INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2016 PROGRAM I C IC I I C IC I I C I C I I C I C I I C I C I EXHIBITIONS PUBLIC PROGRAMS & RESEARCH NETWORK & ACCESS

4 The Ocean After Nature 18 Curatorial Intensive 30 Publications 6 Apichatpong Weerasethakul 22 Alumni Updates 32 Limited Editions 8 Salon de Fleurus 24 Research Fellowships 34 Annual Beneft 10 EN MAS’ 26 Curator’s Perspective 36 Support ICI 12 Free Play 28 Curatorial Hub 13 Harald Szeemann 39 Thank You 14 do it 40 Access ICI 16 Performance Now 17 Project 35: Volume 2

Yonatan Cohen & Raf Segal, detail of Territorial Map of the World, 2013. Courtesy of the artists. INDEPENDENT CURATORS INTERNATIONAL 1 WELCOME

Today more than ever—with a region. In addition, ICI will provide a three-part Curatorial growing network of collaborators Mentorship program in collaboration with ArtPrize to take spanning 64 countries—Independent place in Grand Rapids, Michigan, to enhance the learning Curators International (ICI) opens experience of curators and institutions participating in up a multiplicity of perspectives that the ArtPrize Fellowship for Emerging Curators program. are fundamental in understanding And lastly, ICI has teamed up with the Liverpool Biennial contemporary art, through exhibitions, and Cactus Gallery on a major new initiative to provide publications, events, curatorial curatorial guidance and support to artists based in the training and research initiatives. North of England to develop their careers internationally over a three-year period. Like the tens of thousands who visit an ICI exhibition each year, you may know ICI as an access point to Each of these collaborations uniquely refects how ICI’s international developments in contemporary art through network impacts local and regional art scenes within an your local museum. Our exhibitions connect curators, international framework. None of this would be possible artists, art spaces and their audiences, increasing without the tireless dedication of ICI’s staff; and of course access and generating new discourse and exchange the commitment of ICI’s Board of Trustees. This year internationally. In the coming months, we are thrilled to the Board is proud to have elected Belinda Kielland as launch two new exhibitions: The Ocean After Nature, its new president, a dynamic new leader who will take curated by our own Alaina Claire Feldman and opening ICI to new heights in its ffth decade. It is also our great in June at the Yerba Buena Center for the Arts in San honor to welcome Yulia Dulstina to the Board of Trustees, Francisco (see page 4); and Apichatpong Weerasethakul: who will provide her own international perspective in The Serenity of Madness, curated by Gridthiya advancing our mission. Gaweewong, and opening in July at the new Mai Iam Contemporary Art Museum in Chaing Mai, Thailand Finally, on behalf of the entire staff and Board of ICI, (see page 6). I want to thank everyone who makes ICI what it is today: the curators, the artists, our audience and our Perhaps, like the several hundreds of New Yorkers who collaborators around the world–online, in person, and attend an ICI talk each year, you know ICI as a platform in print; the trusts and foundations that support us, and for learning from curators and artists about ideas that the many visionary individuals who carry ICI’s mission drive art forward. Behind every public event in New York, (please see page 39 for a complete list). there are dozens more held at the Curatorial Hub in lower Manhattan, and across town or around the world hosted by partner institutions that include this year for the frst time the Museum of Modern Art, New York; the School of the Museum of Fine Art, Boston; the National Council for Culture and the Arts, Manila, Philippines. Renaud Proch However you connect with our programs, each encounter Executive Director with ICI is a window onto the large international network of partnerships, dialogues, and exchange that we have fostered over the last 40 years by swiftly adapting to the constantly evolving curatorial feld.

As we enter our ffth decade, we are developing new exhibitions, new collaborations, and new programs, such as the Curatorial Seminar for mid-career curators, building upon the successes of the Curatorial Intensive (See page 21 for more about the frst Seminar in Morocco). I am also particularly excited to announce three new collaborations that will further foster curatorial practice. The frst is a partnership with the Joyce Foundation that will provide scholarships to the Curatorial Intensive to Africa, Latino/a, Asian, Arab, or Native American curators based in the Great Lakes 2 SPRING/SUMMER 2016 CALENDAR

MARCH EVENTS Curatorial Intensive: do it Public Symposium Art Museum of the HUB EVENTS Curator’s Perspective: Saturday, March 26 University of Memphis Joselina Cruz 10am–1:30pm Memphis, TN BE.BOP. Black Europe Tuesday, March 15 CAC New Orleans March 1–May 10 Body Politics 7–8:30pm New Orleans, LA Wednesday, March 2 Hunter College MFA do it & do it (archive) 6:30–8pm Campus EXHIBITIONS Blue Star Contemporary ICI Curatorial Hub New York, NY San Antonio, TX New York, NY Wednesday, March 16 EN MAS’ March 3–May 8 6:30pm National Gallery of the Nuevo Museo De Arte School of the Museum of Cayman Islands Salon de Fleurus Contemporáneo (NuMu) Fine Arts, Boston Grand Cayman, Cayman Museum Sztuki Thursday, March 10 Boston, MA Islansd Łódź, Poland 6:30–8pm January 14–March 15 March 18–May 15 ICI Curatorial Hub CURATORIAL New York, NY INTENSIVE Free Play Museum London Curatorial Intensive: London Ontario New Orleans January 30–May 8 March 20–26 New Orleans, LA

APRIL EVENTS do it & do it (archive) Blue Star Contemporary HUB EVENTS Curator’s Perspective: San Antonio, TX Catherine David March 3–May 8 Dead Lands: Aissa Wednesday, April 27 Deebi in Conversation 7–8:30pm Salon de Fleurus with Rotem Rozental New York, NY Museum Sztuki Thursday, April 21 Łódź, Poland 6:30–8pm EXHIBITIONS March 18–May 15 ICI Curatorial Hub New York, NY Free Play EN MAS’ Museum London National Art Gallery of the London Ontario Bahamas Dead Lands: Josh T. January 30–May 8 Nassau, The Bahamas Franco in Conversation April 28–July 10 with Rotem Rozental do it Thursday, April 28 Art Museum of the 6:30–8pm University of Memphis ICI Curatorial Hub Memphis, TN New York, NY March 1–May 10 Ulrich Museum of Art, Wichita State University Wichita, KS April 23–26 SPRING/SUMMER 2016 3

MAY/JUNE EXHIBITIONS do it & do it (archive) The Ocean After Nature Blue Star Contemporary Yerba Buena Center for EVENTS Free Play San Antonio, TX the Arts Museum London March 3–May 8 San Francisco, CA Curator’s Perspective: London Ontario June 17–August 25 Jochen Volz January 30–May 8 Salon de Fleurus Tuesday, May 10 Museum Sztuki 7–8:30pm The Rooms Łódź, Poland Americas Society St. John’s, NL, Canada March 18–May 15 New York, NY May 27–August 28 Stacion Center for Contemporary Art CURATORIAL do it Prishtina, Kosovo INTENSIVE Art Museum of the June 10–August 14 University of Memphis Curatorial Intensive: Memphis, TN EN MAS’ Dakar March 1–May 10 National Art Gallery of the June 2–8 Ulrich Museum of Art, Bahamas Raw Material Company Wichita State University Nassau, The Bahamas Dakar, Senegal Wichita, KS April 28–July 10 April 23–26 Washington Project for the Arts Washington, DC May 1–May 31

JULY/AUGUST do it The Ocean After Nature Ulrich Museum of Art, Yerba Buena Center for CURATORIAL Wichita State University the Arts INTENSIVE Wichita, KS San Francisco, CA April 23–August 26 June 17–August 25 Curatorial Intensive: Indianapolis Museum Manila of Art & Big Car Apichatpong August 28–September 3 Collaborative Weerasethakul The Metropolitan Museum Indianapolis, IN Mai Iam Contemporary Art of Manila July 11–October 30 Museum Manila, The Philippines Chiang Mai, Thailand EN MAS’ July 3–September 30 EXHIBITIONS National Art Gallery of the Bahamas Apichatpong Nassau, The Bahamas Weerasethakul April 28–July 10 Mai Iam Contemporary Art Museum Free Play Chiang Mai, Thailand The Rooms July 3–September 30 St. John’s, NL, Canada May 27–August 28

Salon de Fleurus Stacion Center for Contemporary Art Prishtina, Kosovo June 10–August 14 4 EXHIBITIONS THE OCEAN AFTER NATURE

Curated by Alaina Claire Feldman

In their symbolism and narratives, seascapes have traditionally been an expression of power, defining history and forming identities. THE OCEAN AFTER NATURE explores a more recent understanding of the ocean as a massive planetary network reflecting the contemporary ecological, cultural, political, and economic significance of a globalized world.

Throughout history, the ocean was the unknown that ARTISTS inspired awe in sovereigns, explorers and artists alike. In the vastness of the seas, they saw otherness, and Ursula Biemann, CAMP (Shaina Anand & Ashok projected onto it narratives, subjects, and expressions of Sukumaran), Yonatan Cohen & Raf Segal, Mati Diop, power with little critical awareness. Maria Domenica Rapicavoli, Drexciya, Peter Fend, Manuel Gnam, Renée Green, Peter Hutton, Hyung In recent years, technological, scientifc, and economic S. Kim, An-My Lê, Manny Montelibano, Deimantas shifts advanced through globalization have prompted Narkevičius, The Otolith Group, Ulrike Ottinger, Carissa new considerations of the ocean. The Ocean After Nature Rodriguez, Allan Sekula and Nöel Burch, Supersudaca presents artists who in the last 15 years have come to depict a space not of otherness but of self-refection. CURATOR Through the work of 20 established and emerging artists from around the world, the exhibition opens up new ways Alaina Claire Feldman is a curator and the Director of of addressing the complicated planetary effects that Exhibitions at Independent Curators International (ICI). humanity and the oceans have on each other. Aware of Before joining ICI, Feldman was an Editor at May Revue, the intertwined factors that defne this new understanding a bilingual (French/English) art and culture quarterly of the oceans, the artists in the exhibition have resisted publication based in Paris. She has organized and limiting their approach to a single direction or affrmation, coordinated numerous exhibitions, both monographic embracing personal themes of identity and migration, and thematic, and lectures and publishes regularly alongside more universal concerns related to tourism, on art and visual culture. For ICI, she has organized trade, climate change, and the exploitation of natural live performances, public panels, publications and flm resources. screenings with artists such as Martha Wilson, Coco Fusco, Apichatpong Weerasethakul, Michael Smith, The exhibition features works in a wide variety of Robert Longo, Allen Ruppersberg, Gran Fury, Stephen media—including photography, video, sculpture, music, Vitiello, and Alvin Lucier. She has contributed to several and design. In addition, curators at each of the presenting exhibition catalogues and is currently co-editing an venues will be invited to include additional work by at anthology on critical feminist curating. least one local artist, as a way to connect local concerns to an evolving international conversation. BOOKING

The Ocean After Nature will be accompanied by a Artists: 20 catalogue, edited by the curator and featuring essays, Tour dates: Spring 2016 through Spring 2019 interviews, and excerpts of flm scripts. The catalogue will For additional information and dates of availability, include contributions by Negar Azimi, Ursula Biemann, contact [email protected] or call María del Carmen Carrión, Yonatan Cohen & Raf Segal, 212 254 8200 x127 Ed Halter, Kodwo Eshun, Patrick Flores, Renée Green, May Joseph, Lucy Lippard, Andrey Misiano, Amanda Parmer, Lanka Tattersall, Virgil B/G Taylor, Allan Sekula & Noël Burch, Sarah Wang and others. THE OCEAN AFTER NATURE 5 , 2010. Courtesy of the artist and Murray Guy, New York. New , 2010. Courtesy of the artist and Murray Guy, Manning the rail, the U.S.S. Tortuga, Java Sea Manning the rail, U.S.S. Tortuga, An-My Lê, , 2013. Courtesy of the artists. Territorial Map of the World Territorial Yonatan Cohen & Raf Segal, detail of Yonatan 6 EXHIBITIONS APICHATPONG APICHATPONG WEERASETHAKUL: THE SERENITY OF MADNESS Curated by Gridthiya Gaweewong A leading figure in contemporary film and art in Thailand, Apichatpong Weerasethakul has developed a striking surrealist cinematic and artistic genre, in which he portrays the every-day alongside supernatural elements, such as monsters and phantoms, suggesting a distortion between fact and folklore, history and storytelling.

Recognized internationally and across disciplines, APICHATPONG WEERASETHAKUL Apichatpong Weerasethakul’s work reveals stories often excluded in history in and out of Thailand: voices of the Apichatpong Weerasethakul was born in 1970 in poor and the ill, marginalized beings, and those silenced Bangkok and raised in the north-eastern Thai city of Khon and censored for personal and political reasons. The Kaen. Working independently of the Thai commercial flm exhibition was conceived as a unique retrospective industry, he is active in promoting experimental and that is inclusive of a diversity of media characteristic of independent flmmaking through his company Kick the the artist’s practice: rarely seen experimental videos, Machine, which he founded in 1999. With Gridthiya photography and drawings, archival documents and a Gaweewong he founded the Bangkok Experimental Film flm screening program are brought together to explore Festival in 1997, and presented it three more times the threads and socio-political commentary present in the through 2008. His work has been presented widely in art artist’s work from early in his career to the present. and flm contexts internationally, including the Sharjah Biennial in the UAE (2013), dOCUMENTA 13 in Kassel, Each presenting art space will have the opportunity to Germany (2012), Liverpool Biennial (2006), Busan expand upon the scope of the exhibition, by drawing from Biennial (2004), the Istanbul Biennial (2001), and in their collections and archives for instance, or showcasing solo and group exhibitions at art spaces including Haus the work of local artists in relation to broader issues or der Kunst in Munich, Germany; Walker Art Center, narratives present in Weerasethakul’s practice. Minneapolis; New Museum, New York; Irish Museum of Modern Art, Musée d’Art Modern de la Ville de Paris. Apichatpong Weerasethakul: The Serenity of Madness Weerasethakul’s 2009 flm, Uncle Boonmee Who Can is curated by Gridthiya Gaweewong, Artistic Director of Recall His Past Lives, won a Palme d’Or prize at the 63rd the Jim Thompson Art Center in Bangkok, and a longtime Cannes Film Festival. peer and collaborator of Weerasethakul. His feature flms include: Cemetery of Splendour (2015), CURATOR Uncle Boonmee Who Can Recall His Past Lives (2010), Syndromes and a Century (2006), Tropical Malady Gridthiya Gaweewong founded the arts organization (2004), The Adventures of Iron Pussy (2003), Blissfully Project 304 in 1996, and is currently the Artistic Director Yours (2002), and Mysterious Object at Noon (2000). of the Jim Thompson Art Center, Bangkok. Her curatorial projects have addressed issues of social transformation BOOKING in Thailand and beyond in the period since the Cold War. Gaweewong has organized exhibitions and events Tour dates: Fall 2016 through Winter 2019 including Underconstruction, Tokyo (2000–02), Politics of For additional information and dates of availability, Fun at the Haus der Kulturen der Welt, Berlin (2005), the contact [email protected] or call Bangkok Experimental Film Festival (1997–2007), Saigon 212 254 8200 x127 Open City in Saigon (with Rirkrit Tiravanija), Vietnam (2006–07) and Unreal Asia, Oberhausen International Short Film Festival (2010). APICHATPONG WEERASETHAKUL 7

APICHATPONG WEERASETHAKUL SOURCEBOOK

Alongside this exhibition, ICI is also collaborating with Weerasethakul on the publication of a new Sourcebook, edited by the artist. The Sourcebook series is dedicated to contemporary artists’ personal perspectives on social, political, and cultural issues. Led by an artist, each Sourcebook includes a collection of primary research materials and infuences, such as rare archival documents, artwork studies, and excerpts of landmark publications, selected from the artist’s own archive and annotated with personal commentary. (See page 31.)

This is the third publication in the series since its inception in 2011 with Martha Wilson: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces, which was followed by Allen Ruppersberg: Reanimating the 20th Century. Courtesy of Apichatpong Weerasethakul. Courtesy of (Film still), 2015. (Film still), 2015. Courtesy of Vapour Fever Room Apichatpong Weerasethakul, Apichatpong Weerasethakul, Kick the Machine Films. Photo: Chai Siris. Apichatpong Weerasethakul, Courtesy of Kick the Machine Films. Photo: Chai Siris. (Archives), 2014. Courtesy of kurimanzutto and Kick the Machine Films. Fireworks Apitchatpong Weerasethakul, Apitchatpong Weerasethakul, 8 EXHIBITIONS SALON DE FLEURUS

SALON DE FLEURUS is a contemporary reconstruction of Gertrude Stein’s Parisian salon that existed at 27 rue de Fleurus from 1904–34. It is an artwork that displays and references a story of modern art’s beginnings through one of the first gathering places for artists such as Henri Matisse, Pablo Picasso, and Stein herself.

It was in Stein’s salon that paintings by Cézanne, Matisse SALON DE FLEURUS and Picasso were seen exhibited together for the frst time both by her peers and transatlantic art experts Salon de Fleurus is an educational institution dedicated who spread the word back home, eventually creating to assembling, preserving, and exhibiting memories on the American narrative of European modern art familiar early modern art. Its permanent exhibit, titled from The today. Autobiography of Alice B. Toklas, located at 41 Spring Street, New York, was open to the public from 1992— Through painted reproductions exhibited within a 2013. A selection from the Salon’s permanent collection constructed interior, the Salon de Fleurus questions was part of the Fiction Reconstructed that was shown in where, why and how certain narratives of modern art Ljubljana, Belgrade and Budapest from 2000 to 2002. In originated through the salon structure that frst canonized 2002, Salon de Fleurus was included in the Whitney them. These copies are perhaps more signifcant and Biennial, Sydney Biennial, and exhibition Am Anfang der tell us more about history than the original artworks Bewegung stand ein Skandal in the Lenbachhaus themselves by weaving fction into history and leaving Munich. Selections from the Salon’s permanent collection space to contemplate and reconsider the past. When one were also shown at the exhibitions What is Modern Art? looks at Picasso here, they are viewing Picasso through (Kunstlerhaus Bethanien, Berlin, 2006), The Making of the lens of Stein. Americans (James Gallery, CUNY Graduate Center, New York) and Les Fleurs Americaines (Le Plateau, From 1992 to 2014 Salon de Fleurus existed as an Paris, 2012). In 2011, the Metabolic Studio (Los Angeles) installation in lower Manhattan. Since then, it has opened another version of the Salon de Fleurus, with a appeared in fragments in Beirut, Paris and Los Angeles collection titled Portraits and Prayers that more closely and is now touring as a complete artwork with ICI. The resembles the early twentieth century Paris salon and exhibition contains painting reproductions as well as a traveled to Ashkal Alwan in Beirut, 2014. historic timeline of Stein and her circle, a special edition newsprint-catalogue, and training script for a “doorman” BOOKING or gallery monitor to best evoke the story of the salon to visitors. Number of works: 34 paintings Tour dates: Winter 2016 through Winter 2019 At the end of the day the importance of copying is that it For additional information and dates of availability, compels us to question the importance of authenticity. contact [email protected] or call —Clancy Martin on Salon de Fleurus, Brooklyn Rail, 212 254 8200 x127 2014 Additional Support for Salon de Fleurus is provided by the Fine Art Dealers Association (FADA). SALON DE FLEURUS 9

SALON DE FLEURUS BROADSHEET

A broadsheet catalogue designed by Garrick Gott— including press and images from the Salon’s 20-year history and newly commissioned essays and interviews by Kim Levin, Alfred H. Barr, Our Literal Speed and others—complements the exhibition throughout its international tour. A new edition of the broadsheet is produced at each presenting location, edited by each venue to highlight local concerns and their take on the history of modernism brought up in the exhibition. , installation view, Ashkal Alwan, Beirut, 2014. Ashkal , installation view, , frst edition newsprint, 2016. Courtesy of ICI and Salon de Fleurus. Salon de Fleurus Alwan. Ashkal Courtesy of Salon de Fleurus , installation view, New York, 1992-2013. Courtesy of Salon de Fleurus. York, New , installation view, Salon De Fleurus 10 EXHIBITIONS EN MAS’ EN MAS’: CARNIVAL AND PERFORMANCE ART OF THE CARIBBEAN Curated by Claire Tancons and Krista Thompson Co-organized with Contemporary Arts Center, New Orleans EN MAS’: CARNIVAL AND PERFORMANCE ART OF THE CARIBBEAN is a pioneering exploration of the influences of Carnival on contemporary performance practices in the Caribbean, North America, and Europe. Conceived around a series of nine commissioned performances realized during the 2014–15 Caribbean Carnival season across eight cities in seven different countries, the exhibition considers the connections between Carnival and performance, masquerade and social criticism, diaspora and transnationalism.

Taking its title from a pun on “Mas” (short for masquerade EN MAS’ brings together material remnants or and synonymous with carnival in the English-speaking reconstitutions from the performances as well as Caribbean), EN MAS’ considers a history of performance photographic and flmic interpretations thus also that does not take place on the stage or in the gallery but presenting some of the best photographers, flmmakers rather in the streets, addressing not the few but the many. and videographers working in the Caribbean. The EN MAS’ introduces performance art with a focus on the exhibition debuted at the Contemporary Arts Center, infuence that Carnival and related masquerading New Orleans (CAC) in March 2015 and was designed by traditions in and of the Caribbean and its diasporas have Gia Wolff. had on contemporary performance discourse and practice, in both the artistic and curatorial realms. Indeed, ARTISTS EN MAS’ takes into account performance practices that do not trace their genealogy to the European avant- John Beadle, Charles Campbell, Christophe Chassol, gardes of the early twentieth century but rather to the Nicolás Dumit Estévez, Marlon Griffth, Hew Locke, experiences of slavery and colonialism through to the Lorraine O’Grady, Ebony G. Patterson, Cauleen Smith mid-nineteenth century, the independence struggles and civil right movements of the mid-twentieth century and BOOKING population migrations to and from the former colonial centers for most of the last century. Number of artists: 9 Number of works: 9 installations Throughout the 2014 Caribbean Carnival season, Tour dates: Spring 2015–Spring 2018 EN MAS’ tracked nine artists—John Beadle, Charles For additional information and dates of availability, Campbell, Christophe Chassol, Nicolás Dumit Estévez, contact [email protected] or call Marlon Griffth, Hew Locke, Lorraine O’Grady, Ebony 212 254 8200 x127 G. Patterson and Cauleen Smith—as they engaged, transformed, or critiqued historical and contemporary EN MAS’: Carnival and Performance Art of the Caribbean is made possible by an Emily Hall Tremaine Exhibition Award. Additional support Caribbean performance practices from Carnival in is provided by the Andy Warhol Foundation for the Visual Arts, and the Santiago de los Caballeros, Port of Spain, Fort-de- Institut français in support of African and Caribbean projects. France, Kingston, London and Brooklyn, to Junkanoo in Nassau and the New Orleans second line—or in their own imaginary cartographies and invented performance traditions. The resulting newly commissioned works took place according to different modes of public address and audience engagement including semi-private rituals at the margin of the festival celebrations and street processions in the midst of the carnival revelry. EN MAS’ 11 , 2014, Fort-de-France, Martinique. Image courtesy of the artist. BIG SUN Christophe Chassol,

PUBLICATION the carnivalesque, performance and protest in NKA, Small Axe, Third Text, and e-fux Journal. Tancons was Edited by Claire Tancons, Krista most recently guest curator for Up Hill Down Hall: An Thompson. Foreword by Neil Indoor Carnival as part of the 2014 BMW Tate Live series Barclay, Renaud Proch. Text by D. at Tate Modern and a curator for Are you Alive or Not? Eric Bookhardt, Petrina Dacres, Paul Looking at ART Through the Lens of THEATRE at the Goodwin, Shannon Jackson, Rietveld Academy (2015). She is currently a curator for Erica Moiah James, Nicholas the frst biennial edition of Printemps de Septembre and Laughlin, Thomas J. Lax, Alanna the artistic director of the opening ceremony of Faena Lockward, Kobena Mercer, Annie Forum Miami Beach, both in Fall 2016. Paul, Claire Tancons, Krista Thompson, Yolande-Salomé Toumson. Hardcover, 230 pages, full color. 8 x 10 inches. Krista Thompson is the Weinberg College Board of Co-published by ICI and CAC, New Orleans, 2016. Visitors Professor and Professor of Art History at Distributed by D.A.P. ISBN: 978-0-916365-89-9. $49.95 Northwestern University. She is the author of An Eye for the Tropics (2006) and Shine: The Visual Economy of See page 31 for details. Light in African Diasporic Aesthetic Practice (2015), on the intersection of popular photography, performance, CURATORS and contemporary art in the circum-Caribbean. She has written articles in Art Bulletin, Art Journal, American Art, Claire Tancons is a curator, writer, and researcher with a Representations, The Drama Review, and Small Axe and focus on Carnival, public ceremonial culture, civic rituals, has curated several exhibitions, including theNational and popular movements. The Associate Curator for Exhibition (NE3) (2006) and Developing Blackness: Prospect.1 New Orleans (2007-9), a curator for the 7th Studio Photographs of “Over the Hill” Nassau in the Gwangju Biennale (2008), Guest Curator for CAPE09 Independence Era (2008) at the National Art Gallery (2009), Associate Curator for research for Biennale Bénin of the Bahamas. Thompson is currently working on (2012), and a curator for the Göteborg Biennial (2013), The Evidence of Things Not Photographed, a book Tancons has developed genealogies and methodologies that examines notions of photographic absence and for thinking about and presenting performance—including disappearance in colonial and postcolonial Jamaica and reclaiming the processional as exhibitionary mode. Black Light, a manuscript about electronic light and its She has initiated collaborative projects across diverse archival recovery in African American art. curatorial platforms including FAR FESTA: Nuove Feste Veneziane (2012) and Public Practice with New Orleans Airlift (2014). She has written extensively about Carnival, 12 EXHIBITIONS FREE PLAY Curated by Melissa E. Feldman FREE PLAY explores the work of artists who borrow from play and games to reveal social, philosophical, and cultural issues. From playfulness, to mathematical strategy, the artists in FREE PLAY have mined the significance of games, reinventing them to create experiences, often meant to be involving the viewer, and reflecting on the nature of participation in art.

ARTISTS

Cory Arcangel, Patrick Bernier and Olive Martin, Ruth Catlow, Mary Flanagan, Futurefarmers, Ryan Gander, Jeanne van Heeswijk and Rolf Engelen, Allan McCollum and Matt Mullican, Paul Noble, Yoko Ono, Pedro Reyes, Jason Rohrer, David Shrigley, Erik Svedäng

CURATOR

, 1996, installation view, Arcadia University Art Arcadia University , 1996, installation view, Currently Distinguished Visiting Faculty at Cornish Doley College of the Arts, Melissa E. Feldman is a Seattle- based independent curator and writer, and is a frequent Gallery, Glenside, 2014. © Aaron Igler and Greenhouse Media. Glenside, 2014. © Gallery, Paul Noble, contributor to Art in America, Frieze, Third Text, and Aperture, among other publications. Her recent Artistic processes tied to game playing have historically exhibitions include Another Minimalism: Art after attracted the avant-garde, most famously the chess California Light and Space (2015), The Fruitmarket master Marcel Duchamp. His every artistic move had Gallery, Edinburgh, Dance Rehearsal: Karen Kilimnik’s his chess partner—the viewer—in mind. Games were World of Ballet and Theatre (2012), organized by the also intrinsic to the work of war-addled Surrealists Mills College Art Museum, Oakland, which travelled to and Dadaists, the inventors of exquisite corpse and the Museum of Contemporary Art, Denver, Afterglow: automatic drawing, in their quest to upend the bourgeois Rethinking California Light and Space Art (2010), pretensions of art and free the artistic imagination. In the Wiegand Gallery, Notre Dame de Namur University Art 1960s and ’70s, the countercultural and antiwar Fluxus Gallery, Belmont, CA, and the Hearst Art Gallery at St. group and the New Games Foundation questioned Mary’s College, Walnut Creek, CA, and Sampler: Textiles capitalism and corporate culture by staging massive at Creative Growth (2007) at Creative Growth Art Center, public games in city parks. Moving away from the Oakland. Feldman has taught at the California College classical chess period of kings, queens, and bishops, of Art, the San Francisco Art Institute, and Goldsmith’s the works in Free Play do not represent medieval fgures College, London, and is credited with organizing the but strategies of decision making around contemporary frst monographic exhibitions in America for Kilimnik, issues. Martin Kippenberger, and Hiroshi Sugimoto in the early 1990s as a curator at the Institute of Contemporary Art, The arcade of games in Free Play include a version of Philadelphia. Guitar Hero by Cory Arcangel, hopscotch by Mary Flanagan, and Ryan Gander’s version of blackjack— BOOKING while the more mystically inclined may gravitate toward Allan McCollum and Matt Mullican’s divining game. Number of artists or artists groups: 14 Number of works: approximately 17 Tour dates: Winter 2014– Winter 2017 For additional information and dates of availability, contact [email protected] or call 212 254 8200 x127 EXHIBITIONS 13 DOCUMENTA 5 HARALD SZEEMANN: DOCUMENTA 5 Curated by David Platzker Even 40 years later, Documenta 5, the exhibition that was criticized in 1972 as being “bizarre...vulgar...sadistic” by Hilton Kramer and “monstrous...overtly deranged” by Barbara Rose, resonates today as one of the most important exhibitions in history. Both hailed and derided by artists and critics, the exhibition was the largest, most expensive and most diverse of any exhibitions anywhere, and foreshadowed all large-scale, collaboratively curated, comprehensive mega-shows to come. HARALD SZEEMANN: DOCUMENTA 5, explores the many facets of this particularly controversial Documenta exhibition, which jumped outside the contemporary art sphere into an expanded realm of activity, a legendary extravaganza that invited both visceral criticism and praise.

CURATOR

David Platzker is Curator of Drawings and Prints at The Museum of Modern Art, New York. From 2004 to 2013 he was the director of Specifc Object, an innovative gallery, bookshop, and storehouse for a range of items from , installation view, University of , installation view, artists’ publications, multiples and unique works of art, as well as literature, music, and counterculture. Before founding Specifc Object, Platzker was the executive director of Printed Matter from 1998 to 2004, the non- proft institution dedicated to the promotion of artists’ books and publications. His curatorial projects at Specifc Object and Printed Matter included shows of John Harald Szeemann: Documenta 5 Pittsburgh, 2015. Baldessari, Hanne Darboven, Marcel Duchamp, Guerrilla Documenta, a major international contemporary art Girls, Jenny Holzer, Yoko Ono, Raymond Pettibon, presentation that takes place every fve years in Kassel, Ed Ruscha, and Claes Oldenburg. At The Museum of Germany, is currently in its 14th iteration. This specifc Modern Art he co-curated There Will Never Be Silence: 1972 Documenta, chiefy curated by the infuential Swiss Scoring John Cage’s 4’33” in collaboration with curator, Harald Szeemann, was a pioneering, radically Jon Hendricks; Sites of Reason (2014) with Erica different presentation that was conceived as a 100-day Papernik; and in 2015 the exhibition Gilbert & George: event, with performances and happenings, outsider art, The Early Years. even non-art, as well as repeated Joseph Beuys lectures, and an installation of Claes Oldenburg’s Mouse Museum, BOOKING among many other atypical inclusions. The show widely promoted awareness of a contract known as The Artist’s Tour dates: January 2011—Indefnitely Reserved Rights Transfer and Sale Agreement, which For additional information and dates of availability, protects artists’ ongoing intellectual and fnancial rights contact [email protected] or call with regard to their production. 212 254 8200 x127

This exhibition includes the catalogue, ephemera, artists’ publications and editions produced in conjunction with the exhibition, as well as published reviews and critical responses. The assembled materials provide a rich jumping off point for art history students, artists, and general audiences to plunge into the international contemporary art scene of 1972, to see what this particularly fertile cultural moment produced. 14 EXHIBITIONS DO IT Curated by Hans Ulrich Obrist What would happen if an exhibition never stopped? Since it began in 1993, with this question being asked by Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier, DO IT has become the longest-running and most far-reaching exhibition to ever happen—constantly generating new versions of itself.

In the more than 20 years since Obrist, Boltanski, and DO IT ARCHIVE Lavier mused over the potential of “scores,” or written instructions by artists, to create exhibition formats that The do it (archive), curated by ICI and Hans Ulrich Obrist could be more fexible and open-ended, do it went from in collaboration with Joseph Grigley, is a compilation a selection of 12 instructions to an ongoing project of ephemera, photographs and videos, that acts as an including over 400 artists. Every time it was presented, in appendix to the exhibition, presenting the project’s vast any of the more than 60 venues worldwide, do it was re- history, its global reach, and evolution over the past 20+ interpreted anew. Many new versions appeared, including years. Organized by ICI, the do it (archive) is available do it (museum), do it (home), do it (TV), do it (seminar), to be presented alongside the larger do it exhibition. and an online do it in collaboration with e-fux, among In 2015, it was on view far and wide at the Anne and others. Gordon Samstag Museum of Art in Adelaide, Australia from February to April; and again at the Napa Valley To celebrate the twentieth anniversary of do it in 2013, Museum in California from June to August. In spring Obrist and ICI collaborated on its newest iteration, 2016, the do it (archive) will be presented alongside do it stemming from a new publication, do it: the at the bluestar contemporary, in San Antonio, TX. compendium—complete with the history of this landmark project and a selection of 250 artists’ instructions, including 80 brand new ones. A call to action, do it invites DO IT: THE COMPENDIUM you to take part, to interpret, re-invent and generate ideas, creating new dynamic institutional and exhibition By Hans Ulrich Obrist. Foreword formats for years to come. and acknowledgements by Kate Fowle and Frances Wu Giarratano; CURATOR introduction by Hans Ulrich Obrist; essays by Bruce Altshuler, Hu Fang, Hans Ulrich Obrist is Co-Director of the Serpentine Virginia Pérez-Ratton, and Elizabeth Galleries, London. Prior to this, he was the Curator of Presa. Softcover, 448 pages. 8 x the Musée d’Art Moderne de la Ville de Paris. Since his 10 inches. Co-published by ICI and frst show World Soup (The Kitchen Show) in 1991, he D.A.P. 2013. ISBN: 978-1-938922-01-5. $35.00 has curated more than 250 exhibitions. Obrist’s recent publications include Lives of Artists, Lives of Architects, BOOKING Ways of Curating, A Brief History of Curating, Do It: The Compendium, and The Age of Earthquakes with Douglas Number of artists or artists groups: 250 Coupland and Shumon Basar. Number of works: 250 Tour dates: Spring 2013–Winter 2017 For additional information and dates of availability, contact [email protected] or call 212 254 8200 x127 DO IT 15 installation view, Gund Gallery at Kenyon College, Gambier, Ohio, 2013. Gund Gallery at Kenyon College, Gambier, installation view, installation view, Gund Gallery at Kenyon College, Gambier, Ohio, 2013. Gund Gallery at Kenyon College, Gambier, installation view, do it do it

do it instruction by Nicolás Paris, do it Newtown Academy, The Episcopal at Square, Pennsylvania, USA, 2015. instruction by Annette Messager, Annette Messager, instruction by installation view, Kunsthal Aarhus, Denmark, 2015. Kunsthal installation view, do it Artes workshop with the Escuela de Plásticas, 2015. do it installation view, Kunsthal Aarhus, Denmark, 2015. Kunsthal installation view, do it 16 EXHIBITIONS PERFORMANCE NOW

From 2012 to 2014, PERFORMANCE NOW was presented at seven art spaces internationally, across the U.S., in Australia, Poland, and Russia. The exhibition, curated by RoseLee Goldberg, offered a fresh look at an ever-changing medium, bringing performance art to new frontiers. The perspective it advanced was critical to an ongoing series of ICI exhibitions and programs focusing on performance since 2009.

Performance Now tracked the exponential growth of and a performance series. It was here that Goldberg performance art at the beginning of the 21st century. The curated the frst solo exhibitions of Cindy Sherman, Sherri exhibition presented artists who explore the ephemerality Levine, Robert Longo, Jack Goldstein and The Kipper of performance art and their efforts to create new Kids, among others. In 2004, she founded Performa, a work that contained the power and content of the non-proft arts organization committed to the research, original. Bringing together some of the most signifcant development, and presentation of performance by visual practitioners of our times, Performance Now surveyed artists from around the world, and in 2005 launched New critical and experimental currents in performance York’s frst performance biennial, Performa 05, which internationally. Curated by RoseLee Goldberg, it featured recently celebrated its ten year anniversary with Performa key Performa commissions, as well as works by Marina 15 (2015). In 2010 she was awarded the ICI Agnes Gund Abramović, Yael Bartana, Claire Fontaine, William Curatorial Award. Since 1987, Goldberg has taught at Kentridge, and Ryan Trecartin, among others. New York University.

Since ICI’s Martha Wilson launched in 2009, ICI has THANK YOU TO THE ARTISTS presented various perspectives on performance art practice to audiences around the globe. Performance Marina Abramović, Jennifer Allora and Guillermo Now was a critical component to this ongoing effort, Calzadilla, Yael Bartana, Jérôme Bel, Guy Ben-Ner, which has included ICI exhibitions (currently do it, EN Marvin Gaye Chetwynd, Nikhil Chopra, Nathalie MAS’), as well as publications, talks and programs such Djurberg, Claire Fontaine, Christian Jankowski, Jesper as the Curatorial Intensive. Just, William Kentridge, Ragnar Kjartansson, Regina José Galindo, Liz Magic Laser, Kalup Linzy, Nandipha CURATOR Mntambo, Kelly Nipper, Clifford Owens, Santiago Sierra, Laurie Simmons, Ryan Trecartin RoseLee Goldberg’s seminal study, Performance Art: From Futurism to the Present (frst published in 1979 and now in its third edition) is regarded as the leading text for understanding the development of the genre and has been translated into more languages than any other book of its kind. When director of the Royal College of Art (RCA) Gallery in London, Goldberg established a program that pioneered an integrative approach to curating exhibitions, performance, and symposia, directly involving the various departments of the RCA in all aspects of the exhibitions program. As curator at The Kitchen in New York she continued to advocate for multi-disciplinary practices to have equal prominence by establishing the exhibition space, a video viewing room, PERFORMANCE NOW 17 PERFORMANCE NOW , installation view, Kraków Theatrical Reminiscences, Poland, 2014. Kraków , installation view, Performance Now

ITINERARY

QUT Art Museum Queensland University of Technology, Brisbane, Australia December 6, 2014–March 1, 2015

Kraków Theatrical Reminiscences Kraków, Poland October 4–October 26, 2014 , installation view, Kraków Theatrical Kraków , installation view, Delaware Art Museum Wilmington, DE, United States July 12–September 21, 2014 Performance Now Reminiscences, Poland, 2014.

Middlebury College Museum of Art Middlebury, VT, United States February 7–April 20, 2014

Jewish Museum and Tolerance Center Moscow, Russia November 21–January 19, 2014

H&R Block Artspace, Kansas City Art Institute Kansas City, MO, United States August 16–October 12, 2013 Art Museum, Delaware installation view,

Ezra and Cecile Zilkha Gallery, Wesleyan University Middletown, CT, United States September 7–December 9, 2012 Performance Now, Wilmington, 2014. 18 EXHIBITIONS PROJECT 35 VOLUME 2

The second part of a global project which began in 2010, Project 35 Volume 2 was a compilation of contemporary video works selected by 35 international curators. The exhibition was presented at 29 art spaces in 18 countries, at times simultaneously, inspiring a new discourse on video across continents.

Continuing a tradition that began with Video Art USA, Miralles (Cuba), Srimoyee Mitra (Canada), Nat Muller ICI’s frst exhibition in 1975, ICI’s Project 35 and Project (The Netherlands), Sharmini Pereira (Sri Lanka), Nataša 35 Volume 2 have broadened access to contemporary Petrešin-Bachelez (France / Slovenia), Kathrin Rhomberg video art practices and discourse since 2010. Launched (Austria), Sun Jung Kim (South Korea), Mats Stjernstedt to celebrate ICI’s 35th anniversary, the exhibition was (Norway / Sweden), David Teh (Australia / Thailand), conceived as a program of single-channel videos Philip Tinari (US / China), Christine Tohme (Lebanon), selected by 35 international curators who each chose one Raluca Voinea (Romania), Jochen Volz (Germany / UK), work from an artist they think is important for audiences Adnan Yildiz (Germany) around the world to experience today. The resulting selection was presented simultaneously in more than 30 THANK YOU TO THE ARTISTS venues around the globe, inspiring discourse in places as varied as Berlin, Germany; Cape Town, South Africa; Jonathas de Andrade (Brazil), Marwa Arsanios Lagos, Nigeria; Los Angeles, California; New Orleans, (Lebanon), Zbynek Baladrán (Czech Republic), Michael Louisiana; Skopje, Macedonia; Storrs, Connecticut; Blum (Israel / Canada) and Damir Nikšić (Bosnia / Taipei, Taiwan; and Tirana, Albania. Sweden), Deanna Bowen (US / Canada), Pavel Braila (Moldova), Aslı Çavusoglu (Turkey), Park Chan-Kyong In 2012, ICI has collaborated with 35 more international (South Korea), Chen Zhou (China), Josef Dabernig curators to produce Project 35 Volume 2. The exhibition (Austria), Elena Damiani (Peru), Shezad Dawood traced the complexity of regional and global connections (UK), Annika Eriksson (Sweden), Antanas Gerlikas among practitioners and the variety of their approaches (Lithuania), Annemarie Jacir (Palestine), Jin-Me Yoon to video. Taking advantage of video’s versatility, Project (Korea), Lars Laumann (Norway), Aníbal López (A-1 35 Volume 2 was shown in a broad variety of formats and 53167) (Guatemala), Reynier Leyva Novo (Cuba), spaces: exhibited on 35 monitors in a gallery; projected Basim Magdy (Egypt), Cinthia Marcelle (Brazil), Bradley as a series over time; or featured in monthly screenings. McCullum & Jacqueline Tarry (US), Ivana Müller (France / The Netherlands / Croatia), Ahmet Ögüt (Turkey), Jenny CURATORS Perlin (US), Agnieszka Polska (Poland), Sara Ramo (Spain), Wok the Rock (Indonesia), Sona Safaei (Iran), Leezy Ahmady (Afghanistan / US), Meskerem Heino Schmid (The Bahamas), Sun Xun (China), Prilla Assegued (Ethiopia), Daina Augaitis (Canada), Defne Tania (Indonesia), Alexander Ugay (Kazakhstan), Dale Ayas (Turkey / The Netherlands), Regine Basha (US), Yudelman (South Africa), Helen Zeru (Ethiopia) Valerie Cassel-Oliver (US), Rosina Cazali (Guatemala), Stuart Comer (US / UK), Veronica Cordeiro (Brazil / Uruguay), Christopher Cozier (Trinidad and Tobago), María del Carmen Carrión (Ecuador / US), Rifky Effendy (Indonesia), Özge Ersoy (Turkey), N’Goné Fall (Senegal), Amirali Ghasemi (Iran), Vít Havránek (Czech Republic), Hou Hanru (US / China), Virginija Januskeviciute (Lithuania), Abdellah Karroum (Morocco), Pablo León de la Barra (Mexico / US), Maria Lind (Sweden), Yandro PROJECT 35: VOLUME 2 19

ITINERARY Ne’ – Na Contemporary Art Space Chiang Mai, Thailand Garage Museum of Contemporary Art July 4–31, 2014 Moscow, Russia August 10, 2015–January 31, 2016 Sri Lanka Archive of Contemporary Art, Architecture & PROJECT 35 Design UGM Maribor Art Gallery Jaffna, Sri Lanka Maribor, Slovenia May 4–25, 2014 October 23–November 14, 2015 Acadia University Ofcina #1 Wolfville, Canada VOLUME 2 Caracas, Venezuela March 5–April 16, 2014 September 5–24, 2015 Platform3 Visual Art Center Bandung, Indonesia Boise State University, Boise, ID, United States January 11–19, 2014 January 20–February 18, 2015 Readytex Art Gallery Van Every / Smith Galleries Paramaribo, Suriname Davidson College, Davidson, NC, United States December 15–21, 2013 January 15–February 27, 2015 Centro de Fotografa University of Saint Joseph Art Gallery Montevideo, Uruguay West Hartford, CT, United States December 3–December 17, 2013 January 15–June 8, 2015 ZCAC (Zoma Contemporary Art Center) Microwave International New Media Arts Festival Addis Ababa, Ethiopia Hong Kong November 15, 2013–February 16, 2014 November 14–23, 2014 Alice Yard The Stamp Gallery, University of Maryland Port of Spain, Trinidad and Tobago College Park, MD, United States November 12–February 1, 2014 October 30–December 22, 2014 NLS London Gallery West Kingston, Jamaica University of Westminster, London, UK November 1–2, 2013 October 23–November 30, 2014 Fresh Milk DeVos Art Museum, Northern Michigan University St. George, Barbados Marquette, MI, United States October 24–25, 2013 October 6–November 9, 2014 Künstlerhaus Stuttgart Messy Sky / Cloud Stuttgart, Germany Bangkok, Thailand October 10–December 8, 2013 September 13–October 10, 2014 VCUarts Anderson Gallery Richard E. Peeler Art Center Richmond, VA, United States Greencastle, IN, United States September 7–December 8, 2013 September 8–December 12, 2014 Art Gallery of Windsor Robert Morris University Art Gallery Windsor, Ontario, Canada Pittsburgh, PA, United States April 19–June 9, 2013 August 28–October 29, 2014 SH Contemporary The College of Wooster Art Museum Shanghai, China Wooster, OH, United States September 7–9, 2012 August 17–September 28, 2014

Future Perfect Singapore August 15–24, 2014 20 PUBLIC PROGRAMS & RESEARCH CURATORIAL INTENSIVE

ICI’s CURATORIAL INTENSIVE program was established in 2010 as the world’s first short-course, low-cost training program for curators. Intended to bring working professionals together to gain new skills and perspectives on pragmatic aspects of curating, as well as to increase dialogue in curatorial ideas, the Intensive supports early- to mid-career curators working independently or institutionally in emerging and established art centers around the world. Programs are held in the U.S. and around the world in collaboration with institutional partners.

The Curatorial Intensive consists of a weeklong schedule REPORT ON PAST PROGRAM: NEW YORK of seminars, workshops, advisement sessions, and site visits developed by ICI and taught by leading curators, From September 13–22, 2015, ICI organized the artists, critics, and directors. Participants apply with eleventh Curatorial Intensive held in New York since the an exhibition proposal to workshop throughout the inaugural program in 2010. The participants comprised program, the outcomes of which are presented to a a group of 12 curators from 9 countries: Egypt, England, public audience on the fnal day. Through their intensive Estonia, Hungary, Mexico, New Zealand, Scotland, engagement with each other, participants realize Turkey, and the U.S. Ingrid Schaffner, curator of the opportunities for developing new collaborations and upcoming Carnegie International, began the program networks. with a presentation of the seminal exhibition, Deep Storage and considerations on the archive, which In 2016, ICI will establish both national and international continue to inform her curatorial practice today. Offering sites for the Curatorial Intensive. ICI will continue insights to institutional leadership, Queens Museum partnerships with institutions such as Prospect New Director, Laura Raicovich, spoke about the museum’s Orleans and the Contemporary Arts Center in New unique position and ability to function differently as an Orleans, Louisiana. Building upon ICI’s programming institution; the museum’s programming responds to initiatives in Africa since 2013, the Curatorial Intensive its local communities and provides a social, education will take place in Dakar this June, in collaboration with space for residents of its surrounding neighborhoods. Raw Material Company. The group also refected on public engagement with the New Museum’s Johanna Burton, who discussed various curatorial methodologies in this feld. In an encounter with artist Pablo Helguera, the group further refned their thinking behind educational projects while considering the artist’s own practice, often bringing social and political issues to the forefront, and operating outside the confnes of the art world system. Editor-in-Chief of Art in America, Lindsay Pollock, provided an in-depth editorial perspective of a major publication by elucidating its historical development as well as advising participants on elements of successful writing. Other highlights included a visit of ¡Presente! The Young Lords in New York led by curator Yasmin Ramirez at the Bronx Museum of Art, and a day trip to Dia:Beacon with Curatorial Intensive alumna, Megan Holly Witko. Curatorial Intensive in New York, site visit to Dia:Beacon with Megan York, Curatorial Intensive in New Witko, September 13–22, 2015. CURATORIAL INTENSIVE 21

CURATORIAL INTENSIVE IN NEW ORLEANS CURATORIAL SEMINAR IN MARRAKECH

Program Dates: March 20–26, 2016 Program Dates: February 28–March 1, 2016

In collaboration with the Contemporary Arts Center and In 2016, ICI will develop a new program, the Curatorial CURATORIAL Prospect New Orleans, ICI will organize this spring the Seminar, designed to bring mid-career curators together second Curatorial Intensive in the Crescent City. Building to expand their thinking and advance new areas in upon the inaugural program in New Orleans in January curatorial discourse. Geared towards past participants 2015 as well as recent partnerships in the American of the Curatorial Intensive, the Seminar will offer South and the region surrounding the Gulf of Mexico and curators from around the world an unparalleled platform the Caribbean, ICI continues developing critical networks of exchange and discussion, and the opportunity to INTENSIVE for regional and international exchange and platforms for connect with other curators who share their concerns new voices and multi-disciplinary practice. and research interests. The Curatorial Seminar will further energize and leverage ICI’s dynamic network of INSTRUCTORS AND ADVISORS Curatorial Intensive alumni that has grown to encompass over 360 curators from more than 64 countries, bringing Andrea Andersson (Chief Curator of Visual Arts, CAC unique perspectives to the current evolution of curatorial New Orleans), María del Carmen Carrión (Director discourse and practice. of Public Programs & Research, ICI), Thelma Golden (Director and Chief Curator, The Studio Museum in In March, ICI will return to Marrakech for a Curatorial Harlem, New York), Gia Hamilton (Director, Joan Seminar organized in collaboration with Dar al-Ma’mûn. Mitchell Center, New Orleans), Jay Pather (Associate This program will build upon ICI’s partnership with Dar Professor at the University of Cape Town and Director al-Ma’mûn which began last year with the Curatorial of the Gordon Institute for Performing and Creative Intensive held in Marrakech. As a pilot program for this Arts), Renaud Proch (Executive Director, ICI), Trevor new format of curatorial convening, this Seminar will Schoonmaker (Artistic Director of Prospect.4 New address issues of cultural translation and place. It will be Orleans and Chief Curator and Patsy R. and Raymond held during the 6th Marrakech Biennale, Not New Now, D. Curator of Contemporary Art at the Nasher Museum, curated by Reem Fadda, which also includes curatorial Duke University), and Cameron Shaw (Executive interjections by curators and ICI Collaborators Omar Director and Founding Editor, Pelican Bomb, New Berrada, Salma Lahlou, and Fatima-Zahra Lakrissa. Orleans), among others. Participants of the Curatorial Seminar include: Mohamed CURATORIAL INTENSIVE IN DAKAR Kamal Elshahed (Cairo, Egypt), Fatima-Zahra Lakrissa (Marrakech, Morocco), Salma Lahlou (Marrakech, Program Dates: June 2–8, 2016 Morocco), Eszter Szakacs (Budapest, Hungary), and Ipek Ulusoy (Dubai, UAE). This June, ICI will organize the Curatorial Intensive in Dakar, Senegal, in partnership with Raw Material SEMINAR LEADERS Company. With the fourth Intensive in Africa—and following our past programs in Johannesburg, Addis Omar Berrada (Director, Dar al-Ma’mûn), María Ababa, and Marrakech—ICI maintains its commitment del Carmen Carrión (Director of Public Programs & to supporting the development of curatorial practice Research, ICI), Julian Myers-Szupinska (Associate and international networks in Africa. This program will Professor of Curatorial Practice at CCA, San Francisco coincide with the 12th Edition of the Dakar Biennale, and Senior Editor, The Exhibitionist), and Renaud Proch curated by Simon Njami. (Executive Director, ICI).

This program is the latest collaboration between ICI For more information on the Curatorial Intensive, the Curatorial Seminar, instructors, advisors, and schedule, as well as past Curatorial Intensives, and Raw Material Company’s founding artistic director, visit ICI’s website, curatorsintl.org, or contact Kimberly Kitada at Koyo Kouoh, who has contributed to ICI programs since [email protected]. 2012. ICI’s exhibition, Project 35, was presented at Raw Material Company that year, and Kouoh spoke as part of the Curator’s Perspective in New York in 2013.

The Curatorial Intensive is made possible in part by grants from the Hartfeld Foundation; the Joyce Foundation; the Keller Family Foundation; and by generous contributions from Toby Devan Lewis, Mercedes Vilardell, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and supporters of ICI’s Access Fund.

As part of a new partnership with the Joyce Foundation to support richer diversity in the curatorial feld, new scholarships to the Curatorial Intensive are available to African, Latino/a, Asian, Arab, or Native American (ALAANA) curators based in Illinois, Indiana, Michigan, Minnesota, Ohio, or Wisconsin. An ICI / beta-local scholarship is available for a curator from Puerto Rico based anywhere in the world. And scholarships for curators from Turkey will be supported by SAHA. 22 PUBLIC PROGRAMS & RESEARCH ALUMNI UPDATES

There are currently over 360 alumni of the Curatorial Intensive, based in 64 different countries and 24 U.S. states. ICI remains in contact with alumni through the Curator’s Network, and is updated on the exhibitions and projects that become fully realized after the Intensives, as well as the alumni’s other curatorial endeavors around the world.

EXHIBITIONS AND PROJECTS DEVELOPED THROUGH THE CURATORIAL INTENSIVE , Blue Oyster Project Space, Dunedin, New , mis-manufactured object designed by Lee Ming err Jeremy Huchison, 2012. at ChinaShowOwn factory, The False Demographic Zealand (October 7, 2015-October 31, 2015).

Jessica Gallucci Chloe Geoghegan Art:Work The False Demographic October 16–November 21, 2015 October 7–31, 2015 REVERSE, Brooklyn, NY Blue Oyster Project Space, Dunedin, New Zealand

Art:Work brought together the work of artists who critique, Exploring an alternative voice within the mainstream comment upon or subvert systems of labor, commerce fag debate in New Zealand, The False Demographic or entertainment, often by going undercover, operating expanded on the open call for a new fag design issued from the inside, or by adopting occupational frameworks by the government in 2015. A selection of 40 recorded native to those systems. The exhibition included works responses to the design served as the interactive by Jeremy Hutchison, Liz Magic Laser, PJ Linden, architecture of the exhibition, as visitors were able to view Sarah Alice Moran, Narcissister, Sarah Stuve and Philip and engage with the interviews and to use the then- Vanderhyden. current and still infamous fag debate to refect on the complex nature of the referendum process, society, art, and visual culture. ALUMNI UPDATES 23

ALUMNI NEWS

Katherine Cohn (New Orleans ’15) co-curated Collaborative Archives: Connective Histories at Columbia , Bargain University’s Leroy Neiman Gallery (September 8−18, ALUMNI 2015). Eoin Dara and Kim McAleese (Derry ’13) organized a 3-day program of new commissions, screenings, interventions, and conversations relating to art in public space as part of the Household Collective’s project Out in UPDATES the Open in Belfast (September 3–5, 2015). Palm House Objects from the Temperate Övül Durmusoglu (Inhotim ’12) curated Future Queer at Istanbul ARK Culture (December 26, 2015−February 7, Installation view, Installation view, Spot Project Space, Edinburgh. Courtesy of the artist and Bargain Spot/Chloe Reith. Photographer: Natalia Janula. 2016).

Sally Frater (Summer NY ’12) curated Julia Brown: The Swim at the Ulrich Museum of Art in Wichita, KS (January (2014) 16−March 6, 2016).

Maiza Hixson (Fall NY ’12 and Fall NY ’15) was appointed Curator of Collections/Visual Arts Coordinator for the Santa Barbara County Arts Commission.

Boris Kostadinov (Moscow ’14) curated Mature and Angry at the Centre for Contemporary Art−Plovdiv

(September 9−October 8, 2015). It belongs to us a little less than we belong it

Qinyi Lim (Summer NY ’10) curated A Luxury We Cannot Afford at Para Site, Hong Kong (September 19− Dunja Herzog, and Livistona australis (cabbage tree palm). Courtesy of the artist Bargain Spot/Chloe Reith. Photographer: Natalia Janula. November 29, 2015).

Evelyn Owen (Marrakech ’15) co-curated The Aftermath of Confict: Jo Ractliffe’s Photographs of Angola and South Africa at The Metropolitan Museum of Art (August 24, 2015−March 6, 2016). She presented on this exhibition at the ICI Curatorial Hub on October 14, 2015. , Belfast, Northern Ireland Bakirathi Mani (Summer NY ’10) curated Ruins and Fabrications at Twelve Gates Arts in Philadelphia, PA

(November 6−December 15, 2015). Out in the Open

Sabrina Moura (Beijing ’12) curated a series of seminars titled Places and meanings in art: debates from the South for the 19th Contemporary Art Festival Sesc_Videobrasil (October 2015). Household Collective’s (September 3−5, 2015).

Karen Patterson (Fall ’15) curated Ebony G. Patterson: Dead Treez at the Museum of Arts and Design, New York (November 10, 2015−April 3, 2016).

Sidd Perez (Tokyo ’13) was appointed Assistant Curator

at the National University of Singapore Museum. , Belfast, Northern Ireland

Rachel Reese (Spring NY ’14) was named Associate Curator at the Telfair Museums in Savannah, Georgia. Out in the Open

Chloe Reith (Fall NY ’15) curated Objects from the Temperate Palm House at Bargain Spot Project Space in Edinburgh, UK (January 16–February 27, 2016). Household Collective’s (September 3−5, 2015). Yesomi Umolu (New Orleans ’15) curated So-called Utopias at the Logan Center at the University of Chicago (November 20−January 10, 2016). 24 INDEPENDENT CURATORS INTERNATIONAL RESEARCH FELLOWSHIPS Since 2012, ICI has partnered with several organizations and foundations to encourage and facilitate curatorial research. This year, the Colección Patricia Phelps de Cisneros (CPPC) Award and the ICI/French Institute Fellowship have supported curators in providing opportunities for in-depth research.

THE 2015 CPPC TRAVEL AWARD FOR CENTRAL FIELD NOTES FROM THE AMERICA AND THE CARIBBEAN DOMINICAN REPUBLIC

Since 2012, The Colección Patricia Phelps de Cisneros Below is an excerpt from Leah Gordon André Eugène’s (CPPC) and ICI have partnered on supporting individual travelogue from the Dominican Republic. curatorial research in Central America and the Caribbean with the Colección Patricia Phelps de Cisneros Travel In the evening we met with Sara Hermann from the Award. Award winners have included Pablo León de Davidoff Initiative, who is also a consultant at the Centro la Barra (2012), Remco de Blaaij (2013), María Elena León of Santiago de los Caballeros in Dominican Ortiz (2014), and this past year André Eugène and Republic. Sara gave us a lot of background to the private Leah Gordon. Over the last fve years, critical research art institutions in the Dominican Republic, focusing on the was conducted which has fueled four curators’ thinking Davidoff Initiative, and the funding structures inherited and practice, led to projects, exhibitions, and ongoing from the tobacco industry, including the León Jimenez partnerships, while also fostering important networks family. This kind of corporate and private support has across the region and forging new ones. been instrumental in developing and fostering the arts in the Dominican Republic. This was in sharp contrast to Trinidad where the oil companies, often foreign The recipients of the 2015 CPPC Travel Award for corporations, are more reticent to support the arts. Central America and the Caribbean were André Eugène Perhaps this is because they know they will be moving and Leah Gordon, two curators based in Haiti who on when the petroleum runs out. Here, the tobacco conducted research into regional models of artists’ and sugar companies have deep-rooted and long-term self-organization, alternative strategies of community investments in the land, country, and culture. We also education in the Dominican Republic and Trinidad & discussed the politics of any state investment in the arts, Tobago. In addition they tracked new exhibition networks and while much work remains to be done to strengthen for Haitian artists in the region, and followed the threads the cultural infrastructure in the country, we had no doubt of carnival traditions that emerged throughout their travels that the level of support was far superior to that in Haiti. to connect one place to another (see also, EN MAS’, page 10). In a presentation to a full room at the Curatorial Read the full text on the Research section of the ICI Hub in New York in January 2016, the curators spoke website. www.curatorsintl.org/research about their experience, the artists they encountered and the artistic and cultural relationships based on carnival This fellowship is generously supported by the Colección Patricia Phelps de Cisneros (CPPC). CPPC works to increase the understanding and across the region (see page 29). Recording of the event awareness of Latin America’s contributions to the history of art and ideas, is available from the Media Room on ICI’s website. and to support innovation, education, and research in the feld of Latin American art. 40 YEARS & COUNTING 25 RESEARCH FELLOWSHIPS

THE 2015 ICI / FRENCH INSTITUTE FELLOWSHIP ABOUT THE FELLOW

Mouna Mekouar, a curator and art critic who has held Mouna Mekouar is an art critic and independent curator curatorial positions at the Centre Pompidou-Metz, Metz, based in Paris, France. She was associate curator of and the Palais de Tokyo, Paris, is the fourth ICI/French Simple Shapes at Centre Pompidou-Metz (2014). From Institute Fellow. The fellowship program offers a French 2012 to 2014, she was curator at Palais de Tokyo, Paris. curator an opportunity for international research and the She was co-curator of the exhibition Philippe Parreno development of professional networks over a period of six Anywhere, Anywhere Out of the World in 2013 at Palais months, which includes two visits to the U.S. or across de Tokyo. In 2010, she was associate curator of Chefs- ICI’s international network. d’oeuvre ? (Masterpieces ?), the inaugural exhibition of Centre Pompidou-Metz. She also undertook a number of Mouna Mekouar’s research explores new potentialities curatorial assignments for various cultural institutions in for spaces and scales of art, using French theorist André France, such as Musée du Quai Branly for the Biennale Malraux’s concept of the Museum Without Walls as a of Images of the World (2009 and 2011); Jeu de Paume starting point. Through studio visits and artist interviews, for the exhibition Roger Parry at Hôtel de Sully. She she has investigated the use of image collections and has numerous published essays and has contributed archives in artists’ practices, re-envisioning Malraux’s to journals such as Art Press, Revue de l’art, Études concepts. Her research has led her to consider through photographiques, Images re-vues and Patrimoines. the lens of the Museum Without Walls artists’ works, curatorial practices, and encyclopedic museums, and plan for an exhibition consisting of a series of interventions in various art spaces and institutions. Mekouar’s research and details on related events will be available on ICI’s website. 26 PUBLIC PROGRAMS & RESEARCH CURATOR’S PERSPECTIVE The CURATOR’S PERSPECTIVE is a free, itinerant public discussion series ICI developed as a way for international curators to share their interests and experiences with audiences in New York. These talks provide an opportunity to access information about a wide variety of international perspectives on art today. This year, ICI has invited curators based in Manila, Paris, and São Paulo to speak about art, culture, and the exhibitions in which they are most interested, as well as the artists and the socio-political contexts that are shaping curatorial practice now.

UPCOMING EVENTS the Artistic Director of the groundbreaking Documenta X (1997) in Kassel, Germany. Since 1998 she has been Joselina Cruz Director of the long-term project Contemporary Arab Tuesday, March 15, 7–8:30pm Representations, which began at the Fundació Antoni Hunter College MFA Campus Tàpies in Barcelona. Between 2002 and 2004 David was 205 Hudson Street Director of the Witte de With Center of Contemporary Art New York, NY 10013 in Rotterdam in the Netherlands. She currently is Deputy Director of Musée National de’ Arte Moderne, Paris. Joselina Cruz is the Director and Curator at the Museum of Contemporary Art and Design (MCAD), De La Salle- Jochen Volz College of Saint Benilde, Manila. Cruz has worked as Tuesday, May 10, 7–8:30pm a curator for the Lopez Memorial Museum in Manila Americas Society (2001–04) and the Singapore Art Museum (2004–07). 680 Park Avenue She was a curator for the 2nd Singapore Biennale in New York, NY 10065 2008 and one of the networking curators for the 13th Jakarta Biennale in 2009. Cruz was curator-in-charge of Jochen Volz is the curator of the 32nd São Paulo the Tàpies retrospective at the Singapore Art Museum Biennial. He was the Head of Programmes at the (2005), co-curated All the Best: The Deutsche Bank Serpentine Galleries in London between 2012 and 2015. Collection and Zaha Hadid, Singapore Art Museum He has also served as a curator at the Instituto Inhotim, (2006), and curated You Are Not a Tourist for Curating Minas Gerais, Brazil, since 2004, where he was General Lab, Singapore (part of the Singapore Art Show 2007) Director between 2005 and 2007 and Artistic Director and Creative Index: An Exhibition in Manila (2010) for the between 2007 and 2012. There, he co-curated large- 10th Regional Anniversary of the Nippon Foundation’s scale site-specifc projects on art and architecture with Asian Public Intellectuals Fellowship program. artists including Adriana Varejão, Dominique Gonzalez- Foerster, Doris Salcedo, Doug Aitken, Hélio Oiticica, Catherine David Matthew Barney and Rirkrit Tiravanija, as well as Wednesday, April 27, 7–8:30pm numerous exhibitions from the collection. In 2009, he was The Museum of Modern Art the artistic organizer of the Venice Biennale with Daniel 11 W 53rd Street Birnbaum. New York, NY 10019 All events in the Curator’s Perspective series are free of charge and open to the public. For more information about upcoming events visit ICI’s Catherine David is a French art historian, curator and website, curatorsintl.org, or contact Kimberly Kitada at kimberly@ museum director. From 1982 to 1990 David was Curator curatorsintl.org. at the Musée National d’Art Moderne, Centre Georges Pompidou and from 1990 to 1994, she was Curator at the The 2016 Curator’s Perspective program is made possible, in part, by a grant from the Hartfeld Foundation, the support of ICI’s Board of Galerie Nationale du Jeu de Paume, Paris. David was Trustees, and ICI’s Gerrit Lansing Education Fund. CURATOR’S PERSPECTIVE 27 , seminar with Shuddhabrata Sengupta at Dar al-Ma’mûn, May 19–25, 2015. Curatorial Intensive in Marrakech

CURATOR’S PERSPECTIVE: And that reinvention of the world, and that transformation PAST PROGRAMS of the world into new possibilities and meaning, is the only reason why we should we have a profession. And in Shuddhabrata Sengupta my conversations with the young curators through ICI [in October 30, 2015 the Curatorial Intensive in Marrakech in 2015], we try to Wollman Hall, The New School explore the possibilities of what that reason is.

In his Curator’s Perspective presentation, Sengupta Shuddhabrata Sengupta is an artist and curator with the discussed the modalities of occasional curating situated Raqs Media Collective, Delhi. Raqs Media Collective within a collective artistic practice. The Raqs Collective, enjoys playing a plurality of roles, often appearing as an artists’ collective which Sengupta belongs to, artists, occasionally as curators, and sometimes as straddles artistic practice, curatorial projects, theoretical philosophical agent provocateurs. Raqs has exhibited interventions, critical writing, research and teaching. widely, including at Documenta, the Venice, Istanbul, This variety is often perceived as if it were a series of Taipei, Liverpool, Shanghai, Sydney and Sao Paulo very different moves. For Raqs, the line between artistic, Biennales. They have had solo shows in museums, and intellectual and curatorial work, though present, is a set educational and independent art spaces, in Boston, of shifting markers. Brussels, Madrid, Delhi, Shanghai, London, New York, Toronto, among others. Raqs curated Rest of Now, I think that all of what we do is trying to reclaim a time Manifesta 7 (Bolzano, 2008), Sarai Reader 09 (Gurgaon, of attention, and a mode of thinking to the making of 2012-13) and INSERT2014 (Delhi, 2014). In 2000, Raqs things in the world that have no immediate necessity. co-founded the Sarai initiative at the Centre for the People will survive; the human race will continue, if all Study of Developing Societies in Delhi, and the Sarai art making was to stop today. If all exhibitions were to Reader Series, which they edited till 2013. Sengupta is end, and all the museums were to close down. But, it’s the current (2015-2016) Keith Haring Fellow in Art and because we produce new things in the world, and bring Activism with the Center for Curatorial Studies (Hessel new meaning with what we do, that in a sense, the world Museum of Art) and the Human Rights Program at Bard reinvents itself with the things that we try to put together. College, Annandale on Hudson, NY. 28 PUBLIC PROGRAMS & RESEARCH CURATORIAL HUB In the past year, ICI hosted over 20 events in the Curatorial Hub, all of which were free and open to the public. Intended to better facilitate the informal exchange of ideas and experiences between professionals in New York and from around the world, the Curatorial Hub provides a flexible and discursive space for artist and curator talks, panel discussions, small press events, performative lectures, reading sessions, and training programs. It also houses a curatorial library of periodicals and books from institutions all over the world. Events at the Hub are announced throughout the year.

UPCOMING EVENTS

BE.BOP Black Europe Body Politics Presented by Alanna Lockward Wednesday, March 2, 6:30–8pm

Alanna Lockward is a Dominican author and curator Neil Kenlock, “Keep Britain White” based in Berlin. She is the founding director of Art Labour Archives, a platform centered on theory, political activism, and art. At the Hub, Lockward will speak about her trans- disciplinary curatorial initiative, BE.BOP Black Europe Body Politics, which builds public discussions on colonial history.

Artist Talks with Rotem Rozental Part 1, Aissa Deebi: Thursday, April 21, 6:30–8pm Part 2, Josh Franco: Thursday, April 28, 6:30–8pm BE.BOP 2013. DECOLONIZING THE “COLD” WAR. 2013. DECOLONIZING THE “COLD” WAR. BE.BOP ©Neil Kenlock/Autograph ABP. Autograph graffti, Balham, London 1972. Courtesy of AB. Catalogue designed by Nayeli Zimmermann. Curatorial Intensive alumna Rotem Rozental will lead conversations with artists Aissa Deebi and Josh Franco, - who are both included in her exhibition Dead Lands, “Karkaot Mawat.” This exhibition, curated by Rozental . Installa and developed during the Fall 2014 Intensive in New York, will be on view at NurtureArt in Brooklyn, beginning on April 15, 2016.

The Curatorial Hub was established with the support of the Rockefeller Brothers Fund, and programs at the Hub are made possible in part by a grant from the Hartfeld Foundation.

Check ICI’s website, curatorsintl.org, for updates on Hub events. In Tllilli, In Tapalli: Three Tejanos in Red and Black Three Tejanos In Tllilli, Tapalli: tion View. Height specifc plywood mounts (6’, 4’10’’, 5’7’’). Beeswax coated 5’7’’). Height specifc plywood mounts (6’, 4’10’’, tion View. glyphs, dimensions varying between 1”x1” to 4”x4”. Storytelling table: small lightbox. table and an 8.5” x 11” Josh T. Franco, T. Josh CURATORIAL HUB 29 CURATORIAL PAST EVENTS , Yaëlle Biro and Evelyn Owen, ICI Yaëlle ,

HUB York, New Natalie Hope O’Donnell, ISCP, Jo Ractliffe: The Aftermath of Confict Jo Ractliffe: The October 14, 2015. York, Curatorial Hub, New “Munchmuseet on the Move,” November 3, 2015.

Jo Ractliffe: “The Aftermath of Confict” “Munchmuseet on the Move” October 14, 2015 November 3, 2015 at ISCP

Curatorial Intensive alumna Evelyn Owen, along with co- Curator Natalie Hope O’Donnell presented her thinking curator Yaëlle Biro, organized The Aftermath of Confict: behind the commissioning of artists who engage with mar- Jo Ractliffe’s Photographs of Angola and South Africa ginalized voices, semi-concealed spaces, and different at The Metropolitan Museum of Art. They discussed the ways of navigating the city for the frst year of Munchmu- development of the exhibition, selected works on view, seet on the Move (2016–2019), the Munch Museum’s off- and the artist’s attempts to “retrieve a place for memory” site contemporary art program in Oslo. Hope O’Donnell through her deepening engagement with the region’s presented as part of ICI’s off-site Hub Events series, in complex histories. collaboration with ISCP, where she was a resident. , Andre Eugene and , , Pat Elifritz, Alex Kitnick, Julie , Pat Elifritz, Leah Gordon | Alternative Strategies in the Caribbean Leah Gordon | January 26, 2016. York, Leah Gordon, ICI Curatorial Hub, New At Home with the Company of Us USCO: January 28, 2016. York, ICI Curatorial Hub, New Niemi, and David Senior,

Leah Gordon: Alternative Strategies in the Caribbean USCO: At Home with the Company of Us January 26, 2016 January 28, 2016

CPPC fellows Leah Gordon and Andre Eugene spoke in- Curatorial Intensive alum Pat Elifritz, joined by Alex depth about their research trips to the Dominican Repub- Kitnick, Julie Niemi, and David Senior, discussed the lic and Trinidad. Gordon and Andre conducted a number work and enduring infuence of artist collective USCO, of studio visits with artists, and visited institutions such who helped defne “intermedia” in the 1960s. In the audi- as the Museum La Altagracia, Centro Cultural Eduardo ence, founding USCO member Gerd Stern enlivened León Jimenes, and Casa Quien Gallery, to gain a broader and complemented the conversation with anecdotes and understanding of the cultural landscape in the region. memories of these installations, events, and relationships to other artists. 30 NETWORKS & ACCESS PUBLICATIONS For the past 40 years, ICI has been dedicated to producing catalogues to accompany and expand upon its exhibitions, as well as publications that reflect on the latest developments of curatorial practice. Since 2011, ICI has also produced two new publication series: the SOURCEBOOK series of artist-edited publications; and PERSPECTIVES IN CURATING, which offers timely reflections on emerging debates in curatorial practice.

PERSPECTIVES IN CURATING EXHIBITIONS

Talking Contemporary Curating EN MAS’: Carnival and Performance Art of by Terry Smith the Caribbean Edited by Kate Fowle, Leigh Markopoulos Edited by Claire Tancons, Krista Thompson Preface by Kate Fowle, Terry Smith Foreword by Neil Barclay, Renaud Proch. Text by D. Eric Design by Scott Ponik Bookhardt, Petrina Dacres, Paul Goodwin, Published by ICI, Fall 2015. Distributed by D.A.P. Shannon Jackson, Erica Moiah James, Nicholas ISBN: 978-0-916365-90-5. $19.95 Laughlin, Thomas J. Lax, Alanna Lockward, Kobena Mercer, Annie Paul, Claire Tancons, Krista Thompson, Talking Contemporary Curating is the second book in the Yolande-Salomé Toumson. Perspectives in Curating series, following, and building Design by Geoff Kaplan / General Working Group upon, Terry Smith’s Thinking Contemporary Curating, Hardcover, 230 pages, full color. 8 x 10 inches. which inaugurated the series in 2012. Co-published by ICI and CAC New Orleans, 2016. Distributed by D.A.P. In Talking Contemporary Curating, Terry Smith is in ISBN: 978-0-916365-89-9. $49.95 conversation with 12 curators, art historians and theorists deeply immersed in refecting upon the demands of their Accompanying the exhibition EN MAS’: Carnival and respective practices; the contexts of exhibition making; Performance Art of the Caribbean, this publication and the platforms through which art may be made public, includes critical essays by the curators Claire including Zdenka Badovinac, Claire Bishop, Zoe Butt, Tancons and Krista Thompson, as well as key Germano Celant, Carolyn Christov-Bakargiev, Okwui newly commissioned texts by Shannon Jackson Enwezor, Boris Groys, Jens Hoffmann, Mami Kataoka, and Kobena Mercer, which together offer formal and Maria Lind, Hans Ulrich Obrist, and Mari Carmen theoretical analyses of the artists’ projects, as well as Ramírez. Caribbean aesthetic practices and their impact on art and performance studies more broadly. In addition, The postmodern museum is about pluralism, while monographic texts by an array of cultural and art critics, the contemporary art museum is about taking a clear frame the nine newly commissioned artist projects which position, about breaking with the dominant interpretations are the basis for the exhibition. A unique and original of freedom, creativity, and democracy. timeline traces the infuence of Caribbean carnivals and —Zdenka Badovinac festivals on theater, dance, social events, games and the Olympics, exhibitions and biennials, as well as in protest and other movements, all the way to the present. PUBLICATIONS 31

SOURCEBOOK SERIES UPCOMING

Apichatpong Weerasethakul Sourcebook Edited by Apichatpong Weerasethakul Martha Wilson Sourcebook: 40 Years of Foreword by Kate Fowle, introduction by Gridthiya Reconsidering Performance, Feminism, Gaweewong Alternative Spaces Published by ICI, forthcoming 2016 Edited by Martha Wilson Design by Scott Ponik The third in ICI’s Sourcebook series, dedicated to Foreword by Kate Fowle; introduction by Moira Roth; text contemporary artists’ personal perspectives on social, by Martha Wilson political, and cultural issues, this publication will focus 272 pages. 8.5 x 11 inches, softcover on the practice of artist and flm-maker Apichatpong Published by ICI, 2011. Distributed by D.A.P. Weerasethakul. It will coincide with a new ICI exhibion, Foreword by Kate Fowle; introduction by Moira Roth; text to be launched in 2016. Like previous publications in by Martha Wilson. the series, this Sourcebook will be edited to include a ISBN: 978-0-916365-85-1. $25.00 collection of primary research materials and infuences, such as rare archival documents, artwork studies, and excepts of landmark publications, from the artist’s own archive and annotated with personal commentary.

MORE ICI PUBLICATIONS

For a catalog of all available ICI publications, visit our Shop at http://curatorsintl.org/shop/publications.

Allen Ruppersberg Sourcebook: Reanimating the 20th century Edited by Allen Ruppersberg Foreword by Kate Fowle, introduction by Constance M. Lewallen Design by Geoff Kaplan / General Working Group Softcover, with French-fold jacket, 284 pages Full Color. 8.5 x 11 inches. 2014 Published by ICI, 2014. Distributed by D.A.P. and Walther König Books ISBN: 9780916365844. $39.95 32 NETWORKS & ACCESS LIMITED EDITIONS Since 1990, ICI has commissioned limited edition artworks to raise funds for its programs, collaborating with artists including Marina Abramovi´c, Hilla & Bernd Becher, Jacob Kassay, Ernesto Neto, Robert Rauschenberg, and Laurie Simmons, among many others. ICI recently teamed up with Jessica Stockholder to realize an exclusive edition that comprises the artist’s distinctive style which made her a pioneer of installation art.

Jessica Stockholder juxtaposition. Stockholder brings together two common Two and Fro, 2015 objects, a pair of car side-view mirrors, facing each other. Metal, car side-view mirrors, industrial color paint One is displaced onto a “pop-art” zigzagging metal mesh 10 3/4 x 18 inches, approximately plate, so that it faces the other with a warped perspective. Edition of 20 The stories slowly begin to unfold in one’s imagination: $5,000 now in close proximity, the mirrors allude to the absence of the car that usually separates them: a crash? Each With a practice rooted in installation art, Jessica mirror is printed with a dot of color that resembles an eye Stockholder paints in space: she combines objects to in a cubist painting. Two eyes look into each other, they make new forms like a sculptor—yet uses color and almost touch, opening up a world of refective infnity. composition like a painter. She creates narratives and Stockholder is represented by Mitchell-Innes and Nash, New York; and moments of magic by forging delicate relationships Kavi Gupta, Chicago | Berlin. between the objects that compose her work. In Two and Fro, for example, stories emerge as the result of a simple LIMITED EDITIONS 33 LIMITED EDITIONS

Marina Abramović Robert Burnier Untitled, 2012 Ne Aro, 2014–2015 do it catalogue (1997 edition), embroidered apron, Primer on aluminum wooden box 8 1/2 x 7 1/2 inches, approximately Wooden box: 15 x 15 inches Edition of 20 edition of 20 + 5APs $1,500 $5,000

Hilla & Bernd Becher Robert Rauschenberg Pipe Detail: Coal Mine, 1990-91 Untitled, Ft. Myers, 1979/91 Duotone offset lithograph Silver gelatin print 30 3/8 x 22 7/8 inches 11 x 14 inches Edition of 75 Edition of 75 $1,500 $2,000 34 NETWORK & ACCESS ANNUAL BENEFIT On Wednesday, November 18, ICI welcomed over 300 guests to ICI’s 40th Anniversary Benefit & Auction at ArtBeam in Chelsea, marking a momentous milestone and celebrating an enduring commitment to curatorial practice and contemporary art. ICI honored the visionary leadership of Michael Govan with the 2015 Leo Award, presented by Ann Tenenbaum; as well as the outstanding contributions to curating of Beatrix Ruf with The Agnes Gund Curatorial Award, presented by IC Trustee Emerita Agnes Gund. Both awards were designed by Jenne Jieun Lee. Ann Tenenbaum, Michael Govan. Photo: Yuko Torihara. Yuko Michael Photo: Govan. Tenenbaum, Ann Lawrence Weiner, Alice Weiner, and Beatrix Ruf. ICI’s 40th Anniversary 40th and Beatrix Ruf. ICI’s Alice Weiner, Lawrence Weiner, Auction, November 18, 2015. Photo: Max Lakner / Billy Farrell Beneft & York. New Agency,

CELEBRATING ICI BENEFIT COMMITTEE

Held at the beautiful raw space ArtBeam in Chelsea, Co-chairs: Noreen Ahmad, Ann Cook, Jack Geary, ICI’s 40th Anniversary Beneft & Auction was again Belinda Kielland, Sydie Lansing, Laure Lim, Ann Schaffer, crafted by Jung Lee and Josh Brooks of FÊTE and Patterson Sims. Committee: Adam Abdalla, Yasmina catered by Sonnier & Castle. It was punctuated by a Alaoui and Marco Guerra, Augusto Arbizo, Sarah rare performance by DISBAND, the all-female No Wave Arison, Yona Backer, Liddy Berman, Jeffrey Bishop, art band featuring Ilona Granet and Martha Wilson, Tanya Bonakdar Gallery, Jill Brienza, Blair Brooks, Nikki and a DJ set by DJ Phresh. ICI’s Beneft Committee Brown, James Cohan, Susan Coote, Paula Crown, Lacy championed by co-chairs Noreen Ahmad, Ann Cook, Davidson Doyle, Brendan Dugan, Brian Faucette, Bridget Jack Geary, Belinda Kielland, Sydie Lansing, Laure Finn, Elaine Goldman, Taymour Grahne, Jeannie Grant, Lim, Ann Schaffer, and Patterson Sims, collaborated Colleen Grennan, Agnes Gund, Holly J. Hager, Heather with ICI to create a truly unforgettable night that Hubbs, Anne Huntington, Tony Karman, Jan Kennis, Birte celebrated ICI’s accomplishments and built support Kleemann, Robert Kloos, Sarah Ko, Mihail Lari, Jo Carole for the future. Some of the world’s leading curators, Lauder, Rose Lord, Kristen Lorello, Isaac Lustgarten, artists, and museum directors were in attendance to Isaac Lyles, Monique Meloche, Can Misirlioglu, Josie raise a glass to ICI and our honorees—Michael Govan Nash, Simon Preston, Erica Redling, Mel Schaffer, Lisa and Beatrix Ruf—including John Baldessari, Lawrence Schiff, Hanna Schouwink, Jessica Silverman, Michelle Weiner, Thelma Golden, Wade Guyton, Michael Heizer, Snow, Mari Spirito, Sarina Tang, Rebecca Taylor, Taylor Robert Longo, Ann Tenenbaum, and Lawrence Weiner, Trabulus, Courtney Treut, Barbara Toll, and Joseph among many others. Yurcik ANNUAL BENEFIT 35

HONOREES

For the last 25 years, ICI has recognized the individuals who pave the way for a forward-thinking generation of curators and artists, and those curators who have moved ANNUAL the feld’s boundaries ahead. THE LEO AWARD

The Leo Award (established in 1990) named after the late, renowned art dealer Leo Castelli, was created BENEFIT to recognize outstanding achievements in advancing the feld of contemporary art, and the contributions of pioneering individuals who foster new opportunities

and supportive environments for curators and artists. In Torihara. Yuko Michael Photo: Govan. Tenenbaum, Ann 2015, the Leo was awarded to Michael Govan, CEO and Wallis Annenberg Director of LACMA. For more than 25 LIVE & SILENT AUCTION years, Govan has been in the leadership of major art institutions in the U.S., and has played a signifcant part In continued partnerships, the live auction was powered in the changing role of art museums in American life. by Artsy and led by Gabriela Palmieri, Senior Vice Most recently, he and his team have raised LACMA’s President, Senior Specialist, Contemporary Art of international profle, while frmly positioning it as a Sotheby’s, New York. This year again, ICI is proud to cultural and civic center for Los Angeles, and giving have benefted from the generosity of artists who have contemporary artists a central role in the encyclopedic consistently shown great confdence in ICI and support museum. for its programs.

Past recipients of the Leo Award include Dimitris A big thank you to Daskalopoulos, Roy and Dorothy Lichtenstein, Miuccia Prada, and Dasha Zhukova. The Artists Renate Aller, Abdolreza Aminlari, Kamrooz Aram, Doug THE AGNES GUND CURATORIAL AWARD Ashford, John Baldessari, Tina Barney, Alex Beard, John Dante Bianchi, Sarah Braman, Suzette Bross, The Agnes Gund Curatorial Award honors a curator who Christo, Paula Crown, Elena Damiani, Marcel Dzama, has made an outstanding contribution to the presentation Dan Graham, Jesse Greenberg, Nadia Haji Omar, Jeppe and discourse of contemporary art. The “Aggie” Award Hein, JPW3, Glenn Kaino, David Kennedy Cutler, Curtis was named after ICI Trustee Emerita Agnes Gund in Kulig, Agnieszka Kurant, Justine Kurland, Robert Longo, recognition of her long-standing dedication to ICI, to Eddie Martinez, Servane Mary, Hugo McCloud, Duane contemporary art, and to the curatorial feld. The 2015 Michals, Ebony G. Patterson, Raymond Pettibon, Hayal Agnes Gund Curatorial Award was presented to Beatrix Pozanti, Clifford Ross, Aaron Sandnes, Davina Semo, Ruf, curator and Director of the Stedelijk Museum Laurie Simmons, William Wegman, Richard Wentworth, Amsterdam. Throughout her career, Ruf has shown and B. Wurtz unwavering support of artists, helping defne many careers. She has followed her trust in the experimental, And those who helped us make it happen and consistently nurtured emerging art practice, giving 303 Gallery, Adamson Gallery, David Zwirner, DC Moore several young artists their frst museum exhibitions and Gallery, Derek Eller Gallery, Geary Contemporary, Honor commissioning them for new art installations. Ruf has Fraser Gallery, Jessica Silverman Gallery, Kayne Griffn also worked towards building strong infrastructures for Corcoran, Kristen Lorello, König Galerie, Lyles & King, contemporary art practice, including the recent Kunsthalle Lisson Gallery, Marian Goodman Gallery, Marlborough Zürich building expansion before she joined the Stedelijk. Gallery, Martos Gallery, Monique Meloche Gallery, Metro Past recipients of the Agnes Gund Curatorial Award Pictures, Galleri Nicolai Wallner, Paul Kasmin Gallery, include Germano Celant, Lynne Cooke, Okwui Enwezor, Salon 94, Selma Feriani Gallery, Simon Preston Gallery, Roselee Goldberg, Alanna Heiss, Matthew Higgs, and and Tanya Bonakdar Gallery Robert Storr. 36 NETWORKS & ACCESS LEADERSHIP COUNCIL

ICI’s extensive global presence would not be possible without the transformative role of the LEADERSHIP COUNCIL. Established in 2013, the visionary group develops new initiatives that will elevate ICI to the next level. The members of the Leadership Council share a passion for international perspectives on contemporary art and recognize the need for strong regional networks of curators and art spaces within ICI’s global scope. Over the last three years, the Council has worked closely together with ICI staff to expand the organization’s capacities, nurture ICI’s international curatorial networks from the inside out, and create new initiatives in specific regions including the American South, Africa, Latin America and the Caribbean. Patrons’ Dinner on the occasion of grand opening Garage Patrons’ June 2015. Photo: ICI Art, Moscow, Museum of Contemporary Auction, Annual Beneft & Agnes Gund and Dasha Zhukova. ICI’s Agency, November 19, 2012. Photo: David X Prutting / Billy Farrell York. New

VISIONARY INITIATIVES THE LEADERSHIP COUNCIL

The Council is crucial to shaping the trajectory of ICI’s Sarina Tang, ICI Board of Trustees’ International public programs, exhibitions, and professional training Representative opportunities in a unique way that is specialized to Josh Brooks and Jung Lee each member’s vision of contemporary art. Through the Faruk and Fusun Eczacibasi Leadership Fund, ICI has expanded curatorial research Jane Glassman, Fine Art Dealers Association opportunities in regions such as the American South, and Agnes Gund in Africa, Latin America and the Caribbean. The Council Alexei Kuzmichev and Svetlana Kuzmicheva- has allowed ICI to engage with the largest audience in Uspenskaya the organization’s history through the redesign of ICI’s Toby Lewis online platform in 2014. And in the last year, members Dorothy Lichtenstein of the Leadership Council were involved in nearly all Julie Mehretu and Jessica Rankin of the many facets of the organization. The Leadership Patricia Phelps de Cisneros Council supported the broad reach of ICI’s exhibitions Mercedes Vilardell and publications, as well as pioneering programs in Helen Warwick education and curatorial research. It also developed new fundraising opportunities and created scholarship For more information about the Leadership Council, contact Jenn Hyland funds that are critical for emerging curators to attend the at [email protected]. Curatorial Intensive internationally. NETWORKS & ACCESS 37 LEADERSHIP INTL FORUM

The INTERNATIONAL FORUM brings together an exclusive group of people who share ICI’s mission and global reach. With behind-the-scenes access to ICI programs, select COUNCIL international exhibitions, biennials, and art fairs around the world, patrons of the Forum stay connected through ICI to the curators and artists who shape the contemporary art world. Global in scope, current members reside in cities all over the world from New York, Miami, and Chicago to Oslo, Istanbul, and beyond.

Join this unique group and support a truly international Liverpool Biennial art organization with connections to 55 countries and ICI and the Liverpool Biennial have embarked on a access to the curators, artists, and art spaces that keep 3-year partnership that will launch at the opening of the their fnger on the pulse of contemporary art worldwide. Biennial, July 7–10. This is a great opportunity to for a special preview of the show with insider’s access. As a member you will have the opportunity to join ICI on exclusive trips in the U.S. and abroad. You will receive EXPO Chicago and ArtPrize, Grand Rapids VIP access to some of the leading art fairs internationally, During EXPO, September 22–25, ICI will be in Chicago along with recommendations of what can’t be missed at and organizing the Curatorial Forum with curators leading art events and in select cities around the world. In from across the city, and from around the world. On New York, the International Forum connects you directly September 25 and 26, we will be across the Lake in to ICI’s programs through ICI Conversations, a series Grand Rapids, for part of the opening weekend of of exclusive events, studio visits, cocktails, and dinners ArtPrize. with international curators and artists held throughout the year. For up to the minute information on events and NADA Miami programs you will also receive ICI Quarterly, our patrons During Art Basel Miami Beach, ICI brings together e-newsletter. Trustees, the Leadership Council, the International Forum, collaborators, curators, and artists at the Annual Miami Luncheon at NADA Miami. Now in its ffth year, the DESTINATIONS luncheon is a great tradition and a chance to connect with ICI’s collaborators from around the world, while debriefng As ICI exhibitions, public programs and research on the must-see of the fairs. initiatives take place in cities across the globe, members of the International Forum take advantage of the organization’s unique network and join ICI staff, led by local curators and artists, to discover dynamic art scenes that shape the future of contemporary art.

New Orleans From March 19 to 27, ICI will be in New Orleans for the Curatorial Intensive, organized in collaboration with Prospect and CAC New Orleans. Take this opportunity to visit the city, visit an artist’s studio and follow the recommendations of local curators as to what art and food not to miss.

Frieze, New York On May 6, ICI will again partner with Frieze New York to co-host a professional brunch with early access to the fair, and give an opportunity for curators and ICI patrons

to connect with colleagues at Frieze. June 2015. Photo: ICI breakfast with Joseph Backstein, Moscow, Patrons’

Dak’Art, Dakar, Senegal From June 1 to 9, ICI will be in Dakar for the Curatorial Intensive, organized in collaboration with Raw Material Company, one of the most important independent art spaces on the continent. The trip will coincide with the Dak’art Biennial, curated this year by Simon Njami. 38 NETWORKS & ACCESS THE INDEPENDENTS ICI connects curators, artists and art spaces to forge international networks and generate new forms of collaboration. THE INDEPENDENTS is an invitation-only membership group of dynamic individuals active in the contemporary art world that support the organization’s programs and vision for the future.

Since 1975, ICI has worked with partners in 400 cities and 55 countries. With every encounter, we develop a more nuanced understanding of today’s interconnected world, and of the role of curators and contemporary art within it. The Independents gain insights by connecting with emerging and established curators, artists, collectors, and leading fgures in the art world that keep their fngers on the pulse of contemporary art worldwide. With shared reading, educational programs, and social events alongside ICI’s staff, Board of Trustees, and other patrons, members are part of a truly international art organization. ICI Independent, Jessica Hodin. ICI gallery walk during EXPO Art ICI Independent, Jessica Hodin. gallery walk during EXPO Chicago, September 2015. Photo: ICI Week, ICI Independents, Paul Cossu, Sabrina Hahn, Ed Victori, and ICI Independents, Paul Cossu, Sabrina Hahn, Ed Victori, Artsy Headquarters, July 2015 Celine Mo. ICI Summer Cocktails at Photo: Sarah Jacobs for ICI.

JaiJai Fei and ICI Independent, Susi Kenna. ICI’s 40th Anniversary Beneft & Auction, November 18, 2015. Anniversary Beneft & 40th JaiJai Fei and ICI Independent, Susi Kenna. ICI’s York. New Agency, Photo: Max Lakner/Billy Farrell 40th ICI Independent, Sims Lansing an Ella Riccardi. ICI’s Auction, November 18, 2015. Anniversary Beneft & York. New Agency, Photo: Max Lakner / Billy Farrell NETWORKS & ACCESS 39 THE THANK YOU On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions continue to make possible our programs worldwide, INDEPENDENTS by providing crucial support to our exhibitions, public events, research and training initiatives, and publications.

FOUNDATIONS Catherine Cahill, Jereann Chaney, Barbara Chapman, Fischer Cherry, Christo, James Cohan, Kari Conte, We thank the foundations that support our existing Charley Moss & Ann Cook, Susan Coote, Cynthia and new programs Corbett, Dagny Corcoran, Paula H Crown, Clifford Davis, Pablo Leon de la Barra, Manuel de Santaren, Michael Evelyn Toll Family Foundation, Foundation To-Life, & Margaret Dees, Mr. & Mrs. Dehgan, Lisa Dennison, The Fine Art Dealers Association, The French Institute Lacy Davisson Doyle, James Sollins & Louise Eliasof, Alliance Française, Hartfeld Foundation, The Joyce Mia Enell, EXPO CHICAGO, Bridget Finn, Julia Fowler, Foundation, Keller Family Foundation, , Project Maxine & Stuart Frankel, Jack & Dolly Geary, Richard Perpetual, SAHA, The Toby Lewis Foundation, Tremaine Gluckman, Molly Gochman, Arthur & Carol Goldberg, Foundation, Trust for Mutual Understanding Elaine Goldman, Julieta Gonzalez, Marian Goodman, Marjorie Reed Gordon, Sarah Goulet, Katherine Ross GERRIT LANSING EDUCATIONAL FUND & Michael Govan, Julie & Robert Graham, Colleen Grennan, Regina & Peter Gross, Holly J. Hager, Sabrina The Gerrit Lansing Education Fund was established Hahn, Lynn & Martin Halbfnger, Susan Hapgood, in 2010 to honor ICI’s founding chairman and his Lesley & Evan Heller, Alexandra Herzan, Astrid Hill, strong belief that the future of the organization’s Jessica Hodin, Lucy Holland, Stephanie Hoos, Alixandra success is rooted in educational activities for broad Hornyan, Noah Horowitz, Heather Hubbs, Andrew publics internationally. Enduring Gerrit’s legacy, Jacobs, Meg & Howard Jacobs, Bettina Jebsen, Sean the Fund has contributed to ICI’s public programs Johnson, Tony Karman, Margie & Donald Karp, Joan & and supported a new generation of curators David Katsky, Ambre Kelly, Belinda Buck Kielland, Sooja through Curatorial Intensive scholarships and the Kim, Sho-Joung Kim-Wechsler, Michael Klein, Robert Independent Vision Award. Kloos, Sarah Ko, Bettina Korek, Svetlana Uspenskaya & Alexey Kousmichoff, Sims Lansing, Mihail Lari, Ronald & Catherine Cahill & William Berhard, Leon & Debra Jo Carole Lauder, Mark Levitt, Daniel Lichtenberg, Laure Black, Dick & Jill Blanchard, Gale & Shelby Davis, Beth Lim, Robert Longo, Rose Lord, Kristen Lorello, Ingela Rudin De Woody, Arthur & Carol Goldberg, Peter & Lorentzen, Isaac Lustgarten, Kate Ma, Iris Marden, Laurie Grauer, Agnes Gund, Marlene Hess & Jim Zirin, David Maupin, Alexandro Maya, Bee & Gregor Medinger, Alexandra Isles, Kenneth Kuchin, Sydie Lansing, Ronald Joel Miller, Celine Mo, Sheila Nelson, Barbara Nessim, & Jo Carole Lauder, Melva Bucksbaum & Raymond Kathleen O’Grady, Judith Oppenheimer, Kim & John Learsy, Dorothy Lichtenstein, Hilary & Wilbur Ross, Palmer, Gabriela Palmieri, Sangeetha Ramaswamy, Erica Patterson Sims, John & Nonie Sullivan, Julie & Hans Redling, Nienke van den Hoek & Alexander Ribbink, Utsch, Robin Wright Victoria Rogers, Joel Rosenkranz, Wilbur & Hilary Ross, Aldo Rubino, Kerstin Ruoff, Jane Sadaka, Ellen Sandor, INDIVIDUALS Harvey M Sawikin, Ann & Mel Schaffer, Lisa Schiff, Ellen & Dennis Schweber, Patricia & Charles Selden, Manny We are so grateful to all the individuals who directly Sharp, Kelli Shaughnessy, Joyce Siegel, Katy Homans & contribute to making ICI programs around the Patterson Sims, James Stanton, Robert & Gillian Steel, world possible. Tasha Sterling, Andrew Stone, John & Eleanor Sullivan Jr., SPRING/BREAK Art Show, Sarina Tang, Rebecca Adam Abdalla, Jan Abrams, Eleanor Acquavella, Taylor, Ann Tenenbaum, Carolee Thea, Julie & Hans Noreen Ahmad, Jane Aiello, Tim Anderson, Augusto Utsch, Doris Castells Valle, Marlies Verhoeven, Frank Arbizo, Sarah Arison, Henri Barguirdjian, Barbara & Walter III, Helen Warwick, Dorsey Waxter, Kara Vander Bruce Berger, Liddy Berman, Marc Berson, Andrew Weg, Benjamin Whine, Joseph Yurcik, Andres Zervigon, Black, Tanya Bonakdar, Rena Bransten, Blair Brooks, Dasha Zhukova Nikki Brown, Tootsie Burk, William Bernhard & 40 NETWORKS & ACCESS ACCESS ICI

ICI STAFF ICI BOARD OF TRUSTEES CONTACT

Renaud Proch Gerrit L. Lansing* Independent Curators International Executive Director Chairman Emeritus 401 Broadway, Suite 1620 New York, NY 10013 Kate Fowle Sydie Lansing T +1 212 254 8200 Director-at-Large Honorary Chairman F +1 212 477 4781 [email protected] María del Carmen Carrión Jeannie M. Grant www.curatorsintl.org Director of Public Programs & Patterson Sims Research Chairs www.facebook.com/curatorsintl www.twitter.com/curatorsintl Alaina Claire Feldman Melville Straus* www.linkedin.com/curatorsintl Director of Exhibitions Barbara Toll www.instagram.com/curatorsintl Vice Chairs Frances Wu Giarratano Exhibitions & Publications Advisor Belinda Buck Kielland President Virgil B/G Taylor Exhibitions Coordinator Ann Schaffer Vice President Jenn Hyland Development Manager Noreen Ahmad Jeffrey Bishop Francisco Correa-Cordero Christo & Jeanne-Claude* Executive Coordinator Ann Cook Susan Coote Kimberly Kitada Yulia Dultsina Public Programs & Research Bridget Finn Coordinator Jack Geary Jo Carole Lauder Stefanie Hirsch Laure Lim Curatorial Intensive Coordinator Vik Muniz Mel Schaffer Bessie Zhu Treasurer Administration & Communications Sarina Tang Manager International Representative

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Renaud Proch Executive Director

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