Independent Curators International Fall/Winter 2010/11 Program Inde Pen Dent Think Ing Table of Contents

Home , Art dealer, Jack Whitten, Karl Haendel, Liz Deschenes, Matthew Higgs, RoseLee Goldberg

INDEPENDENT CURATORS INTERNATIONAL FALL/WINTER 2010/11 PROGRAM INDE PEN DENT THINK ING TABLE OF CONTENTS

ICI EXHIBITIONS Exhibitions in a Box 4 Raymond Pettibon: The Punk Years, 1978–86 5 Harald Szeemann: Documenta 5 6 People’s Biennial 8 Martha Wilson 10 Image Transfer: Pictures in a Remix Culture 12 Create! 14 Art Moves: Performance 1960 to 2010 17 Project 35 24 FAX 26 Mixed Signals: Artists Consider Masculinity in Sports 30 Experimental Geography 32 The Storyteller 36 Booking Info 48

ICI 35 YEARS OF COLLABORATION Harald Szeemann 7 Matthew Higgs 16 Lucy Lippard 21 Maria Lind 40

ICI NETWORKS Curator’s Perspective 18 DISPATCH 20 Curatorial Intensive 38 Curator’s Network 41 Join Us 44 Access ICI 45 Access Artists 46

ICI CELEBRATING 35 YEARS Access Brazil 22 Video Art USA 23 ICI Awards 42 New Collaboration with John Baldessari 49

Editor: Kate Fowle Designer: Scott Ponik Copy Editor: Leigh Markopoulos Printing: Linco Printing, Queens, NY Big thanks to: John Baldessari, Greg Barton, Zoe Butt, Wilson Duggan, Özge Ersoy, Susan Hapgood, David Harvey, Maria Lind, Lucy Lippard, Pilar Pertusa, Ann Sievers, Adriel Saporta, Erica Udow, Ivana Vaseva

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To receive a downloadable pdf version of this publication, or more copies by mail contact Michelle Jubin, Communications Administrator: [email protected] INDEPENDENT CURATORS INTERNATIONAL WELCOME

Welcome to the Independent experiences. Through online forums and the formation Curators International ‘new look’ of partnerships with arts organizations worldwide we’ve Fall/Winter program, which gives instigated talks, conferences, publications, curatorial you all the news and information on training, and professional networking opportunities that our latest exhibitions, talks, events, enable people to gain access to current thinking from studio visits, and training programs, places that are not always on the radar. Our itinerant as well as insight into some of the series, the Curator’s Perspective, has featured practi- past projects and collaborations tioners from Istanbul, Copenhagen, São Paulo, Quito, that have created the foundation on Tel Aviv, Lagos, and Vietnam, while our new bi-monthly which the organization is built. online journal DISPATCH has hosted guest editors from Mexico City, Ho Chi Minh City, and San Francisco, with Founded in 1975, ICI has produced 121 exhibitions and issues from Mumbai and Berlin forthcoming. We’ve also numerous publications, profiling the work of more than instigated short-course training programs — the first of 3,700 artists and working with 595 museums, univer- their kind in the world — which bring emerging curators sity art galleries, and art centers in 48 states and 31 together to learn from some of the leading professionals countries worldwide. In 2010 we are building on this in the field today. Participants have come from Belgium, legacy and diversifying our programming so that we can Canada, Egypt, Singapore, South Africa, and 8 states broaden our network of institutions and individuals and across the U.S. ensuring that the first Curatorial Intensive increase the ways that audiences can gain access to was not only a hot-bed for heated exchange, but also international developments in art practice. highlighted how ICI is now facilitating the crucial development of new networks between future generations of In the past year we’ve complimented the existing exhibi- curators. tion program with new projects that introduce different curatorial models to reflect the evolving interests of Reflecting all these new initiatives at ICI, and in celebra- artists, curators, and venues. Flexible, modular, and col- tion of our 35th Anniversary, this publication marks the laborative in nature, the new initiatives enable organiza- launch of our new graphic created by John Baldessari, tions to tailor shows to their specific local contexts, while who succinctly visualizes the way that curators are also increasing opportunities for a truly global line-up of central to the mission of the organization through their artists and curators to participate in the development of independent thinking and international networks. exhibitions. Take a look at the new Exhibitions in a Box series, Project 35, FAX, Martha Wilson, and People’s And finally, it is with sadness that we dedicate this Biennial and you’ll see the variety of ways in which we’ve current program to Gerrit Lansing, ICI’s long-time been establishing new frameworks. Also check out the Chairman and friend, who passed away this summer. newest shows we are co-producing — Image Transfer: His unswerving belief and support of ICI’s programming, Pictures in a Remix Culture and Create! — very differ- as well as his wise and insightful leadership spurred the ent, but timely projects curated by smart people who are organization into understanding its past and building continuously looking at art and talking to artists so as its present program. In turn, we hope that you will be to make sure their exhibitions are relevant to the issues inspired to engage and collaborate with us in the coming that are prevalent today. For the first time, we are also months and years. featuring the early outline of a ground-breaking show exploring the potential for exhibiting performance, which is instigated by Performa director RoseLee Goldberg. We are currently looking for venues to collaborate with us on the development of this project, so let us know if you want to participate. (See page 17.)

Recognizing that exhibitions aren’t the only way to Executive Director discover what’s going on around the world we’ve Independent Curators International also developed a new series of programs that provide a platform for curators to share their research and INDEPENDENT CURATORS INTERNATIONAL ICI FALL /WINTER 2010/11 THE CURATOR’S PERSPECTIVE EXHIBITIONS

An itinerant public discussion series in which interna- Developed by enquiring curators and artists from tional curators share their research and experiences, around the world, ICI’s exhibitions address key issues in including the artists they are excited by, exhibitions that contemporary culture and present diverse art practices have made them think, and their views on recent devel- in a variety of formats. opments in the art world. All events are free and open to the public. FAX Dowd Gallery, State University of New York Monday, October 25, 7–9pm Cortland, New York Virginija Januskeviciute (Lithuania), New York University October 7–December 10, 2010 Tuesday, November 9, 7–9pm New Galerie Glenn Phillips (Los Angeles), The Kitchen, NYC Paris, France November 6–December 18, 2010 Sunday, December 12. 4–6pm Weng Choy Lee (Singapore), New Museum, NYC Carpenter Center for the Visual Arts Cambridge, Massachusetts Thursday-Saturday, December 2–5 from 12pm daily February 7–April 3, 2011 NADA Miami: exclusive tours of the fair led by international curators, Deauville Beach Resort, Miami Apex Gallery, South Dakota School of Mines For more information and to RSVP contact Chelsea Haines at and Technology 212.254.8200 x26 or [email protected]. Rapid City, South Dakota February 15-April 3, 2011

THE CURATORIAL INTENSIVE PEOPLE’S BIENNIAL Portland Institute for Contemporary Art Short-course professional training for curators. Portland, Oregon September 10–October 17, 2010 The Curatorial Intensive: International Research Wednesday-Thursday, October 13-14; December 8-9; Dahl Arts Center January 26–27 Rapid City, South Dakota Various Locations, Philadelphia, PA January 14–March 27, 2011

The Curatorial Intensive: Curating in the Public Realm THE STORYTELLER (ﬁlm series version) Sunday-Saturday, October 24-31 Museo Nacional Centro de Arte Reina Sofía, Various Locations, New York, NY Madrid, Spain September 13–26, 2010 The Curatorial Intensive Symposium Monday, November 1, 10–6pm (free and open to the public) 16 Beaver St, New York, NY EXPERIMENTAL GEOGRAPHY Museum London Wednesday-Friday, December 14-16 Ontario, Canada The Curatorial Intensive: What is curating? October 9, 2010–January 2, 2011 Mohile Parikh Center, Mumbai, India The Foreman Art Gallery, Bishop’s University Participation in the Curatorial Intensive is based on competitive selec- Sherbrooke, Canada tion, apart from the Curatorial Intensive Symposium, which is free and January 21–April 1, 2011 open to the public. For more information and to apply contact Chelsea Haines at 212.254.8200 x26 or [email protected].

2 ICI FALL /WINTER 2010/11 IMAGE TRANSFER: PICTURES IN NEW YORK STUDIO EVENTS A REMIX CULTURE Henry Art Gallery Tuesday, September 21 Seattle, Washington Olaf Breuning October 2, 2010–January 23, 2011 Wednesday, September 29 Marina Abramovic RAYMOND PETTIBON: THE PUNK YEARS 1978–86 Tuesday, December 14 University Galleries at Florida Atlantic University Lawrence Weiner Boca Raton, Florida November 13, 2010–January 22, 2011 Wednesday, October 27 Dinner with Nancy Spector, Guggenheim Deputy Director PROJECT 35 & Chief Curator Saint Joseph College Art Gallery, Connecticut; The New York Studio Events are exclusive visits for ICI Supporters. For The Galleries at Moore College of Art and Design, more information and tickets contact Bridget Finn at 212.254.8200 x24 Philadelphia; Press to Exit Project Space, Skopje, or ﬁ[email protected]. Macedonia; San Art, Ho Chi Minh City, Vietnam; Washington Pavilion of Arts and Science, South Dakota; Göteborgs Konsthall, Sweden; William Benton Museum SPECIAL EVENTS of Art, University of Connecticut; New Orleans Museum of Art, Louisiana. October Ongoing through 2011 JOHN BALDESSARI & BOTKIER LIMITED EDITION LAUNCH PARTY MARTHA WILSON In addition to a new ICI graphic that John Baldessari has Leonard and Bina Ellen Art Gallery, Concordia University designed for us this year, he has collaborated with bag Montreal, Canada designer Monica Botkier on an ICI limited edition tote January 6–February 19, 2011 bag. We will be launching the bag at an event in October to coincide with the opening of Baldessari’s solo exhibi- MIXED SIGNALS: ARTISTS CONSIDER tions at the Metropolitan Museum of Art and Marian MASCULINITY IN SPORTS Goodman Gallery. Middlebury College Museum of Art Middlebury, Vermont November February 3–April 17, 2011 ERNESTO NETO LIMITED EDITION

For more information on presenting ICI exhibitions contact Frances Wu LAUNCH Giarratano at 212.254.8200 x29 or [email protected] In conjunction with ICI’s 35th Anniversary Contemporary Art Tour of Brazil, ICI will launch a limited edition artwork produced by Ernesto Neto exclusively for ICI. The trip and edition commemorate and celebrate ICI’s very ﬁrst exhibition in 1975, Video Art USA, which represented the US in the São Paulo Bienal.

December ICI’S 35TH ANNIVERSARY PARTY Save the date: Thursday, December 9 Park Avenue Armory, NYC Join us to celebrate our birthday and honor curators RoseLee Goldberg and Doryun Chong. The evening will feature live performances, bands and djs, and live and silent auctions of “art experiences.”

For more event details and contact Kristin Nelson at 212.254.8200 x25 or [email protected] for tickets or more information. 3 ICI EXHIBITIONS 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.

4 EXHIBITION IN A BOX THE PUNK

YEARS Raymond Pettibon, Black Flag Hong Kong Café , 1979 RAYMOND PETTIBON: THE PUNK YEARS, 1978–86

BASIC FACTS

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 artist’s 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.

5 EXHIBITION IN A BOX DOCUMENTA 5 HARALD SZEEMANN: DOCUMENTA 5 , 1975 aus / from Saltoarte (aka: How the Dictatorship of Parties Can Overcome) / Joseph Beuys, aus Documenta 5 catalogue

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. Assembled by David Platzker, director of Specific Object in New York, HARALD SZEEMANN: DOCUMENTA 5 includes the exhibition catalogue, ephemera, artists’ publications and editions produced in conjunction with the exhibition, as well as published reviews and critical responses. To adapt this show to a local context, venues could host talks about contracts and rights, or work with groups to generate their own 100-day series of events.

BASIC FACTS

Participation fee: $500 per week, $1,500 for 4 weeks, $3,000 for 10 weeks, plus incoming and outgoing shipping from New York City Space required: extremely ﬂexible Available dates: now through December 2011 For further booking details see pg 48 6 ICI 35 YEARS OF COLLABORATION HARALD SZEEMANN DOCUMENTA 5 is a seminal example of Harald Szeemann’s independent thinking made manifest through exhibition-making. Entitled “Questioning reality—pictorial worlds today,” the mega-show placed art alongside parallel domains of visual production, using different modes of presentation — from large-scale installations to ﬂy-posting—to explore artists’ visions in relation to the ever-proliferating visual stimuli of the time. Thirty years on, in 2001, Szeemann wrote a text for ICI giving advice to a new generation of curators. In this he reiterated his life-long interest in understanding the physical “making” of exhibitions as integral to the curatorial process:

“Does art need directors? The answer is decisive Excerpted from Words of Wisdom: A Curator’s Vade Mecum (ICI, 2001) “No.” Directing clearly refers to the world of the the- ed: Carin Kuoni. A downloadable pdf of this book is available free to members of ICI’s Curator’s Network. For information or to join go to ater, not the ﬁne arts. So, let’s forget about directors www.ici-exhibitions.org and talk about professional exhibition organizers, authors, or, better yet, curators. After all, the word “curator” already contains the concept of care.

In my own experience, I have come to believe that an exhibition should be arranged in space as nonverbal witness to the curator’s understanding of an artwork, an oeuvre, an overall vision, or a self-chosen topic. In the process of what in English is usually called “exhibition design,” these elements are transformed into events using a fixed, newly interpreted, or temporary architecture. Common devices include establishing breathing room with reference to the artworks, taking advantage of con- centrated or expanded sequences of presentation, introducing a celebratory quality by isolating the works, defining eye levels and the dimensions of pedestals, the colors of the walls, the neutralization of floor patterns, the lighting. (…) I am opposed to exhibition design that fails to expose the obsession of the creator and the intensive intentions in the work. (…) Which is to say that without seeing, there is nothing visionary, but the visionary should always determine the seeing. Otherwise, we might just as well return to “hanging and placing,” and divide the entire process “from the vision to the nail” into detailed little tasks again. How sad this would be, for designing exhibitions means making visible the joy of dealing with art, and the joy of potential combi- nations it provokes, especially when you consider it

to be autonomous. To make exhibitions is to love. Lüscher Ingeborg with permission from De Domizio Durini, reprinted Photo: Lucrezia Harald Szeemann in Bolognano, 2001.

7 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. The PEOPLE’S BIENNIAL blog hosted on ICI’s website chronicles the curatorial process as Fletcher and Hoffmann conduct research and meet local audiences and artists in each of the ﬁve cities. The contents of the blog, essays by the curators, and journalistic entries from the participants will be captured in a book made to accompany the exhibition. The publication will include statements from each of the artists, and be extensively illustrated with the selected artwork and photographs of the community-based events.

ABOUT THE GUEST CURATORS Jens Hoffmann is Director of the CCA Wattis Institute for Contemporary Arts, San Francisco. He has curated over three-dozen exhibitions since the late 1990s. 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 Harrell Fletcher is an artist who has worked collabora- College, University of London. He is the co-curator for tively and individually on socially engaged, interdisciplin- the 12th Istanbul Biennial in fall 2011. ary projects for more than ﬁfteen years; his work has been exhibited throughout the United States, and in Europe. He is a professor of art and social practice at Portland State University in Portland, Oregon.

8 PEOPLE’S BIENNIAL

EXHIBITION ITINERARY

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

Dahl Arts Center Rapid City, South Dakota January 14 – March 27, 2011

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

Scottsdale Museum of Contemporary Art Scottsdale, Arizona October 15, 2011 – January 15, 2012

Cantor Fitzgerald Gallery, Haverford College Haverford, Pennsylvania

January 27 – March 2, 2012 Philadelphia, his work to the curators during a site-visit in Robert Smith-Shabazz presents Pennsylvania. Photo: Steve Magnotta/Intrigue Photography open call at the Dahl Arts Center in Rapid City, South Dakota open call at the Dahl Arts Center in Rapid City, People’s Biennial Artists lined up for the People’s

The notions of periphery and center are integral to the concept of People’s Biennial. For the curators, the terms are intended to apply not just to geography, but also to artistic and curatorial practice. Initially, I had been concerned that these ideas of periphery and center presented were conflated and therefore problematic. This aspect of the project is both fascinating and has been difficult for many in this community to understand. The practices of making and curating art are loosely and rather nebulously defined; they operate on a spectrum ranging from traditional conceptions to totally unexpected forms. However, as I came to understand the intentions of Jens Hoffmann and Harrell Fletcher, I realized that blurring of boundaries and semantic reconsidering is precisely the point. A particular challenge for me in light of the artistic production in this community is drawing a clear line between professional and nonprofessional artists — which is exactly why the project is provocative. — Cassandra Coblentz, Associate Curator, Scottsdale Museum of Contemporary Art

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 GUEST CURATOR BASIC FACTS

Participation fee: $9,000 for 10 weeks, plus Martha Wilson’s travel and accommodations, and incoming shipping Number of works: To be determined. Selections to be made from the original 58 works, which form the basis from which each local curator selects objects Peter Dykhuis is Director and Curator of the Dalhousie relevant to their own presentation, planned in Art Gallery in Halifax, Nova Scotia. Prior to that he was collaboration with Martha Wilson. All crates will be director of the Anna Leonowens Gallery at the Nova shipped to each venue, and any unexhibited objects Scotia College of Art and Design, and a guest curator for will be safely stored onsite. the Art Gallery of Nova Scotia. His most recent exhibition Space required: ﬂexible is Giving Notice: Words on Walls. Tour dates: January 2011 through December 2012 For further booking details see pg 48

10 MARTHA WILSON Martha Wilson, Wilson as Barbara Bush, “Separated at Birth,” 2005. Photo by Dennis Ho W.

MARTHA WILSON PUBLICATION , 1974 Martha Wilson will be accompanied by a sourcebook that presents a compendium of reprints and facsimiles of the artist’s archival materials (newspaper cuttings, articles, etc.) as well as excerpts from formative texts (such as Simone de Beauvoir’s The Second Sex and Piaget’s theories on identity formation), reﬂecting the contestations inherent in feminism through the lens of

Wilson’s work and her interests. Girl from A Portfolio of Models Martha Wilson, Working DISBAND, performance at P.S.1, 1979 DISBAND, performance at P.S.1, 11 ICI EXHIBITIONS IMAGE

Sean Dack, Untitled (Beach), 2008. Courtesy of the TRANSFER artist and Fredric Snitzer Gallery, Miami 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

Participation fee: $12,000 Number of artists: 12 Number of works: 45 Space required: 4,000–5,000 square feet Tour dates: October 2010 through April 2012 For further booking details see pg 48

IMAGE TRANSFER CATALOGUE Sara Krajewski has served as Associate Curator at the Henry Art Gallery since 2005. She organized the group A fully illustrated publication will accompany the exhibitions The Violet Hour (2008) and Viewﬁnder exhibition. The exhibition catalogue will explore the (2007) as well as solo projects with artists Matthew pervasive phenomenon of the “remix” as it is absorbed Buckingham, Walid Raad, Liz Magor, Steven Roden, Kelly by visual artists and “played back” through their work. Mark, and Santiago Cucullu. Her writing has appeared in In the lead essay, exhibition curator Sara Krajewski will Art on Paper, ArtUS, and other publications. Krajewski discuss this aspect of the evolving role of photography has held curatorial positions at Madison Museum of today and the impact of artistic practices shaped by Contemporary Art and Harvard Art Museum. information culture and the digital age.

12 IMAGE TRANSFER: PICTURES IN A REMIX CULTURE 2006. Courtesy of the artist and Harris Lieberman Gallery, New York Lisa Oppenheim, The Sun is Always Setting Somewhere Else… 2006. Courtesy of the artist and Harris Lieberman Gallery,

ARTISTS INCLUDE

Sean Dack, Karl Haendel, Jordan Kantor, Matt Keegan, Carter Mull, Lisa Oppenheim, Marlo Pascual, Amanda Ross-Ho, Sara VanDerBeek, Siebren Versteeg, Erika Vogt, and Kelley Walker. , 2010. Courtesy of the artist and Marc , 2010. Courtesy of the artist and Marc The Tar Pit Carter Mull, The Tar Los Angeles Foxx Gallery, , 2009. Courtesy the artist and Casey Kaplan, New York. Photo: Cary Whittier Marlo Pascual, Untitled , 2009. Courtesy the artist and Casey Kaplan, New York.

13 ICI EXHIBITIONS CREATE! Curated by Matthew Higgs and Lawrence Rinder 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 twenty 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 in 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, and are now 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 Paciﬁc Film Archive, having previously held the position of Dean of the California College of the Arts and been the contemporary art Curator at the Whitney Museum of American Art. He is also a writer of art criticism, poetry, drama, and ﬁction.

ARTISTS INCLUDE

John Patrick McKenzie, James Miles, Dan Miller, Matthew Higgs is the Director/Chief Curator of White Marlon Mullen, Evelyn Reyes, Judith Scott, William Scott Columns, New York. From 2001 to 2004 he was Curator and more at the CCA Wattis Institute for Contemporary Arts, San Francisco. Prior to that he was an Associate Director of BASIC FACTS Exhibitions at the ICA, London. Since 1992 Higgs has organised more than 200 exhibitions and projects with Number of artists: Approximately 30 artists. He has contributed essays and interviews to Number of works: Approximately 100 more than 50 publications and art magazines including Space required: 4,500–5,000 square feet Artforum, Frieze, Art Monthly and Afterall. Tour dates: May 2011 through May 2013 Contact Frances Wu Giarratano at 212.254.8200 x29 Read more about ICI’s collaborations with Mathew Higgs on page 16. or [email protected] for further booking details 14 CREATE! , 2009. Courtesy of the artist and Creativity Explored, San Francisco Explored, Mary Belknap, Untitled , 2009. Courtesy of the artist and Creativity , 2009. Courtesy of the artist Creativity Explored, San Francisco Explored, Evelyn Reyes, Carrots (Blue) , 2009. Courtesy of the artist Creativity

15 ICI 35 YEARS OF COLLABORATION MATTHEW HIGGS CREATE! is the second ICI exhibition curated by Matthew Higgs. In 2004, he curated LIKENESS: PORTRAITS OF ARTISTS BY OTHER ARTISTS, which explored the shared worlds of a loose network of artists active in Los Angeles, New York, London, and Berlin. Since then, he has served on ICI’s Exhibitions Committee and participated in our public programs.

Last December, as part of the events for the NADA Art Fair in Miami, ICI teamed up with Matthew on a special project called Question Time, which was based on his signature interviews with artists. Over the past 10 years, the proliﬁc curator has conducted interviews using 20 questions garnered from friends and colleagues of the interviewee. The ﬁrst subject was Martin Creed in 1999; the most recent was John Baldessari (2009), and those in between have comprised around 25 artists, including Marilyn Minter, Elizabeth Peyton, Cindy Sherman, Miranda July, and Peter Doig.

Question Time was a live version of this interview mode, but with a twist, as Matthew was the subject. NADA visitors were invited to submit their questions over the duration of the fair, of which 20 were selected and relayed in a public forum over 2 days. The questions probed into many of Matthew’s interests — from his passion for Mark E. Smith of The Fall, to his views on newly emerging practices, and his early art collaborations with Gavin Brown, to his thoughts on the relevancy of the art fair in relation to the dissemination of ideas.

This summer, Matthew was part of the selection commit- at NADA Miami. December 3, 2009 tee for the ﬁrst iteration of the Curatorial Intensive, ICI’s training program for curators. He also taught the partici-

pants, sharing insights into his work as the Director of Question Time New York’s oldest artists-run space, White Columns. UPCOMING PROGRAM: Question Time was organized as part of Let’s Talk, an ongoing partnership between ICI and the New Art Dealers Alliance (NADA) that was created in 2009 to provide a platform for innovative programming that Thursday–Sunday, December 2–5, expands notions of our evolving art world. 2010, Starting at 12 noon daily, Let’s Talk Tours at NADA Miami. A transcript of Question Time is available online, via the Curator’s International curators offer their per- Network, ICI’s professional membership group for curators. spectives on and picks of the work on display at the fair.

16 ICI EXHIBITIONS ART MOVES ART MOVES: PERFORMANCE 1960 TO 2010 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. With her launch of Performa 05, the ﬁrst biennial of visual art performance, in 2005, she predicted that performance would become “THE medium of the 21st century”— and indeed, its time has come. Museums around the world are establishing performance 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 a central theme of their programs. ART MOVES: PERFORMANCE 1960 TO 2010 is an exhibition that shows how performance has come to be at the center of the discussion on the latest developments in 21st century art and culture.

featuring works by Francis Alÿs, Santiago Sierra, Allora & Calzadilla, and Guy Ben-Ner.

The exhibition itself will be made up of objects, ephem-

8 Happenings in 6 era, sound, and video, including material from a number of key Performa Commissions. As Art Moves travels to institutions across the United States, Performa will work with curators at each location to develop an affiliated program of live performances, screenings, and panels, and will also work with local students to inspire and provoke new research in the field. By looking at the last fifty years of performance through these five conceptual lenses, Art Moves will reflect on how we got to where we are today, laying the groundwork for new developments

Noémie Solomon performing in Allan Kaprow’s 1 Noémie Solomon performing in Allan Kaprow’s Parts (Re-doing), 2007. Photo copyright Paula Court. Courtesy of Estate, and Hauser & Wirth Zurich PERFORMA, Allan Kaprow /London. in performance for the 21st century.

An overview of performances made since 1960, this exhibition will consider performance in the context of ﬁve conceptual frameworks: visual art, postmodern dance, sound and new music, new media, and political engagement. “Visual Art” will look at the inﬂuence of performance on traditional forms of art including sculpture, painting, and drawing, while “Postmodern Dance” will unpack the radical developments in dance from the 1970s onward through works by artists like Yvonne Rainer, Trisha Brown, and Jérôme Bel. “Sound and New

Music” will take a closer look at experiments in these RoS Indexical , 2007. Photo copyright Paula Court. areas by artists ranging from John Cage to Paul Miller aka DJ Spooky, and “New Media” will focus on projects that utilize new social technologies by Anri Sala, Ryan Courtesy of PERFORMA. Trecartin, and Cory Arcangel, among others. Finally, in Emily Coates, Pat Catterson, Sally Silvers, and Patricia Hoffbauer Rainer’s Yvonne For further information on how to become a participating venue and “Political Engagement” will consider how performance curator in this groundbreaking project contact Frances Wu Giarratano at can be used to engage larger socio-political issues, 212.254.8200 x29 or [email protected].

17 ICI NETWORKS CURATOR’S PERSPECTIVE An itinerant public discussion series, the CURATOR’S PERSPECTIVE features international curators who distill current happenings in contemporary art, including the artists they are excited by, exhibitions that have made them think, and their views on recent developments in the art world. Since its inception in fall 2009, speakers have included Lars Bang Larsen (Copenhagen/ Barcelona); Zoe Butt (Ho Chi Minh City); María del Carmen Carríon (Quito/San Francisco); Ana Paula Cohen (São Paulo); Sergio Edelsztein (Tel Aviv); Vasif Kortun (Istanbul); and Bisi Silva (Lagos). All events in the series are free and open to the public and for those who can’t make it in person, there is photo and video documentation of all the talks archived on ICI’s website.

UPCOMING PROGRAM

Monday, October 25, 7–9pm Sunday, December 12, 4–6pm Virginija Januskeviciute Weng Choy Lee Hosted by New York University Hosted by the New Museum NYC Steinhardt School of Education 235 Bowery, New York, NY 10002 Einstein Auditorium, 1st Floor 34 Stuyvesant St, New York, NY 10003

Januskeviciute is currently a Curator at the This lecture will highlight art critic and curator Weng Contemporary Art Centre (CAC) in Vilnius, Lithuania. Choy Lee’s recent critical scholarship on biennials, Most recently she is programming the Reading Room — analyzing art criticism of these mega-shows and evaluat- CAC’s venue for curatorial and artistic experimentation — ing this now pervasive exhibition format, particularly in including talks, discussions, lectures, and performances. Asia. This event will be one of a touring conversation series by Lee, including events at the California College of Arts (San Francisco), Institute of Contemporary Art Tuesday, November 9, 7–9pm (Philadelphia), New Museum (New York), and the School Glenn Phillips of the Art Institute of Chicago, organized as part of ICI’s Hosted by The Kitchen new programming initiatives that provide a platform for 512 West 19th Street innovative international practitioners to directly connect New York, NY 10011 with audiences across North America.

Weng Choy Lee is an art critic based in Singapore and Phillips is Consulting Curator in the Department of Director of Projects, Research, and Publications at the Contemporary Programs and Research at the Getty Osage Art Foundation, Hong Kong. From 2000 to 2009, Research Institute in L.A. He has organized a number of he was the artistic Co-Director of The Substation, an arts video series at the Getty, including Pioneers of Brazilian center in Singapore. Video Art 1973-1983, and Surveying the Border: Three Decades of Video Art about the United States and The Curator’s Perspective has been made possible by generous contributions from Melville Straus and Agnes Gund; grants from CEC ArtsLink, Mexico. the Robert Sterling Clark Foundation, and The Andy Warhol Foundation for the Visual Arts; and by the support of the ICI Board of Trustees, ICI Benefactors Barbara and John Robinson, and ICI Partners and Patrons. 18 THE CURATOR’S PERSPECTIVE

VASIF KORTUN BISI SILVA

In May 2010, ICI organized the first touring version of the Curator’s Perspective with Bisi Silva, an independent curator and the founder and director of the Center for Contemporary Art in Lagos, Nigeria. Throughout May, Silva participated in a series of public lectures, panel discussions, and conversations at venues in five states, exploring the growing impact of transnational practice and using her extensive curatorial experiences across Africa, Asia, and Europe as a starting point for discussion. Looking at the potential for new dynamic forms of exhibition-making and cultural exchange, Silva shared her research into artists, as well as her perspectives on the expansion of curatorial networks and emerging collaborative institutional models in Africa. This conversation series was Silva’s first lecture in the United States. The Curator’s Perspective: Vasif Kortun. James Cohan Gallery. September 9, 2009 Kortun. James Cohan Gallery. Perspective: Vasif The Curator’s

Vasif Kortun was the inaugural speaker for the Curator’s Perspective in September 2009. The founding director of Platform Garanti Contemporary Art Center in Istanbul, he was the chief curator and director of the 3rd Istanbul

Biennial (1992) and co-director of the 9th Istanbul Perspective: Bisi Silva. Newark Museum. May 7, 2010 The Curator’s Biennial (2005). Kortun was also the co-curator of the third Taipei Biennial in 2008, a co-curator of the 24th São I see this touring conversation series as a plat- Paulo Biennial (1998), as well as the co-curator of the form for interesting dialogue and even potential Tirana Biennial and the 2nd Ceramics Biennial in Albisola exchange that focuses less on organizing an in 2003. His take on, and recent experiences of, curating exhibition and more on the discursive dimensions biennials were central to his provocations: of curatorial practice, especially on topics that fall outside of the usual Euro-American mainstream. I don’t want to work with biennials in Europe (…) because their familiarity and pervasiveness does not physically or mentally intrigue me. Taiwan was Although I was deeply engaged with African and interesting because I knew so little about the place diasporan art, my interests in other cultures meant and the context. You have to start building your from day one that my outlook was global. I rejected references as you go, which is the most important the politics of power and representation being part for me. (…) I still believe in the idea of the imposed on me in the ways I wanted to develop biennial because it is one curatorial mode that has my curatorial career. One of my first exhibitions not been completely taken over by the market. was 4 Degrees in the Open (1996), which included It’s also a good model for places with no proper, four artists of Iranian, Afro-Caribbean, Greek, and or efficient, structures. What they do which is not British origin. I was less interested in where they so interesting is provide a ‘quick-fix’ approach to came from than their individual practices and the producing links to the outside, so they don’t build opportunity to collaborate with my contemporaries. community from the bottom up. But if you take the Working across countries and boundaries has biennial out of Istanbul or Taiwan the cities will be always underpinned my interests and consequently more deprived because currently the permanent my practice today. institutions do not address issues, concerns, and paradigms that the biennial does. Because the Listen to the full podcast of the Curator’s Perspective: Bisi Silva at the New Museum on Art on Air: artonair.org. Participating institutions biennial is temporary it has the luxury of being able for Silva’s Curator’s Perspective tour included Art Chicago (IL); The to be extra-critical. Sterling and Francine Clark Art Institute (Williamstown, MA); The Menil Collection (Houston, TX); the Museum for African Art (New York, NY); the Museum for Contemporary African Diasporan Arts (Brooklyn, NY); the New Museum (New York, NY); and Newark Museum (NJ). 19 ICI NETWORKS DISPATCH

DISPATCH is ICI’s bi-monthly online journal that features the research of curators who have been invited to explore the art and contexts in which they live and work. Established in 2010, topics have included experimental pedagogy and art practice in Mexico; artists as engineers of the artworld in Vietnam; and the legacy of magazines and art publishing in San Francisco. Forthcoming issues of DISPATCH will be written from curators in Mumbai, Berlin, and Vilnius.

The Pilgrimage of Individuals from the following organizations were featured Inspiration — Artists as in DISPATCH in April and May via interview with the author: Engineers in Vietnam Can artists be successful in • DOCLAB, a center/lab for documentary filmmaking creating systems for and video art based at the Goethe Institute in Hanoi contemporary art produc- • Sàn Art, an independent, artist-run exhibition space tion and interpretation? and reading room located in Ho Chi Minh City • The Propeller Group, a collective composed of visual by Zoe Butt artists from Saigon and LA — Tuan Andrew Nguyen, Phu Nam Thuc Ha, and Matt Lucero • Hanoi New Music, a pioneering event festival that brings together the best experimental contemporary composers in Vietnam and renowned international artists • Nha San Studio, one of the first alternative and non- Late last year, one of Vietnam’s pioneering artists, profit spaces for contemporary art in Vietnam Vu Dan Tan, passed away at the age of 63. He was • Dia/Projects, a new space for contemporary art in Ho a wiry, grey-bearded man who loved the feel of pa- Chi Minh City, functioning primarily as a studio space. per and performance. Known for his vigorous body acts with paint, Vu was a man who had traced the Zoe Butt is Curator and Director journey from Vietnam to Cuba by train and boat for Sàn Art, an independent art- in 1973, stopping in Beijing and Russia — his feet ist-run gallery space and reading never touching capitalist ground. From 1987–90, Vu room in Ho Chi Minh City. She lived in Moscow, where he was exposed to the ar- is also Curatorial Manager for tistic freedoms enabled under Russia’s Perestroika Post Vi-Dai, a private collection (political and economic reforms). He vividly remem- of contemporary Vietnamese art bered how much these journeys had compelled based between Ho Chi Minh City him to examine the notion of independent thinking and Geneva. Previously she was in Communist Vietnam — thus he started Salon Director, International Programs, Natasha in 1990, Vietnam’s first independent art Long March Project in Beijing, China. For over 10 years space, where he encouraged artists in Hanoi to she has been researching contemporary Asian art and gather, chat, and exhibit their work. has both independently and collaboratively curated exhibitions and contributed to various international art It is this idea of arrival and departure; of fleeing publications that have reflected the dynamic art of this and returning, of choosing and creating that is the region. focus for this DISPATCH. It is a sensitive topic in Vietnam, tempered by the remnants of colonial To read Zoe Butt’s full DISPATCH, including interviews with featured art- structures of social and educational life; a history ists, visit ICI’s website. of perceived betrayal towards refugees who have returned and a growing young elite who have suc- UPCOMING DISPATCH SCHEDULE cessfully sought a foreign education. (…) October 1: Nancy Adajania and Ranjit Hoskote (Mumbai) Text is extracted from the introduction to The Pilgrimage of Inspiration. January 1: Christine Nippe (Berlin)

20 ICI 35 YEARS OF COLLABORATION

LUCY canvas, on acrylic 1986, , Madonna and Child Kearns, Kearns, 96 ½ x 80”, private collection, Merian, Pennsylvania LIPPARD Jerry In 1990, ﬁfteen years after the Vietnam War, Lucy Lippard collaborated with the Whatcom Museum and ICI to curate A DIFFERENT WAR: VIETNAM IN ART, a show the SEATTLE TIMES called “the most powerful art exhibition in recent memory.” The exhibition comprehensively included a wide-range of responses from American artists in the aftermath, suggesting that critical engagement with political issues should not take a single visual form.

In the accompanying catalogue Lippard wrote an extensive, book-length text that not only expands on the artists and the works in the show, but also extends the social and political context of the exhibition to explore how the impact of the Vietnam War on American artists was integral to the dawn of the protest era in the U.S.*

(…) Art in 1967 was safely ensconced in its own position had, however, never excluded political world, primarily concerned with its own physical action. “Painting cannot be the only activity of a properties. The scene was dominated by Pop and mature artist,” he said. “Do you think that when a Minimal art, with kinetic and abstract art highly painter expresses an opinion on political beliefs he visible as well. Process and Conceptual art were makes even more of a fool of himself than when a just beginning to surface. Even realist art rarely politician expresses an opinion on art?” he asked touched on social issues, and when it did, it was rhetorically in 1946, and answered himself with a rarely shown or written about. The older New York resounding “NO!” (…) artists harbored taboos against social content inherited from the days of Stalinism and McCarthy- Excerpted from Lucy R. Lippard, A Different War: Vietnam in Art (The Real Comet Press, 1990). Extracts from Lippard’s essay are available ism, and the younger artists were unaware that art free as a downloadable pdf to members of ICI’s Curator’s Network. To could be politically effective. They had been trained purchase the catalogue, or for information on the Curator’s Network go to to understand that all political art was corny and www.ici-exhibitions.org. old-fashioned — barely art in the highest sense — *Similarly, in her recent DISPATCH and Curator’s Perspective talk for and few had the political sophistication to combat ICI, Zoe Butt emphasized the varying forms and priorities in current these dominant views. Vietnamese practice, including the ongoing repercussions of the War.

There were, of course, exceptions. Californian artist Wally Hedrick was among the ﬁrst to respond seriously to the Vietnam War in his art. A Korean vet, he became aware of the troubles simmering in Vietnam under the French (supported by the U.S.) 2010 14, July Gallery. POW

while he was a student at California School of Fine P tt.

Arts (later renamed the San Francisco Art Institute). Bu

(…) Another artist active in the early ’60s protesting Zoe the war produced black paintings. Ad Reinhardt— the “Black Monk” and self-appointed watchdog or conscience of the art world—would never attach any referential title to his obdurately non-objective abstractions. His art-as-art-and-nothing-else The Curator’s Perspective: Curator’s The

21 ICI CELEBRATING 35 YEARS ACCESS

BRAZIL Tunga installation at Instituto Inhotim. Photo by Sarina Tang The ﬁrst show that ICI ever organized was VIDEO ART USA, which was the U.S. contribution to the 13th São Paulo Bienal in 1975. With this as a precedent, ICI has gone on to develop a transnational network that is expanded upon and strengthened every year.

To commemorate our 35th anniversary, ICI has orga- Last winter Brazilian Curator Ana nized an art tour of São Paulo, Rio de Janeiro, and Belo Paula Cohen shared her research on Horizonte to coincide with the 2010 29th São Paulo contemporary artists and exhibi- Bienal. Tapping into our extensive network of curators tions as part of ICI’s public lecture and artists across the country, we are creating a unique series the Curator’s Perspective. itinerary exclusively for our supporters, including visits This marked the start of an ongoing to studios and private collections, and a visit to Instituto collaboration with Cohen as part of Inhotim’s 300 acres of large-scale, contemporary art ICI’s curatorial network and as a vi- installations. tal advisor on our Brazilian itinerary. Ernesto Neto, anthropodino, 2009. Commissioned by Park Avenue ErnestoPark Avenue 2009. Commissioned by Neto, anthropodino, Bonakdar Gallery Photo courtesy Tanya Armory. Private Collection in São Paulo. Photo by Sarina Tang

Working in collaboration with Tanya Bonakdar Gallery, ICI is commissioning Ernesto Neto to produce an exclusive limited edition art work. Released to coincide with ICI’s trip to Brazil in November, and a private visit to his studio in Rio, this edition will follow hot on the heels of 3 major Neto shows in 2010 — at the Hayward Gallery in London; the Contemporary Arts Center in Cincinatti; and the Astrup Fearnley Museum of Modern Art in Oslo.

For further information on the limited edition or trip to Brazil contact Kristin Nelson at 212.254.8200 x25 or [email protected]. Niterói Contemporary Art Museum, Niterói, Brazil. Photo by Sarina Tang

22 ICI CELEBRATING 35 YEARS VIDEO ART USA VIDEO ART USA, curated by Jack Boulton, showcased artists who were pioneers of a ( cintas new medium. Including works by Vito Acconci, Joan Jonas, Bruce Nauman, and Nam June Paik among others, the exhibition toured Latin America from 1975–76 including a stop in Lima, Peru, where it was the first presentation of video in the country. The show is now cited as a seminal contribution to the rapid development of the field in Latin America in the 1970s. PROJECT 35—ICI’s current exhibition of international contemporary video — reflects back on the impetus for VIDEO ART USA in recognizing that the medium not only gives artists the potential for experimentation, but also can be easily and widely disseminated. Presented by 17 venues in Albania, Ecuador, Macedonia, Mexico, Nigeria, Sweden, South Africa, Vietnam, and the U.S. in 2010, PROJECT 35 continues to trace the complexity of connections among practitioners and institutions. Children’s Tapes Tapes Fox, Children’s ( Las cintas austriacas ), 1974, color video with sound, 15 min; Terry The Austrian Tapes L-R: Douglas Davis, The Austrian Tapes para niños ), 1974, black and white video with sound, 30min; Bruce Nauman, Lip Sync ( Sincronización labial 1969, video with sound, 30 min (shortened version); Nam June Paik, TV Garden ( Jardin de ), 1974, Installation (15 color splitters, amplifiers and videocassette) monitors, 5 in black and white, 4 electric fans, a cassette recorder,

What exactly has the expression “video art” come The participation of museums in the realm of video to mean? Perhaps it can be defined as an any was bred by two factors: the growing interest work of art employing television production tools — artists showed for the medium and the increas- video cameras and equipment, tape machines, ing interference of museums in social affairs that projectors, the varied spectrum of tools used in transcend the purely aesthetic… an interference the processing of visual imagery — or as any of that urged museums to reconsider their role as a the systems related to television at large. (…) Until community resource. (…) Being as video art is in 1965, only large corporations and mainstream essence impossible to collect, its endorsers should political parties had the means to make use of devote their resources to financing its research as unidirectional television production tools — trans- opposed to purchasing pieces. For example, the mission with no reciprocal reception — in order to role of museums vis-á-vis video art could act as a broadcast their pre-recorded footage. The chance catalyst for implementing TV channels dedicated to of private entities using the very same instruments art and configuring venues to showcase video art. and systems (…) was non-existent. The “half inch revolution” made it possible to de-centralize the Excerpted from David A. Ross, “An Introduction to Video Art” in Video distribution systems and adapt them to the needs Art USA (ICI, 1975). Originally written in English and translated into Span- of minorities in a pluralist society — such as for ish and Portuguese, this extract is translated from Spanish by Debora Antscherl as the original essay is no longer extant. example through cable TV — effectively expanding the possible uses of video for artistic ends. (…)

23 ICI EXHIBITIONS PROJECT 35 PROJECT 35 is a new program of single-channel videos selected by 35 international curators who have each chosen one work by an artist that they think is important for audiences around the world to experience today. The resulting compendium is released in four installments and 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 regional 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 format or space. It can be projected in a gallery, featured in monthly screenings, or shown on a monitor running in the café or education room. Each DVD is accompanied by a pdf with a short introduction to the work by the selecting curator, and the curator’s and artists’ bios.

CURATORS INCLUDE States), Dan Halter (Zimbabwe/South Africa), Ranbir Kaleka (India), Beryl Korot (United States), Anja Medved Mai Abu ElDahab (Egypt/Belgium), Magali Arriola (Slovenia), Tracey Moffatt (Australia), Tu!n Andrew (Mexico), Ruth Auerbach (Venezuela), Nicolas Bourriaud Nguy"n and Phù Nam Thúc Hà (Vietnam), Ho Tzu Nyen (France), Zoe Butt (Australia/Vietnam), Yane Calovski (Singapore), Wanda Raimundi-Ortiz (United States), (Macedonia), Weng Choy Lee (Singapore), Joselina Daniela Paes Leao (Portugal/The Netherlands), Tracey Cruz (Philippines), Sergio Edelsztein (Argentina/Israel), Rose (South Africa), Edwin Sanchez (Colombia), Michael Charles Esche (UK/Netherlands), Lauri Firstenberg Stevenson (New Zealand/Germany), Stephen Sutcliffe (United States), Alexie Glass-Kantor (Australia), (United Kingdom), Yukihiro Taguchi (Japan), Ulla Von Anthony Huberman (Switzerland/United States), Mami Brandenburg (Germany/France), Zhou Xiaohu (China), Kataoka (Japan), Constance Lewallen (United States), and more Lu Jie (China), Raimundas Malasauskas (Lithuania/ France), Francesco Manacorda (Italy), Chus Martinez BASIC FACTS (Spain), Viktor Misiano (Russia), Deeksha Nath (India), Simon Njami (Cameroon/France), Hans Ulrich Obrist Participation fee: $3,600; may be paid in quarterly (Switzerland/United Kingdom), Jack Persekian installments of $900 (for organizations with an annual (Palestine), José Roca (Colombia), Bisi Silva (Nigeria), operating budget of $100,000 or less, the fee can Franklin Sirmans (United States), Kathryn Smith (South be reduced to the following: organization’s annual Africa), Susan Sollins (United States), WHW (Croatia), operating budget x 0.035) and more Number of artists or artist groups: 35 Number of works: 35 ARTISTS INCLUDE Space required: extremely ﬂexible Available dates: now through December 2012. For later Vyacheslav Akhunov (Uzbekistan), Meris Angioletti dates please contact ICI (Italy), Alexander Apóstol (Venezuela/Spain), Vartan For further booking details see pg 48 Avakian (Lebanon), Azorro Group (Poland), Sammy Baloji (DR Congo), Yason Banal (Philippines), Guy Ben-Ner (Israel), Andrea Büttner (Germany/United Kingdom), Robert Cauble (United States), Jos de Gruyter and Harald Thys (Belgium), Kota Ezawa (Germany/United

24 PROJECT 35 , 2003 Alice in Wonderland or Who is Guy Debord? Robert Cauble, Alice in Wonderland Untitled (Zimbabwean Queen of Rave) , 2005 Dan Halter, Dan Halter,

The ﬁrst chapter represents the global reach of the project with works that deal with wide-ranging, confrontational realties, with the uprisings and protests in post-colonial South Africa, the propaganda broadcasts in China’s Socialist history, a young Latina woman’s home in the Bronx, the urban roads of modern-day Ho Chi Minh City, and the crime- ﬁlled streets of Bogotá. — Art Daily, July 2010 , 2009 Yukihiro Taguchi, selections from Moment , selections from Taguchi, Yukihiro 2007–08 Vartan Avakian, ShortWave/LongWave Avakian, Vartan

#$!%&'%()*+&,-$."%&/%(&012&,/3& #145&678& !"# 8&9::; We are ﬁnding that some visitors come back several times so that they can see all the videos — or watch their favorites again. This week one of our We organized the screening of Philosophy professors is coming in to watch Berkeley's Island and Alice In Project 35 disc 2 last week in the Wonderland or Who is Guy Debord? so that she can use them in her classes garden of the Evro-Balkan Institute later in the semester. — Ann Sievers, Director and Curator, Saint Joseph in Skopje. Many people came (there College Art Gallery, West Hartford, Connecticut were guests outside the art world which was great!) and after the screening there was a discussion about the videos and Project 35 as a curatorial concept that is very informative, both visually

and critically, and also attractive , 1999 for diversiﬁed audiences. It was concluded that everyone would like to follow it and experience it Berkeley’s Island Berkeley’s more often! — Ivana Vaseva, project coordinator, press to exit project Kota Ezawa, Lennon Sontag Beuys, 2004 (video still) space Guy Ben-Ner, Guy Ben-Ner,

Read Project 35 curator Zoe Butt’s DISPATCH on page 20 and read 25 about Bisi Silva’s touring conversation series on page 19. 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 continues to be reconfigured, expanded, and localized as it is presented—often simultaneously—in venues worldwide. FAX invites artists, architects, designers, scientists, and filmmakers to think of the fax machine as a drawing tool, resulting in an exhibition 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 generative process. The first iteration of the exhibition featured a core of works by nearly 100 artists, including 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.

ABOUT THE GUEST CURATOR BASIC FACTS

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

26 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 Center West, Liz Deschenes, HeHe (Helen Evans & Heiko Hansen), Morgan Fisher, Claire Fontaine, Yona Friedman, Aurélien Froment, Ryan Gander, Wineke Gartz, Liam Gillick, Marisa González, Dan Graham, Joseph Grigely, João Maria Gusmão & Pedro Paiva, Wade Guyton, Skuta Helgason, Charline von Heyl, Matthew Higgs, Eduardo Kac, Matt Keegan, Zoe Keramea, Tom Klinkowstein, Germaine Kruip, Glenn Ligon, Ronald L. Mallett, Jackson Mac Low, 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, Dexter Sinister, Josh Smith, Anne Tardos, Cheyney Thompson, Christian Tomaszewski, Wolfgang Tillmans, Edward Tufte, Stan VanDerBeek, Olav Westphalen, Christopher Williams, Jack Whitten, Johannes Wohnseifer, Cerith Wyn Evans Amanda Ross-Ho, The Cat Will Not Stop Jumping on the Desk , 2009. Courtesy of artist at Plug In ICA in Winnipeg, Canada Installation view of FAX

Obsolete as a practical technology, the fax takes on a strange new life as a creative tool in this unfolding exhibition… FAX calls up Proustian memories of the medium’s glory days — that juddering sound when a transmission came through, the metallic smell and slippery feel of a fax fresh off the roll. —Winnipeg Free Press, January 2010

27 FAX

MAX FAX

Every venue that participates in FAX also invites artists to contribute to the show, which in turn has spurred a number of other events and activities. For example, Para/Site produced an ancillary catalogue with the artists they invited; and the Contemporary Museum in Baltimore dedicated a side gallery to works submitted by teens as well as hosting a “Music by FAX,” event where composers faxed in musical compositions to be played by other musicians live in the gallery. Check out this event on youtube by searching under “Baltimore FAX.”

The reproducible nature of the fax is what allows for simultaneous presentations of FAX. This opens up the possibilities for collaborations between venues worldwide, through fax exchanges or multi-sited events.

In the last year FAX has been presented in the following venues: the Contemporary Museum, Baltimore, Maryland; Plug in ICA, Winnipeg, Canada; Torrance Art Museum, Torrance, California; Para/Site Art Space, Hong Kong; Burnaby Art Gallery, Burnaby, Canada; Museo de Arte Carrillo Gil, Mexico City, Mexico; Dowd Gallery, Cortland, New York; New Galerie, Paris, France; and Carpenter Center for the Visual Arts, Cambridge, Massachusetts. Matt Sheridan Smith, Untitled (contrast test) , 2008

Entertaining the possibility that a piece of paper may transport a person to another dimension altogether, [curator Joao] Ribas invited a professor of physics who specializes in time travel to fax an illustration showing how subatomic particles can be transmitted across temporal boundaries. “What could be more antithetical to time travel than a ﬂat piece of paper?” says Ribas. “It confuses things. In an interesting way.” — Art on Paper, May/June 2009 at Para/Site Art Sapce in Hong Kong Installation view of FAX

28 FAX Getting ready to send a fax artwork from The Drawing Center in New York to send a fax artwork from Getting ready

GROUP FAX Notes from the ﬁeld; Compiled by Pilar Pertusa, Summer 2009 Intern For 3 hours on Saturday, July 25, 2009 faxes were exchanged between for ICI participating venues in New York, Paris, Mexico City, and Cape Town in the spirit of sharing ideas and information through informal networks. Artworks, Why is the fax machine obsolete? texts, and provocations were created and sent ‘live’ in response to what was In short, because a Blackberry was transmitted. Participating organizations: The Drawing Center and ICI, New needed all along! Many stopped York; Serialworks, Cape Town; Museo de Arte Carrillo Gil, Mexico City; Kadist by to participate in this event Art Foundation, Paris that provided a live dialogue with venues in four different countries, and all were thrilled to see the faxes sent off to the other side of the globe. Perhaps it was this enthusiasm that caused a jam on the fax line. We labored for three hours over the anachronistic technology that only allows sending or receiving one document at a time. In the end, cell phone in hand, we contacted Museo de Arte Carrillo Gil in Mexico City and Serial Works in Cape Town to monitor the trafﬁc: “Are you getting anything at all?” “We are getting half pages.” “Wait, we will send it again.” “Hold on, we are getting something from… Mexico now.” “Don’t send anything! Wait! Send it now!” Artists drawing works to be sent from Serialworks in Cape Town, South Africa Serialworks in Cape Town, Artists drawing works to be sent from in Mexico City to send and receive Waiting

29 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 masculinity because […] from the outside, masculinity has been depicted in very black- and-white terms.” 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

Matthew Barney, Mark Bradford, Marcelino Gonçalves, Lyle Ashton Harris, Brian Jungen, Kurt Kauper, Shaun El C. Leonardo, Kori Newkirk, Catherine Opie, Paul Pfeiffer, Marcos Rios, Collier Schorr, Joe Sola, Sam Taylor-Wood, Hank Willis Thomas

Christopher Bedford is Chief Curator at the Wexner BASIC FACTS Center. Recent exhibitions include a survey of Mark Bradford’s work that opened in Columbus in May 2010 Participation fee: $15,000 for 10 weeks, plus incoming and will travel to the ICA Boston, MCA Chicago, Dallas shipping Museum of Art, and SFMOMA, as well as smaller shows Number of artists or artist groups: 15 of work by Alyson Shotz and Susan Philipsz, and a group Number of works: 40 exhibition entitled Hard Targets. Projects in progress Space required: Approximately 5,000 square feet include solo presentations of work by Erwin Redl, Tobias Available dates: Please contact Fran Wu Giarratano, Putrih and MOS, Katy Moran, Joel Morrison, Nathalie Exhibitions Manager, at [email protected] for Djurberg, and Paul Sietsema, as well as a Facture and availability Fidelity: Painting, 1945–2013, co-organized with Katy Siegel, which will open at the Wexner Center in 2013. He MIXED SIGNALS CATALOGUE has written extensively on art for publications including Artforum, Art in America, Frieze, and October. 2009. Essays by Christopher Bedford and Julia Bryan-Wilson, and an excerpt from an essay by Judith Butler. 72 pages, 58 color illustrations, 10 1/2 x 8 3/8". Published by ICI. ISBN 978-0- 916365-81-3. $22.95 To purchase go to ‘shop’ at ici-exhibitions.org

30 MIXED SIGNALS: ARTISTS CONSIDER MASCULINITY IN SPORTS , 2007. Courtesy of the artist and Regen Projects, Los Angeles Catherine Opie, Football Landscape #5, (Juneau vs. Douglas, Juneau, Alaska) , 2007. Courtesy of the artist and Regen Projects,

This is the kind of exhibition that more contemporary art museums should present. It positions artists as important observers and chroniclers of contemporary conditions rather than as mere formalists or as collectible pawns. It's particularly noteworthy that in a season when some kunsthalles are emphasizing the gap that exists between contemporary art and audience and between the artist's idea and the reasons that art is on view, the Wexner is pointedly engaging audiences outside the art ghetto. —Tyler Green’s Modern Art Notes reviewing Mixed Signals at the Wexner Center for the Arts, March 2010 Practice , 2003 (video still) Mark Bradford, Mark Bradford, Courtesy of the artist and Sikkema Jenkins & Co., New York

I think Calgary might struggle sometimes with contemporary art. We don't have a collecting facility at our gallery, but we can bring in great shows like this one that provoke conversation. — Art Gallery of Calgary curator Molly Steeves interviewed in the Canadian National Post, June 2010 at the Art Gallery of Calgary in Calgary, Canada Installation view of Mixed Signals at the Art Gallery Calgary in Calgary,

31 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 phenomenon. 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 ARTISTS INCLUDE

Francis Alÿs, AREA Chicago, The Center for Land Use Interpretation (CLUI), The Center for Urban Pedagogy (CUP), e-Xplo, Ilana Halperin, kanarinka (Catherine D’lgnazio), Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker, Nato Thompson is a Chief Curator at Creative Time, Alex Villar, Yin Xiuzhen New York, as well as a writer and activist. Among his public projects for Creative Time are Key to the City, BASIC FACTS Democracy in America: The National Campaign, Waiting for Godot in New Orleans, a project by Paul Chan in Participation fee: $14,000 for 10 weeks, plus incoming collaboration with The Classical Theatre of Harlem, shipping and Mike Nelson: A Psychic Vacuum. Thompson was Number of artists or artist teams: 18 formerly a curator at MASS MoCA, where his exhibitions Number of works: 24 included The Interventionists: Art in the Social Sphere Space required: 4,500 – 5,000 square feet and Ahistoric Occasion: Artists Making History. Available dates: April 2011 through December 2011 For further booking details see pg 48

32 EXPERIMENTAL GEOGRAPHY EXPERIMENTAL GEOGRAPHY panel discussion. CUNY Graduate Center. July 20, 2010 Experimental Geography panel discussion. CUNY Graduate Center.

On July 20, 2010, ICI and The Graduate Center, CUNY wheels of political machines. The privileged few organized a panel discussion on issues of artistic have for far too long exercised an exclusive and engagement with the earth’s surface to coincide with exclusionary right to shape the city after their own the presentation of Experimental Geography at The desires as well as for their own profit. The right to Graduate Center’s James Gallery. Recognizing the the city is a democratic cry and a demand of all potential for interdisciplinary discourse provided by the those who have, over the years, been excluded exhibition in this academic context, the panel included from the corridors of power. It is a popular demand David Harvey, social theorist and distinguished Professor around which social movements of all sorts can of Anthropology at CUNY, as well as curator Nato coalesce and make common cause. Together, Thompson, and artists Lize Mogel, Trevor Paglen, and these movements can accomplish more than Iain Kerr (from Spurse). the sum of their individual actions. Mutual aid and mutual support is their organizing principle. David Harvey also provided the following text written on Systematic change of daily life in the city to the the occasion of the exhibition and exhibited as part of benefit of the least privileged and for the protection Experimental Geography. of the environment and the well-being of all is their aim. The right to the city is a democratic movement The right to the city is a cry and demand that must as well as a cry and demand that must — and be heard. It is not simply a demand for access will — be heard. to the immense treasure of public resources that comprise a city. It is a strategy for the revitalization — David Harvey, Director of the Center for Place, and enrichment of every aspect of urban life for Culture and Politics, CUNY all. It is a demand for the right to create a new city in a different image: an image no longer restricted to that of the financiers, the developers, the well-heeled and the billionaires who grease the

33 EXPERIMENTAL GEOGRAPHY Lize Mogel, Mappa Mundi , 2008

Another step in the ongoing quest for social energies not yet recognized as art, Experimental Geography brings together a signiﬁcant group of artists and collectives looking seriously at land use — urban and rural, local and global. Leaving behind the earthworks of the past, and reviving the line-blurring process that deﬁned art and lived experience in 1960s conceptualism, much of this work is not about geography but exists within geography, exploring the politics and infrastructures that can either change or stall the world. — Lucy Lippard , 2000, installed outside the Richard E. Peeler Art Park , 2000, installed outside the Richard Center, DePauw University, Greencastle, Indiana Greencastle, DePauw University, Center, Deborah Stratman’s Deborah Stratman’s

34 EXPERIMENTAL GEOGRAPHY

The term “experimental geography” is a catchphrase for an emerging genre, where academic influences blend with an acute sensibility for contemporary art skill sets: visual, spatial. But at the same time, there’s rigor. Academic rigor. A real desire to know. There’s also a performance element that’s influenced by the Situationists, a kind of walking tour. Then there’s the more academic approach — people who are in fact architects. — Nato Thompson interviewed in The Nation, February 2009 , 2000. Courtesy of the artist and doggerfisher, Edinburgh Ilana Halperin, Boiling Milk (Solfataras) , 2000. Courtesy of the artist and doggerfisher,

EXPERIMENTAL GEOGRAPHY CATALOGUE Living in cities, we need a new way to think about how we move and what we notice... This strange, exciting 2008. Essays by Nato Thompson, book offers just that — a new way to notice public Jeffrey Kastner, and Trevor Paglen, space. It is the brainchild of Nato Thompson: the results with contributions from Matthew of his fascinations with urban planning post-Katrina, Coolidge, Iain Kerr, Lize Mogel and abandoned or unnoticed urban landscapes and public Damon Rich. 168 pages, 91 color art. — Susan Salter Reynold, Los Angeles Times and 5 black-and-white illustrations, 8 1/2 x 11". Co-published by ICI and Melville House. ISBN 978-0-09- 163658-6. $29.95 To purchase go to ‘shop’ at ici-exhibitions.org

Experimental Geography won a prestigious American Institute of Graphic Arts (AIGA) 2010 Book Award for its cover design. AIGA stated that “this year’s selections for AIGA’s annual design competitions reﬂect the changing landscape of communication design and book design, in which designers are pushing boundaries by experimenting with format, context, materials and even their traditional role in society.” Installation view of Experimental Geography at Miller Gallery Pennsylvania Carnegie Mellon University in Pittsburgh,

35 ICI EXHIBITIONS THE STORYTELLER Curated by Claire Gilman and Margaret Sundell Responding to the rapid, often violent transformations of the 21st century, contemporary artists have displayed a growing desire to activate art’s documentary capacity: its ability to bear witness. THE STORYTELLER focuses on an international selection of artists who use the story-form to comprehend and convey political and social events. For them, the story functions neither as a purely imagined narrative, nor as a piece of verifiable information; they don’t take the idea of documentary truth as an object of critique or abandon fact for fabulation. Rather, they enable individuals (whether themselves, their subjects, or their audience) to construct the story of their unique participation in historical processes, thereby presenting these events in a new and unexpected light. Continuing ICI’s long history of examining artists’ experimentations with the video format, this exhibition can also be presented as a film series. Featuring nine of the artists’ works, the films include Jeremy Deller and Mike Figgis’s reenactment of a clash between striking miners and police in Thatcherite England, in 1984; Cao Fei’s fairytale-like video portraying workers in a Guangdong Province factory; and Adrian Paci’s video of his three year-old daughter recounting a folkloric tale that incorporates present-day international conflict.

ABOUT THE GUEST CURATORS Margaret Sundell (Ph.D., Columbia University) is consulting director of the Creative Capital Warhol Foundation Arts Writers Grant Program. A former art editor at Time Out New York, her writing has also appeared in Artforum, Art Journal, and Documents. Sundell has taught art history and critical theory at Columbia University, the Whitney Museum of American Art, and Parsons The New School for Design. Claire Gilman (Ph.D. Columbia University) is Curator at The Drawing Center, New York. Gilman has taught ARTISTS INCLUDE art history and critical theory at Columbia University; The Center for Curatorial Studies, Bard College; The Cao Fei, Jeremy Deller & Mike Figgis, Omer Fast, Mounir Corcoran College for Art and Design; and MoMA. She Fatmi, Ryan Gander, Lamia Joreige, Joachim Koester, has also written extensively for publications including Emanuel Licha, Missing Books (Maria Barnas, Maxine Art Journal, CAA Reviews, Documents, Frieze, and Kopsa, Germaine Kruip), Steve Mumford, Adrian Paci, October. Michael Rakowitz, Liisa Roberts, Hito Steyerl

36 THE STORYTELLER , 2005. Courtesy of Cine Plus, Berlin Spielberg’s List Omer Fast, Spielberg’s

BASIC FACTS (EXHIBITION) THE STORYTELLER CATALOGUE

Participation fee: $10,000 for ten weeks, plus incoming 2010. Essays by Claire Gilman and shipping Margaret Sundell, T.J. Demos, and Number of artists or artist teams: 14 Okwui Enwezor. 120 pages, softcover, Number of works: 27 35 color images, 6 1/2 x 4 1/2" Space required: 3,500–4,500 square feet Co-published by ICI and JRP Ringier. Available dates: September 2010 through May 2012 ISBN 978-3-03764-086-9. $15.00 For further booking details see pg 48 To purchase go to ‘shop’ at ici-exhibitions.org

BASIC FACTS (FILM SERIES)

Participation fee: $4,000 for a 4-night film screening program, plus incoming and outgoing shipping Number of artists or artist teams: 9 Number of films: 9 Space required: Auditorium, at least 13 x 26 feet at Sheila C. Johnson Design Available dates: now through May 2012 * Most of the films are also available with Spanish subtitles (additional fees apply) Installation view of The Storyteller Center at Parsons The New School for Design in New York, NY Center at Parsons The New School for Design in York,

The Storyteller earns part of its considerable merit by recasting preconceptions that underlie this most ancient of practices, from the basic anecdote to our grander notions of history as shaped by aesthetics.

Cao Fei, Whose Utopia , 2006 (video Lombard- and artist the of Courtesy still). New York Projects, Freid —Ara H. Merjian, Artforum, March 2010 37 ICI NETWORKS CURATORIAL INTENSIVE While the field of curatorial practice is flourishing, opportunities for developing practical skills and knowledge-based networks are limited. In response to this ICI has established the Curatorial Intensive offering short-term, low-cost training to emerging talent from around the world. Through a rigorous schedule of seminars, discussions, critiques, and individual advise- ment sessions, as well as visits to local institutions and conversations with artists, participants have the opportunity to develop their curatorial ideas into exhibition proposals, as well as to make connections to professionals in the field and develop new networks between international peers.

great to be exposed to a wide variety of curatorial models and practices that made me realize the potential and scope for alternative practices in my context.”

“The practical information will be useful as I work on my own projects and on larger projects in which I am a contributor (budget, funding, installation ideas, etc). But I will also often turn to the various curatorial models and examples that we discussed over the course of the program as inspiration in my daily and long-term career.”

The Curatorial Intensive takes place twice annually in New York, and in other locations in conjunction with institutional partners worldwide. This October the syllabus is speciﬁcally aimed at individuals who want to learn For each Curatorial Intensive, a jury of curators selects about curating in the public realm. Topics will include participants from an open submission application pro- logistical issues such as commissioning, producing, and cess. In June 2010, from a pool of over 130 candidates installing projects in public space, as well as concepts from 21 countries, 17 individuals from 6 countries and 6 ranging from site-speciﬁcity to social and political U.S. states were selected to come to New York. These engagement. are some of the participants’ comments after they completed the program: In 2010, the Curatorial Intensive will also take place in Philadelphia, PA in partnership with the Philadelphia “The experience gained, as well as the connec- Exhibitions Initiative (PEI) and in Mumbai, India in part- tions and network I now am a part of, are key to my nership with the Mohile Parikh Center. curatorial thinking and career.” ICI publishes successful participants’ exhibition propos- “The Curatorial Intensive experience changed als online after they have completed the program. To and challenged my thinking around the art world see these go to the Curatorial Intensive section of our and creative practice in quite a radical way. It was website www.ici-exhibitions.org

38 THE CURATORIAL INTENSIVE Seminar with Dan Cameron. New York New York Seminar with Dan Cameron. June 9, 2010 University. The Curatorial Intensive: Summer 2010 participants, June 14, The Curatorial Intensive symposium. June 14, 2010 University. New York

CURATORIAL INTENSIVE FACULTY

Summer 2010 Jeremy Adams (Director of CUE Art Foundation), Yona Backer (former Senior Program Ofﬁcer at The Andy Warhol Foundation), Dan Cameron (Founder and Artistic Director of Prospect New Orleans), Michael Connor (independent curator and Director of Marian Spore), Kari Conte (Program Director of the International Studio and Curatorial Program), Sarah Cook (co-editor of CRUMB, and Research Fellow at the University of Sunderland), Dennis Elliott (Founder and Director of the International Studio and Curatorial Program), Beryl Graham (co-editor

of CRUMB, and Professor of New Media Art at the School CUE Art Foundation. June 8, 2010 Workshop. of Arts, Design, Media and Culture at the University of Sunderland), Matthew Higgs (Director of White Columns), Fall 2010 Eungie Joo (Director and Curator of Education and Public Nicholas Baume (Director and Chief Curator of the Programs at the New Museum), Maria Lind (former Public Art Fund), Regine Basha (curator, and Founder Director of CCS Bard Graduate Program), Brett Littman of Grackleworld), Claire Bishop (Associate Professor, (Executive Director of The Drawing Center), Amy Owen Ph.D. Program in Art History, City University of New (Director of Exhibitions at Artists Space), Nicola Trezzi York), Dan Cameron (Founder and Artistic Director of (U.S. editor of Flash Art), Christian Rattemeyer (Associate Prospect New Orleans), Jim Campbell (artist), Mary Jane Curator of Drawings at the Museum of Modern Art, New Jacob (Professor and Executive Director of Exhibitions York), Fred Wilson (artist) at the School of the Art Institute of Chicago), Virginija Januskeviciute (Curator at the Contemporary Art Center, Vilnius), Deborah Landau (Executive Director and President of the Madison Square Park Conservancy), Jonathan Lippincott (Design Manager at Farrar, Straus, and Giroux), Richard Marshall (Curator of Lever House), Anne Pasternak (President and Artistic Director of Creative Time), Nato Thompson (Chief Curator of Creative Time), Anton Vidokle (artist, and Founding Director of e-ﬂux)

The Curatorial Intensive is made possible, in part, by grants from the Robert Sterling Clark Foundation, the Dedalus Foundation, and the Milton and Sally Avery Arts Foundation; and by generous contributions from Toby Devan Lewis, James Cohan, the ICI Board of Trustees, ICI Benefactors Barbara and John Robinson, and ICI Partners and Patrons. The Curatorial Intensive: Summer 2010 participants, June 14,

39 ICI 35 YEARS OF COLLABORATION MARIA LIND An independent curator based in Sweden, and formerly director of the graduate program at the Center for Curatorial Studies, Bard College; director of the International Artist Studio Program in Sweden; and director of Kunstverein München in Germany, Maria Lind has collaborated with ICI for ten years, writing for ICI’s seminal publication WORDS OF WISDOM: A CURATOR’S VADE MECUM in 2001 and curating EVERYTHING CAN BE DIFFERENT in 2003, which included works by Liam Gillick, Anna Gaskell, Carsten Höller, and Pierre Huyghe among others. Also a past member of ICI’s exhibitions advisory committee, most recently Lind was faculty on the inaugural Curatorial Intensive training program. Known for her decisive views on relationships between the curator and the artist, in 2009 Lind was the recipient of the Walter Hopps Award for Curatorial Achievement, a biennial prize recognizing signiﬁcant contributions to the ﬁeld.

energy comes directly from the artworks and the artists with whom I spend a lot of time; and I am keen to be an enabler, to create the best possible circumstances for the artists (in this context, artists’ fees are something of a question of honor). I prefer to take the art itself as the point of departure for my speculations and reasoning instead of starting at the other end, with theory or politics, or the academic model where you seek out the smallest common denominator. In other words, the differ- ence between projecting and reducing; digesting and illustrating; osmosis and being a parasite.

Maria Lind speaking at the Curatorial Intensive , June 2010 Photo: Erica Udow For me, the cardinal professional tool is precision. Just as the person who curates an exhibition of (…) Art is very suitable for testing ideas and classical painting must be attentive to the nuances thoughts, for questioning and challenging the con- of the colors of the walls, the lighting, the exact dition of things; but also for galvanizing words, for distance between the works, etc., so I must be moving to act. Art can be a platform for investiga- vigilant about the place, time, duration, and form tions, where the concrete and abstract, the specific when working with each individual project, large and the general, can share the same space at the or small. Each situation must be carefully analyzed same time. At worst, art carries an apparatus as and evaluated. Is it an exhibition that is required, large and clumsy as that of a feature film or amuse- or some other form of presentation? (…) I want to ment park; at best, it travels with the light baggage be sensitive to an artwork’s own logic: if it doesn’t of an ornithologist or a hitchhiker. fit the white cube, or inside an institutional frame generally, it should not be forced into it. When art How can one combine skepticism with enthu- ventures out to explore the surrounding realities, siasm? multiplicity with precision? affirmation we who work with it must follow. Both art and its with criticism? How does one focus on — and curator would benefit if the curator would follow respect — a part and the whole at the same time? the lead of the artist a little more often. These are questions that often crop up in my work as a curator. The lust to discover, to explore and Excerpted from Words of Wisdom: A Curator’s Vade Mecum (ICI, 2001) question is paramount, as is seeing each project as ed: Carin Kuoni. A downloadable pdf of this book is available free to members of ICI’s Curator’s Network. For information or to join go to a discursive situation. Much of my inspiration and www.ici-exhibitions.org

40 ICI NETWORKS CURATOR’S NETWORK A catalyst for independent thinking, ICI’s exhibitions, events, and training programs also connect emerging and established curators, artists, and institutions to forge international networks and generate new forms of collaboration. New for 2010 is the CURATOR’S NETWORK, a membership program developed to bring together curators who want to share ideas and exchange information with others in the ﬁeld.

NEW AT THE CURATOR’S INDEX

How to Begin? Envisioning the Impact of Guggenheim Abu Dhabi Contributors: Regine Basha, Hassan Khan, Sohrab Mohebbi, Didem Özbek, and Sarah Rifky

Edited by Özge Ersoy

How can the Guggenheim Abu Dhabi position itself beyond serving as a pragmatic tool to boost tourism in its locale? What role can it play in the existing arts infra- structure in the United Arab Emirates and the larger area of cultural structures deﬁned by the term “Middle East”? How can this museum accrue value for artworks that are produced in this region and its diasporas? Taking its cue from these questions, How to Begin? Envisioning the Impact of Guggenheim Abu Dhabi presents a collection of essays by artists, curators, and writers. In a setting

screen grab from ICI’s Curator’s Index website page Curator’s ICI’s grab from screen where all strategic plans and arguments reside in conjec- ture, this publication not only aims to introduce a set of Members of the Curator’s Network gain access to a wide critical responses to the most recent support structures range of professional resources, including the Curator’s in the arts, but also imagines alternative possibilities for Index, an online guide to all things curating. In the Index how these structures might be built and inﬂuence the we post the information we think curators should know practice of artists, curators, and other cultural producers. about, including articles on curating and source materi- This project is the manifestation of creative and critical als for research; event listings and exhibition announce- activity at a time when the Guggenheim Abu Dhabi, still ments; current job and fellowship opportunities; calls unbuilt, is surrounded by questions that linger without for exhibition proposals and conference papers; and answers. online versions of ICI publications and other little-known resources. Access to this publication and more is available only to members of the Curator’s Network. More publications on the Curator’s Network include texts authored by Matthew Higgs (p.16), Maria Lind (p.40), and Lucy Membership beneﬁts also include an online network Lippard (p. 21). For further information on the Curator’s Network go directory and access to low-fee meeting and workspace to ICI’s website www.ici-exhibitions.org or contact Chelsea Haines at rentals in New York. The fully tax-deductible annual 212.254.8200 x26 or haines @ici-exhibitiong.org subscription is $100.

41 ICI CELEBRATING 35 YEARS ICI AWARDS As part of our 35-year celebrations ICI is honoring Christo and Jeanne-Claude (in memoriam), RoseLee Goldberg (Director and curator of PERFORMA), and Doryun Chong (Associate Curator, Department of Painting and Sculpture, MoMA) with three awards for artists and curators who have made outstanding achievements in their fields. While each honoree provides different inspirations for the art world, these celebrated professionals all share a passion for their work that formed the guiding force of Jeanne- Claude’s life-long dedication to art. Similarly, all the honorees reflect the principals that underpin the mission of ICI: collaboration, innovation, independent thinking, and an understanding of the nuances of working internationally in the twenty-first century. Drawing on ICI’s international roster of past and present Exhibition Committee members, and the current Board of Trustees and staff, over 40 people participated in this prestigious nomination and selection process.

The Leo Award (established in 1990) named after the late, renowned art dealer Leo Castelli, was created to honor life-time achievements in advancing the ﬁeld of contemporary art.

Recipients: Christo and Jeanne-Claude (in memoriam) are honored in recognition of the example they provide younger generations in their independent attitude to developing ambitious public projects, as well as their inspiring approach to collaborative practice. The award conferred to Christo and Jeanne-Claude is only the third given to artists since “The Leo” was established 20 years ago. Leo Castelli was the ﬁrst person to exhibit their work in the U.S. in 1964, with their ﬁrst solo exhibition in his gallery occurring in 1966. Introduced to ICI through co-founder Nina Sundell, (daughter of Leo Castelli and Ileana Sonnabend) Christo and Jeanne-Claude have served on ICI’s Board of Trustees since 1978.

Since their ﬁrst temporary outdoor work in Germany in 1961, Christo and Jeanne-Claude have created environ- mental artworks in urban and rural sites all over the world including Australia, France, Germany, Italy, Japan, and Switzerland, as well as the U.S., including Valley Curtain, Riﬂe, CO, 1970–72; Running Fence, Sonoma and Marin Counties, CA, 1972–76; The Umbrellas, Japan–U.S., 1984–91; Wrapped Reichstag, Berlin, Germany, 1971–95; and most recently The Gates in Central Park, NYC, 1979–2005. Currently in progress are Over The River, a project for the Arkansas River, State of Colorado and The Mastaba, a project for the United Arab Emirates.

Christo and Jeanne-Claude accept no sponsors and pay all the expenses of their projects from the sale of original

Christo and Jeanne-Claude at ICI’s 1997 Gala 1997 Christo and Jeanne-Claude at ICI’s works. 42 ICI AWARDS

The Agnes Gund Curatorial Award (established in The new ICI Independent Vision Curatorial Award, 2000) honors a curator who has made an outstanding established this year to mark ICI’s 35th anniversary, contribution to the presentation and discourse of con- reflects ICI’s commitment to supporting international temporary art. The “Aggie” Award was named after the curators early in their careers. The award is intended for enlightened philanthropist and collector Agnes Gund — an emerging or early mid-career curator that has shown who has been involved as a Trustee and Emerita Trustee exceptional creativity and prescience in their exhibition- of ICI since 1977 — in recognition of her long-standing making, research, and related writing. dedication to supporting of contemporary art. Recipient: Doryun Chong is currently Associate Recipient: RoseLee Goldberg is honored for her long- Curator of Painting and Sculpture at MoMA. Prior to term commitment to raising awareness of both artists this, Chong was a curator in the Visual Arts department and curators who push the boundaries of their practice, at the Walker Art Center from 2003 to 2009. He was as well as her work in developing new platforms for the selected to receive the Independent Vision Award for presentation of experimental work. Goldberg’s seminal the recent exhibitions he has curated and co-curated in study, Performance Art: From Futurism to the Present a range of venues nationally and internationally, includ- (first published in 1979 and now in its third edition) ing Bruce Nauman: Days (MoMA, 2010); Brinkmanship: is regarded as the leading text for understanding the Park Chan-Kyong and Sean Snyder (REDCAT, 2010) development of the genre and has been translated into with Clara Kim; Haegue Yang: Integrity of the Insider more languages (including Chinese, Croatian, French, (Walker Art Center, 2009–10); Tetsumi Kudo: Garden of Japanese, Korean, Portuguese, and Spanish) than Metamorphosis (Walker Art Center, 2008-9); Brave New any other book of its kind. When director of the Royal Worlds (Walker Art Center, 2007) with Yasmil Raymond; College of Art (RCA) Gallery in London, Goldberg estab- and the 2006 Busan Biennial. Through these exhibi- lished a program that pioneered an integrative approach tions Chong has not only demonstrated multiple, global to curating exhibitions, performance, and symposia, understandings of artworks and their contexts, but also directly involving the various departments of the RCA an unusual eloquence in the possibilities of display and in all aspects of the exhibitions program. As curator at discourse. Chong’s innovative research skills draw on The Kitchen in New York she continued to advocate for several Asian and Romance languages and his training multi-disciplinary practices to have equal prominence by in Western European and East Asian philosophy and art establishing the exhibition space, a video viewing room, history. Considered the top translator of writing on con- and a performance series. Most recently, her vision in temporary art from Korea, Chong is also responsible for the creation of Performa has set a precedent for perfor- the groundbreaking lexicon on artist Huang Yong Ping’s mance art that is now impacting museum programming complex web of meanings, intentions, history, conflict, and diverse audiences across the U.S. and abroad. and culture. RoseLee Goldberg Doryun Chong. Photo by Gene Pittman 43 ICI NETWORKS JOIN US GET INVOLVED Exclusively for our Supporters, ICI 2010 FUNDING NEWS AT ICI has developed a program of special We hope you will join us for a events that gives insider access In 2010, reflecting the evolving Curator’s Perspective talk, a panel to the artists and curators who are interests of artists, curators, and discussion, or an ICI exhibition at shaping today’s cultural discourse. venues, ICI has complemented its one of the many venues we are col- These include studio visits and pri- existing exhibition program with laborating with worldwide this Fall. vate dinners, exclusive trips to the new projects that introduce different international destinations with the curatorial models. We are delighted Sign up online to receive our news, hottest contemporary art scenes, that the development of this new to read the latest DISPATCH, to join and opportunities to acquire limited programming is being supported by the Curator’s Network, and to keep editions commissioned by ICI. The Andy Warhol Foundation for the informed of our new programs: Visual Arts over the next two years. www.ici-exhibitions.org To get involved or to make a donation today, Similarly, The Elizabeth Firestone visit our website or contact Kristin Nelson at 212.254.8200 x25 or [email protected] Graham Foundation has also supported the development of People’s Biennial, which is one of the major projects to introduce new ways of working with our collaborators.

ICI is also expanding its international networks by bringing curators from around the world to the

Visit with Jeffrey Vallance at Tanya Tanya at Vallance with Jeffrey Visit January 2010 Bonakdar Gallery, U.S. to share their knowledge and expertise; instigating DISPATCH, a bi-monthly online journal written by curators, as well as the Curator’s Network; presenting exhibitions Visit to Yue Minjun’s studio during ICI member trip to China, 2007 and screenings with collabora- ACCESS: ICI & INTERNATIONAL tors around the world; and starting international training programs. SUPPORTERS These important new developments are all generously supported by the Count Giuseppe Panza Robert Sterling Clark Foundation. Summer Luncheon in the Hamptons with curator Zoe Butt, 2010 In Memoriam In addition, The Trust for Mutual This past April, the art world lost Understanding and CEC ArtsLink BUILD ICI WITH US—BECOME A one of its foremost collectors, and are supporting our engagement SUPPORTER TODAY! ICI lost one of its most loyal, inter- with central and eastern Europe, national friends. Count Giuseppe and Toby Devan Lewis, James When you support ICI you become Panza, pictured below at the 1990 Cohan, The Dedalus Foundation, part of an international organiza- ICI Gala with Ileana Sonnabend and The Milton and Sally Avery Arts tion that connects emerging and and Leo Castelli, along with his wife Foundation have made it possible to established curators, artists, and Giovanna, was involved with ICI for start the Curatorial Intensive training institutions. over 20 years. We are grateful for programs. and thank the Panza’s for their con- For 35 years, our Supporters’ sistent and generous support. involvement has allowed curators and artists to explore new ideas and present them to diverse audiences around the world. In 2010–11 your support will contribute to the development of our traveling exhibitions, help to create a vibrant global discourse around art and curating, and give emerging curators access

to training opportunities. Beneﬁt, 2009 Fall ICI’s Photo by Helaine Messer

44 ICI NETWORKS ACCESS ICI ICI STAFF ICI’S BOARD OF TRUSTEES The following Trusts and Foundations have made ICI’s 2010 Kate Fowle Patterson Sims, President programming possible: Executive Director [email protected] Jeffrey Bishop AG Foundation Jill Brienza CEC ArtsLink Bridget Finn Christo and Jeanne-Claude** Horace W. Goldsmith Foundation Special Programs Coordinator James Cohan Elizabeth Firestone Graham fi[email protected] Susan Coote Foundation 212.254.8200 x24 T.A. Fassburg National Endowment for the Arts Maxine Frankel Robert Sterling Clark Foundation Frances Wu Giarratano Jean Minskoff Grant The Cowles Charitable Trust Exhibitions Manager Hunter C. Gray The Dedalus Foundation [email protected] Marilyn Greene The Andy Warhol Foundation for 212.254.8200 x29 Gerrit L. Lansing, Chairman the Visual Arts Emeritus** The Milton and Sally Avery Arts Chelsea Haines Suydam R. Lansing Foundation Education and Public Programs Jo Carole Lauder The Trust for Mutual Understanding Manager Vik Muniz [email protected] Ian M. Rowan With special thanks to the long- 212.254.8200 x26 Ann and Mel Schaffer time, generous support of Barbara Susan Sollins, Executive Director and John Robinson and Toby Devan Michelle Jubin Emerita* Lewis, as well as the ICI Partners — Communications and Office Melville Straus, Treasurer/Secretary Carol and Les Ballard, Kenneth Administrator Sarina Tang Kuchin, and Mara Sandler. [email protected] Barbara Toll 212-254-8200 x27 Carol Goldberg, Trustee Emerita ICI Access Fund Agnes Gund, Trustee Emerita Donors to the ICI Access Fund Kristin Nelson Caral G. Lebworth, Trustee Emerita** support emerging curators and Development Manager Nina Castelli Sundell, Trustee help under-funded venues around [email protected] Emerita* the world present ICI shows: Burt 212.254.8200 x25 Virginia Wright, Trustee Emerita Aaron; Bobbi Brown & Steven Plofker; James Cohan; Phillip Drill; Renaud Proch * ICI Co-founders Leslie Fritz; Jeannie Grant; Marilyn Deputy Director ** In Memoriam Greene; Agnes Gund; Kenneth [email protected] Kuchin; Gerrit & Sydie Lansing; 212.254.8200 x28 Ken Tyburski Jo Carole Lauder; Janelle Reiring; Ex-Officio Trustee Patterson Sims; Bill and Ruth True; Independent Curators Chair, ICI independents August Uribe; Frank and Margo International (ICI) Walter; Helene Winer; Virginia & 799 Broadway, #205 Kate Fowle Bagley Wright. New York, NY 10003 Executive Director P 212.254.8200 F 212.477.4781 [email protected] www.ici-exhibitions.org www.facebook.com/curatorsintl www.twitter.com/curatorsintl

45 ICI NETWORKS ACCESS ARTISTS

ICI & ARTISTS

ICI has collaborated with over 3,700 artists in 35 years, presenting work through exhibitions, as well as inviting them to curate shows and engaging with their practices through the long-standing series of New York Studio Events which started in 1981.

While mostly developing group exhibitions, ICI has also gained a reputation for presenting solo exhibitions of overlooked or under recognized artists, including Mark Lombardi: Global Networks (2004–06), and Jess: to and from the Printed Page (2007–09). Currently ICI is prepar- ing a solo show with Martha Wilson which launches in 2011. This marks the second collaboration with the artist, who in 1978 co-curated the exhibition Artists’ Books USA. This show set a precedent, wherein ICI works closely with artists to support them in curating exhibitions. Projects have since included Komar and Melamid’s Monumental Propaganda (1994–96) and The People’s Choice (1998–02); John Baldessari’s 100 Artists See God (2004–06); and this year, People’s Biennial, which Harrell Fletcher co-curated with Jens Hoffmann. Brian O’Connell and Kate Fowle, installation of the Backroom exhibition at MoMA PS1, June 2010 exhibition at Brian O’Connell and Kate Fowle, installation of the Backroom , Oglala Lakota Harrell Fletcher, right, speaking with artists at Fletcher, Harrell Biennial an open call for People’s Kyle, SD, April 8, 2010 College Historical Center, New York Studio Event: Rashid Johnson at the artist’s studio, March 18, 2010 March studio, Studio Event: Rashid Johnson at the artist’s New York New York Studio Event: John Waters at Marian Studio Event: John Waters New York April 6, 2009 Boesky Gallery,

46 ACCESS ARTISTS

FALL 2010 NEW YORK STUDIO EVENTS PAST ICI NEW YORK STUDIO EVENTS INCLUDE…

In almost 30 years ICI has programmed over 260 behind- Vito Acconci, Ghada Amer, a.v.a.f., Alice Aycock, John the-scenes gatherings with emerging and established Baldessari, Matthew Barney, Lynda Benglis, Louise artists to give our Supporters exclusive access to Bourgeois, Cecily Brown, John Cage, Sophie Calle, their creative processes. This Spring included visits Janet Cardiff & George Bures Miller, John Chamberlain, with Jeffrey Vallance, Carrie Mae Weems, and Rashid Christo & Jeanne-Claude, Chuck Close, Gregory Johnson, all coinciding with their solo exhibitions in NY. Crewdson, John Currin, Mark di Suvero, Eric Fischl, Now, the Fall season continues with three more timely Philip Glass, Dan Graham, Cai Guo-Qiang, Peter events: Halley, Jenny Holzer, Joan Jonas, Donald Judd, Ilya Kabakov, Anish Kapoor, Alex Katz, Jeff Koons, Sean 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

Courtesy of the artist and Metro Pictures Courtesy of the artist and Metro Smith, Nancy Spero, Doug & Mike Starn, Pat Steir, Frank Olaf Breuning Stella, Thomas Struth, Hiroshi Sugimoto, Fred Tomaselli, Tuesday, September 21 Richard Tuttle, Kelly Walker, John Waters, William Engage with experimental, cross-media artist Olaf Wegman, Fred Wilson, and Robert Wilson. Breuning who will give insight into his extraordinary laby- rinth of inspiration and playful working methods. Didn’t get to experience these studio visits for yourself?

Get insight into nearly 70 of the artists’ practices through Inside the Studio, an ICI publication that presents transcripts of the artists’ own words from their NYSE presentations. (To purchase go to ‘shop’ at ici-exhibitions.org) Courtesy of the artist and Sean Kelly Gallery. Courtesy of the artist and Sean Kelly Gallery. Image by Reto Guntli Marina Abramovi! Wednesday, September 29 An intimate look into the art making process of Marina Abramovi<, a pioneer in the use of performance as a visual art form. Marina will explain the employment of her Watch our 14 artist video profiles online, which include own body as both her subject and medium. interviews with ICI artists Luca Buvoli, Beth Campbell, Jim Campbell, E.V. Day, Mitch Epstein, Teresita Fernandez, Louise Fishman, Lyle Ashton Harris, Mary Heilmann, Nina Katchadourian, Julian LaVerdiere, Rafael Lozano-Hemmer, Trevor Paglen, Howardena Pindell. Courtesy of Moved Pictures Archive Courtesy of Moved Pictures Lawrence Weiner Tuesday, December 14 A central figure of conceptual art, Lawrence Weiner will Take advantage of our mid-year sale on memberships share his investigations into linguistic structures and vi- and join ICI now for the remainder of 2010 to gain access sual systems that offer a radical redefinition of the artist/ to the New York Studio Events this Fall. Visit our web- viewer relationship and the very nature of the art object. site at www.ici-exhibitions.org or contact Bridget Finn at 212.254.8200 x24 or fi[email protected] to learn more or to sign up today.

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 x 29, or [email protected]

SCHEDULING Art Moves Martha Wilson (page 10) Exhibitions are available during the tour dates speci- (page 17) fied. For exhibitions other than Project 35, FAX, and The Storyteller (film-only version), 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 arrangements. Mixed Signals: Artists PARTICIPATION FEE Create! (page 14) Consider Masculinity in Sports (page 30) 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 32) Project 35 (page 24) the exhibition’s opening day. For organizations with an 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 26) Raymond Pettibon: The instructions and a condition report. Exhibitions are cov- Punk Years, 1978–86 ered by ICI’s wall-to-wall ﬁne arts insurance policy. For (page 5) 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 6) EXHIBITION MATERIALS The Storyteller (page 36)

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 12)

48 INDEPENDENT CURATORS INTERNATIONAL CELEBRATING 35 YEARS To mark our 35th birthday, John Baldessari has created a new graphic for ICI that visually reinforces how curators are central to the organization — their independent thinking and international networks give us the opportunity to discover art and artists worldwide. Baldessari has a long history with ICI, serving as a trustee of the organization for 9 years and presenting his work in 13 ICI touring shows; he also co-curated the exhibition 100 ARTISTS SEE GOD with fellow artist Meg Cranston, which toured to 6 museums across the U.S. and the U.K. from 2004 through 2006.

We didn’t want to do a show that directly refer- enced recent events, although those events clearly affected us. In our initial description of this exhibition we said, “Whether or not one believes in God, whether we describe ourselves as theists, atheists, or even anti-theists, we all live in a world that is profoundly inﬂuenced by concepts of god.” We were pretty sure the notion of god was affecting world events, but we had no certain idea how, or whether, God and religion were affecting art. We decided to ask artists. (…)

Text is extracted from the introduction to ICI’s 100 Artists See God

100 Artists See God (2004) Introduction by John Baldessari and Meg Cranston; essay by Thomas McEvilley, artists’ statements.

John Baldessari. Photo by Analia Sabin 128 pages, 105 color illustrations. Published by ICI. ISBN 0-916365- Originally this show wasn’t about God. It was about 68-9. $35.00 the firm definition of art as described in a piece To purchase go to ‘shop’ at ici-exhibitions.org of legislation called the Visual Artists Rights Act of 1990. (…) Then Meg Cranston wrote the title “100 Artists See God.” We liked it immediately; it COMING SOON… sounded like a newspaper headline. We imagined a group of hundred artists standing in a field having a Baldessari & Botkier for ICI simultaneous revelation. We pictured them all with Exclusive collaboration between John Baldessari and thought-bubbles over their heads imagining how designer Monica Botkier to design a one-of-a-kind to put their vision into an artwork. The idea had limited edition leather tote bag for ICI. potential. Our problem might be good. Launch: October 2010

That was the spring of 2002. The date is signiﬁcant: Don’t miss John Baldessari: Pure Beauty, the artist’s ﬁrst we began this project six months after the bombing major U.S. retrospective in 20 years, at the Metropolitan the World Trade Center in New York. Newspapers, Museum of Art from October 20, 2010–January 9, 2011, magazines, television, and radio were full of stories and his solo exhibition at Marian Goodman Gallery in NY, about God were on the best-seller list. God was October 22–November 27, 2010. everywhere. Artists were uncharacteristically silent. Working across disciplines and historical precedents, the organization is a hub that provides access to the people, ideas, PAID PAID U.S. Postage

and practices that are key to current NY New York, Permit No. 5188

developments in the ﬁeld, inspiring fresh Organization Non-Proﬁt ways of seeing and contextualizing contemporary art.

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. ICI, 799 Broadway, #205 ICI, 799 Broadway, NY 10003 New York,

In 2010 ICI’s programs are reaching audiences in 38 U.S. cities and 32 countries worldwide. Throughout the year 12 touring exhibitions are presenting the work of over 250 contemporary artists, while new training programs and events are providing a platform for curators to share their research and experiences.