the most of the most important decisions was to active organizations in the region, and not host any art exhibitions in the way one of the few that supports research we were previously. The idea is to use and creates new, self-refexive projects. our spaces in different ways, placing re- The institution was founded in 1999 by search and discourse at the forefront. Virginia Perez-Ratton, a Costa Rican This is an oblique effect of our in- artist and curator. Its mission is to con- teraction with Arts Collaboratory, an tribute to the research and diffusion of ecosystem of more than twenty art or- contemporary art practices in Central ganizations around the world that we America and the Caribbean in dia- are part of, which helps to reimagine logue with global realities. TEOR/éTica the life of our institution based on con- helped to create more visibility for re- cepts such as self-care, self-limitation, gional art practices that did not ft within and commonality. Also, we wanted to the traditional hegemonic narratives of explore experimental dynamics devel- curatorsintl.org/research 46 oped at TEOR/éTica this year, like the is to create a searchable database both Alter Academia, conceived by María digitally online and also physically at our Paola Malavasi, which was very trans- space, and to create grants for people formative for the staff. The project that are interested in working with the consisted of four artists–in-residence archive. We just reactivated an editori- using TEOR/éTica as studio for three al program that is trying to fll in some months so that the artists could devel- historical gaps. This year we launched op research projects and dialogues with Local Writings, a series of monographic guests from other disciplines who were bilingual books. Critical Positions from periodically invited to visit them. Central America, the Caribbean and their Diasporas. These publications col- Was it open to the public too? lect key texts from a number of brilliant artists, writers, art historians, curators, The artists could invite whomever they and thinkers that contribute to re-ener- wanted to their space at any time, and gizing the art scenes in their contexts. there were some instances when en- The first two books we launched this gagements were very public and every- year are by Tamara Diaz Bringas (Cos- body was invited to visit. It worked well ta Rica/Cuba) and Adrienne Samos because the program didn’t demand (Panama), and we are publishing books the production of an object or a show. with Mari Carmen Ramírez (Puerto It created the conditions for conversa- Rico) and Rosina Cazali (Guatemala) tion, which involved many people from for 2017. We plan to publish at least TEOR/éTica. So we want to contin- ten books, two each year, written by the ue with this process and to develop most important thinkers and curators of a second program that will take even the region. more risks. We are also creating working groups for specifc issues, includ- For more information on the award, see page 55. A full ing those related to the neighborhood transcript of the interview is available on our website. where we are located. Barrio Amon is in the preliminary stages of gentrifcation and we would like to collectively think about how to respond. At the same time, we are working on the archive, hoping to give the public access soon.

How will you do that?

For the last three years, TEOR/éTica has been archiving material related not only to the history of the institution but also regarding the intellectual work of Virginia Perez-Ratton. It’s amazing how much documentation related to Central America and Caribbean contemporary art practices exists, including manu- scripts, correspondence, unpublished texts, slides, audio interviews, and video documentations of public talks, among much more. We are digitizing all the material that we have. Our intention Miguel A. Lopez. Photo: Daniela Morales.

47 curatorsintl.org/research Publications

Apichatpong Weerasethakul The Ocean After Nature Sourcebook Edited by Alaina Claire Feldman Edited by Apichatpong Weerasethakul Foreward by Renaud Proch Foreword by Alaina Claire Feldman and Kate Fowle, Texts by Negar Azimi, Ursula Biemann, Yonatan Cohen Interviews with Gridthiya Gaweewong, Andrea Lissoni, and Rafi Segal, María del Carmen Carrión, Övül O. Withit Chandawong. Text by Amara D. Angelica, Durmusoglu, Kodwo Eshun, Patrick Flores, Ed Halter, Mo Costandi, Robert Destatte and Jeannie Schiff Ebony L. Haynes, May Joseph, Amanda Parmer, Lisa on Limasite85.us. Federico Garcia Lorca, Elizabeth Le Feuvre, Lucy R. Lippard, Andrey Misiano, Allan Armstrong Moore, Jenjira Pongpas, Maddie Stone, and Sekula and Noël Burch, Lanka Tattersall, Virgil B/G Apichatpong Weerasethakul. Taylor, Jordan G. Teicher and Sarah Wang. Co-published by ICI and MAIIAM Contemporary Art Published by ICI, 2016 Museum, 2016 Designer: Geoff Kaplan / General Working Group Designer: Scott Ponik Softcover, 80pp, 5 x 7” Hardcover, 272pp, 11 x 8.5” ISBN: 9780916365936. $15.00 ISBN 9780916365912. $39.95 Lead essays by Lucy R. Lippard and Apichatpong Weerasethakul is one of Alaina Claire Feldman provide a frame- the leading artists and filmmakers of his work to the exhibition of the same generation known for his original and in- name, while artists, critics, writers and fluential artistic voice. Weerasethakul’s curators have each been asked to re- personal selection of diary entries, in- spond to one work in the exhibition, of- terviews, websites, scientific journals, fering unique interpretations of the art- poetry, and photographs emphasize his ists’ work and inviting readers to trace deep commitment to the culture, spiritu- the various paths of influence the ocean ality, politics and human rights of people has had on contemporary art practices. often marginalized both in and out of Similarly, this publication is designed Thailand. so that participating venues are able to add their own content. This Sourcebook was published to ac- company the exhibition Apichatpong The publication accompanies the ex- Weerasethakul: The Serenity of hibition The Ocean After Nature (see Madness. (See page 14). page 10), which includes new works by local artists whenever it travels to a new Previous titles in the series include: venue. Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces; and Allen Ruppersberg Sourcebook: Reanimating the 20th Century. Both are available through ICI’s website. curatorsintl.org/shop/publications 48 EN MAS’: Carnival and Performance Talking Contemporary Curating Art of the Caribbean Terry Smith

Edited by Claire Tancons, Krista Thompson Edited by Kate Fowle, Leigh Markopoulos Foreword by Neil Barclay, Renaud Proch Preface by Kate Fowle, Terry Smith Text by D. Eric Bookhardt, Petrina Dacres, Published by ICI, Fall 2015 Paul Goodwin, Shannon Jackson, Erica Moiah James, Distributed by D.A.P. Nicholas Laughlin, Thomas J. Lax, Alanna Lockward, Designer: Scott Ponik Kobena Mercer, Annie Paul, Claire Tancons, ISBN: 978-0-916365-90-5. $19.95 Krista Thompson, Yolande-Salomé Toumson. Designer: Geoff Kaplan / General Working Group Hardcover, 230pp, full color, 8 x 10” In Talking Contemporary Curating, Co-published by ICI and CAC New Orleans, 2016 Distributed by D.A.P. Terry Smith is in conversation with 12 ISBN: 978-0-916365-89-9. $49.95 curators, art historians and theorists deeply immersed in refecting upon the Accompanying the exhibition EN demands of their respective practic- MAS’: Carnival and Performance Art es; the contexts of exhibition making; of the Caribbean (See page 20), this and the platforms through which art publication includes critical essays by may be made public, including Zdenka the curators Claire Tancons and Krista Badovinac, Claire Bishop, Zoe Butt, Thompson, as well as key newly com- Germano Celant, Carolyn Christov missioned texts by Shannon Jackson Bakargiev, Okwui Enwezor, Boris and Kobena Mercer, which together Groys, Jens Hoffmann, Mami Kataoka, offer formal and theoretical analy- Maria Lind, Hans Ulrich Obrist, and ses of the artists’ projects, as well as Mari Carmen Ramírez. Caribbean aesthetic practices and their impact on art and performance studies Talking Contemporary Curating is the more broadly. second book in the Perspective in Curating series. It follows and builds ICI publications are made possible in part by the generous support of the Evelyn Toll Family Foundation, and upon the author’s ground-breaking contributions from ICI’s Board of Trustees, Leadership Thinking Contemporary Curating, 2012, Council, and International Forum. which inaugurated the series and was Additional support was provided by kurimanzutto the first single-author publication to for Apichatpong Weerasethakul Sourcebook; and by ever comprehensively explore what is the Elizabeth Firestone Graham Foundation for The Ocean After Nature catalog. EN MAS’: Carnival and distinctive about contemporary curato- Performance Art of the Caribbean received the support rial thought. of the Emily Hall Tremaine Exhibition Award, with additional support from The Andy Warhol Foundation for the Visual Arts, and l’Institut français, in support of African Visit our webpage for a complete list of publications and Caribbean projects. curatorsintl.org/shop/publciations

49 curatorsintl.org/shop/publications SUPPORT ICI

50 When connecting artists to one another and to an audience, curators create more than experiences. They build essential infrastructures—through exhibitions or art spaces and institutions—that foster local art scenes. In turn, by connecting curators from around the world to one another, ICI provides an international framework for knowledge-sharing within which art practices can further develop.

ICI is a unique organization that focuses on the role of the curator as a contextualizing force for contemporary art. Every year ICI presents over 60 programs— exhibitions, events, publications, as well as research and training opportunities for curators—in collaboration with art spaces around the world. Our partnerships have formed a network of collaborators that spreads across all 50 U.S. states and to over 65 countries.

Through ICI, you connect with the curators, artists and art spaces that shape contemporary art across the globe.

51 Annual Benefit & Auction

On Wednesday October 26, ICI hosted our 2016 Annual Benefit & Auction, bringing together collaborators and friends from around the world. Together, ICI’s Board of Trustees, 2016 Benefit Committee—championed by Co-chairs Linda Blumberg, James Cohan and Barbara Toll. Photo: Noreen Ahmad, Ann Cook and Yulia Vladimir Weinstein, Billy Farrell Agency. Dultsina—staff, and guests celebrated our commitment to curatorial prac- powered by Artsy. And DJ amourette tice, contemporary art, and visionaries spun the perfect soundtrack to the around the world. During the evening, night! ICI honored Marian Goodman with the Leo Award, designed by Tony Matelli Thank you to our wonderful Beneft Co- and presented by Agnes Gund. Marking chairs: Noreen Ahmad, Ann Cook, and ICI’s continued commitment to the Yulia Dultsina. And to our Honorary Co- new generation, Miguel Lopez, Chief Chairs Sydie Lansing and Ann Schaffer; Curator of TEOR/éTica in San Jose, and Leadership Committee: Jeannie Costa Rica, received the Gerrit Lansing Minskoff Grant and T. Grant, Jo Carole Independent Vision Award, selected and Ronald S. Lauder, and Marian and presented by Franklin Sirmans. Goodman Gallery.

The 2016 Benefit & Auction celebrated To our Benefit Committee: Adam ICI’s 41-year commitment to curatori- Abdalla, Shane Akeroyd, Augusto al excellence, and was an occasion to Arbizo, Kristen Becker, Jeffrey Bishop, raise a glass to the organization’s fu- Nikki Brown, Belinda Buck Kielland, ture, as ICI continues to forge import- Lee and Libby Buck, Christo, Bridget ant international networks for curators, Finn, Jack Geary, Carol Goldberg, artists, art spaces and all practitioners Taymour Grahne, Agnes Gund, Holly in the field of contemporary art. This Hager, Rashid Johnson and Sheree year ICI celebrated at Cedar Lake in the Hovsepian, Heather Hubbs, Tony heart of Chelsea. The 1910s twin-build- Karman, Christine Kuan, Ellen Langan, ings has housed an ornamental met- Dominique Lévy, Laure Lim, Kristen alsmith, Annie Leibovitz’s studio, and Lorello, Michele Maccarone, Joel Miller, the Cedar Lake Contemporary Ballet Sam Moyer, Vik Muniz, Koray Duman Company. The space was beautiful- and Simon Preston, Mel Schaffer, ly transformed by Jung Lee and Josh Lisa Schiff, Hanna Schouwink, Adam Brooks, who together form FÊTE, New Shopkorn, Patterson Sims, Mari Spirito, York’s expert event planners. Cocktails Sarina Tang, Barbara Toll, Helen and dinner will be designed by the inno- Tsanos Sheinman, Kara Vander Weg, vative Abigail Kirsch. The live auction Caroline Waxler, Kate Werble, Begum was led by Michael Macaulay, Senior Yasar, Joseph Yurcik. Vice President and Head of Evening Sales, Contemporary Art, Sotheby’s, All the artists who generously donated New York, and the silent auction was works and experiences to our auction, curatorsintl.org/support 52 Olympia Sonnier, Lucy Poe. Photo: Miria-Sabina Maciagiewicz. we are honored by your continued support of ICI’s mission. Thank you to: Renate Aller, Zoë Buckman, The Estate of Sarah Charlesworth, Fischer Cherry, Willie Cole, TM Davy, Brock Enright, Jennie Jieun Lee, Chris Johanson, Rashid Johnson, Tarik Kiswanson, Justine Kurland, Tony Matelli, Jessica Mein, Vik Muniz, Eduardo Navarro, John Newman, Giacinto Occhionero, Gabriel Orozco, Lina Puerta, Alan Shields, Ray Smith, Alec Soth, and Betty Woodman.

Those who helped us make it happen: 11R, Bethanie Brady Artists Management, Lulu Creel and Sotheby’s Mexico, Yulia Dultsina, Geary Contemporary, Julieta Gonzalez, Dolly Geary and Sydie Lansing. Photo: Vladimir Marian Goodman Gallery, Gia Hamilton, Weinstein, Billy Farrell Agency. Belinda Kielland, Kristen Lorello Gallery, Maccarone, Martos Gallery, And to our generous sponsors Mitchell-Innes & GallerySimon Preston Gallery, Nara Roesler, Rotem Rozental, Patterson Sims, Charlie Tatum, Barbara Toll, and Kate Werble Gallery.

53 curatorsintl.org/support THE LEO AWARD Honorees Marian Goodman

For the last 25 years, ICI has recognized the individuals who pave the way for a forward-thinking generation of curators and artists, and those curators who are moving the feld’s bound- aries, with awards presented by their peers at the Annual Beneft & Auction. In 2016, ICI bestowed the Leo Award upon Marian Goodman, and the Gerrit Lansing Independent Vision Curatorial Award upon Miguel A. Lopez.

Photo: Vladimir Weinstein, Billy Farrell Agency.

The Leo Award (established in 1990) named after the late, renowned art dealer Leo Castelli, was created to recognize outstanding achievements in advancing the feld of contemporary art, and the contributions of pioneering individuals who foster new opportunities and supportive environments for curators and artists. Past recipients of the Leo Award include Michael Govan, Dimitris Daskalopoulos, Roy and Dorothy Lichtenstein, Miuccia Prada, and Dasha Zhukova.

In 2016, the Leo Award recognized a steadfast advocate for artists and contemporary art, and continued commem- orating Castelli’s legacy by recognizing for the frst time another pioneer galler- ist. For half a century, Marian Goodman has shown deep commitment to fos- tering the careers of some of the most signifcant and respected artists of our times, with a distinctive vision—international in scope, thoughtful, and always intimately supportive of the creative process—that is in many ways connect- ed to ICI’s mission.

In 1965, Goodman founded Multiples,

54 which published prints, multiples and books by leading American and Selected by Franklin Sirmans from European artists, including John among 12 international nominees, the Baldessari (ICI Trustee, 1994–2000), 2016 awardee, Miguel A. Lopez is a Marcel Broodthaers, Roy Lichtenstein writer, researcher, and Chief Curator of (ICI Leo Award 1997), and Gerhard TEOR/éTica in San Jose, Costa Rica, Richter. In 1977, she opened Marian and Co-founder or Bisagra in Lima, Goodman Gallery with an exhibition of Perú. Broodthaers, the Belgian artist’s frst in the U.S. Since then, the gallery has led Of the selection, Mr. Sirmans noted: the way in introducing international art- “As to be expected from ICI, all of the ists to American audiences, while also nominees come from a range of diverse opening exhibition spaces in Paris in backgrounds, experiences and places, 1997, and most recently in London in intellectually and geographically; they 2014. are all working on special projects that will move forward the conversation on THE GERRIT LANSING the history of art while disrupting the INDEPENDENT VISION contemporary moment. Based on the CURATORIAL AWARD strengths of exhibitions, research and Miguel A. Lopez writing in the last two years, Miguel A. Lopez’s work stands out. He is an important young voice whose past projects suggest a brilliant future.”

Through his work, Lopez investigates collaborative dynamics and transfor- mations in cultural engagement with politics in Latin America in recent decades; and focuses on feminist and queer re-articulations of history from a Southern Hemisphere perspective.

Read an interview between Miguel Lopez and ICI’s Director of Exhibitions, Alaina Claire Feldman on page 46.

Photo: Vladimir Weinstein, Billy Farrell Agency.

Established in 2010 as an initiative of the Gerrit Lansing Education Fund (see page 62), the Independent Vision Curatorial Award refects ICI’s commitment to supporting international curators early in their careers who have shown exceptional creativity and pre- science in their exhibition-making, research, and related writing. The award is given every two years to an early or mid-career curator to support their independent practice through ICI.

55 56 Robert Longo, Rashid Johnson, Kate Fowle. Photo: Vladimir57 Weinstein, Billy Farrell Agency. Sheree Hovsepian, Isolde Brielmaier, Franklin Sirmans. Photo: Vladimir Weinstein, Billy Farrell Agency. Marian Goodman accepts the 2016 Leo Award. Photo: Vladimir Weinstein, Billy Farrell Agency. Limited Editions

Tony Matelli Tony Matelli’s practice probes the na- Head, 2016 ture of expectation through the power of visual experience. Known for his hy- Concrete, Painted Bronze, 7 x 8 x 7 inches, approximately perrealist sculptures, Matelli’s work is shaped by internal desires and exter- Edition of 10 $8,500 nal forces. Developed out of his recent Garden series and related to his project for ICI’s 2016 Leo Award, Matelli’s limited edition for ICI features an aged outdoor statue, crowned by a triad of perfectly ripe strawberries.

Through this juxtaposition, Matelli offers mortality manufactured out of a keen mastery of materials. The combined effect is one of the simultaneous arrest and acceleration of time, a weathered memento mori for the modern era.

Tony Matelli is represented by Marlborough Contemporary, NY.

curatorsintl.org/support 58 Jessica Stockholder Robert Burnier Two and Fro, 2015 Ne Aro, 2014–2015

Metal, car side-view mirrors, industrial color paint, Primer on aluminum, 8 1/2 x 7 1/2 inches, 10 3/4 x 18 inches, approximately approximately

Edition of 20 Edition of 20 $5,000 $1,500

Robert Rauschenberg Marina Abramović Untitled, Ft. Myers, 1979/91 Untitled, 2012

Silver gelatin print, 11 x 14 inches Do it catalogue (1997 edition), embroidered apron, wooden box. 15 x 15 inches Edition of 75 $2,000 Edition of 20 + 5APs $5,000

59 curatorsintl.org/support Get Leadership Involved! Council

ICI’s extensive global presence would not be possible without the transfor- mative role of the Leadership Council. Established in 2013, the visionary group develops new initiatives that el- evate ICI to the next level. Over the last four years, the Council has worked closely together with ICI staff to expand the organization’s capacities and nurture ICI’s international curatorial networks from the inside out. Through the Leadership Fund, ICI has expanded curatorial research opportunities in regions such as the American South, and in Africa, Central America and the Caribbean.

Sarina Tang, ICI Board of Trustee’s International Representative; Josh Brooks and Jung Lee; Eric Bunnang Booth, MAIIAM Contemporary Art Museum; Faruk and Fusun Eczacibasi; Jane Glassman, Fine Art Dealers Association; Agnes Gund; Marian Goodman; Alexei Kuzmichev and Svetlana Kuzmicheva-Uspenskaya; Toby Devan Lewis; Dorothy Lichtenstein; Julie Mehretu and Jessica Rankin; Patricia Phelps de Cisneros; Mercedes Vilardell; Helen Warwick; Lawrence and Alice Weiner.

For more information about the Leadership Council, contact Francisco Correa-Cordero at francisco@ curatorsintl.org.

curatorsintl.org/support 60 International The Forum Independents

The International Forum brings togeth- The Independents is a group of dynam- er an exclusive group of people who ic individuals active in the contemporary share ICI’s mission and global reach. art world that support the organization’s With behind-the-scenes access to ICI programs and vision for the future. programs, select international exhibi- Independents gain insights into new ap- tions, biennials, and art fairs around the proaches to contemporary art and cul- world, patrons of the Forum stay con- ture by connecting with emerging and nected through ICI to the curators and established curators, artists, collectors, artists who shape the contemporary art and leading figures in the art world. world. Global in scope, current mem- Through shared reading, educational bers reside in cities all over the world programs, social events with ICI’s staff, and connect to ICI in New York, on ex- Board of Trustees and other patrons, clusive trips, and at the major art events members are part of a truly internation- internationally. al art organization with connections to over 65 countries.

Adam Abdalla, Todd von Ammon, Kristen Becker, Liddy Berman, Blair Brooks, Nikki Brown, Fischer Cherry, Bridget Donahue, Mary Garis, Taymour Grahne, Sarah Goulet, Astrid Hill, Jessica Hodin, Alixandra Hornyan, Heather Hubbs, Matthew Israel, Jeremiah Joseph, Christine Kuan, Sims Lansing, Kristen Lorello, Carly Members of the International Forum visited Moscow Mark, Celine Mo, Josie Nash, Larry and St. Petersburg on the occasion of the grand opening of Garage Museum of Contemporary Art, Ossei-Mensah, Christina Pacetti, Moscow, June 2015. Victoria Rogers, Thor Shannon, Tasha Sterling, Katharine Urbati, and Dexter T.A. Fassburg, Lacy Davisson Doyle, Wimberly. Elaine Goldman, Julie and Robert Graham, Michael Jacobs, Michael L. Klein, Ingela Lorentzen, Kathleen The Independents nominate new members on a regular basis. Individuals are selected to join based on their cre- O’Grady, Joseph Yurcik, Andres ative contributions and dedication to the contemporary Zervigon. art world. For more information about the Independents, contact Francisco Correa Cordero at francisco@ curatorsintl.org.

Patrons of the International Forum make an annual con- tribution towards ICI’s publications and international programs. For more information about the Forum contact Francisco Correa Cordero at [email protected].

61 curatorsintl.org/support Thank You On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions continue to make possible our programs worldwide, by providing crucial support to our exhibitions, public events, research and training initiatives, and publications. Foundations We thank the foundations that support our existing and new programs including: The Andy Warhol Foundation for the Visual Arts, Elizabeth Firestone Graham Foundation, Emily Tremaine Foundation, Evelyn Toll Family Foundation, FADA Foundation, Foundation To-Life, Ford Foundation, The French Institute, Hartfield Foundation, The Joyce Foundation, Keller Family Foundation, New York City Department of Cultural Affairs, New York State Council on the Arts, SAHA, Robert Sterling Clark Foundation, The Toby Lewis Foundation, Trust for Mutual Understanding. Gerrit Lansing Educational Fund

The Gerrit Lansing Education Fund was established in 2010 to honor ICI’s founding chairman and his strong belief that the future of the organization’s success is rooted in educational activities for broad publics internationally. Enduring Gerrit’s legacy, the Fund has contributed to ICI’s public programs and supported a new generation of curators through Curatorial Intensive scholarships and the Independent Vision Award. Catherine Cahill & William Berhard, Leon & Debra Black, Dick & Jill Blanchard, Gale & Shelby Davis, Beth Rudin De Woody, Arthur & Carol Goldberg, Peter & Laurie Grauer, Agnes Gund, Marlene Hess & Jim Zirin, Alexandra Isles, Kenneth Kuchin, Sydie Lansing, Ronald & Jo Carole Lauder, Melva Bucksbaum & Raymond Learsy, Dorothy Lichtenstein, Hilary & Wilbur Ross, Patterson Sims, John & Nonie Sullivan, Julie & Hans Utsch, Robin Wright.

curatorsintl.org/support 62 Individuals Jan Abrams, Eleanor Acquavella, Jane Aiello, Shane Akeroyd, Tim Anderson, Augusto Arbizo, Sarah Arison, Debbie August, Abby Bangser, Marianne Lafiteau & Henri Barguirdjian, Clare Bell, Barbara & Bruce Berger, Marc Berson, Barbara Bertozzi Castelli, Andrew Black, Leon & Debra Black, Joan Blackman, Richard & Jill Blanchard, Linda Blumberg, Tanya Bonakdar, Bethanie Brady, Rena Bransten, Jill Brienza, Leonard & Elizabeth Buck, Tootsie Burk, Gretchen Burke, Lisa Byala, William Bernhard & Catherine Cahill, Doris Castells Valle, Robert Casterline, Jereann Chaney, Barbara Chapman, Fischer Cherry, Veronika Châtelain, Margaret Clinton, James Cohan, Joanne Cohen, Robert Cohen, Kari Conte, Susan Coote, Cynthia Corbett, Dagny Corcoran, Brahm & Dana Zucker Cramer, Paula H Crown, William Cummings, Clifford Davis, Gale & Shelby Davis, Gabriella De Ferrari, Pablo Leon de la Barra, Manuel de Santaren, Mr. & Mrs. Dehgan, Lisa Dennison, James Sollins & Louise Eliasof, Mia Enell, Heather Ewing, Russell Ferguson, Barbara Flynn, Filippo Fossati, Gregory Foster-Rice, Julia Fowler, Karyn Frist, Garage Museum of Contemporary Art, Janis Gardner Cecil, Maria Genkin, Glenmede, Andrea Glimcher, Richard Gluckman, Molly Gochman, Julieta Gonzalez, Jay Gorney, Sherri & Jack Grace, Laird Grant, Peter & Laurie Grauer, Marilyn Greene, Colleen Grennan, Regina & Peter Gross, Victoria Gross, Holly J. Hager, Karine Haimo, Lynn & Martin Halbfinger, Laura & Bernard Hamilton, Susan Hapgood, Ebony Haynes, Lesley & Evan Heller, Alexandra Herzan, Marlene Hess, Lucy Holland, Stephanie Hoos, Noah Horowitz, Niki Horwitch, Alexandra Isles, Andrew Jacobs, Meg & Howard Jacobs, Bettina Jebsen, Rashid Johnson & Sheree Hovsepian, Sean Johnson, Tony Karman, Margie & Donald Karp, Katherine Ross & Michael Govan, Joan & David Katsky, Ambre Kelly, Ellen Kern, Ali Khadra, Joseph Kiefer, Irene Kim, Sooja Kim, Sho- Joung Kim-Wechsler, Ted Kitada, Michael Klein, Jody Brunk Knowlton, Sarah Ko, Stuart Kohen, Karyn Kohl, Bettina Korek, Bernard & Anne Korman, Peter & Jill Kraus, Kenneth Kuchin, Carin Kuoni, Heidi Lange, Mihail Lari, Raymond Learsy, Mark Levitt, Dominique Levy, Daniel Lichtenberg, Argie Ligeros, Ellen Liman, Robert Longo, Michelle Lopez, Rose Lord, Marianne Lubar, Isaac Lustgarten, Kate Ma, Ellen Chesler & Matthew Mallow, Barbara Manocherian, Curt Marcus, Iris Marden, Dominique Stallaerts & Harry Markham, Eddie Martinez, Dennis & Jeanne Masel, David Maupin, Alexandro Maya, Bee & Gregor Medinger, Turid Meeker, Michael & Margaret Dees, Ingrid Moe, Mary Morgan, Scott Mueller, Barbara Nessim, Susan Numeroff, Cynthia & Tom Ogden, Judith Oppenheimer, Kim & John Palmer, Gabriela Palmieri, Cécile Panzieri, Simon Preston, Sangeetha Ramaswamy, Erica Redling, Marjorie Reed Gordon, Juvenal Reis, Katrina Reitman, James “Great Neck” & Elissa Richman, Sheila Robbins, Scott Rosenberg, Joel Rosenkranz, Wilbur & Hilary Ross, Aldo Rubino, Beth Rudin De Woody, Rosina F. Rue, Kerstin Ruoff, Jane Sadaka, Barbara Salmanson, Richard & Ellen Sandor, Harvey M Sawikin, Lisa Schiff, Hanna Schouwink, Charles Schultz, Barbara Schwartz, Ellen & Dennis Schweber, Patricia & Charles Selden, Serge Krawiecki & Ian Gazes, Manny Sharp, James Stanton & Kelli Shaughnessy, Heather & John Shemilt, Carla Shen, Linda Shirvanian, Adam Shopkorn, Joyce Siegel, Ana Sokoloff, Robert & Gillian Steel, Andrew Stone, John & Eleanor Sullivan, Jr., Margaret Sundell, Harriet & Alan Tarnow, Rebecca Taylor, Ann Tenenbaum, Carolee Thea, Helen Tsanos Sheinman, Adrian Turner, Julie & Hans Utsch, Nienke van den Hoek & Alexander Ribbink, Joan Van der Grift, Kara Vander Weg, Marlies Verhoeven, Frank Walter, III, Caroline Waxler, Dorsey Waxter, William Wegman, Lawrence & Alice Weiner, Lea Weingarten, Benjamin Whine, Jennifer Wooster, Alan & Rita Yohalem, Adam Yokell, Dasha Zhukova ICI BOARD OF TRUSTEES

Gerrit L. Lansing* Trustee Emerita Chairman Emeritus Maxine Frankel Carol Goldberg Sydie Lansing Agnes Gund Honorary Chairman Caral G. Lebworth* Virginia Wright Jeannie M. Grant Patterson Sims ICI Co-founders* Chairs Susan Sollins Nina Castelli Sundell Barbara Toll * In Memoriam Vice Chair Renaud Proch Belinda Buck Kielland Executive Director President Kate Fowle Ann Schaffer Director-at-Large Vice President

Noreen Ahmad Jeffrey Bishop Christo & Jeanne-Claude* Ann Cook Yulia Dultsina Bridget Finn Jack Geary LaVon Kellner Jo Carole Lauder Joel Miller Sam Moyer Vik Muniz Mel Schaffer Treasurer Sarina Tang International Representative

64 ICI STAFF

Renaud Proch Executive Director

Kate Fowle Director-at-Large

Alaina Claire Feldman Director of Exhibitions

María del Carmen Carrión Director of Public Programs & Research

Kimberly Kitada Public Programs & Research Coordinator

Manuela Paz Director of Development & Strategic Planning

Jenn Hyland Development Manager

Francisco Correa-Cordero Executive Coordinator

Bessie Zhu Administration & Communications Manager

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