INDEPENDENT CURATORS INTERNATIONAL SPRING ......Chiang Mai, Thailand July 3–September 30 do it Ulrich Museum of Art, Wichita State University Wichita, KS April 23–August 26 Indianapolis

SPRING/SUMMER 2016 PROGRAMINDEPENDENT CURATORS INTERNATIONAL

I C IC I I C IC I I C IC II C IC II C IC I

EXHIBITIONS

4 The Ocean After Nature6 Apichatpong Weerasethakul8 Salon de Fleurus10 EN MAS’ 12 Free Play13 Harald Szeemann14 do it16 Performance Now17 Project 35: Volume 2

PUBLIC PROGRAMS & RESEARCH

18 Curatorial Intensive22 Alumni Updates24 Research Fellowships26 Curator’s Perspective28 Curatorial Hub

NETWORK & ACCESS

30 Publications32 Limited Editions34 Annual Benefit36 Support ICI

39 Thank You40 Access ICI

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

1

WELCOMEINDEPENDENT CURATORS INTERNATIONAL

Today more than ever—with a growing network of collaborators spanning 64 countries—Independent Curators International (ICI) opens up a multiplicity of perspectives that are fundamental in understanding contemporary art, through exhibitions, publications, events, curatorial training and research initiatives.

Like the tens of thousands who visit an ICI exhibition each year, you may know ICI as an access point to international developments in contemporary art through your local museum. Our exhibitions connect curators, artists, art spaces and their audiences, increasing access and generating new discourse and exchange internationally. In the coming months, we are thrilled to launch two new exhibitions: The Ocean After Nature, curated by our own Alaina Claire Feldman and opening in June at the Yerba Buena Center for the Arts in San Francisco (see page 4); and Apichatpong Weerasethakul: The Serenity of Madness, curated by Gridthiya Gaweewong, and opening in July at the new Mai Iam Contemporary Art Museum in Chaing Mai, Thailand (see page 6).

Perhaps, like the several hundreds of New Yorkers who attend an ICI talk each year, you know ICI as a platform for learning from curators and artists about ideas that drive art forward. Behind every public event in New York, 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 first 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.

However you connect with our programs, each encounter 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 field.

As we enter our fifth 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 first Seminar in Morocco). I am also particularly excited to announce three new collaborations that will further foster curatorial practice. The first 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

region. In addition, ICI will provide a three-part Curatorial Mentorship program in collaboration with ArtPrize to take place in Grand Rapids, Michigan, to enhance the learning experience of curators and institutions participating in the ArtPrize Fellowship for Emerging Curators program. And lastly, ICI has teamed up with the Liverpool Biennial and Cactus Gallery on a major new initiative to provide curatorial guidance and support to artists based in the North of England to develop their careers internationally over a three-year period.

Each of these collaborations uniquely reflects how ICI’s network impacts local and regional art scenes within an international framework. None of this would be possible without the tireless dedication of ICI’s staff; and of course the commitment of ICI’s Board of Trustees. This year the Board is proud to have elected Belinda Kielland as its new president, a dynamic new leader who will take ICI to new heights in its fifth decade. It is also our great honor to welcome Yulia Dulstina to the Board of Trustees, who will provide her own international perspective in advancing our mission.

Finally, on behalf of the entire staff and Board of ICI, I want to thank everyone who makes ICI what it is today: the curators, the artists, our audience and our collaborators around the world–online, in person, and in print; the trusts and foundations that support us, and the many visionary individuals who carry ICI’s mission (please see page 39 for a complete list).

Renaud ProchExecutive Director

2 SPRING/SUMMER 2016

CALENDARMARCH

HUB EVENTS

BE.BOP. Black Europe Body PoliticsWednesday, March 26:30–8pmICI Curatorial HubNew York, NY

Nuevo Museo De Arte Contemporáneo (NuMu)Thursday, March 106:30–8pmICI Curatorial HubNew York, NY

EVENTS

Curator’s Perspective: Joselina CruzTuesday, March 157–8:30pm

Hunter College MFA CampusNew York, NY

Wednesday, March 166:30pmSchool of the Museum of Fine Arts, Boston

Boston, MA

CURATORIAL INTENSIVE

Curatorial Intensive: New OrleansMarch 20–26New Orleans, LA

Curatorial Intensive: Public SymposiumSaturday, March 2610am–1:30pmCAC New OrleansNew Orleans, LA

EXHIBITIONS

EN MAS’National Gallery of the Cayman IslandsGrand Cayman, Cayman IslansdJanuary 14–March 15

Free PlayMuseum LondonLondon OntarioJanuary 30–May 8

do itArt Museum of the University of MemphisMemphis, TNMarch 1–May 10

do it & do it (archive)Blue Star ContemporarySan Antonio, TXMarch 3–May 8

Salon de FleurusMuseum SztukiŁódź, PolandMarch 18–May 15

APRIL

HUB EVENTS

Dead Lands: Aissa Deebi in Conversation with Rotem RozentalThursday, April 216:30–8pmICI Curatorial HubNew York, NY

Dead Lands: Josh T. Franco in Conversation with Rotem RozentalThursday, April 286:30–8pmICI Curatorial HubNew York, NY

EVENTS

Curator’s Perspective: Catherine DavidWednesday, April 277–8:30pmNew York, NY

EXHIBITIONS


do itArt Museum of the University of Memphis

Memphis, TNMarch 1–May 10

Ulrich Museum of Art, Wichita State University

Wichita, KSApril 23–26


Salon de FleurusMuseum SztukiŁódź, PolandMarch 18–May 15

EN MAS’National Art Gallery of the BahamasNassau, The BahamasApril 28–July 10

3SPRING/SUMMER 2016

MAY/JUNE

EVENTS

Curator’s Perspective: Jochen VolzTuesday, May 107–8:30pmAmericas SocietyNew York, NY


Curatorial Intensive: DakarJune 2–8Raw Material CompanyDakar, Senegal

EXHIBITIONS


The Rooms St. John’s, NL, CanadaMay 27–August 28

do itArt Museum of the University of Memphis

Memphis, TNMarch 1–May 10

Ulrich Museum of Art, Wichita State University

Wichita, KSApril 23–26


Salon de FleurusMuseum Sztuki

Łódź, PolandMarch 18–May 15

Stacion Center for Contemporary Art

Prishtina, KosovoJune 10–August 14

EN MAS’National Art Gallery of the Bahamas

Nassau, The BahamasApril 28–July 10

Washington Project for the Arts

Washington, DCMay 1–May 31

The Ocean After NatureYerba Buena Center for the ArtsSan Francisco, CA June 17–August 25

JULY/AUGUST


Curatorial Intensive: ManilaAugust 28–September 3The Metropolitan Museum of ManilaManila, The Philippines

EXHIBITIONS

Apichatpong WeerasethakulMai Iam Contemporary Art MuseumChiang Mai, ThailandJuly 3–September 30

do itUlrich Museum of Art, Wichita State University

Wichita, KSApril 23–August 26

Indianapolis Museum of Art & Big Car Collaborative

Indianapolis, INJuly 11–October 30

EN MAS’National Art Gallery of the BahamasNassau, The BahamasApril 28–July 10

Free PlayThe RoomsSt. John’s, NL, CanadaMay 27–August 28

Salon de FleurusStacion Center for Contemporary ArtPrishtina, KosovoJune 10–August 14

The Ocean After NatureYerba Buena Center for the ArtsSan Francisco, CAJune 17–August 25

Apichatpong WeerasethakulMai Iam Contemporary Art MuseumChiang Mai, ThailandJuly 3–September 30

4

THE OCEAN AFTER NATURE

EXHIBITIONS

Throughout history, the ocean was the unknown that inspired awe in sovereigns, explorers and artists alike. In the vastness of the seas, they saw otherness, and projected onto it narratives, subjects, and expressions of power with little critical awareness.

In recent years, technological, scientific, and economic shifts advanced through globalization have prompted new considerations of the ocean. The Ocean After Nature presents artists who in the last 15 years have come to depict a space not of otherness but of self-reflection. Through the work of 20 established and emerging artists from around the world, the exhibition opens up new ways of addressing the complicated planetary effects that humanity and the oceans have on each other. Aware of the intertwined factors that define this new understanding of the oceans, the artists in the exhibition have resisted limiting their approach to a single direction or affirmation, embracing personal themes of identity and migration, alongside more universal concerns related to tourism, trade, climate change, and the exploitation of natural resources.

The exhibition features works in a wide variety of media—including photography, video, sculpture, music, and design. In addition, curators at each of the presenting venues will be invited to include additional work by at least one local artist, as a way to connect local concerns to an evolving international conversation.

The Ocean After Nature will be accompanied by a catalogue, edited by the curator and featuring essays, interviews, and excerpts of film scripts. The catalogue will include contributions by Negar Azimi, Ursula Biemann, María del Carmen Carrión, Yonatan Cohen & Rafi Segal, 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.

ARTISTS

Ursula Biemann, CAMP (Shaina Anand & Ashok Sukumaran), Yonatan Cohen & Rafi Segal, Mati Diop, Maria Domenica Rapicavoli, Drexciya, Peter Fend, Manuel Gnam, Renée Green, Peter Hutton, Hyung S. Kim, An-My Lê, Manny Montelibano, Deimantas Narkevičius, The Otolith Group, Ulrike Ottinger, Carissa Rodriguez, Allan Sekula and Nöel Burch, Supersudaca

CURATOR

Alaina Claire Feldman is a curator and the Director of Exhibitions at Independent Curators International (ICI). Before joining ICI, Feldman was an Editor at May Revue, a bilingual (French/English) art and culture quarterly publication based in Paris. She has organized and coordinated numerous exhibitions, both monographic and thematic, and lectures and publishes regularly on art and visual culture. For ICI, she has organized live performances, public panels, publications and film screenings with artists such as Martha Wilson, Coco Fusco, Apichatpong Weerasethakul, Michael Smith, Robert Longo, Allen Ruppersberg, Gran Fury, Stephen Vitiello, and Alvin Lucier. She has contributed to several exhibition catalogues and is currently co-editing an anthology on critical feminist curating.

BOOKING

Artists: 20Tour dates: Spring 2016 through Spring 2019 For additional information and dates of availability,

contact [email protected] or call 212 254 8200 x127

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.

5THE OCEAN AFTER NATURE

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Recognized internationally and across disciplines, Apichatpong Weerasethakul’s work reveals stories often excluded in history in and out of Thailand: voices of the poor and the ill, marginalized beings, and those silenced and censored for personal and political reasons. The exhibition was conceived as a unique retrospective that is inclusive of a diversity of media characteristic of the artist’s practice: rarely seen experimental videos, photography and drawings, archival documents and a film screening program are brought together to explore the threads and socio-political commentary present in the artist’s work from early in his career to the present.

Each presenting art space will have the opportunity to expand upon the scope of the exhibition, by drawing from their collections and archives for instance, or showcasing the work of local artists in relation to broader issues or narratives present in Weerasethakul’s practice.

Apichatpong Weerasethakul: The Serenity of Madness is curated by Gridthiya Gaweewong, Artistic Director of the Jim Thompson Art Center in Bangkok, and a longtime peer and collaborator of Weerasethakul.

CURATOR

Gridthiya Gaweewong founded the arts organization Project 304 in 1996, and is currently the Artistic Director of the Jim Thompson Art Center, Bangkok. Her curatorial projects have addressed issues of social transformation in Thailand and beyond in the period since the Cold War. Gaweewong has organized exhibitions and events including Underconstruction, Tokyo (2000–02), Politics of Fun at the Haus der Kulturen der Welt, Berlin (2005), the Bangkok Experimental Film Festival (1997–2007), Saigon Open City in Saigon (with Rirkrit Tiravanija), Vietnam (2006–07) and Unreal Asia, Oberhausen International Short Film Festival (2010).

APICHATPONG WEERASETHAKUL

Apichatpong Weerasethakul was born in 1970 in Bangkok and raised in the north-eastern Thai city of Khon Kaen. Working independently of the Thai commercial film industry, he is active in promoting experimental and independent filmmaking through his company Kick the Machine, which he founded in 1999. With Gridthiya Gaweewong he founded the Bangkok Experimental Film Festival in 1997, and presented it three more times through 2008. His work has been presented widely in art and film contexts internationally, including the Sharjah Biennial in the UAE (2013), dOCUMENTA 13 in Kassel, Germany (2012), Liverpool Biennial (2006), Busan Biennial (2004), the Istanbul Biennial (2001), and in solo and group exhibitions at art spaces including Haus der Kunst in Munich, Germany; Walker Art Center, Minneapolis; New Museum, New York; Irish Museum of Modern Art, Musée d’Art Modern de la Ville de Paris. Weerasethakul’s 2009 film, Uncle Boonmee Who Can Recall His Past Lives, won a Palme d’Or prize at the 63rd Cannes Film Festival.

His feature films include: Cemetery of Splendour (2015), Uncle Boonmee Who Can Recall His Past Lives (2010), Syndromes and a Century (2006), Tropical Malady (2004), The Adventures of Iron Pussy (2003), Blissfully Yours (2002), and Mysterious Object at Noon (2000).

BOOKING

Tour dates: Fall 2016 through Winter 2019 For additional information and dates of availability,


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.

APICHATPONG EXHIBITIONS

7APICHATPONG WEERASETHAKUL

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 influences, 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.

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SALON DE FLEURUS

It was in Stein’s salon that paintings by Cézanne, Matisse and Picasso were seen exhibited together for the first time both by her peers and transatlantic art experts who spread the word back home, eventually creating the American narrative of European modern art familiar today.

Through painted reproductions exhibited within a constructed interior, the Salon de Fleurus questions where, why and how certain narratives of modern art originated through the salon structure that first canonized them. These copies are perhaps more significant and tell us more about history than the original artworks themselves by weaving fiction into history and leaving space to contemplate and reconsider the past. When one looks at Picasso here, they are viewing Picasso through the lens of Stein.

From 1992 to 2014 Salon de Fleurus existed as an installation in lower Manhattan. Since then, it has appeared in fragments in Beirut, Paris and Los Angeles and is now touring as a complete artwork with ICI. The exhibition contains painting reproductions as well as a historic timeline of Stein and her circle, a special edition newsprint-catalogue, and training script for a “doorman” or gallery monitor to best evoke the story of the salon to visitors.

At the end of the day the importance of copying is that it compels us to question the importance of authenticity. —Clancy Martin on Salon de Fleurus, Brooklyn Rail, 2014

SALON DE FLEURUS

Salon de Fleurus is an educational institution dedicated to assembling, preserving, and exhibiting memories on early modern art. Its permanent exhibit, titled from The Autobiography of Alice B. Toklas, located at 41 Spring Street, New York, was open to the public from 1992— 2013. A selection from the Salon’s permanent collection was part of the Fiction Reconstructed that was shown in Ljubljana, Belgrade and Budapest from 2000 to 2002. In 2002, Salon de Fleurus was included in the Whitney Biennial, Sydney Biennial, and exhibition Am Anfang der Bewegung stand ein Skandal in the Lenbachhaus Munich. Selections from the Salon’s permanent collection were also shown at the exhibitions What is Modern Art? (Kunstlerhaus Bethanien, Berlin, 2006), The Making of Americans (James Gallery, CUNY Graduate Center, New York) and Les Fleurs Americaines (Le Plateau, Paris, 2012). In 2011, the Metabolic Studio (Los Angeles) opened another version of the Salon de Fleurus, with a collection titled Portraits and Prayers that more closely resembles the early twentieth century Paris salon and traveled to Ashkal Alwan in Beirut, 2014.

BOOKING

Number of works: 34 paintings Tour dates: Winter 2016 through Winter 2019 For additional information and dates of availability,


Additional Support for Salon de Fleurus is provided by the Fine Art Dealers Association (FADA).

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.

EXHIBITIONS

9SALON DE FLEURUS

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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.

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Taking its title from a pun on “Mas” (short for masquerade and synonymous with carnival in the English-speaking Caribbean), EN MAS’ considers a history of performance that does not take place on the stage or in the gallery but rather in the streets, addressing not the few but the many.EN MAS’ introduces performance art with a focus on the influence that Carnival and related masquerading traditions in and of the Caribbean and its diasporas have had on contemporary performance discourse and practice, in both the artistic and curatorial realms. Indeed, EN MAS’ takes into account performance practices that do not trace their genealogy to the European avant-gardes of the early twentieth century but rather to the experiences of slavery and colonialism through to the mid-nineteenth century, the independence struggles and civil right movements of the mid-twentieth century and population migrations to and from the former colonial centers for most of the last century.

Throughout the 2014 Caribbean Carnival season, EN MAS’ tracked nine artists—John Beadle, Charles Campbell, Christophe Chassol, Nicolás Dumit Estévez, Marlon Griffith, Hew Locke, Lorraine O’Grady, Ebony G. Patterson and Cauleen Smith—as they engaged, transformed, or critiqued historical and contemporary Caribbean performance practices from Carnival in Santiago de los Caballeros, Port of Spain, Fort-de- 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’ brings together material remnants or reconstitutions from the performances as well as photographic and filmic interpretations thus also presenting some of the best photographers, filmmakers and videographers working in the Caribbean. The exhibition debuted at the Contemporary Arts Center, New Orleans (CAC) in March 2015 and was designed by Gia Wolff.

ARTISTS

John Beadle, Charles Campbell, Christophe Chassol, Nicolás Dumit Estévez, Marlon Griffith, Hew Locke, Lorraine O’Grady, Ebony G. Patterson, Cauleen Smith

BOOKING

Number of artists: 9 Number of works: 9 installations

Tour dates: Spring 2015–Spring 2018 For additional information and dates of availability,


EN MAS’: Carnival and Performance Art of the Caribbean is made possible by an Emily Hall Tremaine Exhibition Award. Additional support is provided by the Andy Warhol Foundation for the Visual Arts, and the Institut français in support of African and Caribbean projects.

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.

EN MAS’EXHIBITIONS

11EN MAS’

PUBLICATION

Edited by Claire Tancons, Krista Thompson. Foreword by Neil Barclay, Renaud Proch. Text by D. Eric Bookhardt, Petrina Dacres, Paul Goodwin, Shannon Jackson,Erica Moiah James, Nicholas Laughlin, Thomas J. Lax, Alanna Lockward, Kobena Mercer, Annie

Paul, Claire Tancons, Krista Thompson, Yolande-Salomé Toumson. Hardcover, 230 pages, full color. 8 x 10 inches. Co-published by ICI and CAC, New Orleans, 2016. Distributed by D.A.P. ISBN: 978-0-916365-89-9. $49.95

See page 31 for details.

CURATORS

Claire Tancons is a curator, writer, and researcher with a focus on Carnival, public ceremonial culture, civic rituals, and popular movements. The Associate Curator for Prospect.1 New Orleans (2007-9), a curator for the 7th Gwangju Biennale (2008), Guest Curator for CAPE09 (2009), Associate Curator for research for Biennale Bénin (2012), and a curator for the Göteborg Biennial (2013), Tancons has developed genealogies and methodologies for thinking about and presenting performance—including reclaiming the processional as exhibitionary mode. She has initiated collaborative projects across diverse curatorial platforms including FAR FESTA: Nuove Feste Veneziane (2012) and Public Practice with New Orleans Airlift (2014). She has written extensively about Carnival,

the carnivalesque, performance and protest in NKA, Small Axe, Third Text, and e-flux Journal. Tancons was most recently guest curator for Up Hill Down Hall: An Indoor Carnival as part of the 2014 BMW Tate Live series at Tate Modern and a curator for Are you Alive or Not? Looking at ART Through the Lens of THEATRE at the Rietveld Academy (2015). She is currently a curator for the first biennial edition of Printemps de Septembre and the artistic director of the opening ceremony of Faena Forum Miami Beach, both in Fall 2016.

Krista Thompson is the Weinberg College Board of Visitors Professor and Professor of Art History at Northwestern University. She is the author of An Eye for the Tropics (2006) and Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice (2015), on the intersection of popular photography, performance, and contemporary art in the circum-Caribbean. She has written articles in Art Bulletin, Art Journal, American Art, Representations, The Drama Review, and Small Axe and has curated several exhibitions, including theNational Exhibition (NE3) (2006) and Developing Blackness: Studio Photographs of “Over the Hill” Nassau in the Independence Era (2008) at the National Art Gallery of the Bahamas. Thompson is currently working on The Evidence of Things Not Photographed, a book that examines notions of photographic absence and disappearance in colonial and postcolonial Jamaica and Black Light, a manuscript about electronic light and its archival recovery in African American art.

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Artistic processes tied to game playing have historically attracted the avant-garde, most famously the chess master Marcel Duchamp. His every artistic move had his chess partner—the viewer—in mind. Games were also intrinsic to the work of war-addled Surrealists and Dadaists, the inventors of exquisite corpse and automatic drawing, in their quest to upend the bourgeois pretensions of art and free the artistic imagination. In the 1960s and ’70s, the countercultural and antiwar Fluxus group and the New Games Foundation questioned capitalism and corporate culture by staging massive public games in city parks. Moving away from the classical chess period of kings, queens, and bishops, the works in Free Play do not represent medieval figures but strategies of decision making around contemporary issues.

The arcade of games in Free Play include a version of Guitar Hero by Cory Arcangel, hopscotch by Mary Flanagan, and Ryan Gander’s version of blackjack— while the more mystically inclined may gravitate toward Allan McCollum and Matt Mullican’s divining game.

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

Currently Distinguished Visiting Faculty at Cornish College of the Arts, Melissa E. Feldman is a Seattle- based independent curator and writer, and is a frequent contributor to Art in America, Frieze, Third Text, and Aperture, among other publications. Her recent exhibitions include Another Minimalism: Art after California Light and Space (2015), The Fruitmarket Gallery, Edinburgh, Dance Rehearsal: Karen Kilimnik’s World of Ballet and Theatre (2012), organized by the Mills College Art Museum, Oakland, which travelled to the Museum of Contemporary Art, Denver, Afterglow: Rethinking California Light and Space Art (2010), Wiegand Gallery, Notre Dame de Namur University Art Gallery, Belmont, CA, and the Hearst Art Gallery at St. Mary’s College, Walnut Creek, CA, and Sampler: Textiles at Creative Growth (2007) at Creative Growth Art Center, Oakland. Feldman has taught at the California College of Art, the San Francisco Art Institute, and Goldsmith’s College, London, and is credited with organizing the first monographic exhibitions in America for Kilimnik, Martin Kippenberger, and Hiroshi Sugimoto in the early 1990s as a curator at the Institute of Contemporary Art, Philadelphia.

BOOKING

Number of artists or artists groups: 14 Number of works: approximately 17 Tour dates: Winter 2014– Winter 2017For additional information and dates of availability,


FREE PLAYCurated 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.

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13EXHIBITIONS

DOCUMENTA 5HARALD SZEEMANN: DOCUMENTA 5Curated 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.

Documenta, a major international contemporary art presentation that takes place every five years in Kassel, Germany, is currently in its 14th iteration. This specific 1972 Documenta, chiefly curated by the influential Swiss curator, Harald Szeemann, was a pioneering, radically different presentation that was conceived as a 100-day event, with performances and happenings, outsider art, even non-art, as well as repeated Joseph Beuys lectures, and an installation of Claes Oldenburg’s Mouse Museum, among many other atypical inclusions. The show widely promoted awareness of a contract known as The Artist’s Reserved Rights Transfer and Sale Agreement, which protects artists’ ongoing intellectual and financial rights with regard to their production.

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.

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 Specific Object, an innovative gallery, bookshop, and storehouse for a range of items from artists’ publications, multiples and unique works of art, as well as literature, music, and counterculture. Before founding Specific Object, Platzker was the executive director of Printed Matter from 1998 to 2004, the non-profit institution dedicated to the promotion of artists’ books and publications. His curatorial projects at Specific Object and Printed Matter included shows of John Baldessari, Hanne Darboven, Marcel Duchamp, Guerrilla Girls, Jenny Holzer, Yoko Ono, Raymond Pettibon, Ed Ruscha, and Claes Oldenburg. At The Museum of Modern Art he co-curated There Will Never Be Silence: Scoring John Cage’s 4’33” in collaboration with Jon Hendricks; Sites of Reason (2014) with Erica Papernik; and in 2015 the exhibition Gilbert & George: The Early Years.

BOOKING

Tour dates: January 2011—Indefinitely For additional information and dates of availability,


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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.

DO IT

In the more than 20 years since Obrist, Boltanski, and Lavier mused over the potential of “scores,” or written instructions by artists, to create exhibition formats that could be more flexible and open-ended, do it went from a selection of 12 instructions to an ongoing project including over 400 artists. Every time it was presented, in any of the more than 60 venues worldwide, do it was re-interpreted anew. Many new versions appeared, including do it (museum), do it (home), do it (TV), do it (seminar), and an online do it in collaboration with e-flux, among others.

To celebrate the twentieth anniversary of do it in 2013, Obrist and ICI collaborated on its newest iteration, stemming from a new publication, do it: the 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 you to take part, to interpret, re-invent and generate ideas, creating new dynamic institutional and exhibition formats for years to come.

CURATOR

Hans Ulrich Obrist is Co-Director of the Serpentine Galleries, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show World Soup (The Kitchen Show) in 1991, he has curated more than 250 exhibitions. Obrist’s recent publications include Lives of Artists, Lives of Architects, Ways of Curating, A Brief History of Curating, Do It: The Compendium, and The Age of Earthquakes with Douglas Coupland and Shumon Basar.

DO IT ARCHIVE

The do it (archive), curated by ICI and Hans Ulrich Obrist in collaboration with Joseph Grigley, is a compilation of ephemera, photographs and videos, that acts as an appendix to the exhibition, presenting the project’s vast history, its global reach, and evolution over the past 20+ years. Organized by ICI, the do it (archive) is available to be presented alongside the larger do it exhibition. In 2015, it was on view far and wide at the Anne and Gordon Samstag Museum of Art in Adelaide, Australia from February to April; and again at the Napa Valley Museum in California from June to August. In spring 2016, the do it (archive) will be presented alongside do it at the bluestar contemporary, in San Antonio, TX.

DO IT: THE COMPENDIUM

By Hans Ulrich Obrist. Foreword and acknowledgements by Kate Fowle and Frances Wu Giarratano; introduction by Hans Ulrich Obrist; essays by Bruce Altshuler, Hu Fang, Virginia Pérez-Ratton, and Elizabeth Presa. Softcover, 448 pages. 8 x 10 inches. Co-published by ICI and

D.A.P. 2013. ISBN: 978-1-938922-01-5. $35.00

BOOKING

Number of artists or artists groups: 250 Number of works: 250 Tour dates: Spring 2013–Winter 2017 For additional information and dates of availability,


EXHIBITIONS

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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 performance art at the beginning of the 21st century. The exhibition presented artists who explore the ephemerality of performance art and their efforts to create new work that contained the power and content of the original. Bringing together some of the most significant practitioners of our times, Performance Now surveyed critical and experimental currents in performance internationally. Curated by RoseLee Goldberg, it featured key Performa commissions, as well as works by Marina Abramović, Yael Bartana, Claire Fontaine, William Kentridge, and Ryan Trecartin, among others.

Since ICI’s Martha Wilson launched in 2009, ICI has presented various perspectives on performance art practice to audiences around the globe. Performance Now was a critical component to this ongoing effort, which has included ICI exhibitions (currently do it, EN MAS’), as well as publications, talks and programs such as the Curatorial Intensive.

CURATOR

RoseLee Goldberg’s seminal study, Performance Art: From Futurism to the Present (first 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,

and a performance series. It was here that Goldberg curated the first solo exhibitions of Cindy Sherman, Sherri Levine, Robert Longo, Jack Goldstein and The Kipper Kids, among others. In 2004, she founded Performa, a non-profit arts organization committed to the research, development, and presentation of performance by visual artists from around the world, and in 2005 launched New York’s first performance biennial, Performa 05, which recently celebrated its ten year anniversary with Performa 15 (2015). In 2010 she was awarded the ICI Agnes Gund Curatorial Award. Since 1987, Goldberg has taught at New York University.

THANK YOU TO THE ARTISTS

Marina Abramović, Jennifer Allora and Guillermo Calzadilla, Yael Bartana, Jérôme Bel, Guy Ben-Ner, Marvin Gaye Chetwynd, Nikhil Chopra, Nathalie Djurberg, Claire Fontaine, Christian Jankowski, Jesper Just, William Kentridge, Ragnar Kjartansson, Regina José Galindo, Liz Magic Laser, Kalup Linzy, Nandipha Mntambo, Kelly Nipper, Clifford Owens, Santiago Sierra, Laurie Simmons, Ryan Trecartin

EXHIBITIONS

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PERFORMANCE NOW

ITINERARY

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

Kraków Theatrical ReminiscencesKraków, Poland October 4–October 26, 2014

Delaware Art MuseumWilmington, DE, United States July 12–September 21, 2014

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

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

H&R Block Artspace, Kansas City Art InstituteKansas City, MO, United States August 16–October 12, 2013

Ezra and Cecile Zilkha Gallery, Wesleyan UniversityMiddletown, CT, United States September 7–December 9, 2012

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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, ICI’s first exhibition in 1975, ICI’s Project 35 and Project 35 Volume 2 have broadened access to contemporary video art practices and discourse since 2010. Launched to celebrate ICI’s 35th anniversary, the exhibition was conceived as a program of single-channel videos selected by 35 international curators who each chose one work from an artist they think is important for audiences around the world to experience today. The resulting selection was presented simultaneously in more than 30 venues around the globe, inspiring discourse in places as varied as Berlin, Germany; Cape Town, South Africa; Lagos, Nigeria; Los Angeles, California; New Orleans, Louisiana; Skopje, Macedonia; Storrs, Connecticut; Taipei, Taiwan; and Tirana, Albania.

In 2012, ICI has collaborated with 35 more international curators to produce Project 35 Volume 2. The exhibition traced the complexity of regional and global connections among practitioners and the variety of their approaches to video. Taking advantage of video’s versatility, Project 35 Volume 2 was shown in a broad variety of formats and spaces: exhibited on 35 monitors in a gallery; projected as a series over time; or featured in monthly screenings.

CURATORS

Leezy Ahmady (Afghanistan / US), Meskerem Assegued (Ethiopia), Daina Augaitis (Canada), Defne Ayas (Turkey / The Netherlands), Regine Basha (US), 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

Miralles (Cuba), Srimoyee Mitra (Canada), Nat Muller (The Netherlands), Sharmini Pereira (Sri Lanka), Nataša Petrešin-Bachelez (France / Slovenia), Kathrin Rhomberg (Austria), Sun Jung Kim (South Korea), Mats Stjernstedt (Norway / Sweden), David Teh (Australia / Thailand), Philip Tinari (US / China), Christine Tohme (Lebanon), Raluca Voinea (Romania), Jochen Volz (Germany / UK), Adnan Yildiz (Germany)

THANK YOU TO THE ARTISTS

Jonathas de Andrade (Brazil), Marwa Arsanios (Lebanon), Zbynek Baladrán (Czech Republic), Michael Blum (Israel / Canada) and Damir Nikšić (Bosnia / Sweden), Deanna Bowen (US / Canada), Pavel Braila (Moldova), Aslı Çavusoglu (Turkey), Park Chan-Kyong (South Korea), Chen Zhou (China), Josef Dabernig (Austria), Elena Damiani (Peru), Shezad Dawood (UK), Annika Eriksson (Sweden), Antanas Gerlikas (Lithuania), Annemarie Jacir (Palestine), Jin-Me Yoon (Korea), Lars Laumann (Norway), Aníbal López (A-1 53167) (Guatemala), Reynier Leyva Novo (Cuba), Basim Magdy (Egypt), Cinthia Marcelle (Brazil), Bradley McCullum & Jacqueline Tarry (US), Ivana Müller (France / The Netherlands / Croatia), Ahmet Ögüt (Turkey), Jenny Perlin (US), Agnieszka Polska (Poland), Sara Ramo (Spain), Wok the Rock (Indonesia), Sona Safaei (Iran), Heino Schmid (The Bahamas), Sun Xun (China), Prilla Tania (Indonesia), Alexander Ugay (Kazakhstan), Dale Yudelman (South Africa), Helen Zeru (Ethiopia)

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ITINERARY

Garage Museum of Contemporary ArtMoscow, Russia August 10, 2015–January 31, 2016

UGM Maribor Art GalleryMaribor, Slovenia October 23–November 14, 2015

Oficina #1Caracas, Venezuela September 5–24, 2015

Visual Art CenterBoise State University, Boise, ID, United States January 20–February 18, 2015

Van Every / Smith GalleriesDavidson College, Davidson, NC, United States January 15–February 27, 2015

University of Saint Joseph Art GalleryWest Hartford, CT, United States January 15–June 8, 2015

Microwave International New Media Arts FestivalHong Kong November 14–23, 2014

The Stamp Gallery, University of MarylandCollege Park, MD, United States October 30–December 22, 2014

London Gallery WestUniversity of Westminster, London, UK October 23–November 30, 2014

DeVos Art Museum, Northern Michigan UniversityMarquette, MI, United States October 6–November 9, 2014

Messy Sky / CloudBangkok, Thailand September 13–October 10, 2014

Richard E. Peeler Art CenterGreencastle, IN, United States September 8–December 12, 2014

Robert Morris University Art GalleryPittsburgh, PA, United States August 28–October 29, 2014

The College of Wooster Art MuseumWooster, OH, United States August 17–September 28, 2014

Future PerfectSingapore August 15–24, 2014

Ne’ – Na Contemporary Art SpaceChiang Mai, Thailand July 4–31, 2014

Sri Lanka Archive of Contemporary Art, Architecture & DesignJaffna, Sri Lanka May 4–25, 2014

Acadia UniversityWolfville, Canada March 5–April 16, 2014

Platform3Bandung, Indonesia January 11–19, 2014

Readytex Art GalleryParamaribo, Suriname December 15–21, 2013

Centro de FotografiaMontevideo, Uruguay December 3–December 17, 2013

ZCAC (Zoma Contemporary Art Center)Addis Ababa, Ethiopia November 15, 2013–February 16, 2014

Alice YardPort of Spain, Trinidad and Tobago November 12–February 1, 2014

NLSKingston, Jamaica November 1–2, 2013

Fresh MilkSt. George, Barbados October 24–25, 2013

Künstlerhaus StuttgartStuttgart, Germany October 10–December 8, 2013

VCUarts Anderson GalleryRichmond, VA, United States September 7–December 8, 2013

Art Gallery of WindsorWindsor, Ontario, Canada April 19–June 9, 2013

SH ContemporaryShanghai, China September 7–9, 2012

PROJECT 35: VOLUME 2

PROJECT 35 VOLUME 2

20 PUBLIC PROGRAMS & RESEARCH


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 of seminars, workshops, advisement sessions, and site visits developed by ICI and taught by leading curators, artists, critics, and directors. Participants apply with an exhibition proposal to workshop throughout the program, the outcomes of which are presented to a public audience on the final day. Through their intensive engagement with each other, participants realize opportunities for developing new collaborations and networks.

In 2016, ICI will establish both national and international sites for the Curatorial Intensive. ICI will continue partnerships with institutions such as Prospect New Orleans and the Contemporary Arts Center in New Orleans, Louisiana. Building upon ICI’s programming initiatives in Africa since 2013, the Curatorial Intensive will take place in Dakar this June, in collaboration with Raw Material Company.

REPORT ON PAST PROGRAM: NEW YORK

From September 13–22, 2015, ICI organized the eleventh Curatorial Intensive held in New York since the inaugural program in 2010. The participants comprised a group of 12 curators from 9 countries: Egypt, England, Estonia, Hungary, Mexico, New Zealand, Scotland, Turkey, and the U.S. Ingrid Schaffner, curator of the upcoming Carnegie International, began the program with a presentation of the seminal exhibition, Deep Storage and considerations on the archive, which continue to inform her curatorial practice today. Offering insights to institutional leadership, Queens Museum Director, Laura Raicovich, spoke about the museum’s unique position and ability to function differently as an institution; the museum’s programming responds to its local communities and provides a social, education space for residents of its surrounding neighborhoods. The group also reflected on public engagement with the New Museum’s Johanna Burton, who discussed various curatorial methodologies in this field. In an encounter with artist Pablo Helguera, the group further refined 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 confines 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.

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21CURATORIAL INTENSIVE

CURATORIAL INTENSIVE IN NEW ORLEANS

Program Dates: March 20–26, 2016

In collaboration with the Contemporary Arts Center and Prospect New Orleans, ICI will organize this spring the second Curatorial Intensive in the Crescent City. Building upon the inaugural program in New Orleans in January 2015 as well as recent partnerships in the American South and the region surrounding the Gulf of Mexico and the Caribbean, ICI continues developing critical networks for regional and international exchange and platforms for new voices and multi-disciplinary practice.

INSTRUCTORS AND ADVISORS

Andrea Andersson (Chief Curator of Visual Arts, CAC New Orleans), María del Carmen Carrión (Director of Public Programs & Research, ICI), Thelma Golden (Director and Chief Curator, The Studio Museum in Harlem, New York), Gia Hamilton (Director, Joan Mitchell Center, New Orleans), Jay Pather (Associate Professor at the University of Cape Town and Director of the Gordon Institute for Performing and Creative Arts), Renaud Proch (Executive Director, ICI), Trevor Schoonmaker (Artistic Director of Prospect.4 New Orleans and Chief Curator and Patsy R. and Raymond D. Curator of Contemporary Art at the Nasher Museum, Duke University), and Cameron Shaw (Executive Director and Founding Editor, Pelican Bomb, New Orleans), among others.

CURATORIAL INTENSIVE IN DAKAR

Program Dates: June 2–8, 2016

This June, ICI will organize the Curatorial Intensive in Dakar, Senegal, in partnership with Raw Material Company. With the fourth Intensive in Africa—and following our past programs in Johannesburg, Addis Ababa, and Marrakech—ICI maintains its commitment to supporting the development of curatorial practice and international networks in Africa. This program will coincide with the 12th Edition of the Dakar Biennale, curated by Simon Njami.

This program is the latest collaboration between ICI and Raw Material Company’s founding artistic director, Koyo Kouoh, who has contributed to ICI programs since 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 Hartfield 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 field, 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.

CURATORIAL SEMINAR IN MARRAKECH

Program Dates: February 28–March 1, 2016

In 2016, ICI will develop a new program, the Curatorial Seminar, designed to bring mid-career curators together to expand their thinking and advance new areas in curatorial discourse. Geared towards past participants of the Curatorial Intensive, the Seminar will offer curators from around the world an unparalleled platform of exchange and discussion, and the opportunity to connect with other curators who share their concerns and research interests. The Curatorial Seminar will further energize and leverage ICI’s dynamic network of Curatorial Intensive alumni that has grown to encompass over 360 curators from more than 64 countries, bringing unique perspectives to the current evolution of curatorial discourse and practice.

In March, ICI will return to Marrakech for a Curatorial Seminar organized in collaboration with Dar al-Ma’mûn. This program will build upon ICI’s partnership with Dar al-Ma’mûn which began last year with the Curatorial Intensive held in Marrakech. As a pilot program for this new format of curatorial convening, this Seminar will address issues of cultural translation and place. It will be held during the 6th Marrakech Biennale, Not New Now, curated by Reem Fadda, which also includes curatorial interjections by curators and ICI Collaborators Omar Berrada, Salma Lahlou, and Fatima-Zahra Lakrissa.

Participants of the Curatorial Seminar include: Mohamed Kamal Elshahed (Cairo, Egypt), Fatima-Zahra Lakrissa (Marrakech, Morocco), Salma Lahlou (Marrakech, Morocco), Eszter Szakacs (Budapest, Hungary), and Ipek Ulusoy (Dubai, UAE).

SEMINAR LEADERS

Omar Berrada (Director, Dar al-Ma’mûn), María del Carmen Carrión (Director of Public Programs & Research, ICI), Julian Myers-Szupinska (Associate Professor of Curatorial Practice at CCA, San Francisco and Senior Editor, The Exhibitionist), and Renaud Proch (Executive Director, ICI).

For more information on the Curatorial Intensive, the Curatorial Seminar, instructors, advisors, and schedule, as well as past Curatorial Intensives, visit ICI’s website, curatorsintl.org, or contact Kimberly Kitada at [email protected].


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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

Jessica GallucciArt:WorkOctober 16–November 21, 2015REVERSE, Brooklyn, NY

Art:Work brought together the work of artists who critique, comment upon or subvert systems of labor, commerce or entertainment, often by going undercover, operating from the inside, or by adopting occupational frameworks native to those systems. The exhibition included works by Jeremy Hutchison, Liz Magic Laser, PJ Linden, Sarah Alice Moran, Narcissister, Sarah Stuve and Philip Vanderhyden.

Chloe GeogheganThe False DemographicOctober 7–31, 2015Blue Oyster Project Space, Dunedin, New Zealand

Exploring an alternative voice within the mainstream flag debate in New Zealand, The False Demographic expanded on the open call for a new flag design issued by the government in 2015. A selection of 40 recorded responses to the design served as the interactive architecture of the exhibition, as visitors were able to view and engage with the interviews and to use the then-current and still infamous flag debate to reflect on the complex nature of the referendum process, society, art, and visual culture.


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ALUMNI NEWS

Katherine Cohn (New Orleans ’15) co-curated Collaborative Archives: Connective Histories at Columbia University’s Leroy Neiman Gallery (September 8−18, 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 the Open in Belfast (September 3–5, 2015).

Övül Durmusoglu (Inhotim ’12) curated Future Queer at Istanbul ARK Culture (December 26, 2015−February 7, 2016).

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

Qinyi Lim (Summer NY ’10) curated A Luxury We Cannot Afford at Para Site, Hong Kong (September 19−November 29, 2015).

Evelyn Owen (Marrakech ’15) co-curated The Aftermath of Conflict: 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.

Bakirathi Mani (Summer NY ’10) curated Ruins and Fabrications at Twelve Gates Arts in Philadelphia, PA (November 6−December 15, 2015).

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).

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.

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

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).

Yesomi Umolu (New Orleans ’15) curated So-called Utopias at the Logan Center at the University of Chicago (November 20−January 10, 2016).

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THE 2015 CPPC TRAVEL AWARD FOR CENTRAL AMERICA AND THE CARIBBEAN

Since 2012, The Colección Patricia Phelps de Cisneros (CPPC) and ICI have partnered on supporting individual curatorial research in Central America and the Caribbean with the Colección Patricia Phelps de Cisneros Travel Award. Award winners have included Pablo León de la Barra (2012), Remco de Blaaij (2013), María Elena Ortiz (2014), and this past year André Eugène and Leah Gordon. Over the last five years, critical research was conducted which has fueled four curators’ thinking and practice, led to projects, exhibitions, and ongoing partnerships, while also fostering important networks across the region and forging new ones.

The recipients of the 2015 CPPC Travel Award for Central America and the Caribbean were André Eugène and Leah Gordon, two curators based in Haiti who conducted research into regional models of artists’ self-organization, alternative strategies of community education in the Dominican Republic and Trinidad & Tobago. In addition they tracked new exhibition networks for Haitian artists in the region, and followed the threads of carnival traditions that emerged throughout their travels to connect one place to another (see also, EN MAS’, page 10). In a presentation to a full room at the Curatorial Hub in New York in January 2016, the curators spoke about their experience, the artists they encountered and the artistic and cultural relationships based on carnival across the region (see page 29). Recording of the event is available from the Media Room on ICI’s website.

FIELD NOTES FROM THE DOMINICAN REPUBLIC

Below is an excerpt from Leah Gordon André Eugène’s travelogue from the Dominican Republic.

In the evening we met with Sara Hermann from the Davidoff Initiative, who is also a consultant at the Centro León of Santiago de los Caballeros in Dominican Republic. Sara gave us a lot of background to the private art institutions in the Dominican Republic, focusing on the Davidoff Initiative, and the funding structures inherited from the tobacco industry, including the León Jimenez family. This kind of corporate and private support has 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 corporations, are more reticent to support the arts. Perhaps this is because they know they will be moving on when the petroleum runs out. Here, the tobacco and sugar companies have deep-rooted and long-term investments in the land, country, and culture. We also discussed the politics of any state investment in the arts, and while much work remains to be done to strengthen the cultural infrastructure in the country, we had no doubt that the level of support was far superior to that in Haiti.

Read the full text on the Research section of the ICI website. www.curatorsintl.org/research

This fellowship is generously supported by the Colección Patricia Phelps de Cisneros (CPPC). CPPC works to increase the understanding and awareness of Latin America’s contributions to the history of art and ideas, and to support innovation, education, and research in the field of Latin American art.

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.

INDEPENDENT CURATORS INTERNATIONAL

2540 YEARS & COUNTING

RESEARCH FELLOWSHIPS

THE 2015 ICI / FRENCH INSTITUTE FELLOWSHIP

Mouna Mekouar, a curator and art critic who has held curatorial positions at the Centre Pompidou-Metz, Metz, and the Palais de Tokyo, Paris, is the fourth ICI/French Institute Fellow. The fellowship program offers a French curator an opportunity for international research and the development of professional networks over a period of six months, which includes two visits to the U.S. or across ICI’s international network.

Mouna Mekouar’s research explores new potentialities for spaces and scales of art, using French theorist André Malraux’s concept of the Museum Without Walls as a starting point. Through studio visits and artist interviews, she has investigated the use of image collections and archives in artists’ practices, re-envisioning Malraux’s concepts. Her research has led her to consider through 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.

ABOUT THE FELLOW

Mouna Mekouar is an art critic and independent curator based in Paris, France. She was associate curator of Simple Shapes at Centre Pompidou-Metz (2014). From 2012 to 2014, she was curator at Palais de Tokyo, Paris. She was co-curator of the exhibition Philippe Parreno Anywhere, Anywhere Out of the World in 2013 at Palais de Tokyo. In 2010, she was associate curator of Chefs-d’oeuvre ? (Masterpieces ?), the inaugural exhibition of Centre Pompidou-Metz. She also undertook a number of curatorial assignments for various cultural institutions in France, such as Musée du Quai Branly for the Biennale of Images of the World (2009 and 2011); Jeu de Paume for the exhibition Roger Parry at Hôtel de Sully. She has numerous published essays and has contributed to journals such as Art Press, Revue de l’art, Études photographiques, Images re-vues and Patrimoines.

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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

Joselina CruzTuesday, March 15, 7–8:30pm Hunter College MFA Campus205 Hudson StreetNew York, NY 10013

Joselina Cruz is the Director and Curator at the Museum of Contemporary Art and Design (MCAD), De La Salle-College of Saint Benilde, Manila. Cruz has worked as a curator for the Lopez Memorial Museum in Manila (2001–04) and the Singapore Art Museum (2004–07). She was a curator for the 2nd Singapore Biennale in 2008 and one of the networking curators for the 13th Jakarta Biennale in 2009. Cruz was curator-in-charge of the Tàpies retrospective at the Singapore Art Museum (2005), co-curated All the Best: The Deutsche Bank Collection and Zaha Hadid, Singapore Art Museum (2006), and curated You Are Not a Tourist for Curating Lab, Singapore (part of the Singapore Art Show 2007) and Creative Index: An Exhibition in Manila (2010) for the 10th Regional Anniversary of the Nippon Foundation’s Asian Public Intellectuals Fellowship program.

Catherine DavidWednesday, April 27, 7–8:30pm The Museum of Modern Art 11 W 53rd StreetNew York, NY 10019

Catherine David is a French art historian, curator and museum director. From 1982 to 1990 David was Curator at the Musée National d’Art Moderne, Centre Georges Pompidou and from 1990 to 1994, she was Curator at the Galerie Nationale du Jeu de Paume, Paris. David was

the Artistic Director of the groundbreaking Documenta X (1997) in Kassel, Germany. Since 1998 she has been Director of the long-term project Contemporary Arab Representations, which began at the Fundació Antoni Tàpies in Barcelona. Between 2002 and 2004 David was Director of the Witte de With Center of Contemporary Art in Rotterdam in the Netherlands. She currently is Deputy Director of Musée National de’ Arte Moderne, Paris.

Jochen VolzTuesday, May 10, 7–8:30pmAmericas Society680 Park AvenueNew York, NY 10065

Jochen Volz is the curator of the 32nd São Paulo Biennial. He was the Head of Programmes at the Serpentine Galleries in London between 2012 and 2015. He has also served as a curator at the Instituto Inhotim, Minas Gerais, Brazil, since 2004, where he was General Director between 2005 and 2007 and Artistic Director between 2007 and 2012. There, he co-curated large-scale site-specific projects on art and architecture with artists including Adriana Varejão, Dominique Gonzalez-Foerster, Doris Salcedo, Doug Aitken, Hélio Oiticica, Matthew Barney and Rirkrit Tiravanija, as well as numerous exhibitions from the collection. In 2009, he was the artistic organizer of the Venice Biennale with Daniel Birnbaum.

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 website, curatorsintl.org, or contact Kimberly Kitada at [email protected].

The 2016 Curator’s Perspective program is made possible, in part, by a grant from the Hartfield Foundation, the support of ICI’s Board of Trustees, and ICI’s Gerrit Lansing Education Fund.


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CURATOR’S PERSPECTIVE: PAST PROGRAMS

Shuddhabrata SenguptaOctober 30, 2015Wollman Hall, The New School

In his Curator’s Perspective presentation, Sengupta discussed the modalities of occasional curating situated within a collective artistic practice. The Raqs Collective, an artists’ collective which Sengupta belongs to, straddles artistic practice, curatorial projects, theoretical interventions, critical writing, research and teaching. This variety is often perceived as if it were a series of very different moves. For Raqs, the line between artistic, intellectual and curatorial work, though present, is a set of shifting markers.

I think that all of what we do is trying to reclaim a time of attention, and a mode of thinking to the making of things in the world that have no immediate necessity. People will survive; the human race will continue, if all art making was to stop today. If all exhibitions were to end, and all the museums were to close down. But, it’s because we produce new things in the world, and bring new meaning with what we do, that in a sense, the world reinvents itself with the things that we try to put together.

And that reinvention of the world, and that transformation of the world into new possibilities and meaning, is the only reason why we should we have a profession. And in my conversations with the young curators through ICI [in the Curatorial Intensive in Marrakech in 2015], we try to explore the possibilities of what that reason is.

Shuddhabrata Sengupta is an artist and curator with the Raqs Media Collective, Delhi. Raqs Media Collective enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, and sometimes as philosophical agent provocateurs. Raqs has exhibited widely, including at Documenta, the Venice, Istanbul, Taipei, Liverpool, Shanghai, Sydney and Sao Paulo Biennales. They have had solo shows in museums, and educational and independent art spaces, in Boston, Brussels, Madrid, Delhi, Shanghai, London, New York, Toronto, among others. Raqs curated Rest of Now, Manifesta 7 (Bolzano, 2008), Sarai Reader 09 (Gurgaon, 2012-13) and INSERT2014 (Delhi, 2014). In 2000, Raqs co-founded the Sarai initiative at the Centre for the Study of Developing Societies in Delhi, and the Sarai Reader Series, which they edited till 2013. Sengupta is the current (2015-2016) Keith Haring Fellow in Art and Activism with the Center for Curatorial Studies (Hessel Museum of Art) and the Human Rights Program at Bard College, Annandale on Hudson, NY.

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UPCOMING EVENTS

BE.BOP Black Europe Body PoliticsPresented by Alanna LockwardWednesday, March 2, 6:30–8pm

Alanna Lockward is a Dominican author and curator 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 RozentalPart 1, Aissa Deebi: Thursday, April 21, 6:30–8pmPart 2, Josh Franco: Thursday, April 28, 6:30–8pm

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 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 Hartfield Foundation.

Check ICI’s website, curatorsintl.org, for updates on Hub events.

CURATORIALHUB

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.


29

PAST EVENTS

Jo Ractliffe: “The Aftermath of Conflict”October 14, 2015

Curatorial Intensive alumna Evelyn Owen, along with co-curator Yaëlle Biro, organized The Aftermath of Conflict: Jo Ractliffe’s Photographs of Angola and South Africa at The Metropolitan Museum of Art. They discussed the development of the exhibition, selected works on view, and the artist’s attempts to “retrieve a place for memory” through her deepening engagement with the region’s complex histories.

Leah Gordon: Alternative Strategies in the CaribbeanJanuary 26, 2016

CPPC fellows Leah Gordon and Andre Eugene spoke in-depth about their research trips to the Dominican Repub-lic and Trinidad. Gordon and Andre conducted a number of studio visits with artists, and visited institutions such as the Museum La Altagracia, Centro Cultural Eduardo León Jimenes, and Casa Quien Gallery, to gain a broader understanding of the cultural landscape in the region.

“Munchmuseet on the Move” November 3, 2015 at ISCP

Curator Natalie Hope O’Donnell presented her thinking behind the commissioning of artists who engage with mar-ginalized voices, semi-concealed spaces, and different ways of navigating the city for the first year of Munchmu-seet on the Move (2016–2019), the Munch Museum’s off-site contemporary art program in Oslo. Hope O’Donnell presented as part of ICI’s off-site Hub Events series, in collaboration with ISCP, where she was a resident.

USCO: At Home with the Company of UsJanuary 28, 2016

Curatorial Intensive alum Pat Elifritz, joined by Alex Kitnick, Julie Niemi, and David Senior, discussed the work and enduring influence of artist collective USCO, who helped define “intermedia” in the 1960s. In the audi-ence, founding USCO member Gerd Stern enlivened and complemented the conversation with anecdotes and memories of these installations, events, and relationships to other artists.

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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.

PUBLICATIONS NETWORKS & ACCESS

PERSPECTIVES IN CURATING

Talking Contemporary Curating by Terry Smith Edited by Kate Fowle, Leigh Markopoulos Preface by Kate Fowle, Terry Smith Design by Scott PonikPublished by ICI, Fall 2015. Distributed by D.A.P. ISBN: 978-0-916365-90-5. $19.95

Talking Contemporary Curating is the second book in the Perspectives in Curating series, following, and building upon, Terry Smith’s Thinking Contemporary Curating, which inaugurated the series in 2012.

In Talking Contemporary Curating, Terry Smith is in conversation with 12 curators, art historians and theorists deeply immersed in reflecting upon the demands of their respective practices; the contexts of exhibition making; and the platforms through which art may be made public, including Zdenka Badovinac, Claire Bishop, Zoe Butt, Germano Celant, Carolyn Christov-Bakargiev, Okwui Enwezor, Boris Groys, Jens Hoffmann, Mami Kataoka, Maria Lind, Hans Ulrich Obrist, and Mari Carmen Ramírez.

The postmodern museum is about pluralism, while the contemporary art museum is about taking a clear position, about breaking with the dominant interpretations of freedom, creativity, and democracy. —Zdenka Badovinac

EXHIBITIONS

EN MAS’: Carnival and Performance Art of the CaribbeanEdited by Claire Tancons, Krista Thompson Foreword by Neil Barclay, Renaud Proch. Text by D. Eric Bookhardt, Petrina Dacres, Paul Goodwin, Shannon Jackson, Erica Moiah James, Nicholas Laughlin, Thomas J. Lax, Alanna Lockward, Kobena Mercer, Annie Paul, Claire Tancons, Krista Thompson, Yolande-Salomé Toumson. Design by Geoff Kaplan / General Working GroupHardcover, 230 pages, full color. 8 x 10 inches. Co-published by ICI and CAC New Orleans, 2016. Distributed by D.A.P. ISBN: 978-0-916365-89-9. $49.95

Accompanying the exhibition EN MAS’: Carnival and Performance Art of the Caribbean, this publication includes critical essays by the curators Claire Tancons and Krista Thompson, as well as key newly commissioned texts by Shannon Jackson and Kobena Mercer, which together offer formal and theoretical analyses of the artists’ projects, as well as Caribbean aesthetic practices and their impact on art and performance studies more broadly. In addition, monographic texts by an array of cultural and art critics, frame the nine newly commissioned artist projects which are the basis for the exhibition. A unique and original timeline traces the influence of Caribbean carnivals and 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.

31PUBLICATIONS

SOURCEBOOK SERIES

Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative SpacesEdited by Martha WilsonDesign by Scott PonikForeword by Kate Fowle; introduction by Moira Roth; text by Martha Wilson272 pages. 8.5 x 11 inches, softcoverPublished by ICI, 2011. Distributed by D.A.P. Foreword by Kate Fowle; introduction by Moira Roth; text by Martha Wilson.ISBN: 978-0-916365-85-1. $25.00

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 BooksISBN: 9780916365844. $39.95

UPCOMING

Apichatpong Weerasethakul SourcebookEdited by Apichatpong Weerasethakul Foreword by Kate Fowle, introduction by Gridthiya GaweewongPublished by ICI, forthcoming 2016

The third in ICI’s Sourcebook series, dedicated to contemporary artists’ personal perspectives on social, political, and cultural issues, this publication will focus on the practice of artist and film-maker Apichatpong Weerasethakul. It will coincide with a new ICI exhibion, to be launched in 2016. Like previous publications in the series, this Sourcebook will be edited to include a collection of primary research materials and influences, 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.

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Jessica Stockholder Two and Fro, 2015 Metal, car side-view mirrors, industrial color paint 10 3/4 x 18 inches, approximately Edition of 20 $5,000

With a practice rooted in installation art, Jessica Stockholder paints in space: she combines objects to make new forms like a sculptor—yet uses color and composition like a painter. She creates narratives and moments of magic by forging delicate relationships between the objects that compose her work. In Two and Fro, for example, stories emerge as the result of a simple

juxtaposition. Stockholder brings together two common objects, a pair of car side-view mirrors, facing each other. One is displaced onto a “pop-art” zigzagging metal mesh plate, so that it faces the other with a warped perspective. The stories slowly begin to unfold in one’s imagination: now in close proximity, the mirrors allude to the absence of the car that usually separates them: a crash? Each mirror is printed with a dot of color that resembles an eye in a cubist painting. Two eyes look into each other, they almost touch, opening up a world of reflective infinity.

Stockholder is represented by Mitchell-Innes and Nash, New York; and Kavi Gupta, Chicago | Berlin.

LIMITEDEDITIONS

Since 1990, ICI has commissioned limited edition artworks to raise funds for its programs, collaborating with artists including Marina Abramovic, 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.

NETWORKS & ACCESS

33LIMITED EDITIONS

Robert BurnierNe Aro, 2014–2015 Primer on aluminum 8 1/2 x 7 1/2 inches, approximately Edition of 20 $1,500

Robert RauschenbergUntitled, Ft. Myers, 1979/91 Silver gelatin print 11 x 14 inches Edition of 75 $2,000

Marina AbramovićUntitled, 2012 do it catalogue (1997 edition), embroidered apron, wooden box Wooden box: 15 x 15 inches edition of 20 + 5APs $5,000

Hilla & Bernd BecherPipe Detail: Coal Mine, 1990-91 Duotone offset lithograph 30 3/8 x 22 7/8 inches Edition of 75 $1,500

LIMITEDEDITIONS

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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.

CELEBRATING ICI

Held at the beautiful raw space ArtBeam in Chelsea, ICI’s 40th Anniversary Benefit & Auction was again crafted by Jung Lee and Josh Brooks of FÊTE and catered by Sonnier & Castle. It was punctuated by a rare performance by DISBAND, the all-female No Wave art band featuring Ilona Granet and Martha Wilson, and a DJ set by DJ Phresh. ICI’s Benefit Committee championed by co-chairs Noreen Ahmad, Ann Cook, Jack Geary, Belinda Kielland, Sydie Lansing, Laure Lim, Ann Schaffer, and Patterson Sims, collaborated with ICI to create a truly unforgettable night that celebrated ICI’s accomplishments and built support for the future. Some of the world’s leading curators, artists, and museum directors were in attendance to raise a glass to ICI and our honorees—Michael Govan and Beatrix Ruf—including John Baldessari, Lawrence Weiner, Thelma Golden, Wade Guyton, Michael Heizer, Robert Longo, Ann Tenenbaum, and Lawrence Weiner, among many others.

BENEFIT COMMITTEE

Co-chairs: Noreen Ahmad, Ann Cook, Jack Geary, Belinda Kielland, Sydie Lansing, Laure Lim, Ann Schaffer, Patterson Sims. Committee: Adam Abdalla, Yasmina Alaoui and Marco Guerra, Augusto Arbizo, Sarah Arison, Yona Backer, Liddy Berman, Jeffrey Bishop, Tanya Bonakdar Gallery, Jill Brienza, Blair Brooks, Nikki Brown, James Cohan, Susan Coote, Paula Crown, Lacy Davidson Doyle, Brendan Dugan, Brian Faucette, Bridget Finn, Elaine Goldman, Taymour Grahne, Jeannie Grant, Colleen Grennan, Agnes Gund, Holly J. Hager, Heather Hubbs, Anne Huntington, Tony Karman, Jan Kennis, Birte Kleemann, Robert Kloos, Sarah Ko, Mihail Lari, Jo Carole Lauder, Rose Lord, Kristen Lorello, Isaac Lustgarten, Isaac Lyles, Monique Meloche, Can Misirlioglu, Josie Nash, Simon Preston, Erica Redling, Mel Schaffer, Lisa Schiff, Hanna Schouwink, Jessica Silverman, Michelle Snow, Mari Spirito, Sarina Tang, Rebecca Taylor, Taylor Trabulus, Courtney Treut, Barbara Toll, and Joseph Yurcik

NETWORK & ACCESS

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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 the field’s boundaries ahead.

THE LEO AWARD

The Leo Award (established in 1990) named after the late, renowned art dealer Leo Castelli, was created to recognize outstanding achievements in advancing the field of contemporary art, and the contributions of pioneering individuals who foster new opportunities and supportive environments for curators and artists. In 2015, the Leo was awarded to Michael Govan, CEO and Wallis Annenberg Director of LACMA. For more than 25 years, Govan has been in the leadership of major art institutions in the U.S., and has played a significant part in the changing role of art museums in American life. Most recently, he and his team have raised LACMA’s international profile, while firmly positioning it as a cultural and civic center for Los Angeles, and giving contemporary artists a central role in the encyclopedic museum.

Past recipients of the Leo Award include Dimitris Daskalopoulos, Roy and Dorothy Lichtenstein, Miuccia Prada, and Dasha Zhukova.

THE AGNES GUND CURATORIAL AWARD

The Agnes Gund Curatorial Award honors a curator who has made an outstanding contribution to the presentation and discourse of contemporary art. The “Aggie” Award was named after ICI Trustee Emerita Agnes Gund in recognition of her long-standing dedication to ICI, to contemporary art, and to the curatorial field. The 2015 Agnes Gund Curatorial Award was presented to Beatrix Ruf, curator and Director of the Stedelijk Museum Amsterdam. Throughout her career, Ruf has shown unwavering support of artists, helping define many careers. She has followed her trust in the experimental, and consistently nurtured emerging art practice, giving several young artists their first museum exhibitions and commissioning them for new art installations. Ruf has also worked towards building strong infrastructures for contemporary art practice, including the recent Kunsthalle Zürich building expansion before she joined the Stedelijk.Past recipients of the Agnes Gund Curatorial Award include Germano Celant, Lynne Cooke, Okwui Enwezor, Roselee Goldberg, Alanna Heiss, Matthew Higgs, and Robert Storr.

LIVE & SILENT AUCTION

In continued partnerships, the live auction was powered by Artsy and led by Gabriela Palmieri, Senior Vice President, Senior Specialist, Contemporary Art of Sotheby’s, New York. This year again, ICI is proud to have benefited from the generosity of artists who have consistently shown great confidence in ICI and support for its programs.

A big thank you to The Artists Renate Aller, Abdolreza Aminlari, Kamrooz Aram, Doug Ashford, John Baldessari, Tina Barney, Alex Beard, John Dante Bianchi, Sarah Braman, Suzette Bross, Christo, Paula Crown, Elena Damiani, Marcel Dzama, Dan Graham, Jesse Greenberg, Nadia Haji Omar, Jeppe Hein, JPW3, Glenn Kaino, David Kennedy Cutler, Curtis Kulig, Agnieszka Kurant, Justine Kurland, Robert Longo, Eddie Martinez, Servane Mary, Hugo McCloud, Duane Michals, Ebony G. Patterson, Raymond Pettibon, Hayal Pozanti, Clifford Ross, Aaron Sandnes, Davina Semo, Laurie Simmons, William Wegman, Richard Wentworth, and B. Wurtz

And those who helped us make it happen303 Gallery, Adamson Gallery, David Zwirner, DC Moore Gallery, Derek Eller Gallery, Geary Contemporary, Honor Fraser Gallery, Jessica Silverman Gallery, Kayne Griffin Corcoran, Kristen Lorello, König Galerie, Lyles & King, Lisson Gallery, Marian Goodman Gallery, Marlborough Gallery, Martos Gallery, Monique Meloche Gallery, Metro Pictures, Galleri Nicolai Wallner, Paul Kasmin Gallery, Salon 94, Selma Feriani Gallery, Simon Preston Gallery, and Tanya Bonakdar Gallery

ANNUAL BENEFIT

ANNUAL BENEFIT

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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.

VISIONARY INITIATIVES

The Council is crucial to shaping the trajectory of ICI’s public programs, exhibitions, and professional training opportunities in a unique way that is specialized to each member’s vision of contemporary art. Through the Leadership Fund, ICI has expanded curatorial research opportunities in regions such as the American South, and in Africa, Latin America and the Caribbean. The Council has allowed ICI to engage with the largest audience in the organization’s history through the redesign of ICI’s online platform in 2014. And in the last year, members of the Leadership Council were involved in nearly all of the many facets of the organization. The Leadership Council supported the broad reach of ICI’s exhibitions and publications, as well as pioneering programs in education and curatorial research. It also developed new fundraising opportunities and created scholarship funds that are critical for emerging curators to attend the Curatorial Intensive internationally.

THE LEADERSHIP COUNCIL

Sarina Tang, ICI Board of Trustees’ International RepresentativeJosh Brooks and Jung LeeFaruk and Fusun EczacibasiJane Glassman, Fine Art Dealers AssociationAgnes GundAlexei Kuzmichev and Svetlana Kuzmicheva-UspenskayaToby LewisDorothy LichtensteinJulie Mehretu and Jessica RankinPatricia Phelps de CisnerosMercedes VilardellHelen Warwick

For more information about the Leadership Council, contact Jenn Hyland at [email protected].

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INTL FORUMThe 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 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 art organization with connections to 55 countries and access to the curators, artists, and art spaces that keep their finger on the pulse of contemporary art worldwide. As a member you will have the opportunity to join ICI on exclusive trips in the U.S. and abroad. You will receive VIP access to some of the leading art fairs internationally, along with recommendations of what can’t be missed at leading art events and in select cities around the world. In New York, the International Forum connects you directly to ICI’s programs through ICI Conversations, a series of exclusive events, studio visits, cocktails, and dinners with international curators and artists held throughout the year. For up to the minute information on events and programs you will also receive ICI Quarterly, our patrons e-newsletter.

DESTINATIONS

As ICI exhibitions, public programs and research 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 OrleansFrom 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 YorkOn 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.

Dak’Art, Dakar, SenegalFrom 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.

Liverpool BiennialICI and the Liverpool Biennial have embarked on a 3-year partnership that will launch at the opening of the Biennial, July 7–10. This is a great opportunity to for a special preview of the show with insider’s access.

EXPO Chicago and ArtPrize, Grand RapidsDuring EXPO, September 22–25, ICI will be in Chicago and organizing the Curatorial Forum with curators from across the city, and from around the world. On September 25 and 26, we will be across the Lake in Grand Rapids, for part of the opening weekend of ArtPrize.

NADA MiamiDuring Art Basel Miami Beach, ICI brings together Trustees, the Leadership Council, the International Forum, collaborators, curators, and artists at the Annual Miami Luncheon at NADA Miami. Now in its fifth year, the luncheon is a great tradition and a chance to connect with ICI’s collaborators from around the world, while debriefing on the must-see of the fairs.

LEADERSHIP COUNCIL

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THEINDEPENDENTS

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 figures in the art world that keep their fingers 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.

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THEINDEPENDENTS

NETWORKS & ACCESS

THANK YOUOn behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions continue to make possible our programs worldwide, by providing crucial support to our exhibitions, public events, research and training initiatives, and publications.

FOUNDATIONS

We thank the foundations that support our existing and new programs

Evelyn Toll Family Foundation, Foundation To-Life, The Fine Art Dealers Association, The French Institute Alliance Française, Hartfield Foundation, The Joyce Foundation, Keller Family Foundation, , Project Perpetual, SAHA, The Toby Lewis Foundation, Tremaine Foundation, Trust for Mutual Understanding

GERRIT LANSING EDUCATIONAL FUND

The Gerrit Lansing Education Fund was established in 2010 to honor ICI’s founding chairman and his strong belief that the future of the organization’s success is rooted in educational activities for broad publics internationally. Enduring Gerrit’s legacy, the Fund has contributed to ICI’s public programs and supported a new generation of curators through Curatorial Intensive scholarships and the Independent Vision Award.

Catherine Cahill & William Berhard, Leon & Debra Black, Dick & Jill Blanchard, Gale & Shelby Davis, Beth Rudin De Woody, Arthur & Carol Goldberg, Peter & Laurie Grauer, Agnes Gund, Marlene Hess & Jim Zirin, Alexandra Isles, Kenneth Kuchin, Sydie Lansing, Ronald & Jo Carole Lauder, Melva Bucksbaum & Raymond Learsy, Dorothy Lichtenstein, Hilary & Wilbur Ross, Patterson Sims, John & Nonie Sullivan, Julie & Hans Utsch, Robin Wright

INDIVIDUALS

We are so grateful to all the individuals who directly contribute to making ICI programs around the world possible.

Adam Abdalla, Jan Abrams, Eleanor Acquavella, Noreen Ahmad, Jane Aiello, Tim Anderson, Augusto Arbizo, Sarah Arison, Henri Barguirdjian, Barbara & Bruce Berger, Liddy Berman, Marc Berson, Andrew Black, Tanya Bonakdar, Rena Bransten, Blair Brooks, Nikki Brown, Tootsie Burk, William Bernhard &

Catherine Cahill, Jereann Chaney, Barbara Chapman, Fischer Cherry, Christo, James Cohan, Kari Conte, Charley Moss & Ann Cook, Susan Coote, Cynthia Corbett, Dagny Corcoran, Paula H Crown, Clifford Davis, Pablo Leon de la Barra, Manuel de Santaren, Michael & Margaret Dees, Mr. & Mrs. Dehgan, Lisa Dennison, Lacy Davisson Doyle, James Sollins & Louise Eliasof, Mia Enell, EXPO CHICAGO, Bridget Finn, Julia Fowler, Maxine & Stuart Frankel, Jack & Dolly Geary, Richard Gluckman, Molly Gochman, Arthur & Carol Goldberg, Elaine Goldman, Julieta Gonzalez, Marian Goodman, Marjorie Reed Gordon, Sarah Goulet, Katherine Ross & Michael Govan, Julie & Robert Graham, Colleen Grennan, Regina & Peter Gross, Holly J. Hager, Sabrina Hahn, Lynn & Martin Halbfinger, Susan Hapgood, Lesley & Evan Heller, Alexandra Herzan, Astrid Hill, Jessica Hodin, Lucy Holland, Stephanie Hoos, Alixandra Hornyan, Noah Horowitz, Heather Hubbs, Andrew Jacobs, Meg & Howard Jacobs, Bettina Jebsen, Sean Johnson, Tony Karman, Margie & Donald Karp, Joan & David Katsky, Ambre Kelly, Belinda Buck Kielland, Sooja Kim, Sho-Joung Kim-Wechsler, Michael Klein, Robert Kloos, Sarah Ko, Bettina Korek, Svetlana Uspenskaya & Alexey Kousmichoff, Sims Lansing, Mihail Lari, Ronald & Jo Carole Lauder, Mark Levitt, Daniel Lichtenberg, Laure Lim, Robert Longo, Rose Lord, Kristen Lorello, Ingela Lorentzen, Isaac Lustgarten, Kate Ma, Iris Marden, David Maupin, Alexandro Maya, Bee & Gregor Medinger, Joel Miller, Celine Mo, Sheila Nelson, Barbara Nessim, Kathleen O’Grady, Judith Oppenheimer, Kim & John Palmer, Gabriela Palmieri, Sangeetha Ramaswamy, Erica Redling, Nienke van den Hoek & Alexander Ribbink, Victoria Rogers, Joel Rosenkranz, Wilbur & Hilary Ross, Aldo Rubino, Kerstin Ruoff, Jane Sadaka, Ellen Sandor, Harvey M Sawikin, Ann & Mel Schaffer, Lisa Schiff, Ellen & Dennis Schweber, Patricia & Charles Selden, Manny Sharp, Kelli Shaughnessy, Joyce Siegel, Katy Homans & Patterson Sims, James Stanton, Robert & Gillian Steel, Tasha Sterling, Andrew Stone, John & Eleanor Sullivan Jr., SPRING/BREAK Art Show, Sarina Tang, Rebecca Taylor, Ann Tenenbaum, Carolee Thea, Julie & Hans Utsch, Doris Castells Valle, Marlies Verhoeven, Frank Walter III, Helen Warwick, Dorsey Waxter, Kara Vander Weg, Benjamin Whine, Joseph Yurcik, Andres Zervigon, Dasha Zhukova

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ACCESS ICIICI STAFF

Renaud Proch Executive Director Kate Fowle Director-at-Large María del Carmen Carrión Director of Public Programs & Research Alaina Claire Feldman Director of Exhibitions Frances Wu Giarratano Exhibitions & Publications Advisor

Virgil B/G TaylorExhibitions Coordinator

Jenn Hyland Development Manager

Francisco Correa-CorderoExecutive Coordinator Kimberly Kitada Public Programs & ResearchCoordinator

Stefanie HirschCuratorial Intensive Coordinator

Bessie ZhuAdministration & Communications Manager

ICI BOARD OF TRUSTEES

Gerrit L. Lansing*Chairman Emeritus

Sydie LansingHonorary Chairman

Jeannie M. GrantPatterson Sims

Chairs

Melville Straus*Barbara Toll

Vice Chairs

Belinda Buck KiellandPresident

Ann SchafferVice President

Noreen AhmadJeffrey BishopChristo & Jeanne-Claude*Ann CookSusan CooteYulia DultsinaBridget FinnJack GearyJo Carole LauderLaure LimVik MunizMel SchafferTreasurerSarina Tang

International Representative

Trustee EmeritaMaxine FrankelCarol GoldbergAgnes GundCaral G. Lebworth*Virginia Wright

ICI Co-foundersSusan SollinsNina Castelli Sundell

*In Memoriam

Renaud ProchExecutive Director

Kate FowleDirector-at-Large

CONTACT

Independent Curators International401 Broadway, Suite 1620New York, NY 10013T +1 212 254 8200F +1 212 477 [email protected]

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NETWORKS & ACCESS

Editors: Renaud Proch and Bessie Zhu

Designer: Scott Ponik

Printing: Linco Printing, Queens, NY

© 2016 Independent Curators

International (ICI) and the authors.

Reproduction rights: You are free to copy, display,

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or any portion of the work reproduced to the author

and ICI, giving the article and publication title and

date. If you alter, transform, or build upon this work,

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