ICI Brochure Fall 14 Final Resized Curatorial Intensive

FALL/WINTER 2014/15 PROGRAMINDEPENDENT CURATORS INTERNATIONAL

CURATORIAL

PERSPECTIVES

TABLE OF CONTENTS

1 Welcome2 Fall/Winter 2014 Calendar

EXHIBITIONS

4 EN MAS’6 Free Play8 do it10 Martha Wilson12 Project 35 Volume 2 14 Performance Now16 With Hidden Noise 17 Living as Form (The Nomadic Version)

PUBLIC PROGRAMS & RESEARCH

18 Curatorial Intensive: New York19 Curatorial Intensive: New Orleans and Beijing20 Reporting24 Alumni Updates26 Research Fellowships28 Curator’s Perspective30 Curatorial Hub

NETWORKS & ACCESS

32 Online Networks33 Publications New York Art Book Fair34 Allen Ruppersberg Sourcebook 36 Limited Editions�� %HQH¿W��$XFWLRQ40 ICI Awards42 Leadership Council43 International Forum44 The Independents45 ICI Conversations46 Thank You47 Access ICI48 Booking Information

Editors: Renaud Proch and Laurel VossDesigner: Scott PonikCopyeditor: Sarah GiovannielloPrinting: Linco Printing, Queens, NY

©2014 Independent Curators International (ICI) and the authors.

Big thanks to: Maria Hlavajova, Victoria Noorthoorn.

Reproduction rights: You are free to copy, display, and distribute the contents of this publication under the following conditions: You must attribute the work 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, you may distribute the resulting work only under a license identical to this one, and only if it is stated that the work has been altered and in what way. For any reuse or distribution you must make clear to others the license terms of this work. You must inform the copyright holder and editor of any reproduction, display, or distribution of any part of this publication.

To receive a downloadable PDF version of this publication, or additional copies by mail, contact Bessie Zhu, Administration & Communications Manager, [email protected].

Back page: Ebony G. Patterson, Invisible Presence Bling Memories, performance (for EN MAS’), April 27, 2014, Kingston, Jamaica. Photo: Monique Gilpin and Philip Rhoden.

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WELCOMEINDEPENDENT CURATORS INTERNATIONAL

In just a few months, ICI will enter its 40th year—40!—dedicated to curators, artists, and art spaces everywhere, and to advancing contemporary art through exhibitions, events, research initiatives and training programs for curators, and publications. It was in 1975 that Nina Castelli

Sundell and Susan Sollins came together to dream up a unique organization centered on the fundamental role of curators, with a vision of a truly global and collaborative art world.

As we are getting ready to celebrate ICI’s 40 years, we move forward at great speed, but we also look back in UHÀHFWLRQ��7KXV�LW�ZDV�ZLWK�GHHS�VDGQHVV�WKDW�ZH�OHDUQHG�of the death of ICI’s co-founder Nina Castelli Sundell on August 3. Nina curated many early ICI exhibitions, and later served on ICI’s Board of Trustees, always setting a standard of excellence which we strive to maintain. The ICI Board, staff, and community also greatly lament the passing of our long-time Treasurer and Vice Chair of the Board, Mickey Straus, who from 1986 until his death in May, resolutely championed innovation in our programs.

Both Nina and Mickey were precious links in a chain of individuals who make ICI what it is today, a dynamic international organization connecting ever more curators, artists, and art spaces to share a multiplicity of perspectives that are fundamental in understanding FRQWHPSRUDU\�DUW��,Q�WKH�¿UVW�KDOI�RI��,&,�KDG�DOUHDG\�worked in 8 countries on programs with emerging and HVWDEOLVKHG�FXUDWRUV�IURP��FRXQWULHV�DQG��8�6��states.

From California to Indonesia, ICI exhibitions provide a forum for the exchange of ideas and the developments RI�LQWHUQDWLRQDO�SHUVSHFWLYHV�WKDW�UHÀHFW�WKH�ZRUOG�ZH�live in—with the belief that contemporary art can impact audiences everywhere, and that we all gain by bringing people together around the critical work of artists.

Following programs in Addis Ababa, Beijing, Mexico City, Moscow, and New York, a week-long Curatorial ,QWHQVLYH�ZLOO�EH�KHOG�IRU�WKH�¿UVW�WLPH�LQ�WKH�8�6��RXWVLGH�RI�1HZ�<RUN��LQ�1HZ�2UOHDQV�LQ�-DQXDU\��:LWK�HDFK�Intensive, we give emerging curators the opportunity to develop their practice, to build cultural infrastructure, and to support artistic practice in all corners of the world.

:KHUHYHU�WKH\�WDNH�SODFH��,&,�SURJUDPV�JHQHUDWH�QHZ�ideas, new content. Today, this growing activity is made even more visible and accessible, thanks to an expanded and upgraded website. Building on the online platform

that has already tracked the progress of do it around the world, ICI’s new website features in-depth insights into the production of nine performances this year which will form the core of ICI’s newest exhibition, EN MAS’: Carnival and Performance Art of the Caribbean. :KDW¶V�PRUH��D�QHZ�5HVHDUFK�VHFWLRQ�QRZ�LQFOXGHV�an expanded archive of audio and video recordings from ICI events and conferences; fellowship reports; interviews; and online publications. ICI’s website is also a useful platform for professionals to connect through the Curator’s Network, an online community of over 500 members from more than 60 countries, including recent alumni of the Curatorial Intensive.

$V�LV�QRZ�DQ�,&,�WUDGLWLRQ��WKLV�IDOO�ZH�ZLOO�UHDI¿UP�RXU�commitment to supporting international curators early in their careers with the presentation of the Independent Vision Curatorial Award, selected and presented by Nancy Spector, Deputy Director and Chief Curator of the Solomon R. Guggenheim Museum. It will be presented at ,&,¶V�$QQXDO�%HQH¿W��$XFWLRQ�LQ�1HZ�<RUN�RQ�1RYHPEHU��DORQJVLGH�WKH�/HR�$ZDUG²ZKLFK�WKLV�\HDU�honors Dimitris Daskalopoulos for his commitment to supporting curators and artists alike, and for creating 1(21��D�QRQ�SUR¿W�RUJDQL]DWLRQ�³ZLWKRXW�ZDOOV�´�/LNH�,&,��NEON develops innovative art collaborations beyond borders though exhibitions, educational programs, grants and scholarships, talks and events, and the ongoing development of a network of international partnerships.

6R��DV�ZH�JHDU�XS�WR�RXU�$QQXDO�%HQH¿W��$XFWLRQ��,�ZRXOG�OLNH�WR�WKDQN�RXU�H[WUDRUGLQDU\�%HQH¿W�&R�&KDLUV�Ann Cook, Belinda Kielland, Noreen Ahmad, and Bridget Finn, and to extend my heartfelt thanks to ICI’s dedicated Board of Trustees.

Above all, and on behalf of all of us at ICI, I would like to thank everyone who makes our programs possible: the curators, the artists, our collaborators at museums and galleries around the world, the foundations, and the many visionary individuals who help us carry ICI’s mission. 7KDQN�\RX��$QG�¿QDOO\��,�ZLVK�WR�WKDQN�(OOHQ�/LPDQ�IRU�her continuing support of this publication, allowing us to give you detailed information on the latest developments taking place at ICI.

Renaud ProchExecutive Director

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CALENDARSEPTEMBER

EVENTS

ICI Conversations: Brunch & Artist Talk with Helene Appel Saturday, September 6James Cohan GalleryNew York, NY

The Curator’s Perspective: Valerie Cassel Oliver:HGQHVGD\��6HSWHPEHU�10, 7–8:30pmHunter CollegeNew York, NY

ICI at EXPO Chicago6HSWHPEHU��±��Navy PierChicago, IL

ICI at New York Art Book Fair6HSWHPEHU��±��MoMA PS1Long Island City, NY

HUB EVENTS

REBELS REBEL7XHVGD\��6HSWHPEHU��New York, NY

Curatorial Intensive Public Symposium: Curating NowTuesday, September 30,10am–6pmNew York, NY

CURATORIAL INTENSIVE

Curatorial Intensive: Curating Now6HSWHPEHU��±��New York, NY

EXHIBITIONS

Living as Form(The Nomadic Version)-XQH��±6HSWHPEHU��Plains Art MuseumFargo, ND

Performance Now-XO\��±6HSWHPEHU��Delaware Art Museum:LOPLQJWRQ��'(

With Hidden NoiseJuly 19–September 7The Henry Art Gallery, 8QLYHUVLW\�RI�:DVKLQJWRQ6HDWWOH��:$

Project 35 Volume 2$XJXVW��±2FWREHU��Robert Morris UniversityPittsburgh, PA

September 13–October 10Messy Sky / CloudBangkok, Thailand

6HSWHPEHU��±'HFHPEHU��Richard E. Peeler Art Center, DePauw UniversityGreencastle, IN

do it (archive) September–OctoberThe Episcopal AcademyNewton Square, PA

do itSeptember 5–13Michaelis Galleries, Michaelis School of Fine ArtCape Town, South Africa

September 13–December 60RRUH�&ROOHJH�RI�$UW��DesignPhiladelphia, PA

OCTOBER

EVENTS

The Curator’s Perspective: Raphael ChikukwaTuesday, October 7,7–8:30pmThe New MuseumNew York, NY


Curatorial Intensive in Beijing2FWREHU��±��Central Academy of Fine Arts, Beijing, China

EXHIBITIONS

Project 35 Volume 2$XJXVW��±2FWREHU��Robert Morris University Art GalleryPittsburgh, PA

September 6–October 3Messy Sky / CloudBangkok, Thailand

September 8–December ��Richard E. Peeler Art Center, DePauw UniversityGreencastle, IN

October 6–November 16DeVos Art Museum, Northern Michigan UniversityMarquette, MI

2FWREHU��±'HFHPEHU��Stamp Gallery, University of MarylandCollege Park, MD

2FWREHU��±1RYHPEHU��Asian Contemporary Art :HHNNew York, NY

2FWREHU��±1RYHPEHU��/RQGRQ�*DOOHU\�:HVW��8QLYHUVLW\�RI�:HVWPLQVWHULondon, U.K.

do it (archive) September–OctoberEpiscopal AcademyNewtown Square, PA

do itSeptember 13–December 60RRUH�&ROOHJH�RI�$UW��DesignPhiladelphia, PA

October 16–November 13Denler Art GallerySt. Paul, MN

Performance Now2FWREHU��±��Krakow Theatrical ReminiscencesKrakow, Poland

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NOVEMBER–DECEMBER

EVENTS

$QQXDO�%HQH¿W��AuctionMonday, November 17,6:30–11pmThe Cunard Building��%URDGZD\New York, NY

ICI at NADA Miami BeachDecember 4–7Deauville Beach ResortMiami Beach, FL

ICI Winter CocktailsDecemberNew York, NY

EXHIBITIONS

Project 35 Volume 2 6HSWHPEHU��±'HFHPEHU��Richard E. Peeler Art Center, DePauw UniversityGreencastle, IN

October 6–November 16DeVos Art Museum, Northern Michigan UniversityMarquette, MI

2FWREHU��±'HFHPEHU��Stamp Gallery, University of MarylandCollege Park, MD

2FWREHU��±1RYHPEHU��/RQGRQ�*DOOHU\�:HVW��8QLYHUVLW\�RI�:HVWPLQVWHULondon, U.K.

November 8–December 13La Quiñonera, CoyoacánMexico City, Mexico

do itSeptember 13–December 60RRUH�&ROOHJH�RI�$UW��DesignPhiladelphia, PA

October 16–November 13Denler Art GallerySt. Paul, MN

Living as Form(The Nomadic Version)1RYHPEHU��±��Art and Society Research CenterTokyo, Japan

Performance NowDecember 6–March 1QUT Art MuseumBrisbane, Australia

JANUARY–FEBRUARY


Curatorial Intensive in New Orleans-DQXDU\��±��Prospect New Orleans / Contemporary Arts Center, New OrleansNew Orleans, LA

EXHIBITIONS

Performance NowDecember 6–March 1QUT Art MuseumBrisbane, Australia

Project 35 Volume 2-DQXDU\��±)HEUXDU\��Van Every/Smith Galleries, Davidson CollegeDavidson, NC

January 15–June 8Art Gallery, University of Saint Joseph:HVW�+DUWIRUG��&7

-DQXDU\��±)HEUXDU\��Visual Arts Center, Boise State UniversityBoise, ID

do it)HEUXDU\��±$SULO��$QQH��*RUGRQ�6DPVWDJ�Museum of Art, University of South AustraliaAdelaide, Australia

Martha Wilson)HEUXDU\��±$SULO��Fales Library, New York University; Pratt Manhattan Gallery; Participant Inc.New York, NY

With Hidden Noise)HEUXDU\��±0D\��Art Center College of DesignPasadena, CA

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7DNLQJ�LWV�WLWOH�IURP�D�SXQ�RQ�³0DV´��VKRUW�IRU�PDVTXHUDGH�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’ presents 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; the independence struggles and civil right movements; and the population migrations to and from former colonial centers during most of the last hundred years. The exhibition interrogates this history in light of today’s global forms of public address—from the resurgence of the Mardi Gras Indian and Social Aid and Pleasure Club traditions in post-Katrina New Orleans to carnivalesque protests.

EN MAS’ tracks 9 artists as they engage, transform, or critique historical and contemporary Caribbean performance practices from Brooklyn, New York; Junkanoo in Nassau, Bahamas; Kingston, Jamaica; London, UK; Miami, Florida; Port of Spain, Trinidad and Tobago; Santiago de los Caballeros, Dominican Republic; to New Orleans, Louisiana. Performances will take place according to different modes of public address and audience engagement including semi-private rituals at the margin of festival celebrations and street processions in the midst of Carnival revelry.

Opening at Contemporary Arts Center, New Orleans LQ�6SULQJ��WKH�H[KLELWLRQ�SUHVHQWV�DQ�DOWHUQDWLYH�WDNH�RQ�SHUIRUPDQFH�DUW��DQG�IRFXVHV�RQ�WKH�LQÀXHQFH�Carnival and related masquerading traditions in the Caribbean and its diasporas have had on contemporary performance discourse and practice in artistic and curatorial realms. Bringing together photographic and ¿OPLF�LQWHUSUHWDWLRQV�DV�ZHOO�DV�PDWHULDO�UHPQDQWV�RU�reconstitutions from the performances, the exhibition SUHVHQWV�VRPH�RI�WKH�EHVW�SKRWRJUDSKHUV��¿OPPDNHUV�and videographers working in the region today. An accompanying publication, En Mas’: Carnival and

Performance Art of the Caribbean, co-published by ICI DQG�&$&�DQG�GLVWULEXWHG�E\�'$3�LQ��ZLOO�LQFOXGH�newly commissioned critical essays, monographic texts DQG�H[WHQVLYH�LOOXVWUDWLRQV�DQG�UHÀHFWLRQV�RQ�WKH�QLQH�performances. The publication will act as an extension of WKH�H[KLELWLRQ��EXW�LV�DOVR�RQH�RI�WKH�¿UVW�WR�JLYH�VHULRXV�scholarly attention to contemporary artworks considering &DUQLYDO�LQ�WKH�WZHQW\�¿UVW�FHQWXU\��

CURATORS

Claire Tancons is a curator, writer, and researcher who has focused on Carnival and public ceremonial culture, civic rituals, and popular movements for nearly a decade. The associate curator for Prospect.1 New Orleans ��D�FXUDWRU�IRU�WKH��WK�*ZDQJMX�%LHQQDOH��JXHVW�FXUDWRU�IRU�&$3(��DVVRFLDWH�FXUDWRU�IRU�UHVHDUFK�IRU�%LHQQDOH�%pQLQ��DQG�D�FXUDWRU�IRU�WKH�*|WHERUJ�%LHQQLDO��VKH�KDV�GHYHORSHG�alternative genealogies and methodologies for thinking and presenting performance, including reclaiming the processional as a curatorial medium. She has written extensively about Carnival, the carnivalesque, performance and protest, in NKA, Small Axe, Third Text, and the H�ÀX[�-RXUQDO. Tancons is currently the curator for Up Hill Down Hall: An Indoor Carnival for Tate 0RGHUQ��DV�SDUW�RI�WKH��%0:�7DWH�/LYH�VHULHV�

Krista Thompson is Associate Professor of Art History at Northwestern University and the author of An Eye for the 7URSLFV��6KH�KDV�ZULWWHQ�DUWLFOHV�LQ�$UW�%XOOHWLQ, $UW�-RXUQDO, American Art, Representations, The Drama Review, and Small Axe. Exhibitions include the National Exhibition��1(��DQG�Developing Blackness: 6WXGLR�3KRWRJUDSKV�RI�³2YHU�WKH�+LOO´�1DVVDX�LQ�WKH�Independence Era��DW�WKH�1DWLRQDO�$UW�*DOOHU\�RI�the Bahamas. Her book 6KLQH��7KH�9LVXDO�(FRQRP\�of Light in African Diasporic Aesthetic Practice will be SXEOLVKHG�E\�'XNH�8QLYHUVLW\�3UHVV�LQ��

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 9 commissioned performances across 8 cities in 6 different countries, the exhibition considers the connections between Carnival and performance, masquerade and social criticism, diaspora and transnationalism.

EN MAS’EXHIBITIONS

5

BASIC FACTS

Number of artists: 97RXU�GDWHV��6SULQJ��±��For further booking details see page 48

ARTISTS

John Beadle, Mario Benjamin, Charles Campbell, Nicolás 'XPLW�(VWpYH]��0DUORQ�*ULI¿WK��+HZ�/RFNH��/RUUDLQH�O’Grady, Ebony Patterson, Cauleen Smith

EN MAS’: Carnival and Performance Art of the Carribean is made possible by an Emily Hall Tremaine Exhibition Award. Additional support LV�SURYLGHG�E\�WKH�$QG\�:DUKRO�)RXQGDWLRQ�IRU�WKH�9LVXDO�$UWV��7KH�H[KLELWLRQ�ZLOO�GHEXW�DW�&$&�1HZ�2UOHDQV�LQ�6SULQJ��DQG�ZLOO�WRXU�WKURXJK�WR��

7KH�&RQWHPSRUDU\�$UWV�&HQWHU��&$&��LV�D�PXOWL�GLVFLSOLQDU\�DUWV�FHQWHU��which is dedicated to the presentation, production, and promotion of the art of our time. It expresses its mission by organizing world class curated exhibitions, performances, and public programs; educating and enlarging audiences for the arts; and encouraging collaboration among diverse stakeholders composed of artists, institutions, communities, and supporters throughout the world.

EXHIBITIONS

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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 )UHH�3OD\�GR�QRW�UHSUHVHQW�PHGLHYDO�¿JXUHV�but strategies of decision making around contemporary issues.

The arcade of games in )UHH�3OD\ 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

Melissa E. Feldman is a Seattle-based independent curator and writer, and holds the position of Distinguished Visiting Faculty at Cornish College of the Arts. She is a frequent contributor to Art in America, )ULH]H, Third Text, $SHUWXUH, among others. Her recent exhibitions include Dance Rehearsal: Karen Kilimnik’s World of Ballet and Theatre��RUJDQL]HG�E\�WKH�0LOOV�&ROOHJH�Art Museum, Oakland, which traveled to the Museum of Contemporary Art Denver, CO; Afterglow: Rethinking California Light and Space Art��:LHJDQG�*DOOHU\��Notre Dame de Namur University Art Gallery, Belmont, CA and the Hearst Art Gallery at St. Mary’s College, :DOQXW�&UHHN��&$��DQG�Sampler: Textiles at Creative Growth ��DW�&UHDWLYH�*URZWK�$UW�&HQWHU��2DNODQG��Feldman has taught at the California College of the Arts, the San Francisco Art Institute, and Goldsmith’s &ROOHJH��/RQGRQ��DQG�LV�FUHGLWHG�ZLWK�RUJDQL]LQJ�WKH�¿UVW�monographic exhibitions in America for Kilimnik, Martin Kippenberger, and Hiroshi Sugimoto in the early 1990s DV�FXUDWRU�DW�WKH�,QVWLWXWH�RI�&RQWHPSRUDU\�$UW��,&$��Philadelphia, PA.

BASIC FACTS

Number of artists or artists groups: 14Number of works: approximately 176SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOHFor further booking details see page 48

FREE PLAYEXHIBITIONS

Curated by Melissa E. Feldman

“No vital periods ever began from a theory. What’s first is a game, a struggle, a journey.” —Guy Debord

Seeking the initial moment described by Debord, 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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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 ITEXHIBITIONS

,Q�WKH��\HDUV�VLQFH�2EULVW��%ROWDQVNL��DQG�/DYLHU�PXVHG�RYHU�WKH�SRWHQWLDO�RI�³VFRUHV�´�RU�ZULWWHQ�LQVWUXFWLRQV�E\�artists, to create exhibition formats that could be more ÀH[LEOH�DQG�RSHQ�HQGHG��do it has grown from a selection RI��LQVWUXFWLRQV�WR�DQ�RQJRLQJ�SURMHFW�LQFOXGLQJ�RYHU�400 artists. Every time it is presented, in any of the more than 60 venues worldwide, do it is re-interpreted anew. Many new versions have appeared, including do LW��PXVHXP�, GR�LW��KRPH�, GR�LW��79�, GR�LW��VHPLQDU�, and an online do it LQ�FROODERUDWLRQ�ZLWK�H�ÀX[��DPRQJ�RWKHUV�

To celebrate the twentieth anniversary of do it in ��2EULVW and ICI collaborated on its newest iteration, stemming from a new publication, do it: the FRPSHQGLXP—complete with the history of this landmark SURMHFW�DQG�D�VHOHFWLRQ�RI��DUWLVWV¶�LQVWUXFWLRQV��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, Paris. Since his ¿UVW�VKRZ�:RUOG�6RXS��7KH�.LWFKHQ�6KRZ� in 1991 he KDV�FXUDWHG�PRUH�WKDQ��H[KLELWLRQV��2EULVW¶V�UHFHQW�publications include $�%ULHI�+LVWRU\�RI�&XUDWLQJ, Project -DSDQ��0HWDEROLVP�7DONV�ZLWK�5HP�.RROKDDV, (YHU\WKLQJ�<RX�$OZD\V�:DQWHG�WR�.QRZ�$ERXW�&XUDWLQJ�%XW�Were Afraid to Ask, GR�LW��WKH�FRPSHQGLXP, Think Like &ORXGV, Ai Weiwei Speaks, 6KDUS�7RQJXHV²/RRVH�/LSV²2SHQ�(\HV²(DUV�WR�WKH�*URXQG� along with new volumes of his Conversation Series.

BASIC FACTS

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square feet is recommended7RXU�GDWHV��0D\��±'HFHPEHU��For further booking details see page 48

6LQFH�0D\��WKLV�ODWHVW�LWHUDWLRQ�RI�do it has been shown in 11 art spaces internationally, with many more exhibitions scheduled to take place in the fall. Many new versions and projects were also generated in collaboration with curators in presenting venues and can now be found on ICI’s website. Several of them, such as GR�LW��KRPDJH��GR�LW��DUFKLYH�� and GR�LW��VKRUW��can even be shown alongside future do it presentations, offering different layers to the project.

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:KLOH�do it is happening all around the world, ICI created an online platform to track the progress of the exhibition. Offering many entry points to experience do it, the website charts the project through an interactive map, and provides documentation of all things do it, from the works realized at different venues, and the events and projects realized in conjunction with do it to a social media center, and other highlights. Follow do it on Facebook and @doit_INTL on Twitter and Instagram. #doit_INTL

Special thanks to Project Perpetual for their generous support of the do it online platform. Visit do it on ICI’s website, curatorsintl.org, under the Exhibitions section.

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Originally curated by Obrist for do it DW�WKH��Manchester Art Festival, GR�LW��KRPDJH� invited artists to respond to the instructions of do it artists who are no longer with us. From the resulting interpretations, ICI brought together this selection of 14 documented works in a traveling version of GR�LW��KRPDJH��that includes Tracey Emin writing a letter for Louise Bourgeois; Pedro Reyes making a wearable Lygia Clark möbius; and Suzanne Lacy interpreting the score of one of her mentors, Allan Kaprow.

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Curated by ICI and Obrist, in collaboration with Joseph Grigley, GR�LW��DUFKLYH� gives historical depth to the project, highlighting key moments and impacts WKURXJKRXW�WKH�H[KLELWLRQ¶V��\HDU�KLVWRU\��,W�FRQWDLQV�LQVWDOODWLRQ�LPDJHV��VOLGHV��YLGHR�DQG�DXGLR�¿OHV��UHODWHG�websites, ephemera related to different versions of do it, and a collection of do it publications produced in several languages.

DO IT: THE COMPENDIUM

By Hans Ulrich Obrist. Foreword and acknowledgement by Kate )RZOH�DQG�)UDQFHV�:X�*LDUUDWDQR��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 Independent Curators International �,&,��DQG�'�$�3��,6%1��

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In 1995, Vienna’s museum in progress produced do it �79�, a series of short clips broadcast on Austrian TV that featured do it artists presenting their instructions. ,Q��,&,�7UXVWHH�/DXUH�/LP�DQG�,&,�SDUWQHUHG�ZLWK�6DUDK�.R�WR�SURGXFH�DQ�DQLPDWHG�VKRUW�¿OP�WKDW�UH�introduces the project, as well as a series of instructions enacted on camera. Available on the do it website, and accompanying the exhibition, the fast-paced digital short tells the history of the project to the rhythm and voice of 5HJJLH�:DWWV��7KDQN�\RX�WR�DOO�ZKR�KDYH�SDUWLFLSDWHG�in the making of GR�LW��VKRUW�, and special thanks to Can 0LVLUOLRJOX�DQG�0LFKHOOH�6QRZ��ZULWHUV��GLUHFWRUV��7KRPDV�3DUULQHOOR��%HQ�3OLPSWRQ��DQG�&KULV�5DOHLJK��GHVLJQ�DQG�DQLPDWLRQ��&HP�0LVLUOLRJOX��LOOXVWUDWLRQV��7KH)DW/DE��*L]L�)DUND��7RP�/DXULH��DQG�:25.3/$<:25.��&HP�0LVLUOLRJOX��PXVLF��%ULDQ�%HQGHU�DQG�3HWHU�&KLQ��VRXQG��'DYLG�%DUWLQ�DQG�-RKQ�*UDPDJOLD��HGLWRUV��$QG\�0F*RYHUQ��3$��DQG�*DUUHWW�+DUG\�'DYLV�DQG�6WHSKHQ�%DUQZHOO��FLQHPDWRJUDSK\��

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:ULWWHQ�LQWR�DQG�RXW�RI�DUW�KLVWRU\�DFFRUGLQJ�WR�WKH�WKHRULHV�DQG�FRQYLFWLRQV�RI�WKH�WLPH��0DUWKD�:LOVRQ�¿UVW�gained attention in 1973 through Lucy R. Lippard, who contextualized her early work within the parameters of conceptual practice, and among other women artist contemporaries. A year later, Judy Chicago denounced :LOVRQ�DIWHU�D�SHUIRUPDQFH�VKH�SUHVHQWHG�DW�WKH�)HPLQLVW�$UW�3URJUDP�DW�&DO$UWV�IRU�³LUUHVSRQVLEOH�GHPDJRJXHU\�´�6KH�KDV�EHHQ�UHJDUGHG�E\�PDQ\�DV�SUH¿JXULQJ�-XGLWK�Butler’s ideas on gender performativity through her practice, and in the words of art critic Holland Cotter, she ZDV�GHVFULEHG�DV�RQH�RI�³WKH�KDOI�GR]HQ�PRVW�LPSRUWDQW�SHRSOH�IRU�DUW�LQ�GRZQWRZQ�0DQKDWWDQ�LQ�WKH��V�´�

5HVSRQGLQJ�WR�WKH�ZLGH�VFRSH�RI�:LOVRQ¶V�FDUHHU��3HWHU�Dykhuis has assembled a diverse collection of works in WKLV�ÀH[LEOH��PRGXODU��DQG�FROODERUDWLYH�UHWURVSHFWLYH��which has been presented in many different ways across the country over the past four years. Curators at each presenting institution have worked directly with the artist to select works from the overlapping stages RI�:LOVRQ¶V�FDUHHU��6HOHFWLRQV�LQFOXGH�H[DPSOHV�RI�KHU�conceptually based performances, videos, and photo-texts, or focus on Franklin Furnace, an arts organization IRXQGHG�E\�:LOVRQ�WR�VXSSRUW�WKH�SUHVHUYDWLRQ�DQG�advocacy for the production of avant-garde, ephemeral, and alternative forms of art. Together with the artist, curators could further explore ways in which identity and contested histories can be shown in the context of their local constituencies and according to each venue’s SURJUDPPLQJ�SULRULWLHV��,Q�VRPH�FDVHV��:LOVRQ�KDV�selected works from the museum’s collection or worked with people in the community to develop an exhibition that explores the nature of visibility, or what feminism means now, or the role of the activist today.

CURATOR

Peter Dykhuis is director / curator of the Dalhousie Art Gallery in Halifax, Nova Scotia. Prior to that he was director of the Anna Leonowens Gallery at the Nova Scotia College of Art and Design, and a guest curator for the Art Gallery of Nova Scotia. His most recent exhibitions include +RPH��/DQG��6\OYLD�'��+DPLOWRQ�DQG�:LOPD�1HHGKDP� Place Markers: Mapping Locations, 3URELQJ�%RXQGDULHV��'RXJODV�:DONHU��2WKHU�Worlds and Giving Notice: Words on Walls.

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To celebrate the conclusion of the exhibition tour in spring ��,&,�ZLOO�EULQJ�)UDQNOLQ�)XUQDFH�EDFN�WR�GRZQWRZQ�New York with the presentation of Martha Wilson at the Pratt Manhattan Gallery, the Fales Library at New York University, and Participant, Inc. Temporarily reborn as a physical space, Franklin Furnace will host a series of new performances by a cross generational selection RI�DUWLVWV��DQG�UHÀHFW�RQ�LWV�KLVWRU\�ZLWK�RULJLQDO�ZRUNV�being re-performed and re-interpreted. This city-wide presentation will also conclude with a panel discussion DLPHG�DW�UHÀHFWLQJ�RQ�WKH�OHJDF\�RI�)UDQNOLQ�)XUQDFH�DQG�the relationship between alternative art spaces and art practices in New York in the 1970s and ‘80s.

Curated by Peter Dykhuis

Martha Wilson’s 40-year career encapsulates the key debates in feminist and socially engaged practices, wherein identity and positioning are not just self-defined or projected but also negotiated, disputed, and constantly reimagined. The complex nature of Wilson’s work encompasses her activities as an artist since the early 1970s, her position as the director of Franklin Furnace, and her music collaborations in DISBAND.

MARTHA WILSON

EXHIBITIONS

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ICI has once again drawn from its extensive network of curators to trace the complexity of regional and global connections among practitioners and the variety of approaches they use to make video. 35 curators from 6 continents each chose one work for this compilation, showcasing a variety of artists’ takes on the medium.

7DNLQJ�DGYDQWDJH�RI�WKH�ÀH[LELOLW\�RI�YLGHR�IRUPDWV��3URMHFW��9ROXPH�� can be shown in almost any space worldwide. It can be projected in a gallery, featured in monthly screenings, or shown on a monitor running in a café or education room. A pamphlet accompanies the exhibition with a short introduction to each work by the selecting curator, along with the curators and artists bios. 6LQFH�WKLV�VHFRQG�YHUVLRQ�ODXQFKHG�LQ��3URMHFW��9ROXPH�� has been on view in over 16 international art spaces from Addis Ababa, Ethiopia to Jaffna, Sri Lanka and Montevideo, Uruguay.

CURATORS

/HH]\�$KPDG\��$IJKDQLVWDQ��86��0HVNHUHP�$VVHJXHG��(WKLRSLD��'DLQD�$XJDLWLV��&DQDGD��'HIQH�$\DV��7XUNH\��7KH�1HWKHUODQGV��5HJLQH�%DVKD��86��9DOHULH�&DVVHO�2OLYHU��86��5RVLQD�&D]DOL��*XDWHPDOD��6WXDUW�&RPHU��86��8.��9HURQLFD�&RUGHLUR��%UD]LO��8UXJXD\��&KULVWRSKHU�&R]LHU��7ULQLGDG�DQG�7REDJR��0DUtD�GHO�&DUPHQ�&DUULyQ��(FXDGRU��86��5LIN\�(IIHQG\��,QGRQHVLD��g]JH�(UVR\��7XUNH\��1¶*RQp�)DOO��6HQHJDO��$PLUDOL�*KDVHPL��,UDQ��9tW�+DYUiQHN��&]HFK�5HSXEOLF��+RX�+DQUX��86��&KLQD��9LUJLQLMD�-DQXVNHYLFLXWH��/LWKXDQLD��$EGHOODK�.DUURXP��0RURFFR��3DEOR�/HyQ�GH�OD�%DUUD��0H[LFR��86��0DULD�/LQG��6ZHGHQ��<DQGUR�0LUDOOHV��&XED��6ULPR\HH�0LWUD��&DQDGD��1DW�0XOOHU��7KH�1HWKHUODQGV��6KDUPLQL�3HUHLUD��6UL�/DQND��1DWDãD�3HWUHãLQ�%DFKHOH]��)UDQFH��6ORYHQLD��.DWKULQ�5KRPEHUJ�

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EXHIBITIONS

PROJECT 35 VOLUME 2

In 2010, ICI launched PROJECT 35, 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 in more than 30 venues around the globe, at times simultaneously. Following the widespread popularity and success of the first exhibition, ICI collaborated with 35 more international curators to produce PROJECT 35 VOLUME 2 in 2013, which has already been seen in 16 art spaces in 10 countries, from Canada to Sri Lanka.

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BASIC FACTS

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14 EXHIBITIONS

PERFORMANCE NOW

Curated by RoseLee Goldberg, co-organized with Performa

In her groundbreaking book PERFORMANCE ART: FROM FUTURISM TO THE PRESENT (1979), art historian and curator RoseLee Goldberg showed that performance is central to the history of twentieth-century art. In 2005, she launched PERFORMA 05, the first biennial of visual art performance, and predicted that performance would become “the medium of the twenty-first century.” Indeed, its time has come.

Performance Now is a selection of works by artists from a vast repository of new performance from around WKH�ZRUOG�VLQFH��D�SHULRG�WKDW�KDV�ZLWQHVVHG�DQ�H[SRQHQWLDO�JURZWK�LQ�WKH�¿HOG��%ULQJLQJ�WRJHWKHU�VRPH�RI�WKH�PRVW�VLJQL¿FDQW�SUDFWLWLRQHUV�WRGD\��Performance Now surveys critical and experimental currents in performance internationally, featuring key Performa commissions, DQG�ZRUNV�E\�0DULQD�$EUDPRYLü��-pU{PH�%HO��6SDUWDFXV�&KHWZ\QG��:LOOLDP�.HQWULGJH��DQG�&OLIIRUG�2ZHQV��DPRQJ�others.

Together, the works in the exhibition are an indication of the extent to which visual artists use performance as part of their creative process; how that process produces objects, installations, video, or photography; and how these mediums have been enlivened by the demands of recording performance in innovative ways. Exploring live performance, artists capture its ephemerality and transform it into new work that contains the power and content of the original.

:LWK�SHUIRUPDQFH�DUW�GHSDUWPHQWV�EHLQJ�HVWDEOLVKHG�in many major museums throughout the world and SHUIRUPDQFH�UHFRJQL]HG�DV�RQH�RI�WKH�PRVW�VLJQL¿FDQW�artistic forms of the twentieth century, this exhibition provides a window onto these important developments. 7KHUH�KDV�EHHQ�PXFK�UHÀHFWLRQ�RQ�WKH�FRPSOH[LWLHV�of displaying, collecting, preserving, and explaining conceptual material that had so profoundly shaped DUWLVWLF�GHYHORSPHQWV�LQ�WKH�¿QDO�GHFDGHV�RI�WKH�twentieth century, and yet was, paradoxically ephemeral and almost invisible. At the same time, contemporary performance is activating the museum, drawing new and young audiences to these institutions.

CURATOR

RoseLee Goldberg’s seminal study, Performance $UW��)URP�)XWXULVP�WR�WKH�3UHVHQW��¿UVW�SXEOLVKHG�LQ�1979 and now in its third edition) is regarded as the leading text for understanding the development of the genre and has been translated into more languages �LQFOXGLQJ�&KLQHVH��&URDWLDQ��)UHQFK��-DSDQHVH��.RUHDQ��Portuguese, Spanish and Russian) than any other ERRN�RI�LWV�NLQG��:KHQ�GLUHFWRU�RI�WKH�5R\DO�&ROOHJH�RI�$UW��5&$��*DOOHU\�LQ�/RQGRQ��*ROGEHUJ�HVWDEOLVKHG�a program that pioneered an integrative approach to curating exhibitions, performance, and symposia, directly involving the various departments of the RCA in all aspects of the exhibitions program. As curator at The Kitchen in New York she continued to advocate for multi-disciplinary practices to have equal prominence by establishing the exhibition space, a video viewing room, and a performance series. It was here that Goldberg FXUDWHG�WKH�¿UVW�VROR�H[KLELWLRQV�RI�&LQG\�6KHUPDQ��6KHUUL�Levine, Robert Longo, Jack Goldstein and The Kipper Kids, among others. Most recently, her vision in the creation of Performa has set a precedent for performance art that is now impacting museum programming and GLYHUVH�DXGLHQFHV�DFURVV�WKH�8�6��DQG�DEURDG��,Q��she was awarded the ICI Agnes Gund Curatorial Award DQG�LQ��QDPHG�D�&KHYDOLHU�RI�WKH�2UGHU�RI�$UWV�DQG�Letters. Since 1987, Goldberg has taught at New York University.

15

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0DULQD�$EUDPRYLü��-HQQLIHU�$OORUD�DQG�*XLOOHUPR�&DO]DGLOOD��<DHO�%DUWDQD��-pU{PH�%HO��*X\�%HQ�1HU��Spartacus Chetwynd, Nikhil Chopra, Nathalie Djurberg, Claire Fontaine, Christian Jankowski, Jesper Just, :LOOLDP�.HQWULGJH��5DJQDU�.MDUWDQVVRQ��5HJLQD�-RVp�Galindo, Liz Magic Laser, Kalup Linzy, Nandipha Mntambo, Kelly Nipper, Clifford Owens, Santiago Sierra, Laurie Simmons, Ryan Trecartin

BASIC FACTS

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Featured artists in :LWK�+LGGHQ�1RLVH�include legendary composer Pauline Oliveros as well as Steve Roden, Andrea Parkins, and the project’s curator, Stephen Vitiello. Titled after Duchamp’s readymade ball of string containing a mysterious sound-making object hidden in its folds, this exhibition brings together evocative sounds, some recognizable from traditional instruments and ¿HOG�UHFRUGLQJV��DQG�RWKHUV�PDVNHG�WKURXJK�HOHFWURQLF�processes.

This self-contained sound-art exhibition pares down the installation scale to a single set of surround-sound VSHDNHUV��¿YH�VSHDNHUV�SOXV�D�VXEZRRIHU��DGDSWDEOH�WR�a wide range of spaces, allowing for many presentation possibilities. Also included are a number of books and catalogues on contemporary sound art that may be distributed around the gallery for those who would like to read more as they listen. A further reading list, videography, and programming suggestions are provided by the curator, making this exhibition as adaptable and expandable as desired.

7KLV�LV�DQ�H[KLELWLRQ�DERXW�OLVWHQLQJ��ZKHUHLQ�9LWLHOOR�WUDFHV�D�OLQHDJH�IRU�FRQWHPSRUDU\�VRXQG�DUW�LQ�WKH�FKDUJHG�VLOHQFHV�RI�)OX[XV�SHUIRUPDQFHV��DV�LQ -RKQ�Cage’s seminal �¶��´��ZKLFK�IRUFHG�DXGLHQFH�PHPEHUV�WR�DFNQRZOHGJH�WKH�VRXQGV�RI�WKH�FRQFHUW�VSDFH�RU�RI�WKHLU�RZQ�UHVWOHVV�ERGLHV� —Allison Young, Artforum

CURATOR

Stephen Vitiello is a sound and media artist whose sound installations have been presented internationally both in public spaces and museums. Among his recent projects, $�%HOO�IRU�(YHU\�0LQXWH��D�VLWH�VSHFL¿F�SURMHFW�commissioned by Creative Time for the High Line, New <RUN��ZDV�LQFOXGHG�LQ�WKH�0XVHXP�RI�0RGHUQ�$UW¶V�exhibition 6RXQGLQJV��$�&RQWHPSRUDU\�6FRUH��Vitiello has collaborated extensively, working with artists such as Tony Oursler, Julie Mehretu, Joan Jonas, Steve Roden, Nam June Paik, and Ryuichi Sakamoto. Originally from New York, he is now based in Richmond, Virginia where he is a professor in the Department of Kinetic Imaging at Virginia Commonwealth University.

ARTISTS

Taylor Deupree, Jennie C. Jones, Pauline Oliveros, Andrea Parkins, Steve Peters, Steve Roden, Michael J. Schumacher, Stephen Vitiello

BASIC FACTS

Number of artists: 8Number of works: 76SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOH7RXU�GDWHV��0DUFK��±'HFHPEHU��For further booking details see page 48

Curated by Stephen Vitiello

WITH HIDDEN NOISE is an exploration of sound art that asks gallery and museum visitors to spend time listening with ears they may not know they had…With too few important exhibitions focusing on the experience of sound art and the contemporary history of the practice, this artist-curated project is accessible to a wide range of venues across continents, in a flexible way that allows for curators to build upon it creatively and explore sound art further.

WITH HIDDENNOISE

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LIVING ASFORM

LIVING AS FORM (THE NOMADIC VERSION)Curated by Nato Thompson, co-organized with Creative Time

LIVING AS FORM (THE NOMADIC VERSION) has traveled the world as an unprecedented exhibition of documents which not only shared a 20-year history of cultural works that blur the forms of art and everyday life, but also built a unique archive of current social and political practice taking place internationally.

EXHIBITIONS

6LQFH��DUW�VSDFHV�KDYH�SUHVHQWHG�WKH�exhibition, each adding local projects to it, emphasizing participation, dialogue, and engagement, and generating new ways of connecting local politics and engaged projects from across the globe. At the conclusion of the tour, the exhibition contained an archive of over 100 projects, more than twice its original size. It also generated dozens of critical events including a symposium on social engagement in the Midwest; a talk series with Hong Kong-based video artists / activists; a mural project with the Juvenile Justice Center in Mahoning County, OH; and presentations by Sahrawi artists during the Arts and Human Rights Festival in :HVWHUQ�6DKDUD�UHIXJHH�FDPSV�

ITINERARY

Videotage��0DUFK±0D\��.RZORRQ��+RQJ�.RQJ��Kadist Art Foundation��$SULO±1RYHPEHU��6DQ�)UDQFLVFR��&$�� McDonough Museum of Art, 6HSWHPEHU±1RYHPEHU��<RXQJVWRZQ��2+�� University of California, 2FWREHU±'HFHPEHU��6DQ�Diego, CA); ARTifariti�2FWREHU��7LIDULWL��:HVWHUQ�Sahara); Moore College of Art & Design, January–0DUFK��3KLODGHOSKLD��3$�� CCI Fabrika, February ��0RVFRZ��5XVVLD�� TheCube Project Space, -XQH±$XJXVW��7DLSHL��7DLZDQ�� Richard E. Peeler Art Center��6HSWHPEHU±'HFHPEHU��*UHHQFDVWOH��IN); The 4th Anyang Public Art Project, October–May ��$Q\DQJ��6RXWK�.RUHD��Museo de Arte Sinaloa, 1RYHPEHU��±)HEUXDU\��6LQDORD��0H[LFR��Artport Tel Aviv��'HFHPEHU��±0DUFK��7HO�$YLY��,VUDHO��Carpenter Center for the Visual Arts, February–April ��&DPEULGJH��0$��Antioch College��$SULO±0D\��<HOORZ�6SULQJV��2+��Israel Institute of Technology, 0D\±-XQH��+DLID��,VUDHO��Plains Art Museum, -XQH±6HSWHPEHU��)DUJR��1'��Art & Society Research Center��1RYHPEHU��7RN\R��-DSDQ��

CURATOR

Nato Thompson is Chief Curator at Creative Time, New <RUN�ZKHUH�KH�KDV�ZRUNHG�VLQFH��+H�KDV�RUJDQL]HG�PDMRU�SURMHFWV�VXFK�DV�.DUD�:DONHU¶V�$�6XEWOHW\��RU�WKH�0DUYHORXV�6XJDU�%DE\��The Creative Time 6XPPLW��±��6X]DQQH�/DF\¶V�Between the Door and the Street��DQG�7UHYRU�3DJOHQ¶V�The /DVW�3LFWXUHV��7KRPSVRQ�ZDV�IRUPHUO\�&XUDWRU�DW�0$66�0R&$�VLQFH��DQG�LQ��KH�UHFHLYHG�the $UW�-RXUQDO Award for distinguished writing. His publication, Seeing Power: Art and Activism in the Age of &XOWXUDO�3URGXFWLRQ is forthcoming from Melville House.

THANK YOU TO THE ARTISTS

$L�:HLZHL��$OD�3OiVWLFD��-HQQLIHU�$OORUD�DQG�*XLOOHUPR�Calzadilla, Lara Almarcegui, Alternate ROOTS, Appalshop, Claire Barclay, Basurama, BijaRi, Cemeti $UW�+RXVH��&KWR�GHODW��:KDW�LV�WR�EH�GRQH"��&RPSODLQWV�&KRLU��&pOLQH�DQG�*DYLQ�:DGH�&RQGRUHOOL��0LQHUYD�Cuevas, Cybermohalla Ensemble, Josh Greene, Federico Guzmán and Alonso Gil; Fritz Haeg, Jeanne van Heeswijk, Helena Producciones, Fran Ilich, Lisa Katzman, Suzanne Lacy, Los Angeles Poverty 'HSDUWPHQW��5LFN�/RZH��0DPPDOLDQ�'LYLQJ�5HÀH[�/ Darren O’Donnell, Mardi Gras Indian Community, =D\G�0LQW\��9LN�0XQL]��2GD�3URMHVL��3DVH�8VWHG��1DYLQ�Rawanchaikul, Athi-Patra Ruga, Katernia Šedá, Chemi 5RVDGR�6HLMR��6ODQJXDJH��)RXQGHG�E\�0DULR�<EDUUD�-U��.DUOD�'LD]��DQG�-XDQ�&DSLVWUDQ��6WXGLR��)DULG�-DKDQJLU��Sassan Nassiri, Bita Fayyazi, Ata Hasheminejad and .KRVURZ�+DVVDQ]HGHK��7DKLU�6TXDUH��7DOOHU�3RSXODU�GH�6HULJUDItD��736��8OWUD�UHG��8UEDQ�%XVK�:RPHQ��9RLQD��3HWHU�:DWNLQV��:LNL/HDNV��(OLQ�:LNVWU|P��:RFKHQ.ODXVXU��:RPHQ�RQ�:DYHV

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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 at ICI in New York, and around the world in collaboration with institutional partners.

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

,Q��,&,�KDV�HVWDEOLVKHG�QHZ�LQWHUQDWLRQDO�VLWHV�IRU�the Curatorial Intensive and developed partnerships with LQVWLWXWLRQV�VXFK�DV��=RPD�&RQWHPSRUDU\�$UW�&HQWHU��=&$&��LQ�$GGLV�$EDED��(WKLRSLD��)XQGDFLyQ�-XPH[�Arte Contemporáneo in Mexico City, Mexico, and the Garage Museum of Contemporary Art in Moscow, Russia. Furthering its connections to the U.S., and ICI’s involvement in the Gulf of Mexico/Caribbean region, the Curatorial Intensive will also take place in New Orleans, /RXLVLDQD�LQ��LQ�SDUWQHUVKLS�ZLWK�3URVSHFW�1HZ�Orleans and the Contemporary Arts Center, New Orleans.

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Program Dates: September 21–30, 2014

This September, the Curatorial Intensive in New York: &XUDWLQJ�1RZ offers curators the opportunity to discuss, among colleagues, the concepts, logistics, and challenges of organizing exhibitions, public programs, and other discursive formats. Topics under discussion will include social practice, community engagement, and alternative exhibition formats, among others.

INSTRUCTORS AND ADVISORS

María del Carmen Carrión��$VVRFLDWH�'LUHFWRU�RI�3XEOLF�3URJUDPV��5HVHDUFK��,&,��1HZ�<RUN��Stuart Comer �&KLHI�&XUDWRU��'HSDUWPHQW�RI�0HGLD�DQG�3HUIRUPDQFH�Art, The Museum of Modern Art, New York), Holland Cotter��&R�FKLHI�$UW�&ULWLF�DQG�6HQLRU�:ULWHU��The New York Times, New York), Reem Fadda��$VVRFLDWH�&XUDWRU�of Middle Eastern Art, Abu Dhabi Project, Solomon R. Guggenheim Foundation, New York), Lia Gangitano �)RXQGHU�'LUHFWRU��3DUWLFLSDQW�,QF��1HZ�<RUN��Elizabeth M. Grady��'LUHFWRU�RI�3URJUDPV��$�%ODGH�RI�*UDVV��1HZ�York), Larissa Harris��&XUDWRU��4XHHQV�0XVHXP�RI�$UW��New York), and Renaud Proch��([HFXWLYH�'LUHFWRU��,&,�

The Curatorial Intensive is made possible in part by grants from the 5REHUW�6WHUOLQJ�&ODUN�)RXQGDWLRQ�DQG�WKH�+DUW¿HOG�)RXQGDWLRQ��DQG�E\�generous contributions from Toby Devan Lewis, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund. Scholarships for curators from Turkey will be supported by SAHA.

For more information on the 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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CURATORIAL INTENSIVE IN BEIJING

Program Dates: October 21–27, 2014

In collaboration with The Central Academy of Fine $UWV��&$)$��,&,�LV�SURGXFLQJ�WKH�&XUDWRULDO�,QWHQVLYH�in Beijing. Seminars, site visits, individual meetings, and roundtable discussions will be led by a group of international professionals who will explore art and curatorial practice in Asia and beyond. The program EXLOGV�XSRQ�D��FROODERUDWLRQ�ZLWK�WKH�8OOHQV�&HQWHU�for Contemporary Art and CAFA on developing the Curatorial Intensive: 0XVHXP�RI�WKH�)XWXUH��&XUDWLQJ�,QVWLWXWLRQV


María del Carmen Carrión��$VVRFLDWH�'LUHFWRU�RI�3XEOLF�3URJUDPV��5HVHDUFK��,&,��Colin Chinnery, �$UWLVWLF�'LUHFWRU��:XKDQ�$UW�7HUPLQXV��%HLMLQJ��Kate Fowle��'LUHFWRU�DW�/DUJH��,&,��DQG�&KLHI�&XUDWRU��*DUDJH�Museum of Contemporary Art, Moscow), Gridthiya Gaweewong �$UWLVWLF�'LUHFWRU��-LP�7KRPSVRQ�$UW�+RXVH��Bangkok), Snejana Krasteva��&XUDWRU��*DUDJH�0XVHXP�of Contemporary Art, Moscow), and Carol Yinghua Lu��FXUDWRU�DQG�DUW�FULWLF��%HLMLQJ��DPRQJ�RWKHUV�

ABOUT THE CENTRAL ACADEMY OF FINE ARTS �&$)$�

7KH�&HQWUDO�$FDGHP\�RI�)LQH�$UWV��&$)$��ORFDWHG�in Beijing, the capital of China, is an academy where FXOWXUH��KLVWRU\�DQG�DUW�ÀRXULVK��&$)$�LV�D�OHDGLQJ�institution for modern art education in China that provides a space for those who wish to learn, experience, and engage in creativity, which has nurtured a number of preeminent artists in the past 90 years.

The Curatorial Intensive is made possible in part by grants from the 5REHUW�6WHUOLQJ�&ODUN�)RXQGDWLRQ��WKH�+DUW¿HOG�)RXQGDWLRQ��DQG�E\�JHQHU-ous contributions from the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund. Scholarships IRU�WKLV�&XUDWRULDO�,QWHQVLYH�ZHUH�JHQHURXVO\�SURYLGHG�E\�WKH�:X�=XRUHQ�International Foundation of Fine Arts Young Curator Fund and SAHA.

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Program Dates: January 18–24, 2015

,Q�-DQXDU\��,&,�ZLOO�GHYHORS�WKH�&XUDWRULDO�,QWHQVLYH�in New Orleans in collaboration with Prospect and the Contemporary Art Center, New Orleans. Building upon ICI’s earlier collaboration with PEI on the Curatorial ,QWHQVLYH�LQ�3KLODGHOSKLD��WKLV�UHSUHVHQWV�WKH�¿UVW��GD\�Intensive in the U.S. outside of New York. The course will be part of an ongoing series of programs engaging with curatorial and artistic practices around the Gulf of Mexico—including exhibitions and curatorial research fellowships—and is one of several partnerships that ICI has developed in the Crescent City. The Intensive will bring together emerging curators from across the South and around the world for the opportunity to exchange ideas, develop their exhibitions and projects, and explore Prospect.3, the international biennial curated by Franklin Sirmans.

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Prospect New Orleans was conceived in the tradition of the great international exhibitions, such as the Venice Biennale and the Bienal de São Paulo, to showcase new artistic practices from around the world in settings that are both historic and culturally exceptional, and contribute to the cultural economy of New Orleans and the Louisiana Gulf region. Prospect.3 New Orleans, the third edition of the New Orleans International Contemporary $UW�%LHQQLDO�ZLOO�RSHQ�LQ�)DOO��)UDQNOLQ�6LUPDQV��7HUUL�and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of $UW��/$&0$��KDV�EHHQ�VHOHFWHG�WR�FXUDWH�3URVSHFW��

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7KH�&$&�LV�D�PXOWL�GLVFLSOLQDU\�DUWV�FHQWHU��¿QDQFLDOO\�stable and professionally managed, that is dedicated to the presentation, production and promotion across the visual arts. The CAC is a cultural leader. As such, it organizes, presents and tours curated exhibitions, performances and programs by local, regional, national and international artists. It demonstrates proactive local and regional leadership by educating children and adults; cultivating and growing audiences; and initiating and encouraging collaboration among diverse artists, institutions, communities and supporters.

The Curatorial Intensive is made possible in part by grants from the 5REHUW�6WHUOLQJ�&ODUN�)RXQGDWLRQ�DQG�WKH�+DUW¿HOG�)RXQGDWLRQ��DQG�by generous contributions from Toby Devan Lewis, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund.

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CURATORIAL INTENSIVE IN ADDIS ABABA: NOTES FROM ADDIS

Program Dates: May 13–19, 2014

The Curatorial Intensive in Addis Ababa, in collaboration ZLWK�=RPD�&RQWHPSRUDU\�$UW�&HQWHU��=&$&��PDUNHG�the second Curatorial Intensive in Africa. This one-week professional development program brought together a group of eleven curators to participate in seminars, site visits to local art spaces, studio visits with artists, and individual meetings with faculty. Over the course of the program, participants engaged in discussions with their fellow curators, and received feedback from the faculty advisors, in order to critically develop an exhibition or curatorial project idea. The Curatorial Intensive forged strong connections among these international colleagues, and initiated a dialogue for future collaborations and projects.


Meskerem Assegued��'LUHFWRU��=RPD�&RQWHPSRUDU\�Art Center, Addis Ababa), María del Carmen Carrión �$VVRFLDWH�'LUHFWRU��3XEOLF�3URJUDPV��5HVHDUFK��,&,��Raphael Chikukwa��&KLHI�&XUDWRU��1DWLRQDO�*DOOHU\�RI�=LPEDEZH��+DUDUH��Naima J. Keith��$VVLVWDQW�&XUDWRU��The Studio Museum in Harlem, New York), Riason Naidoo��'LUHFWRU��6RXWK�$IULFDQ�1DWLRQDO�*DOOHU\��2OG�Town House Museums, Cape Town), Jimmy Ogonga �)RXQGHU��&HQWUH�IRU�&RQWHPSRUDU\�$UW��(DVW�$IULFD��Nairobi), Elvira Dyangani Ose��&XUDWRU�RI�,QWHUQDWLRQDO�Art, Tate Modern), Renaud Proch �([HFXWLYH�'LUHFWRU��ICI), Tracey Rose��DUWLVW��-RKDQQHVEXUJ��DQG�Konjit Seyoum��'LUHFWRU��$VQL�*DOOHU\��$GGLV�$EDED�

The Curatorial Intensive is made possible in part by grants from the Robert Sterling Clark Foundation, the Dedalus Foundation, and the +DUW¿HOG�)RXQGDWLRQ��ZLWK�WKH�JHQHURXV�VXSSRUW�RI�0HUFHGHV�9LODUGHOO��Julie Mehretu and Jessica Rankin, ICI’s Leadership Council, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund.

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Participating curators included: Philip Balimunsi��.DPSDOD��8JDQGD��Helen Carey��/LPHULFN��Ireland), Makeda Damtew��$GGLV�$EDED��(WKLRSLD��Mohamed Hussein��%DJKGDG��,UDT��Mihret Kebede��$GGLV�$EDED��(WKLRSLD��Wanja Kimani��$GGLV�Ababa, Ethiopia / Nairobi, Kenya), $QQD�.XüPD��.DPSDOD��8JDQGD��.UDNRZ��3RODQG��Georgina Maxim��+DUDUH��=LPEDEZH��Jillian Schultz��/RV�Angeles, CA), Fitsum Tefera��$GGLV�$EDED��(WKLRSLD��and Zoma Wallace��:DVKLQJWRQ�'&��

Meskerem Assegued��'LUHFWRU�RI�=RPD�&RQWHPSRUDU\�$UW�&HQWHU��=&$&��RXU�ORFDO�SDUWQHU��KRVWHG�WKH�Curatorial Intensive in the unique art space constructed by artist Elias Sime using a traditional mud-house WHFKQLTXH��7KLV�ZDV�WKH�¿UVW�WLPH�WKH�&XUDWRULDO�,QWHQVLYH�was hosted inside an artwork! Konjit Seyoum, Director of Asni Gallery, walked the group through the history of this pivotal independent space in Addis Ababa, and spoke of her desire and the strategies she used to create a conceptually and economically independent space, open to all audiences in Ethiopia. Following the Intensive, Seymoum has opened up Asni to Intensive participants and all involved in curatorial practice in Addis Ababa with the hopes to create a more integrated community. On the topic of independent spaces, Jimmy Ogonga, spoke of the Center for Contemporary Art, East Africa �&&$��1DLUREL��ZKLFK�KH�FR�IRXQGHG��DQG�DOVR�PDSSHG�the art scene of Nairobi from the 1960s to the present, highlighting the important role that artist collectives have played in the development of the scene. And Elvira Dyangani Ose, Curator of International Art, Tate Modern, spoke of her practice as an independent curator, examining her past projects and drawing from a history RI�H[KLELWLRQV�RI�$IULFDQ�$UW�WKDW�KDYH�EHHQ�LQÀXHQWLDO�to her practice. She also spoke of her current work and focus at Tate Modern, and the group heard from other perspectives from large art institutions in the continent: Riason Naidoo discussed the importance of going beyond formal criteria of evaluation when working with a collection, in order to construct rich and nuanced QDUUDWLYHV��+LV�WDON�VSDUNHG�UHÀHFWLRQV�RQ�LVVXHV�RI�representations and the construction of national history through art collections. He presented on the historical exhibition ��±��)URP�3LHUQHHI�WR�*XJXOHFWLYH at the National Gallery of South Africa in Cape Town. And Raphael Chikukwa presented his work at the National *DOOHU\�RI�=LPEDEZH��VWUHQJWKHQLQJ�WKH�LQVWLWXWLRQ�DQG�GHYHORSLQJ�H[KLELWLRQV�RI�DUW�IURP�=LPEDEZH�IRU�ORFDO�and international contexts. He spoke at length about the =LPEDEZH�3DYLOLRQV��ZKLFK�KH�FXUDWHG�IRU�WKH�9HQLFH�%LHQQDOH�LQ��DQG��DQG�SODQV�IRU�WKH�IXWXUH�RI�WKH�National Gallery.


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Program Dates: August 3–9, 2014

The Curatorial Intensive: 'HYHORSLQJ�,QIUDVWUXFWXUHV�IRU�Art, was developed in collaboration with Garage Museum of Contemporary Art in Moscow. It examined curatorial strategies for creatively building frameworks and infrastructures for the production and presentation of art practice—from small-scale collaborative projects to new museums—that respond to the changing needs of artists and of new art publics in rapidly evolving societies.


Magalí Arriola �&XUDWRU��)XQGDFLyQ�-XPH[�$UWH�Contemporáneo, Mexico City), María del Carmen Carrión �$VVRFLDWH�'LUHFWRU��3XEOLF�3URJUDPV��Research, ICI), Ekaterina Degot �$UWLVWLF�'LUHFWRU�RI�WKH�$FDGHP\�RI�$UWV�RI�WKH�:RUOG��&RORJQH��Kate Fowle �&KLHI�&XUDWRU��*DUDJH�&HQWHU�IRU�&RQWHPSRUDU\�&XOWXUH��Moscow, and Director-at-Large, ICI), Koyo Kouoh �$UWLVWLF�'LUHFWRU��5DZ�0DWHULDO�&RPSDQ\��'DNDU��Sasha Obukhova��+HDG�RI�WKH�5HVHDUFK�'HSDUWPHQW��*DUDJH�Museum of Contemporary Art, Moscow), Renaud Proch �([HFXWLYH�'LUHFWRU��,&,��Rasha Salti��FXUDWRU�DQG�writer, Beirut), Georg Schöllhammer �+HDG�RI tranzit.at, Vienna)

Generous scholarships for the Curatorial Intensive: Developing Infrastructures for Art were provided by the Garage Museum of Contemporary Art.

CURATORIAL INTENSIVE IN MEXICO CITY: REPORT

Program Dates: June 30–July 7, 2014

Organized in collaboration with Fundación Jumex Arte Contemporáneo, this program was the third Curatorial Intensive developed entirely in Spanish. Topics included WKH�GHYHORSPHQWV�RI�WKH�FXUDWRULDO�¿HOG�DQG�WKH�FKDQJLQJ�role of the curator, while also exploring research-based initiatives, independent projects, collections and LQVWLWXWLRQDO�EXLOGLQJ��DQG�QHZ�¿QDQFLDO�DUFKLWHFWXUHV��DPRQJ�RWKHU�GLVFXVVLRQV��$QG�IRU�WKH�¿UVW�WLPH��D�QHZ�series of video interviews with instructors and advisors was developed out of the program. Visit the ICI Media 5RRP�RQOLQH�WR�ZDWFK�WKH�IXOO�FOLSV��LQ�6SDQLVK��


Bruce Altshuler �'LUHFWRU��3URJUDP�LQ�0XVHXP�6WXGLHV��New York University, New York), Magalí Arriola��&XUDWRU��Fundación Jumex Arte Contemporáneo, Mexico City), Manuel Borja-Villel �'LUHFWRU��0XVHR�5HLQD�6RItD��Madrid), María del Carmen Carrión��$VVRFLDWH�'LUHFWRU�RI�3XEOLF�3URJUDPV��5HVHDUFK��,&,��Patrick Charpenel �'LUHFWRU��)XQGDFLyQ�-XPH[�$UWH�&RQWHPSRUiQHR��0H[LFR�City), Juan A. Gaitán��&XUDWRU��WK�%HUOLQ�%LHQQDOH�IRU�Contemporary Art, Berlin), Julieta González��&XUDWRU��Museo Tamayo, Mexico City), Inés Katzenstein �'LUHFWRU��'HSDUWPHQW�RI�$UW��8QLYHUVLGDG�7RUFXDWR�GL�Tella, Buenos Aires), Carlos Motta��DUWLVW��1HZ�<RUN��and Daniela Pérez��LQGHSHQGHQW�FXUDWRU�DQG�FR�IRXQGHU��de_sitio, Mexico City)

Scholarship packages for the Curatorial Intensive in Mexico City were generously provided by Fundación Jumex Arte Contemporáneo and ,QVWLWXWR�'LVWULWDO�GH�ODV�$UWHV��,'$57(6��

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Program Dates: March 16–25, 2014

The Curatorial Intensive in New York: Considering 3XEOLFV�DQG�&RQWH[WV offered curators the opportunity to explore curatorial challenges among colleagues from around the world, working in very different contexts. Central to all sessions were conversations discerning audience and publics, working with artists, navigating FRQWH[WV��GH¿QLQJ�FXUDWRULDO�UHVHDUFK��DQG�ZRUNLQJ�ZLWK�FROOHFWLRQV��+HOG�LQ�1HZ�<RUN�IRU�WKH�¿UVW�WLPH�LQ�WKH�Spring, the program also focused on the recently-opened :KLWQH\�%LHQQLDO�DQG�LQFOXGHG�D�YLVLW�RI�WKH�H[KLELWLRQ�OHG�by one of the curators, Stuart Comer.


Mark Beasley �&XUDWRU��3HUIRUPD��1HZ�<RUN��María del Carmen Carrión��$VVRFLDWH�'LUHFWRU�RI�3XEOLF�3URJUDPV��5HVHDUFK��,&,��Deborah Cullen �'LUHFWRU�DQG�&KLHI�&XUDWRU��0LULDP�DQG�,UD�'��:DOODFK�$UW�*DOOHU\��&ROXPELD�University, New York), Matthew Higgs��'LUHFWRU��:KLWH�Columns, New York), Sarah Hromack��'LUHFWRU�RI�'LJLWDO�0HGLD��:KLWQH\�0XVHXP�RI�$PHULFDQ�$UW��1HZ�<RUN��Jill Magid��DUWLVW��1HZ�<RUN��Renaud Proch��([HFXWLYH�Director, ICI), Yasmil Raymond��&XUDWRU��'LD�$UW�Foundation, New York), and Franklin Sirmans��$UWLVWLF�Director for Prospect.3 New Orleans and Department Head and Curator of Contemporary Art, Los Angeles County Museum of Art)

Generous scholarships for the Curatorial Intensive: Considering Publics and Contexts were provided by SAHA.


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ALUMNI UPDATES

There are currently 303 alumni of the Curatorial Intensives, based in 60 different countries and 21 U.S. states. ICI remains in contact with alumni through the Curator’s Network, and keeps updated on the exhibitions and projects that become fully realized after the Intensives, as well as all alumni curatorial projects around the world.

EXHIBITIONS AND PROGRAMS DEVELOPED THROUGH THE CURATORIAL INTENSIVE

Miguel Amado7KH�5HEHO�&LW\0D\��±2FWREHU��ADN Platform, Sant Cugat del Vallès, Barcelona, Spain

0LJXHO�$PDGR�LV�WKH�ZLQQHU�RI�WKH�¿UVW�HGLWLRQ�RI�$'1�Platform’s Curatorial Challenge program. His exhibition, 7KH�5HEHO�&LW\, examines the urban space as a site of anti-capitalist struggle. It brings together artists based in Europe and the United States—regions where capitalism originally developed, and where it has been contested in recent years.

Mariana Lorenzi1RVVD�9R]��2XU�9RLFH�0DUFK��±1RYHPEHU��

The project 1RVVD�9R]��2XU�9RLFH� reactivates a former political and community newspaper from Casa do Povo �6mR�3DXOR¶V�&XOWXUDO�&HQWHU��WKDW�ZDV�VKXW�LQ�WKH�Brazilian military coup in 1964. In this new contemporary format, the publication functions as a platform for 7 invited artists and collectives to develop interventions in the neighborhood where Casa do Povo is located. Nossa 9R] is a tool for announcement and documentation of these artistic interventions, and a shared place relevant to debates regarding politics, culture and memory.

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Wassan Al-Khudhairi was appointed the Curator of Modern and Contemporary Art at the Birmingham Museum of Art in Alabama.

Özge Ersoy and Merve Ünsal were invited to curate WKH�QRQ�SUR¿W�VHFWLRQ�RI�$UW,QWHUQDWLRQDO��D�\RXQJ�DQG�international art fair in Istanbul, Turkey in September ��

,Q�-XQH��Arnau Horta curated the program for A l’Escolta �/LVWHQLQJ�� an international conference on the sonic turn in the arts in Barcelona, Spain.

Euridice Kala RUJDQL]HG�D�SDQHO�GLVFXVVLRQ�FDOOHG�³:KDW�LV�,QGHSHQGHQW"´�IRU�WKH�3$1�&�SURMHFW�DW�9$16$�D�development agency for the visual arts in Johannesburg, South Africa.

Shabbir Hussain Mustafa was selected as curator for WKH�6LQJDSRUH�3DYLOLRQ�DW�WKH��9HQLFH�%LHQQDOH�

Michal Novotny organized the exhibition titled Things as WKH�¿UVW�LQWHUQDWLRQDO�FXUDWRU�LQ�UHVLGHQFH�DW�'HVLJQ�&ORXG�in Chicago, Illinois.

Fatoú Üstek was named Associate Curator for the tenth Gwangju Biennial, %XUQLQJ�'RZQ�WKH�+RXVH, which WDNHV�SODFH�IURP�6HSWHPEHU��WR�1RYHPEHU��LQ�Gwangju, Korea.

Victor Wang ZDV�FKRVHQ�DV�WKH��UHVHDUFKHU�in residence at Contemporary Art Heritage Flanders �&$+)��ZKHUH�KH�ZLOO�HQJDJH�LQ�DQ�LQ�GHSWK�GLDORJXH�with CAHF and its 4 partner museums.

Didem Yazici recently curated A Tale of Shahmaran: 0HKWDS�%D\GX�at BERLINARTPROJECTS in Berlin, Germany.

Adnan Yildiz was selected as a winner for the Curate Award, initiated by Fondazione Prada and the Qatar Museums Authority, and his winning proposal, 0XWWHU]XQJH� will be realized in Qatar or Italy.

For more information about the Curatorial Intensive and the program’s alumni, visit ICI’s website, www.curatorsintl.org, under the Curatorial Intensive section.

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ICI’s Curatorial Fellowship, The Colección Patricia Phelps de Cisneros (CPPC) Travel Award, the SAHA Research Award, the Dedalus Foundation Award, and the French Institute Fellowship support curators in providing opportunities for in-depth research, and Curatorial Intensive Alumni by facilitating collaborative projects among them and broaden the international networks created through the Intensive.

RESEARCH FELLOWSHIPS

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7KH�ZLQQHUV�RI�WKH��,&,��6$+$�5HVHDUFK�Award were *�UVR\�'R÷WDú��7XUNH\��DQG�Alejandra Labastida��0H[LFR��ZKR�SDUWLFLSDWHG�LQ�WKH�6XPPHU��&XUDWRULDO�,QWHQVLYH�LQ�1HZ�<RUN��7KHLU�UHVHDUFK�aims to explore the impact of the military regime in the ��V�7XUNLVK�5HSXEOLF��IRFXVLQJ�RQ�=HNL�0�UHQ��±1996), a Turkish poet, composer, and singer who was banned from performing on stage for several years. The curators are using his work as an example to reveal the often little-know history of artistic repression during this time.

RESEARCH UPDATE

'XULQJ�WKH�SDVW�PRQWKV��RXU�UHVHDUFK�RQ�=HNL�0�UHQ�has evolved into a network of collaborations with artists, ZULWHUV��PXVLFLDQV��SKLORVRSKHUV��HWF��IURP�GLIIHUHQW�QDWLRQDOLWLHV��7KH�QHWZRUN�VWDUWHG�ZLWK�D�VHULHV�RI�LQWHUYLHZV�WKDW�ZH�GHVLJQHG�DURXQG�D�VSHFL¿F�VRQJ�>E\�0�UHQ@��³.DKLU�0HNWXEX�´�%H\RQG�WKLV�LVRODWHG�PRPHQW�RU�DQRWKHU�RI�0�UHQ¶V�ELRJUDSK\�DQG�GLVFRJUDSK\��H�J��WKH�UHOHDVH�RI�D�VSHFL¿F�DOEXP�RU�WKH�SHUIRUPDQFH�EDQ��ZH�H[SORUHG�WKURXJK�WKHVH�LQWHUYLHZV�WKH�LQVWDQFHV�ZKHUH�LGHRORJLHV��QRUPV��EDODQFHV�RI�SRZHU��KLVWRU\�DQG�WKH�SUHVHQW�RYHUODS��DQG�WKH�DVVRFLDWHG�VLJQL¿FDQFH�RI�IHHOLQJV�FRQQHFWHG�WR�WKHP��:KHQ�ZH�UHFHLYHG�WKH�interviews, it became clear that we wanted to enrich the UHVHDUFK�ZLWK�PRUH�VSHFLDOL]HG��DQG�DW�WKH�VDPH�WLPH�PRUH�H[SHULPHQWDO�FROODERUDWLRQV��±$OHMDQGUD�/DEDVWLGD�DQG�*�UVR\�'R÷WDú�

Thank you to SAHA for their generous support of this fellowship. SAHA aims to contribute toward the presence and visibility of art from Turkey and supports artistic projects and research working in contemporary art.

ICI AND THE DEDALUS FOUNDATION RESEARCH $:$5'

7KH�ZLQQHUV�RI�WKH��,&,�DQG�WKH�'HGDOXV�)RXQGDWLRQ�Research Award were Viviana Checchia��,WDO\��and Anna Santomauro��,WDO\��7KH\�DUH�FXUUHQWO\�conducting research in the U.S., with the aim to investigate different curatorial approaches developed from the heritage of the exhibition &XOWXUH�LQ�$FWLRQ, and to recontextualize these curatorial practices within the European and Euro-Mediterranean perspective to envision new articulations of the notion of participation in contemporary art production.

RESEARCH UPDATE

After one month in the U.S., Viviana Checchia and Anna Santomauro met practitioners and organizations involved in their case study, &XOWXUH�LQ�$FWLRQ, an exhibition curated by Mary Jane Jacob in Chicago in 1993. Their research took them to the Center for Curatorial Studies-Bard College’s archive in Annandale-on-Hudson, New York, where the curators also taught a session titled ³6XVWDLQDEOH�&XUDWLQJ�´�DQG�DFFHVVHG�WKH�VHFWLRQ�RI�Bard’s archive dedicated to some of Jacob’s projects from the ‘90s. During a trip to Chicago, they attended 2XW�7KHUH��&RQWHPSRUDU\�3UDFWLFH��$UW��DQG�&LYLOLW\, a symposium held at the Museum of Contemporary Art, that explored contemporary issues related to collaboration, social practice, community outreach, and civic engagement. They met with Mary Jane Jacob for an in-depth interview. And they continued their research at a residency at Alabama Song, an experimental arts space in Houston, Texas. All these opportunities have contributed to introducing new perspectives to their research and have shed new light on &XOWXUH�LQ�$FWLRQ, which will soon be made available on ICI’s website.

Thank you to the Dedalus Foundation for their generous support of this fellowship.

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Nataša Petrešin-Bachelez is the third ICI / French Institute Fellow. The fellowship program offers a French curator a new opportunity for international research and the development of professional networks. The program spans over a period of 6 months and includes research trips to the U.S. and now to other cities throughout the international network of ICI collaborators.

3HWUHãLQ�%DFKHOH]¶V�UHVHDUFK�IRFXVHV�RQ�FRRSHUDWLYH�practices in curating and on common urgencies, solidarities, empathy and antagonisms of dynamic networks, including collaboratively-run spaces, advocacy groups, and artist-activist groups. Taking L’Internationale, a consortium of European art institutions, as a starting point, she is exploring possibilities of participation in the JOREDO�H[FKDQJH�RI�LGHDV�IURP�DQ\�JLYHQ�VSDFH��3HWUHãLQ�Bachelez’s research and information on related events will be made available on ICI’s website.

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Nataša Petrešin-Bachelez is an art critic and independent curator based in Paris, France. She is currently managing editor of the online platform of L’Internationale, which is hosted by KASK/School of Arts LQ�*KHQW��6LQFH��3HWUHãLQ�%DFKHOH]�KDV�EHHQ�FKLHI�editor of 0DQLIHVWD�-RXUQDO.

Thank you to l’Institut français in Paris, and the Cultural Services of the French Embassy for generously supporting this fellowship. L’Institut français in Paris promotes French culture abroad and the Cultural Services of the French Embassy provides Americans access and resources to engage with French culture.

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,&,¶V��&XUDWRULDO�)HOORZ�Sumesh Sharma is seeking to uncover the complex histories of colonialism in the Middle East, Africa, and Southeast Asia by examining the funding mechanisms and institutional support of art institutions that utilize the power structures put in place by colonial laws. Looking at art and activist practices in former British and French colonies as case VWXGLHV��6KDUPD�VHHNV�WR�¿QG�D�QRQ�OLQHDU�KLVWRU\�RI�DFWLYLVP��GXULQJ�SUH��DQG�SRVW�FRORQLDO�UXOH��WKURXJK�the work of artists-as-agents of gender, sexual, and racial equality. Sharma is documenting shared artistic sensibilities across continents, investigating pragmatic and philosophical approaches to art history that subverts colonial structures and tackles systems of discrimination.

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Sumesh Sharma is a curator based in Mumbai who co-IRXQGHG�WKH�&ODUN�+RXVH�,QLWLDWLYH�LQ��D�FXUDWRULDO�FROODERUDWLYH�SURMHFW�ORFDWHG�LQ�DQ�ROG�RI¿FH�RI�WKH�7KDNXU�Shipping Company, which seeks to address the freedom WKDW�³\RX�GRQ¶W�\HW�NQRZ�\RX�GRQ¶W�KDYH�´

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María Elena Ortiz has been selected as the third recipient of the CPPC Travel Award for Central America and the Caribbean. The award supports a contemporary art curator based anywhere in the world to travel to regions in Central America and the Caribbean to conduct research related to art and cultural activities, generating new collaborations with artists, curators, museums, and cultural centers within regional networks.

Ortiz has planned to use the award to visit new and established contemporary art centers, artist initiatives, DQG�¿OP�IHVWLYDOV�LQ�WKH�&DULEEHDQ�FRXQWULHV�RI�$UXED��the Bahamas, Martinique, and Trinidad and Tobago. She is conducting interviews with local cultural producers DQG�VWXGLR�YLVLWV�ZLWK�DUWLVWV�WR�LQYHVWLJDWH�¿OP�DQG�YLGHR�practices with the aim of strengthening the ties between art in the Caribbean and the Diaspora, particularly in the local community of Miami, Florida, as well as nurturing FRQWHPSRUDU\�DSSURDFKHV�WR�¿OP�DQG�YLGHR�LQ�WKH�UHJLRQ�

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María Elena Ortiz currently works as a Curatorial $VVLVWDQW�DW�WKH�3pUH]�$UW�0XVHXP�0LDPL��3$00��Previously, she was the Curator of Contemporary Arts at the Sala de Arte Público Siqueiros in Mexico City. Ortiz has also collaborated with institutions such as TEOR/éTica, San Jose, Costa Rica; Tate Modern, London; the Museum of Craft and Folk Art, and New Langton Arts, both in San Francisco.

7KDQN�\RX�WR�7KH�&ROHFFLyQ�3DWULFLD�3KHOSV�GH�&LVQHURV��&33&��IRU�their generous support of this fellowship. 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 UHVHDUFK�LQ�WKH�¿HOG�RI�/DWLQ�$PHULFDQ�DUW��

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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 Glasgow, Utrecht, Buenos Aires, Houston, and Harare 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

Valerie Cassel Oliver:HGQHVGD\��6HSWHPEHU��7–8:30pmHunter College MFA Studio Building

Valerie Cassel Oliver is senior curator at the &RQWHPSRUDU\�$UWV�0XVHXP�+RXVWRQ��7H[DV��,Q��she was one of six curators selected to organize the %LHQQLDO�IRU�WKH�:KLWQH\�0XVHXP�RI�$PHULFDQ�$UW��1HZ�York. Cassel Oliver has organized numerous exhibitions including the acclaimed 'RXEOH�&RQVFLRXVQHVV��%ODFN�&RQFHSWXDO�$UW�6LQFH��%ODFN�/LJKW�:KLWH�1RLVH��6RXQG�DQG�/LJKW�LQ�&RQWHPSRUDU\�Art ��Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. $QGUHD�%DUQZHOO�%URZQOHH��+DQG��0DGH��7KH�3HUIRUPDWLYH�,PSXOVH�LQ�$UW�DQG�&UDIW��D�major retrospective on Black Fluxus artist Benjamin Patterson, %RUQ�LQ�WKH�6WDWH�RI�)OX[�XV, as well as Donald Moffett: The Extravagant Vein ��WKH�DUWLVW¶V�¿UVW�major survey.

Raphael ChikukwaTuesday, October 77–8:30pm New Museum of Contemporary Art

5DSKDHO�&KLNXNZD�ZDV�ERUQ�LQ�=LPEDEZH�DQG�ZRUNHG�mainly as an independent curator for 10 years before MRLQLQJ�WKH�1DWLRQDO�*DOOHU\�RI�=LPEDEZH�LQ��DV�LWV�Chief Curator. In his current position, Chikukwa aims WR�FKDQJH�WKH�YLVXDO�DUWV�ODQGVFDSH�RI�=LPEDEZH��+H�FXUDWHG�WKH�¿UVW�DQG�VHFRQG�=LPEDEZH�3DYLOLRQV�DW�WKH��WK�DQG��WK�9HQLFH�%LHQQDOHV��DQG�VLQFH��KH�has taken part in a number of discussion forums at the -RKDQQHVEXUJ�$UW�)DLU��$UFR�0DGULG��WKH�5H�=LPEDEZH�3DYLOLRQ�WDON�DW�,1,9$�LQ�/RQGRQ��VW�:RUOG�%LHQQDOH�)RUXP�LQ�6RXWK�.RUHD��./$�$57��.DPSDOD�Contemporary Art Festival; and Condition Report forum in Senegal. He is a founding member of the PUMA funded Creative Africa Network, and was an editor and advisor IRU�WKH�SURMHFW��±��

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].

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Maria Hlavajova$SULO��

Maria Hlavajova is General and Artistic Director of BAK, basis voor actuele kunst in Utrecht, as well as Artistic 'LUHFWRU�RI�)250(5�:(67�DQG�D�IRXQGLQJ�GLUHFWRU�RI�the WUDQ]LW�network.

For her Curator’s Perspective talk, titled In the Times of ,QWHUUHJQXP, Maria Hlavajova spoke about the notion of ³LQWHUUHJQXP´�DV�WKH�FRQWH[W�RI�XUJHQFLHV�WKDW�RULHQW�KHU�current work.

6LWXDWHG�VRPHZKHUH�EHWZHHQ�³QR�ORQJHU´�DQG�³QRW�\HW�´�ZH�VHH�H[WDQW�KHJHPRQLHV�loosing their grip and collapsing as the :HVWHUQ�PRGHUQLVW�OHJDF\²VR�LQ�WKH�LOOXVLRQ�RI�SURJUHVV²LQFOXGLQJ��LQ�P\�YLHZ��LWV�GHFDGHQW�neoliberal addition, seem to have become XQPDVNHG�DQG�FDQ�QR�ORQJHU�KROG�WRJHWKHU��7R�WKLQN�RXUVHOYHV�RXW�RI�WKLV�LQWHUUHJQXP��ZH�PLJKW�QHHG�WR�UHWKLQN�VXFK�PRGHUQLVW�SDUDSKHUQDOLD��DV�WKHVH�GHFD\V�RI�WKH�QRWLRQ�RI�SURJUHVV�RU�HYHQ�WKH�IXWXUH��

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Victoria Noorthoorn was named Director of the Museo GH�$UWH�0RGHUQR�GH�%XHQRV�$LUHV��0$0%$��LQ��It is the city’s only major public institution dedicated to modern and contemporary art. She presented on her vision for the museum, the urgencies that it needs to address as a place for art and artists in the city, and spoke about the re-thinking of MAMBA as a civic center for artists and for the public at large.

In order to conceive the program of the LQVWLWXWLRQ��,�UHOLHG�RQ�ZKDW�,¶YH�FDOOHG�WKH�³XQLYHUVHV�RI�VHQVH�´�:KDW�ZH�DUH�WU\LQJ�WR�GR�LV�WR�SUHVHQW�D�PXOWLSOLFLW\�RI�H[KLELWLRQV�WKDW�DGGUHVV�WKH�QHHGV�RI�WKH�DUWLVWLF�FRPPXQLW\��DQG�GR�VR�LQ�D�ZD\�WKDW�WKH�VKRZV�VSHDN�WR�HDFK�RWKHU²QRW�LQ�OLWHUDO�WHUPV��EXW�LQ�ZD\V�WKDW�JHQHUDWH�GLDORJXHV�JRLQJ�RQ�EHWZHHQ�WKH�ZRUNV�LQ�WKH�GLYHUVH�H[KLELWLRQV��7KH\�DUH��RI�FRXUVH��RSHQ�HQRXJK�IRU�WKH�YLHZHU�WR�FRPH�IURP�WKH�SODFH�WKDW�WKH\�IHHO�PRVW�FRPIRUWDEOH�ZLWK�WR�explore on their own and make their own travels WKURXJK�HDFK�VKRZ�DQG�EHWZHHQ�WKH�H[KLELWLRQV��Experienced in different spaces was the PHVVDJH�RI�D�PXVHXP�XQGHU�FRQVWUXFWLRQ��ZH�KDG�ZRUNV�ZLWK�VFDIIROGLQJ��UDLOZD\V��FRQWDLQHUV�WDNLQJ�\RX�RQ�D�MRXUQH\�\RX�GLGQ¶W�NQRZ�\HW��

:H�ZHQW�YHU\�IDVW�ZLWK�WKHVH�H[KLELWLRQV��EHFDXVH�ZH�KDG�D�VNHSWLFDO�DUWLVWLF�FRPPXQLW\�RXW�WKHUH�DQG�ZH�QHHGHG�WR�UHVSRQG��7KLV�ZDV�XUJHQW��<RX�FRXOGQ¶W�WDNH�D�IHZ�PRQWKV�WR�WKLQN�DERXW�LW��WKHUH�ZDV�QR�WLPH�WR�ZDVWH�

7KH��&XUDWRU¶V�3HUVSHFWLYH�SURJUDP�LV�PDGH�SRVVLEOH��LQ�SDUW��E\�grants from the Robert Sterling Clark Foundation, the support of ICI’s Board of Trustees and ICI’s Access Fund.

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REBELS REBEL7XHVGD\��6HSWHPEHU��±�SP�

In celebration of the newly published REBELS REBEL: $,'6��$UW�DQG�$FWLYLVP�LQ�1HZ�<RUN��±��, a new book on the history of art activism against AIDS in New York in the 1980s, ICI invites its author, the curator and art critic Tommaso Speretta for an intimate conversation with Loring McAlpin, artist, producer and founding member of the collective Gran Fury.

The Curatorial Hub was established with the support of the Rockefeller Brothers Fund, and programs at the Hub were made possible in part by JUDQWV�IURP�WKH�+DUW¿HOG�)RXQGDWLRQ��

Check ICI’s website for updates on Hub events.

PAST EVENTS: HIGHLIGHTS

Mark Beasley: A Brief History of Unique Singing Techniques-XQH�� In a performative talk, New-York based curator and writer Mark Beasley led an intimate crowd through a listening-session and a brief history of vocalization and Extended 9RFDO�7HFKQLTXH�IURP�IHPDOH�SLRQHHUV�3DWW\�:DWHUV��Cathy Berberian and Joan La Barbara, Grindcore and the Death Growl to the current re-examination of voice as material in the work of Florian Hecker, Stine Motland and C. Spencer Yeh.

CURATORIALHUB

Over the past year, ICI hosted 22 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, 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.

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Eoin Dara: the spaces through which we go daily-XQH�� Curatorial Intensive alumnus and Belfast-based curator Eoin Dara spoke about the wealth of artistic activity shaping the city of Belfast and the social and political context in which this work is being produced. He focused VSHFL¿FDOO\�RQ�FROODERUDWLYH�FXUDWRULDO�SURMHFWV�VXFK�as the domestic exhibition space Satis House and the Household Festival for Contemporary Art.

Blonde Art Books: Artist Conversation and Book Launch -XO\��

Blonde Art Books’ founder Sonel Breslav, artist Sara Cwynar, and Corina Reynolds of Small Editions discussed independent publishing and celebrated the special limited edition launch of Blonde Art Books’ Kitsch (QF\FORSHGLD, a book project of original and appropriated LPDJHV�E\�6DUD�&Z\QDU��SXEOLVKHG�LQ��

Tahir Hemphill: Picasso, Baby!$XJXVW�� Tahir Hemphill, a multimedia artist working in the areas of interdisciplinary collaboration, thought and research, MRLQHG�LQ�FRQYHUVDWLRQ�ZLWK�,&,¶V�'H[WHU�:LPEHUO\�WR�discuss Hemphill’s latest work, 3LFDVVR��%DE\�� an online interactive network graph that visualizes the connections between rappers and modern and contemporary artists that are referenced in their lyrics. Visit tahirhemphill.com/picassobaby/

Curating Social Movements$XJXVW��

&XUDWRULDO�,QWHQVLYH�DOXP�5\DQ�:RQJ�DQG�,QWHUIHUHQFH�Archive’s Josh MacPhee presented on visual culture produced by social movements, through the exhibitions 6LJQV�RI�&KDQJH��6RFLDO�0RYHPHQW�&XOWXUHV��V�to Now and Serve the People. They discussed the challenges that these materials represent in terms of documentation, collecting, exhibiting, and institutional support.

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ONLINENETWORKS

Last spring, ICI worked with visual design studio FusionLab to introduce major new upgrades to its website, including a new navigational structure that is mobile-ready and includes more interactive components. A new Research section offers both familiar and original resources, recordings of ICI programs, and commissioned writings. And The Curator’s Network, ICI’s online professional membership program, with over 500 members from more than 60 countries, has been expanded to better facilitate international exchange and dialogue.

ONLINE RESOURCES: DO IT AND EN MAS’

ICI is developing a new expanded online presence for its generative exhibitions such as do it, in order to make more accessible the contents created by each iteration of the project. Similarly, an expanded online platform for EN MAS’ is being created to allow for the presentation of a wealth of materials tracking the development and production of the nine performances around which the exhibition is articulated.

ONLINE RESOURCES: RESEARCH

The new Research section of ICI’s website includes an array of resources such as an archive of audio and video recordings from ICI produced public talks and conferences in the Media Room; fellowship reports; interviews; and online publications that are produced from commissioned writings under the Journal section. Most recently, new contents have included a Spanish-language series of video interviews with curators from the Curatorial Intensive in Mexico City.

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The Curator’s Network is ICI’s professional membership program and an online community of curators from around the world, with over 500 members from more WKDQ��FRXQWULHV��DOO�SURIHVVLRQDOV�LQ�WKH�¿HOG��LQFOXGLQJ�recent alumni and faculty of the Curatorial Intensive. Members share a desire to build and enrich their interests and research through international connections. The Curator’s Network includes professional resources, such as a Reading Room, a Forum, and an online guide to sought-after opportunities. Through the Network, curators can access information on residencies, current

job and fellowship opportunities, calls for exhibitions and conference papers, as well as articles on curating and source material for research.

Membership also grants access to a quarterly newsletter with important information, opportunities, texts, and articles, as well as exclusive offers from ICI; a closed group on LinkedIn; and to ICI’s Curatorial Hub and Library.

NEW: International members of the Curator’s Network now have access to NeueHouse as a base when they are LQ�1HZ�<RUN�&LW\��7KLV�QHZ�SDUWQHUVKLS�RIIHUV�WKH�ÀH[LEOH�workspace, meeting rooms, and networking opportunities needed when traveling.

The fully tax-deductible annual subscription to the Curator’s Network is ��SHU�\HDU��)RU�PRUH�LQIRUPDWLRQ�RU�WR�UHJLVWHU��YLVLW�,&,¶V�ZHEVLWH��curatorsintl.org, under the Network section. For questions about the Curator’s Network, email [email protected].

ICI LIBRARY

Like the Curatorial Hub that houses it, the ICI Library serves to document recent developments in contemporary art through the lens of international curatorial practice. It presents itself as a tool for research and an accessible resource for curators living in or coming through New York. The books in the ICI Library are non-circulating, but we encourage visitors to schedule an appointment to access this unique resource. You can begin by exploring the ICI Library holdings through our digital database, LibraryThing:ZZZ�OLEUDU\WKLQJ�FRP�SUR¿OH�&XUDWRUV,17/

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(GLWHG�E\�0DUWKD�:LOVRQ��)RUHZRUG�by Kate Fowle; introduction by Moira 5RWK��WH[W�E\�0DUWKD�:LOVRQ� 6RIWFRYHU��SDJHV��[��LQFKHV��3XEOLVKHG�E\�,&,�� ,6%1��

0DUWKD�:LOVRQ�6RXUFHERRN��<HDUV�RI�Reconsidering Performance, Feminism,

Alternative Spaces GH¿QHV�H[FHOOHQFH�LQ�H[HFXWLRQ�IURP�WKH�ERRN¶V�title, to content, to a demonstration of what Martha Wilson has excelled DW�RYHU�WKH�FRXUVH�RI�KHU�SLRQHHULQJ�ZRUN�FKDPSLRQLQJ�SHUIRUPDQFH��feminism, and her tireless dedication to the development and advocating IRU�DOWHUQDWLYH�VSDFHV�VLQFH��ZKHQ�VKH�IRXQGHG�)UDQNOLQ�)XUQDFH�—David Platzker, 6SHFL¿F�2EMHFW��

THINKING CONTEMPORARY CURATING

By Terry Smith; introduction by Kate )RZOH��3XEOLVKHG�E\�,&,��6RIWFRYHU��[��LQFKHV��pages. ISBN: 9780916365868. ��$OVR�DYDLODEOH�DV�DQ�H�ERRN�

7KURXJK�WKLV�DFW�RI�JOREDO�PHWDFXUDWLQJ��7HUU\�6PLWK�FUHDWHV�D�GLVFXUVLYH�VSDFH�LQ�ZKLFK�KH�SODFHV�GLIIHUHQW�DQG�VRPHWLPHV�FRQWUDGLFWRU\�FXUDWRULDO�SUDFWLFHV�DQG�DWWLWXGHV�LQWR�D�SDQRUDPD�WKDW�IDVFLQDWHV�DQG�LQWHOOHFWXDOO\�

HQJDJHV�WKH�UHDGHU��,W�LV�D�PXVW�UHDG�IRU�HYHU\ERG\�ZKR�ZDQWV�WR�XQGHUVWDQG�WKH�LQQHU�ORJLF�RI�FRQWHPSRUDU\�DUW�SURFHVVHV. —Boris Groys, Global Distinguished Professor of Russian and Slavic Studies, New York University

FROM MEDIA TO METAPHOR: ART ABOUT AIDS

Robert Atkins and Tom Sokolowski. 6RIWFRYHU��3DJHV��[��LQFKHV��3XEOLVKHG�E\�,&,��,6%1��

From Media to Metaphor�PHDVXUHV�ERWK�ORVV�DQG�DFKLHYHPHQW�DQG�FRYHUV�PXFK�HVWKHWLF�JURXQG�DQG�UHFHQW�VRFLDO�KLVWRU\�WKDW�LW�VRPHWLPHV�VHHPV�WR�EH�DQ�RXWOLQH�IRU�VHYHUDO�VKRZV�DERXW�$,'6�LQVSLUHG�DUW�DQG�PD\EH�D�IHZ�ERRNV�—Roberta Smith, New York Times, 1994

THE PAPER SCULPTURE BOOK

Introduction by Mary Ceruti, Matt )UHHGPDQ��DQG�6LQD�1DMD¿��HVVD\�by Frances Richard. Softcover, ��SDJHV��[��LQFKHV��3XEOLVKHG�E\�,&,��6FXOSWXUH�Center, and Cabinet Magazine. ISBN 0916365697. Out of print—last copies available at ICI at the New York Art Book Fair.

The Paper Sculpture Book�GRHV�D�XVHIXO�DQG��QRW�LQFLGHQWDOO\��KLJKO\�HQMR\DEOH�MRE�RI�UHSRVLWLRQLQJ�LW�ZLWKLQ�D�PXOWLSOLFLW\�RI�GHEDWHV�DERXW�DXWKRUVKLS�DQG�RZQHUVKLS��FUHDWLYLW\�DQG�FUDIW��FULWLFDOLW\�DQG�SOD\��,W�LV�RIWHQ�SOHDVDQWO\�QRVWDOJLF�EXW�DOVR�SURYHV�WR�EH�D�UDWKHU�VWULQJHQW�WHVW²QRW�RQO\�RI�WKH�UHDGHU�XVHU¶V�GH[WHULW\�ZLWK�DQ�;�$FWR�NQLIH�EXW�RI�DUWLVWV�LQYROYHG�DQG�WKH�PXWDELOLW\�RI�WKHLU�SUDFWLFHV�²0LFKDHO�:LOVRQ��%RRNIRUXP :LQWHU��

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For the fourth year running, ICI will be at the annual New York Art Book Fair in September, bringing to MoMA PS1 a collection of our newest, our rarest, and our best-selling publications, including, from the Sourcebook Series, $OOHQ�5XSSHUVEHUJ�6RXUFHERRN�and Martha :LOVRQ�6RXUFHERRN; GR�LW��WKH�FRPSHQGLXP; Thinking &RQWHPSRUDU\�&XUDWLQJ; -HVV��7R�DQG�)URP�7KH�3ULQWHG�Page; )URP�0HGLD�WR�0HWDSKRU��$UW�$ERXW�$,'6; and out-of-print titles, including 7KH�3DSHU�6FXOSWXUH�%RRN, among others.

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PUBLICATIONS For the past 39 years, ICI has been dedicated to producing catalogues to accompany its exhibitions, as well as publications that reflect on the latest developments of curatorial practice. Since 2011, ICI also launched two new publication series: the SOURCEBOOK series of artists-edited publications; and PERSPECTIVES IN CURATING, which offers timely reflections on emerging debates in curatorial practice, and debuted with the best-seller Thinking Contemporary Curating.

34

ALLEN RUPPERSBERG SOURCEBOOK: REANIMATING THE 20TH CENTURY

In 2011, ICI launched a new publication series, SOURCEBOOK, dedicated to artists’ personal perspectives on social, political, and cultural issues. Edited by an artist, each book in the series is a collection of primary research materials consisting of rare archival documents, artwork studies, and excerpts of landmark publications selected from their own archive, and annotated with personal commentary. Earlier this year, ICI published the second title in the series, which follows the development of ALLEN RUPPERSBERG’s practice through the very material that inspires and influences him.

ALLEN RUPPERSBERG

For the second 6RXUFHERRN in the series, ICI invited Allen Ruppersberg to cull through his archives stored between &OHYHODQG�DQG�/RV�$QJHOHV��7KLV�SXEOLFDWLRQ�LV�WKH�¿UVW�WR�ORRN�DW�D�UDQJH�RI�5XSSHUVEHUJ¶V�ZRUN�IURP��±��turning the microscope onto nine important works from KLV�FDUHHU��,W�GHOYHV�LQWR�WKH�LQÀXHQFHV�DQG�UHVHDUFK�WKDW�led to each of the works, as they reanimate twentieth century popular culture ephemera and pre-digital materials. The works explored include Ruppersberg’s SURMHFW�IRU�WKH�¿IWLHWK�DQQLYHUVDU\�RI�WKH�8QLWHG�1DWLRQV��KLV��JXLGH�ERRN�IRU�WKH�0�QVWHU�6FXOSWXUH�3URMHFW��DQG�KLV��LQVWDOODWLRQ�DW�WKH�$UW�,QVWLWXWH�RI�&KLFDJR��1R�7LPH�/HIW�WR�6WDUW�$JDLQ�7KH�%�DQG�'�RI�5�¶Q¶�5.

ALLEN RUPPERSBERG SOURCEBOOK: 5($1,0$7,1*�7+(��7+�&(1785<

Edited by Allen Ruppersberg. 6RIWFRYHU�ZLWK�MDFNHW�SRVWHU��pages. Full color. 8.5 x 11 inches. ��3XEOLVKHG�E\�,&,�DQG�GLVWULEXWHG�E\�'�$�3��DQG�:DOWKHU�König Books. ,6%1��

1(:�<25. BOOK LAUNCH

2Q�0D\��,&,�DQG��%RRNV�KRVWHG�D�Launch and Book Signing event at the iconinc bookstore in Chelsea, New York. The packed room heard Ruppersberg in conversation with his long-time colleague, curator and author of the introduction to the 6RXUFHERRN, Constance M. Lewallen. The two discussed the artist’s use of popular culture as source material, as well as the process of collaboration behind this publication. It was moderated by Jay Sanders, Curator at WKH�:KLWQH\�0XVHXP�RI�$PHULFDQ�$UW�

UPCOMING LAUNCH EVENTS

Book Launch and Conversation with Geoff Kaplan2FWREHU��Kadist Art FoundationSan Francisco Constance M. Lewallen will moderate a conversation between Allen Ruppersberg and book designer Geoff Kaplan, who collaborated closely with the artist on the design of this 6RXUFHERRN.

Book Launch and Conversation with Allan McCollum2FWREHU��Art Catalogues / Los Angeles County Museum of Art �/$&0$�Los Angeles

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Liz GlynnUntitled�� Gold-plated Bronze, Silver-plated Bronze, and Plated Bronze necklace 3 Editions of 9, all unique $1,500

ABOUT THE ARTIST

Liz Glynn is a Los Angeles-based artist, whose practice draws frequently on creation myths, classical antiquity, and some distant past, as a way to exemplify humanity’s endurance through time—particularly honing in on our failures, which have forced us to change through a series of rises and falls. In her relationship to sculpture, Glynn is inspired by materials of all sorts, which also recount narratives of cyclical use, transformation, change and decay. Installations and sculptural objects take form from palettes, scraps, re-used materials, or papier mache; and her sculptures have a distinct uniqueness, through the uneven texture of their surface, or the changing edges of each of their editions. Using in this case—as she often does—fragile, poured-wax molds, Glynn is able to make each edition work unique in some ways, as the mold tends to pull apart each time an edition is created, thus shaping the next one, and so on through an ongoing cycle of change. Like medals, the pendants are also produced in three different metal ¿QLVKHV²JROG��VLOYHU��DQG�EURQ]H��

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LIMITEDEDITIONS

Since 1990, ICI has commissioned limited edition artworks to raise funds for its pro-grams, by artists including Marina Abramovic, Jacob Kassay, Robert Rauschenberg, and Laurie Simmons. Most recently, ICI teamed up with Liz Glynn to produce a new edition of the artist’s well-known jewelry pieces.

37LIMITED EDITIONS

LIMITEDEDITIONS

Laurie Simmons:DONLQJ�3HWLW�)RXU, 1990–91 Duotone offset Lithograph��[��LQFKHV�Edition of 75 $1,200

0DULQD�$EUDPRYLüUntitled��do it FDWDORJXH��HGLWLRQ��HPEURLGHUHG�DSURQ��wooden box15 x 15 x 4 inchesHGLWLRQ�RI��$5,000

Robert Rauschenberg 8QWLWOHG��)W��0\HUV, 1979/91Silver gelatin print11 x 14 inchesEdition of 75$1,000

Stephen J. KaltenbachUntitled�� Stainless steel, secret contents ��[��[��LQFKHV (GLWLRQ�RI�� $8,500

38

ANNUAL BENEFIT

ICI’s 2014 Annual Benefit & Auction will celebrate our 39-year commitment to curatorial excellence, and be an occasion to raise a glass to organization’s future together, as ICI continues to forge important international networks for curators, artists, art spaces and all practitioners in the field of contemporary art. Join us on Monday, November 17 at 25 Broadway for a magical evening of celebrations, and to honor the philanthropic work of Dimitris Daskalopoulos, who will receive the 2014 Leo Award; as well as the work of an emerging curator who will be selected by Nancy Spector to receive ICI’s Independent Vision Curatorial Award.

CELEBRATING ICI

,&,¶V��%HQH¿W�&RPPLWWHH��FKDPSLRQHG�E\�&R�FKDLUV�Ann Cook, Belinda Kielland, Noreen K. Ahmad, and Bridget Finn, as well as the entire ICI Board of Trustees and staff invite you to join us for an evening of art, cocktails, dinner and music: celebrations that promise to be memorable.

Our co-chairs are once more collaborating with Jung Lee and Josh Brooks, who together form FÊTE, New York’s expert event planners, in the creation of this special soirée in support of ICI. This year again, FÊTE will shape the event into magic, and transform the space of the old &XQDUG�%XLOGLQJ�DW��%URDGZD\��ZKHUH�ZRUOG�WUDYHOHUV�once planned their transatlantic trips.

During the evening, ICI will honor the philanthropic work of Dimitris Daskalopoulos, collector and founder of NEON, a foundation in support of contemporary DUW��FXUDWRUV�DQG�DUWLVWV��KH�ZLOO�UHFHLYH�WKH��/HR�Award, presented by Agnes Gund. For the third year VLQFH��DQ�HPHUJLQJ�FXUDWRU�ZLOO�UHFHLYH�WKH�*HUULW�Lansing Independent Vision Curatorial Award, presented by Nancy Spector who will select the awardee from an international list of nominations made by curators and ICI collaborators from across the globe. See next pages for details.

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7KLV�\HDU�DJDLQ��,&,�LV�SURXG�WR�EHQH¿W�IURP�WKH�generosity of artists who have consistently shown great FRQ¿GHQFH�LQ�,&,�DQG�VXSSRUW�IRU�LWV�SURJUDPV��:H�FRXOG�QRW�WKDQN�WKHP�HQRXJK��7KH��$XFWLRQ�ZLOO�feature artworks by John Baldessari, Tara Donovan, Iván 1DYDUUR��6D\D�:RROIDON��DQG�PDQ\�PRUH��

ICI and Artsy have renewed their partnership, following last year’s success, to once again offer a unique auction experience online and during the event. Both the silent and live auction will be previewed on Artsy.net, where bidding will begin early; and during the evening, guests will place their bids together with those of international ICI supporters, who last year came from as far as Hong Kong and Oslo. This year, ICI and Artsy are also collaborating on new features that will make this auction experience unique.

In a continued partnership, the live auction will be led by Sotheby’s.

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39

BENEFIT COMMITTEE CO-CHAIRS

Ann CookBelinda KiellandNoreen K. AhmadBridget Finn

HOST COMMITTEE

Richard ArmstrongAgnes GundDorothy Lichtenstein

TICKETS

$QQXDO�%HQH¿W�'LQQHU��WD[�GHGXFWLEOH��±�/HDGHUVKLS�&LUFOH�7DEOH��GLQQHU�WLFNHWV�ZLWK�DQ�H[FOXVLYH�WDEOH��Leadership recognition in all printed material and ICI’s website. ICI invites an artist and a curator on your behalf.)

��WD[�GHGXFWLEOH��±�+RQRUHHV¶�&LUFOH�7DEOH��GLQQHU�WLFNHWV�ZLWK�D�SUHPLXP�WDEOH��,&,�invites an artist and a curator on your behalf, and you will receive a year membership to ICI’s International Forum)

��WD[�GHGXFWLEOH��±�&XUDWRUV¶�&LUFOH�7DEOH��GLQQHU�WLFNHWV�ZLWK�D�UHVHUYHG�WDEOH��,&,�LQYLWHV�D�curator on your behalf)

��WD[�GHGXFWLEOH��±�$UWLVWV¶�&LUFOH� ��WLFNHWV��,&,�LQYLWHV�DQ�DUWLVW�RQ�\RXU�EHKDOI�

$QQXDO�%HQH¿W�DQG�$XFWLRQ�$IWHUSDUW\��WD[�GHGXFWLEOH��±�,QGLYLGXDO�7LFNHW� ��WLFNHW�WR�WKH�$QQXDO�%HQH¿W�DQG�$XFWLRQ�$IWHUSDUW\��

7KH�$QQXDO�%HQH¿W��$XFWLRQ�SOD\V�D�FHQWUDO�UROH�LQ�supporting ICI’s programs in New York and all around the world, so that we can continue to engage with curators WR�¿QG�IUHVK�ZD\V�WR�VXSSRUW�DUWLVWV¶�LGHDV�DQG�JLYH�exposure to their work.

To stay updated on this event, review auction items, and purchase tickets, visit ICI’s website at www.curatorsintl.org or contact Jenn Hyland at [email protected].

ANNUAL BENEFIT

ANNUAL BENEFIT

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ICI AWARDS At the 2014 Annual Benefit & Auction, ICI will honor Dimitris Daskalopoulos, recipient of the prestigious Leo Award presented by Agnes Gund. And continuing a tradition of supporting emerging curators, ICI will also honor a curator with the third Gerrit Lansing Independent Vision Curatorial Award, selected and presented this year by Nancy Spector.

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(VWDEOLVKHG�LQ��DV�DQ�LQLWLDWLYH�RI�WKH�*HUULW�/DQVLQJ�Education Fund, the Independent Vision Curatorial Award UHÀHFWV�,&,¶V�FRPPLWPHQW�WR�VXSSRUWLQJ�international curators early in their careers who have shown exceptional creativity and prescience in their exhibition-making, research, and related writing.

This year we have reached out to 15 international curators and ICI collaborators, and asked them to nominate one emerging or mid-career curator for this award. From those nominations, Nancy Spector, Deputy Director and Jennifer and David Stockman Chief Curator of the Solomon R. Guggenheim Museum, will select and present this year’s award.

7KH��,QGHSHQGHQW�9LVLRQ�&XUDWRULDO�$ZDUG�Nominating Committee includes: Zdenka Badovinac, Director, Moderna galerija, Ljubljana; Iwona Blazwick, 'LUHFWRU��:KLWHFKDSHO�*DOOHU\��Zoe Butt, Executive Director and Curator, Sàn Art, Ho Chi Minh City; Rosina Cazali, Independent Curator, Guatemala City; Reem Fadda, Associate Curator, Middle Eastern Art, Abu Dhabi Project, Solomon R. Guggenheim Foundation, New York and Abu Dhabi; Gridthiya Gaweewong, Artistic Director, Jim Thompson Art Center, Bangkok; Abdellah Karroum, )RXQGLQJ�$UWLVWLF�'LUHFWRU�RI�/¶DSSDUWHPHQW��5DEDW��Koyo Kouoh, Artistic Director, Raw Material Company, Dakar; Michy Marchuax, Co-director of Beta-Local, San Juan; Riason Naidoo, Independent Curator, Cape Town; Valerie Cassel Oliver, Senior Curator, Contemporary Arts Museum Houston, Houston; Jose Roca, Estrellita B. Brodsky Adjunct Curator of Latin American Art, Tate Modern, London and Artistic Director of FLORA, Bogotá; Claire Tancons, Independent Curator; Philip Tenari, Director, Ullens Center for Contemporary Art, Beijing.

The full list of this year’s nominees will be announced in 2FWREHU��

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The Leo Award��HVWDEOLVKHG�LQ��QDPHG�DIWHU�WKH�late, renowned art dealer Leo Castelli, was created to recognize outstanding achievements in advancing WKH�¿HOG�RI�FRQWHPSRUDU\�DUW��DQG�WKH�FRQWULEXWLRQV�RI�pioneering individuals who foster new opportunities and supportive environments for contemporary art. Since its inauguration, the Leo has honored art critics, collectors, and artists, including, Elizabeth Baker and Toshio Hara; &KXFN�&ORVH��'RXJODV�&UDPHU��&KULVWR��-HDQQH�&ODXGH��Dorothy and Roy Lichtenstein; Ann Tenenbaum; John :DWHUV��DQG�'DVKD�=KXNRYD�

This year, we pay homage to Dimitris Daskalopoulos, for his visionary approach to collecting, and the new models he has explored for exhibiting a collection. Sharing ICI’s drive to work internationally, through a network of partnerships and collaborations, Daskalopoulos established NEON, a ‘foundation without walls’ to provide support to artists and curators, reach new audiences through free exhibitions and events, while creating an international network of cultural partnerships. ICI is honored to welcome Dimitris Daskalopoulos into the ranks of the Leos.

Dimitris Daskalopoulos is has been dedicated to building the D.Daskalopoulos Collection since the early 1990s, showing great support to artists’ ambitious ideas and vision. Last year, he founded NEON, a non-SUR¿W�RUJDQL]DWLRQ��ZKLFK�ZRUNV�WR�EULQJ�FRQWHPSRUDU\�culture in Greece closer to everyone. He is also a member of the Board of Trustees of the Solomon R. Guggenheim Foundation, active in the Collections Council of the Solomon R. Guggenheim Foundation, the Tate International Council, the Director’s Vision Council of the Museum of Contemporary Art Chicago and the Leadership Council of the New Museum and a founding partner of the :KLWHFKDSHO¶V�)XWXUH�)XQG��7KH�/HR�$ZDUG�ZLOO�EH�presented by ICI Trustee Emerita, Agnes Gund at ICI’s $QQXDO�%HQH¿W��$XFWLRQ�RQ�November 17, 2014.

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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. ICI has expanded curatorial research opportunities in countries such as Latin America, Africa, and the Caribbean through the ICI Leadership Fund; and has allowed ICI to engage with the largest audience in the organization’s history through the redesign of ICI’s online platform. In the last year, the 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 ,&,�%RDUG�RI�7UXVWHH¶V�,QWHUQDWLRQDO�5HSUHVHQWDWLYHJosh Brooks and Jung Lee Jennifer Brown James CohanFaruk and Fusun Eczacibasi Agnes Gund Alexei Kuzmichev and Svetlana Kuzmicheva-Uspenskaya Julie Mehretu and Jessica RankinPatricia Phelps de Cisneros Mercedes Vilardell +HOHQ�:DUZLFN

For more information about the Leadership Council, contact Joey Lico at [email protected].

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. In this way, the council works closely together with ICI to nurture the curatorial network from the inside out, and establishes the crucial foundations for the future of international exchange.

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LEADERSHIP COUNCIL

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Join ICI’s International Forum and support a truly international art organization that is active in 44 countries with access to the curators, artists and art spaces that DUH�NHHSLQJ�D�¿QJHU�RQ�WKH�SXOVH�RI�FRQWHPSRUDU\�DUW��In New York, the International Forum connects directly to ICI’s programs through ICI Conversations, a series of exclusive events, site visits, cocktails, and dinners with international curators and artists held throughout the year. As a member of the International Forum, you will receive recommendations on the places to visit and curators to meet when traveling independently. Finally, each December during NADA Miami Beach, the Forum meets with other ICI collaborators, Leadership Council members, the ICI Board of Trustees, guest curators, and artists at the Annual Miami Luncheon.

Support from the International Forum is crucial to ICI’s ongoing international collaborations. The Forum has contributed to making possible some of ICI’s most far-reaching exhibitions, such as Living As Form (The Nomadic Version), curated by Nato Thompson, which traveled from California, to Ohio, Hong Kong, and the :HVWHUQ�6DKDUD��DQG�FULWLFDO�VXSSRUW�WR�D�QHZ�OLQH�RI�ICI publications, including the best seller Thinking Contemporary Curating, by art historian and critic Terry Smith, do it: the compendium, and the newest ICI publication in the artist-edited 6RXUFHERRN�series: Allen Ruppersberg Sourcebook: Reanimating the 20th century.

INTERNATIONAL FORUM PAST EVENTS HIGHLIGHTS

The March Meeting 0DUFK��±��Sharjah, UAE

ICI was at the March Meeting this year, organized E\�WKH�6KDUMDK�$UW�)RXQGDWLRQ��6$)��ZKHUH�JOREDO�art professionals presented on the production and dissemination of art in the Middle East.

ICI Summer Cocktails-XO\��

ICI welcomed friends and patrons to meet one another and celebrate the summer at our annual Summer Cocktails event, held this year at The Roof, atop the UHGHVLJQHG�0F&DUUHQ�+RWHO�DQG�3RRO�LQ�:LOOLDPVEXUJ��Brooklyn. The event was generously sponsored by Peroni.

UPCOMING EVENT

EXPO Chicago6HSWHPEHU��Chicago, IL

Meet ICI in Chicago on the occasion of EXPO, the Chicago Fair of Contemporary and Modern Art, and the fair’s IN/SITU section of large-scale installations, which was selected by ICI’s Executive Director Renaud Proch. Join him on an exclusive tour, and a weekend of visits to galleries, private collections and artists’ studios.

For more information about the International Forum and the fall calendar, contact Joey Lico at [email protected].

INTL FORUMThe International Forum brings together an exclusive group of people who share ICI’s mission and global reach. Whether near or far, patrons of the Forum stay connected to the curators and artists who shape the contemporary art world, and gain behind-the-scenes access to ICI programs in New York, select international exhibitions, biennials, and art fairs around the world.

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THEINDEPENDENTS

ICI connects curators, artists and art spaces to forge international networks and generate new forms of collaboration. Now these networks expand to THE INDEPENDENTS, an invitation-only membership group of dynamic individuals active in the contemporary art world who support the organization’s programs and vision for the future.

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The Independents is a brand new membership group for FXOWXUDO�LQÀXHQFHUV�DQG�WKRVH�DFWLYHO\�FRQQHFWHG�WR�WKH�contemporary art world. This invitation-only membership offers insights into new approaches to contemporary art and culture by connecting with emerging and established FXUDWRUV��DUWLVWV��FROOHFWRUV��DQG�OHDGLQJ�¿JXUHV�LQ�WKH�DUW�world.

CONNECT TO ICI

:LWK�GLUHFW�DFFHVV�WR�,&,�SURJUDPV�DQG�SURIHVVLRQDOV�in ICI’s international network, the Independents gain a broader perspective on the latest developments in a global art world, through shared reading, educational programs and social events. The Independents also play a key role in supporting new engagement with ICI and its programs around the world, connecting in the process with ICI’s staff, Board of Trustees and other patrons.

The Independents nominate new members on a regular basis. Individuals are selected to join based on their creative contributions and dedication to the contemporary art world. For more information about the Independents, contact Joey Lico at [email protected].

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THEINDEPENDENTS

PAST ICI CONVERSATIONS: HIGHLIGHTS

Franklin Sirmans: Prospect New Orleans 0DUFK��New York, NY

)RU�WKH�¿UVW�,&,�&RQYHUVDWLRQV�HYHQW�RI��,&,�LQYLWHG�guests to an exclusive cocktail reception with Franklin Sirmans, the Artistic Director of Prospect.3 and the Terri and Michael Smooke Department Head and Curator of Contemporary Art at Los Angeles County Museum of $UW��/$&0$��,Q�1HZ�<RUN�IRU�,&,¶V�&XUDWRULDO�,QWHQVLYH��Sirmans presented a sneak preview of the third edition of New Orleans International Contemporary Art Biennial. The event, was a collaboration with Prospect, and KRVWHG�E\�DUWQHW�RQ�WKH�WZHQW\�VL[WK�ÀRRU�RI�WKH�KLVWRULF�:RROZRUWK�%XLOGLQJ��3URVSHFW��RSHQV�LQ�1HZ�2UOHDQV�RQ�2FWREHU��²VDYH�WKH�GDWH�DQG�PHHW�,&,�WKHUH�

With Hidden Noise -XQH��:DYH�+LOO��1HZ�<RUN��1<

ICI welcomed friends and patrons to ICI Conversation DUWLVWV�WDON�DQG�UHFHSWLRQ�LQ�:DYH�+LOO�LQ�FRQMXQFWLRQ�with the presentation of :LWK�+LGGHQ�1RLVH in the park’s galleries. Following a champagne brunch, the group visited the exhibition, and heard from artists Andrea Parkins and Michael Schumacher, before enjoying the summer sun together in the park’s magical settings.

UPCOMING EVENT

A Brunch and Artist’s Talk with Helene Appel6HSWHPEHU��

Meet artist Helene Appel for a conversation about her ZRUN�DQG�D�WRXU�RI�KHU�¿UVW�VROR�H[KLELWLRQ�LQ�1HZ�<RUN��

PATRONSEVENTS

ICI CONVERSATIONS is a thought-provoking series of patrons’ events that give exclusive access to the people—artists, curators, critics, collectors, and museum directors—who influence contemporary art today. ICI CONVERSATIONS bring you an insider’s perspective on ICI, your access point to contemporary art around the world.

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SPECIAL THANKS TO OUR INDIVIDUAL DONORS AND THE FOUNDATIONS THAT SUPPORT OUR PROGRAMS

Our most sincere thanks go to Ellen Liman and the Liman Foundation for their ongoing support of this publication, keeping you informed of ICI’s growing programs and activities. Special thanks to Augusto Arbizo, Yan Assoun, +HQUL�%DUJXLUGMLDQ��.ULVWLQH�%HOO��%DUEDUD��%UXFH�Berger, Elizabeth Berman, Richard F. Blanchard, Tanya Bonakdar, Mike Boyle, Heather Brandes, Rena Bransten, The Brant Foundation, Jason Briggs, Melva Bucksbaum and Raymond Learsy, The Buster Foundation, Nicolò Cardi, Angelo Chan, Jereann Chaney, Barbara Chapman, Leeza Chebotarev, Ellen J. Chesler, Kristen Chiacchia, -LP�&RKDQ��2UOD�&ROHPDQ��6R¿D�&RSSROD��:LOOLDP�Cummings, Don Drapkin, Lex Federbush, Benjamin Feldman, FÊTE, Elizabeth Fiore, Lisa Fischman, Bobbie Foshay, Hugh Freund, Anita Friedman, Jack *HDU\��-RKQ�*HDU\��&DURO��$UWKXU�*ROGEHUJ��0DULDQ�*RRGPDQ��-D\�*RUQH\��-RG\�+DUULVRQ�*UDVV��6WHSKHQ��0DULO\Q�*UHHQH��$JQHV�*XQG��/\QQ�+DOE¿QJHU��6R¿D�0��+HUQDQGH]��$OH[DQGUD��3DXO�+HU]DQ��0DUOHQH�+HVV��-LP�=LULQ��$OH[DQGUD�,VOHV��+RZDUG��0DUJDUHW�-DFREV��Rolando Jimenez, Rashid Johnson, Sean Johnson, Caitlin Kelly, Susanne Kenna, Ellen Kern, Dong Eun Kim, Noel Kirnon, Emily-Jane Kirwan, Sarah Ko, Helen Kornblum, Kate Krone, Rhiannon Kubicka, Ken Kuchin, NXULPDQ]XWWR��$OH[HL�.X]PLFKHY��6YHWODQD�.X]PLFKHYD�Uspenskaya, Allegra Laviola, Jo Carole Lauder, Toby Devan Lewis, Dorothy Lichtenstein, Tsam Lim, Alexander Logsdail, Robert Longo, Fabiana Lopes, Rose Lord, Lise Løvenskiold, Michele Maccarone, The Robert Mapplethorpe Foundation, Laura Maria Mattioli, Lissa McClure, Colleen McMahon, Gregor and Bee Medinger, -XOLH�0HKUHWX��-HVVLFD�5DQNLQ��-RQDWKDQ�0LOOHU��&KDUOHV�Moss, Liz Mulholland, David Nash, Barbara Nessim, Nicole Klagsbrun, Christina Pacetti, Nancy Portnoy, )RQGD]LRQH�3UDGD��6WHYH�.��3XOLPRRG��*HUDOG��/RXLVH�Puschel, Molly Rand, Lori Reinsberg, Katrina Reitman, 7UDFH\��3KLOOLS�5LHVH��.DULDQQH�5LPPHUHLG��&DURO�5ROOR��Meredith Rosen, Jane Sadaka, Kristin Sancken, Irving 6DQGOHU��%DUEDUD�6FKZDUW]��0LFKDHO��%�=��6FKZDUW]��Kelli Shaughnessy, Katy Homans, George Singer, Laura 6NROHU��+DOVH\�6WHEELQV��/LVH�6WROW�1LHOVHQ��$QGUHZ��'DQD�6WRQH��-RKQ�6XOOLYDQ��0DU\�$QQH�7DORWWD��-LOO��

Josh Tarnow, Carolee Thea, David Teiger, Lucien Terras, Svetlana Kuzmicheva-Uspenskaya, Mercedes Vilardell, +HOHQ�:DUZLFN��&KULVWLDQ�:LUW]��-HII�:ULJKW��9LUJLQLD�:ULJKW��%HJXP�<DVDU��-RVHSK�<XUFLN��$QGUHZ�=DUQHWW��'DVKD�=KXNRYD��&KULVWLDQ�=XJHO��$QG�WKH�IROORZLQJ�foundations: The Colección Patricia Phelps de Cisneros, Elizabeth Firestone Graham Foundation, Fundación -XPH[�$UWH�&RQWHPSRUiQHR��+DUW¿HOG�)RXQGDWLRQ��5REHUW�6WHUOLQJ�&ODUN�)RXQGDWLRQ��6$+$�'HUQH÷L��7KH�Foundation To-Life, Inc., The Klein Foundation, The Overbook Foundation.

IN MEMORIAM

,Q�WKH�SDVW�PRQWKV��,&,�KDV�ORVW�WZR�FHQWUDO�¿JXUHV�DQG�JUHDW�OHDGHUV��:H�PRXUQ�WKH�ORVV�RI�,&,¶V�&R�IRXQGHU�Nina Castelli Sundell, who sparked the organization into existence, and of Mickey Straus, ICI Trustee since 1986, Vice-Chair and Treasurer of the Board, who carried our mission forward for the past four decades.

Nina Castelli Sundell was ICI’s co-founder, an ICI Trustee, and the curator of many early ICI exhibitions. $Q�DUW�ZRUOG�SLRQHHU��VKH�GH¿QHG²WRJHWKHU�ZLWK�6XVDQ�6ROOLQV²WKH�YLVLRQ�EHKLQG�RQH�RI�WKH�¿UVW�RUJDQL]DWLRQV�in the world to be dedicated to the work of curators. In 1981, Nina and Susan curated the exhibition Team Spirit��ZKLFK�IRFXVHG�RQ�³WKH�JURZLQJ�SKHQRPHQRQ�RI�FROODERUDWLYH�DUW´�ZKLOH�UHÀHFWLQJ�RQ�WKHLU�RZQ�KLVWRU\�RI�working together, and on collaboration as the ICI core value.

Mickey Straus joined ICI’s Board of Trustees in 1986, and guided the organization as Treasurer for close to three decades with his distinctively thoughtful, wise, and discrete counsel. Passionate of contemporary art and culture, he consistently and boldly gave his support to new initiatives and programs that moved the organization IRUZDUG��,Q��KH�VSHDUKHDGHG�WKH�FUHDWLRQ�RI�WKH�&XUDWRU¶V�3HUVSHFWLYH�WDON�VHULHV��WKH�¿UVW�HYHU�VXFK�curatorial public program in the city.

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On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions continue to make possible our programs worldwide, by providing crucial support to our exhibitions, public events, research and training initiatives, and publications. In memoriam, we also remember the vision, leadership and generosity of ICI Trustee and Co-founder Nina Castelli Sundell and long-time ICI Trustee Mickey Straus.

47

ACCESS ICI1(7:25.��$&&(66

ICI STAFF

Renaud Proch Executive Director Kate Fowle Director-at-Large María del Carmen Carrión $VVRFLDWH�'LUHFWRU�RI�5HVHDUFK��Public Programs Alaina Claire Feldman Exhibitions Manager Frances Wu Giarratano ([KLELWLRQV��3XEOLFDWLRQV�$GYLVRU Sarah Giovanniello $GPLQLVWUDWLRQ��&RPPXQLFDWLRQV�Coordinator Susan Hapgood Senior Advisor

Jenn Hyland Executive Coordinator Heather Jones Exhibitions Assistant Kimberly Kitada 3XEOLF�3URJUDPV��5HVHDUFK�Coordinator

Joey LicoDirector of Strategic Planning

Jessica Yashi ManCuratorial Intensive Coordinator

Dexter WimberlyDirector of Strategic Planning

Bessie Zhu$GPLQLVWUDWLRQ��&RPPXQLFDWLRQV�Manager

ICI BOARD OF TRUSTEES

Gerrit L. Lansing**� &KDLUPDQ�(PHULWXV

Sydie Lansing� +RQRUDU\�&KDLUPDQ

Patterson Sims Chairman

Melville Straus**Barbara Toll Vice Chairs

Jeannie M. Grant President

Ann Schaffer Vice President

Noreen K. AhmadJeffrey BishopJill Brienza&KULVWR��-HDQQH�&ODXGH Ann CookMaría Constanza CerulloSusan CooteMaxine Frankel,� 7UXVWHH�(PHULWDCarol Goldberg, 7UXVWHH�(PHULWDAgnes Gund, � 7UXVWHH�(PHULWDBelinda Buck KiellandJo Carole LauderCaral G. Lebworth,� 7UXVWHH�(PHULWD Laure LimIsaac LustgartenVik MunizMel SchafferSusan Sollins* � ([HFXWLYH�'LUHFWRU�(PHULWD1LQD�&DVWHOOL�6XQGHOO � � 7UXVWHH�(PHULWDSarina Tang International Representative9LUJLQLD�:ULJKW�� 7UXVWHH�(PHULWD

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CONTACT

Independent Curators International��%URDGZD\��6XLWH��New York, NY 100137��)��[email protected]

www.facebook.com/curatorsintlwww.twitter.com/curatorsintlwww.linkedin.com/curatorsintlwww.instagram.com/curatorsintl

48

For a detailed project description, checklist, and images for any of the exhibitions listed, contact Alaina Claire )HOGPDQ��([KLELWLRQV�0DQDJHU��DW��[��RU�[email protected]

SCHEDULING

([KLELWLRQV�DUH�DYDLODEOH�GXULQJ�WKH�WRXU�GDWHV�VSHFL¿HG��For exhibitions other than 3URMHFW��9ROXPH��, and do it��ERRNLQJ�LV�RQ�D�¿UVW�FRPH��¿UVW�VHUYHG�EDVLV��SHQGLQJ�DSSURYDO�RI�DQ�LQVWLWXWLRQ¶V�IDFLOLW\�UHSRUW��:KHQ�GDWHV�DUH�DJUHHG�XSRQ��,&,�VHQGV�D�ERRNLQJ�FRQWUDFW�WR�FRQ¿UP�DOO�arrangements.

PARTICIPATION FEE

7KH�SDUWLFLSDWLRQ�IHH�FRYHUV�WKH�VSHFL¿HG�YLHZLQJ�period, with adequate additional time for installation DQG�GLVPDQWOLQJ��)RU�ERRNLQJV�ORQJHU�WKDQ�WKH�VSHFL¿HG�period, the fee is pro-rated on a weekly basis; there is no fee reduction for short booking periods. For most exhibitions, a deposit of 30% of the exhibition fee is due on the exhibition’s opening day. For organizations with an DQQXDO�RSHUDWLQJ�EXGJHW�RI��RU�OHVV��WKH�IHH�IRU�some exhibitions can be reduced.

REGISTRATION / INSURANCE / SHIPPING

Each artwork comes with installation and handling instructions and a condition report. Exhibitions are FRYHUHG�E\�,&,¶V�ZDOO�WR�ZDOO�¿QH�DUWV�LQVXUDQFH�SROLF\��)RU�DQ�DGGLWLRQDO��IHH�VKLSSLQJ�DUUDQJHPHQWV�FDQ�be made by ICI; the participation institution is responsible for incoming shipping charges. Institutions outside the continental United States must also pay customs fees as well as outgoing shipping charges to the UC border.

EXHIBITION MATERIALS

Each exhibition is accompanied by didactics, education materials, a sample press release, and press images. For most of the large-scale exhibitions, an illustrated catalogue will be provided; a limited number of complimentary catalogues are supplied to each participating venue.

CURRENT AND FUTURE EXHIBITIONS :��$9$,/$%,/,7<

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EXHIBITIONS

BOOKINGINFO

ICI, 401 Broadway, Suite 1620New York, NY 10013

SAVE THE DATEAnnual Benefit & AuctionMonday, November 17, 2014The Cunard Building, New York City

www.ici-exhibitions.org

Non-Profit OrganizationU.S. PostagePAID

New York, New YorkPermit No. 5188

Independent Curators International

799 Broadway, Suite 205

New York, NY 10003

Phone: (212) 254-8200

Fax: (212) 477-4781

E-mail: [email protected]

Return Service Requested

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ICI Brochure Fall 14 Final Resized Curatorial Intensive

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Transcript of ICI Brochure Fall 14 Final Resized Curatorial Intensive