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The X Initiative Yearbook the X Initiative Yearbook The X Initiative Yearbook The X Initiative Yearbook Editor Mousse Publishing, No part of this publica- Cecilia Alemani Milano tion may be reproduced or moussepublishing.com transmitted, in any form Publisher moussemagazine.it or by any means, without Elizabeth Dee prior written permission of the publisher. Editorial coordination Stefano Cernuschi Distributed in North Printed in Italy America by D.A.P. Inc, Translations ISBN 9788896501290 New York, NY. Johanna Bishop © 2010 Mousse Publishing, On the cover: Jeanine Ole- Symposium trascript X Initiative, the authors, son, The Greater New York Zayne Armstrong the artists. Smudge Cleanse, 2008, image from construction of the Design Studio Mousse: All images unless other- sage smudge stick in New Marco Fasolini wise specified courtesy Mexico prior to public per- Fausto Giliberti X Initiative, New York, formance in New York, Fall Elena Mora photos by Tom Powel Imag- 2008. Courtesy the artist. Francesco Valtolina ing Inc., New York Photo credit: Marina Ancona Index Next Year's Models live event organized by Meredyth Sparks and Brian Gempp (94) Foreword by Elizabeth Dee (5) Electronic Art Intermix (98) Introduction by Cecilia Alemani (9) Dan Graham moderated by Howie Chen (100) in conversation with Dan Flavin by Johannes Vogt (16) Glenn Branca MAR - May 2009 PHASE 1. Screening of introduction by Put Blood in the Music Charles Atlas (100) Derek Jarman a symposium with Early Films: Super 8mm Stuart Comer, Chrissie Iles, Amir Mogharabi Stone a live performance (102) James Mackay, Ed Halter (18) Benefit Honoring by James Meyer Mika Tajima in conversation Paula Cooper and Laura Hoptman (103) The Extras with Ceci Moss (30) and John Richardson Christian Holstad in conversation with Tyra Tirrel, Light Chamber (Part 2) Lorca Cohen and Esther Cohen (36) NOV 2009 Performa 09 by RoseLee Goldberg and participants (109) After the Deluge? a panel with Lindsay Pollock, Perspectives on Jeffrey Deitch, Michael Rush, NOV 2009 - FEB 2010 PHASE 3. Challenging Times Anya Kielar (42) in The Art World Hans Haacke in conversation Weather, or not with Cecilia Alemani (122) Recessional Aesthetics: a conversation with Hal Foster New public or and David Joselit (48) Artur �mijewski by Massimiliano Gioni (132) business as usual The Body Electric Ecstatic Resistance by Emily Roysdon (137) Autonomia: Twenty-five a talk with years in the present Sylvère Lotringer (53) In Numbers Andrew Roth, Victor Brand New Humans a live performance (55) and Philip Aarons with James Plotkin in conversation (144) Guy Debord introduction by McKenzie Wark (56) Ryan Trecartin by Kevin McGarry (150) in conversation His art and his times Wiliam Kunstler by Emily and Sarah Kunstler (57) Liam Gillick by Liam Gillick (151) Disturbing the Universe A cat will speak Bruce Nauman in Venice by Carlos Basualdo (154) JUN 24-28 2009 No Soul For Sale: by Cecilia Alemani (58) A festival of The Bruce High a lecture by Independents Quality Foundation Christine Rebet-Poison (156) Edifying JUL - OCT 2009 PHASE 2. Blog This with Barry Hoggard, Keren Cytter by Cecilia Alemani (67) a Panel Paddy Johnson, William Powhida, The Mysterious Serious on Art Blogging Kelly Shindler Luke Fowler in conversation and Edward Winkleman (157) Sound Cinema with Cristoph Cox (71) Alexander Dumbadze a conversation with Tris Vonna-Michell (79) Matthew Day Jackson (159) Today and Everyday by Margaret Lee (84) FEB 3 2010 Bring Your Own Art (160) Fritz Haeg Dome Colony X in the San Gabriels (86) Jeffrey Inaba Tripping on Pool Noodles (89) Artbook at X initiative (164) 565685981565615566 a live performance Authors (166) Draw a Straight by Luke Fowler line and Follow It and Lee Patterson (93) Staff and Aknowledgments (168) Foreword X Initiative was conceived at a moment of unprecedented uncertainty in the art world and beyond, in January 2009, as people were beginning to recog- nize that the market fluctuations of the preceding year had already changed, and would continue to change, global culture and economics forever. On a more inti- mate front, X Initiative also coincided with a deepening of my own ongoing reap- praisal of the role of the commercial gallerist—of the limitations imposed by a traditional understanding of galleries within the art world, and of how this role, too, was in the process of being re-imagined. X Initiative was the first project to expand my practice as a gallerist outward beyond the gallery. The building at 548 West 22nd Street was the perfect complement to X Initiative’s concept and execution: monumental but not monolithic, its function indetermi- nate and yet its presence historically conscious. Its legacy as the former home of the Dia Center for the Arts framed, but by no means constrained, the cre- ative gestures that took shape within, enacted by the exhibiting artists and the curatorial think tank gathered to steer the project. Contrary to what one might expect of an organization with such vast spatial resources, the team behind X Initiative remained small and nimble. One year later, the project is over. Its lifespan was strategically short. Only those willing to rally with a dangerous present were able to take part. Fortunately, the community galvanized by X Initiative was large and acutely engaged. For me, it was inspiring to initiate a unique vision and to find the right collaborators to make it their own and contribute to a multiplicity of per- spectives and practices that constituted a contemporary picture of the progres- sive art community. This is what happened with X Initiative. Connections occurred between artists and curators, between audiences and exhibitions, and among the broader network of collectors, writers, architects, and other individuals en- listed to develop projects. In effect, X Initiative existed both as a represen- tation of and response to a year, continuously defining and redefining itself along an undefined trajectory of urgent simultaneity. When the project began there was much speculation regarding X Initia- tive’s prospects for success or failure and its very assertion of a new model for collaborating with artists to produce programming of the scale and quality of a museum, but also with the elasticity and prescience of a gallery. Artists were always at the heart of this undertaking, and many of the questions that came up again and again regarding my role in the project concerned the nature of my collaboration with artists: if X Initiative proposes a new model for collabo- ration, how should I function as a commercial representative for artists (in the case of those in my gallery) when organizing exhibitions in a non-profit con- text? What are the distinct, replicable features of X Initiative that describe this new framework for collaboration? Answers may be sought in the recent evolution of artistic practice it- self. Immediacy on every level maintained X Initiative’s forward momentum. The exhibitions were immersive and immediately engaging. They felt more like the actualization of cross-conversations taking place behind the scenes than the linear end results of creative thinking, curatorial conceptualizing, organiza- tional planning and finally execution… it was as if the creative process itself 5 were intact within the space of X Initiative, and consequently the audience, brought wonderful questions and innovative ideas to the project and remains an too, was absorbed. inspiration to all of us today. Howie Chen never ceased to question our assump- tions and support our overall goals. Massimiliano Gioni and Maurizio Cattelan X Initiative was never compelled to develop an institutional agenda that were unyielding in their support and participation; they helped to make our most would undermine the freshness of its programming, because X Initiative’s life challenging projects possible. Last, but certainly not least, special board mem- was too finite to exist in any time or space other than the present. The goals bers and friends were enlightened thinkers in the selection process and debate; of the exhibitions were to generate open experiences, not measurable outcomes. they include: Eric Baudelaire, Lauren Cornell, Al Gillio, David Joselit, Barbara This is also more in keeping with the artists’ approach to making work, reaching Morse, Robert Hobbs, Andrew Roth and Rob Teeters. closer into the heart of creative practice. On a personal note, I also would like to express my profound gratitude to One could argue that in addition to being an administrative practice run- my gallery’s artists for their belief in my ability to represent them and their ning a gallery is a creative practice, in dialogue with the artist’s creative work while engaging in this unique project outside the gallery. I’d like indi- practice. A way for galleries to reproduce the strengths of X Initiative in the vidually to thank Ryan Trecartin, who, since 2005, has been a major inspiration future would be to better merge the work involved in managing artists’ careers for the evolution of my gallery practice, which has led to this project and what and presenting exhibitions with various forms of conceptual dialogue, so that will come next. Tim Saltarelli and the gallery team are my collaborators and these parallel dimensions of creative work will be drawn more closely in line. uniquely committed friends and trusted advisors. Equally important is our in- Operating with minimal staff and time, and maximal commitment on everyone's ternational art community. Without the incredible individuals who comprise this part, X Initiative functioned as one holistic creative body rather than as a peerless support system, of which I am honored to be a part, none of this would series of separately managed moving parts. One can visualize territories where be possible. Thank you for your support and your participation. these synergistic practices expand, pressing on their boundaries to force open new spaces. This organism becomes exponentially more involved when other spaces Elizabeth Dee, July 3, 2010, New York and sites—internet, film, television, media, print—enter the conversation.
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