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SprINg 2014 progrAM INDEpENDENT CUrATorS INTErNATIoNAl INTER NA TION AL ACCESS

INDEpENDENT CUrATorS INTErNATIoNAl SprINg …curatorsintl.org/images/assets/2014_Spring_Brochure.pdf2 Spring/Summer 2014 Calendar EXHIBITIoNS 4 Free play 6 do it 8 project 35: Volume

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SprINg 2014 progrAMINDEpENDENT CUrATorS INTErNATIoNAl

INTERNA

TIONAL

ACCESS

TABLE OF CONTENTS

1 welcome2 Spring/Summer 2014 Calendar

EXHIBITIoNS

4 Free play6 do it8 project 35: Volume 210 performance Now12 En Mas’: Carnival 21st Century Style13 Martha wilson 14 living as Form (The Nomadic Version)16 with Hidden Noise 17 Harald Szeemann: Documenta 518 Create19 State of Mind: New California Art Circa 1970

pUBlIC progrAMS & rESEArCH

20 Curatorial Intensive24 reporting26 Alumni Updates28 research Fellowships32 Curator’s perspective33 reporting34 Curatorial Hub

NETworK & ACCESS

36 Curator’s Network38 Allen ruppersberg Sourcebook40 limited Editions��� � �����%HQH¿W��$XFWLRQ44 International Forum45 leadership Council46 Thank You47 Access ICI48 Booking Information

Editor: laurel VossDesigner: Scott ponikCopy Editor: Audrey walenprinting: linco printing, Queens, NY

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

Big thanks to: Miguel Amado, remco de Blaaij, willem Elias, Fanny gonella, and Nato Thompson.

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 laurel Voss, Associate Director of Communications & Finance, [email protected].

1

WELCOMEINDEPENDENT CURATORS INTERNATIONAL

In the catalogue that accompanied ,&,¶V�YHU\�¿UVW�H[KLELWLRQ�DORQJ�LWV�Latin American tour (Video Art USA, 1975), curator Jack Boulton wrote DERXW�EHLQJ�LQVSLUHG�E\�WKH�ZRUN�RI�1DP�-XQH�3DLN��¿QGLQJ�LQ�LW�D�FHOHEUDWLRQ�RI�DUW¶V�DELOLW\�³WR�XQLWH�different cultures and people in a VRUW�RI�µJOREDO�YLOODJH�¶´�:KLOH�PDQ\�

factors other than art have precipitated this international concentration, contemporary art practice continues to SURYLGH�LQLPLWDEOH�SHUVSHFWLYHV�RQWR�WKH�ZRUOG�LQ�DOO�LWV�FRPSOH[LWLHV��%\�IRUJLQJ�LQWHUQDWLRQDO�QHWZRUNV�RI�FXUD-tors, artists, and art spaces, ICI continues to promote the EHOLHI�WKDW�D�PXOWLSOLFLW\�RI�SHUVSHFWLYHV�DUH�IXQGDPHQWDO�LQ�XQGHUVWDQGLQJ�DQG�VXSSRUWLQJ�FRQWHPSRUDU\�DUW��

,&,¶V�H[KLELWLRQV��HYHQWV��WUDLQLQJ�SURJUDPV��UHVHDUFK�LQLWLDWLYHV��DQG�SXEOLFDWLRQV�VWLPXODWH�WKH�VKDULQJ�RI�NQRZOHGJH�LQWHUQDWLRQDOO\��,&,¶V�QHWZRUNV�GR�QRW�VLPSO\�translate ideas, moving them across the map; rather, they DUH�WKH�VWUXFWXUHV�WKDW�HQDEOH�H[FKDQJH�DQG�FROODERUD-WLRQ��ZKHUH�DUW�DQG�JOREDOLVP�FDQ�EH�UHLPDJLQHG��7KLV�VSULQJ��\RX�ZLOO�¿QG�XV�LQ�PRUH�WKDQ����FRXQWULHV��IURP�&DQDGD�WR�(WKLRSLD��)UDQFH��,QGLD��,VUDHO��,WDO\��0H[LFR��5XVVLD��6UL�/DQND��7XUNH\��DQG�LQ�RYHU����86�VWDWHV��

$FWLYH�ZKHUHYHU�SDUWQHUVKLSV�DUH�DFWLYDWHG��,&,�LV�DEOH�WR�JHQHUDWH�UHJLRQDO�QHWZRUNV�WKDW�UHÀHFW�ORFDO�FRQWH[WV�DQG�LQWHUHVWV�ZLWKLQ�DQ�LQWHUQDWLRQDO�IUDPHZRUN��Project 35 is D�JRRG�H[DPSOH�RI�WKLV��&RQFHLYHG�ZLWK�%RXOWRQ¶V�VKRZ�LQ�PLQG��LW�LV�D�YLGHR�H[KLELWLRQ�RI�ZRUNV�VHOHFWHG�E\����FXUD-WRUV�IURP�DURXQG�WKH�JOREH��1RZ�LQ�LWV�VHFRQG�LWHUDWLRQ��it was shown in the past few months in 4 art spaces in &DULEEHDQ�FRXQWULHV��SURPSWLQJ�D�UHJLRQDO�QHWZRUN�RI�DUW-LVWV��FXUDWRUV��DQG�KLVWRULDQV�WR�UHÀHFW�RQ�WKH�H[KLELWLRQ��JHQHUDWLQJ�H[FKDQJHV�DQG�WH[WV�WKDW�ZLOO�EH�SXEOLVKHG�this spring in ARC, a magazine of contemporary &DULEEHDQ�YLVXDO�DUW�DQG�FXOWXUH��7KLV�FRPHV�DW�D�WLPH�when ICI has renewed its commitment to curatorial re-search in the region with the third annual ICI / Colección Patricia Phelps de Cisneros Travel Award for Central $PHULFD�DQG�WKH�&DULEEHDQ��ZKLFK�KDV�VXSSRUWHG�UH-VHDUFK�LQ�WKH�'RPLQLFDQ�5HSXEOLF��*XDWHPDOD��-DPDLFD��Nicaragua, Panama, Puerto Rico, and Suriname, since ������$QG�VLQFH�)HEUXDU\��FRLQFLGLQJ�ZLWK�WKH�EHJLQQLQJ�RI�&DUQLYDO�VHDVRQ�LQ�WKH�&DULEEHDQ�DQG�HOVHZKHUH��D�VH-ULHV�RI�FRPPLVVLRQV�FXUDWHG�E\�&ODLUH�7DQFRQV�DQG�.ULVWD�Thompson have taken place, starting in the Dominican 5HSXEOLF�DQG�7ULQLGDG�DQG�7REDJR��7KHVH�DQG�RWKHUV�WR�FRPH�ZLOO�IRUP�D�QHZ�H[KLELWLRQ�ODXQFKLQJ�QH[W�\HDU��En Mas’��WKDW�ZLOO�H[SORUH�WKH�UHODWLRQVKLS�RI�SHUIRUPDQFH�DUW�WR�&DUQLYDO�LQ�DQG�RXW�RI�WKH�&DULEEHDQ��1RUWK�$PHULFD��DQG�(XURSH��RUJDQL]HG�E\�,&,�DQG�WKH�&RQWHPSRUDU\�$UW�&HQWHU��1HZ�2UOHDQV�

Halfway across the world, the works in Project 35 KDYH�EURXJKW�DUWLVWV�WRJHWKHU�LQ�$GGLV�$EDED��(WKLRSLD��ZKHUH�WKH�H[KLELWLRQ�LV�WKH�VXEMHFW�RI���VFUHHQLQJV�DQG�PHHWLQJV��RUJDQL]HG�E\�=RPD�&RQWHPSRUDU\�$UW�&HQWHU��=&$&���7KH�DUW�VSDFH�LV�DOVR�,&,¶V�SDUWQHU�LQ�WKH�VHFRQG�Curatorial Intensive in Africa, which will focus on the art production and international connections currently devel-RSLQJ�LQ�(WKLRSLD�DQG�(DVW�$IULFD�WKLV�FRPLQJ�0D\�

(DFK�RI�WKHVH�RQJRLQJ�FROODERUDWLRQV�LV�XQLTXH�DQG�EDVHG�RQ�FORVH�UHODWLRQVKLSV�WKDW�FUHDWH�QHZ�FRQQHFWLRQV�RQ�ORFDO��UHJLRQDO�DQG�LQWHUQDWLRQDO�OHYHOV��1RQH�RI�WKLV�ZRXOG�EH�SRVVLEOH�ZLWKRXW�WKH�WLUHOHVV�GHGLFDWLRQ�RI�,&,¶V�VWDII��DQG�WKHLU�DELOLW\�WR�DGDSW�WR�PDQ\�VLWXDWLRQV��RIWHQ� in different languages; and the commitment of ICI’s Board of Trustees to develop the organization’s mission DQG�SURJUDPV��

:H�DUH�DOO�VR�JUDWHIXO�WR�HYHU\RQH�ZKR�KHOSV�NHHS�RXU�programs relevant, important, and make them pos-VLEOH��WKH�FXUDWRUV��WKH�DUWLVWV��DQG�RXU�FROODERUDWRUV�at museums and galleries around the world; the trusts DQG�IRXQGDWLRQV�WKDW�VXSSRUW�XV��LQFOXGLQJ�WKH�5REHUW�6WHUOLQJ�&ODUN�)RXQGDWLRQ��WKH�(OL]DEHWK�)LUHVWRQH�*UDKDP�)RXQGDWLRQ��6$+$��WKH�'HGDOXV�)RXQGDWLRQ��WKH�&ROHFFLyQ�3DWULFLD�3KHOSV�GH�&LVQHURV��WKH�+DUW¿HOG�Foundation, the French Institute; and the many vision-DU\�LQGLYLGXDOV�ZKR�FDUU\�,&,¶V�PLVVLRQ��,Q�SDUWLFXODU��,�ZRXOG�OLNH�WR�H[SUHVV�P\�PRVW�KHDUWIHOW�WKDQNV�WR�,&,¶V�Leadership Council, which in the past year alone KDV�VSHDUKHDGHG�VRPH�RI�WKH�PRVW�DPELWLRXV�LQLWLDWLYHV� that shape ICI today (please see pages 45-46 for a FRPSOHWH�OLVW���

$QG�¿QDOO\��,�ZRXOG�OLNH�WR�WKDQN�(OOHQ�/LPDQ�IRU�KHU�FRQWLQXRXV�VXSSRUW�RI�WKLV�SXEOLFDWLRQ��DOORZLQJ�XV�WR�EULQJ�\RX�WKH�ODWHVW�QHZV�DERXW�,&,¶V�H[KLELWLRQV��HYHQWV��research and training opportunities, online programs, DQG�SXEOLFDWLRQV�

Renaud Proch([HFXWLYH�'LUHFWRU

2 635,1*�6800(5�����

CALENDARMARCH CURATORIAL

INTENSIVE

Curatorial Intensive: Considering Publics & ContextsMarch 16–25

HUB EVENTS

Pablo León de la BarraTuesday, March 4, ����±�SP

Curatorial Intensive Symposium: Considering Publics & ContextsTuesday, March 25, 10am–6pm

EXHIBITIONS

Living as Form (The Nomadic Version)'HFHPEHU���������±March 7, 2014Artport Tel Aviv(Tel Aviv, Israel)

)HEUXDU\��±$SULO��Carpenter Center for the Visual Arts, Harvard University�&DPEULGJH��0$�

do it-DQXDU\���±0D\���Utah Museum of Contemporary Art(Salt Lake City, UT)

Create-DQXDU\���±$SULO��Museum of Art, :DVKLQJWRQ�6WDWH�University�3XOOPDQ��:$�

Performance Now)HEUXDU\��±$SULO���0LGGOHEXU\�&ROOHJH�Museum of Art�0LGGOHEXU\��97�

Project 35: Volume 2March 5–April 16Acadia University Art *DOOHU\�:ROIYLOOH��1RYD�6FRWLD��

Free Play0DUFK���±$SULO���Arcadia University Art *DOOHU\�*OHQVLGH��3$�

APRIL EVENT

The Curator’s Perspective�� Maria HlavajovaTuesday, April 1, �±����SP.HOOHQ�$XGLWRULXP�� The New School(New York, NY)

Victoria NoorthoornThursday, April 17, �±����SPEinstein Auditorium,NYU Steinhardt(New York, NY)

HUB EVENTS

Masum Momaya: Beyond BollywoodThursday, April 24, ����±�SP�

EXHIBITIONS

do it-DQXDU\���±0D\���Utah Museum of Contemporary Art(Salt Lake City, UT)

$SULO���±-XO\��*DUDJH�&HQWHU�IRUContemporary Art(Moscow, Russia)

Create-DQXDU\���±$SULO��Museum of Art, :DVKLQJWRQ�6WDWH�University�3XOOPDQ��:$�

Free Play0DUFK���±$SULO���Arcadia University Art *DOOHU\�*OHQVLGH��3$�

Living as Form (The Nomadic Version))HEUXDU\��±$SULO��Carpenter Center for the Visual Arts, Harvard University�&DPEULGJH��0$�

April 15–May 15+HUQGRQ�*DOOHU\��$QWLRFKCollege(Yellow Springs, OH)

Performance Now)HEUXDU\��±$SULO���0LGGOHEXU\�&ROOHJH�Museum of Art�0LGGOHEXU\��97�

Project 35: Volume 20DUFK��±$SULO���Acadia University Art *DOOHU\�:ROIYLOOH��1RYD�6FRWLD��

�635,1*�6800(5�����

MAY–JUNE EVENTS

Hub Event—Off Site: Screening and Conversation with Stephen Vitiello 6DWXUGD\��0D\���������SPAnthology Film Archives(New York, NY)

Book Launch: Allen Ruppersberg Sourcebook6DWXUGD\��0D\������±����SP(New York, NY)

ICI Conversations: With Hidden Noise6XQGD\��-XQH��:DYH�+LOO�%URQ[��1<�

CURATORIAL INTENSIVES

Curatorial Intensive in Addis Ababa0D\���±0D\���������=RPD�&RQWHPSRUDU\� Art Center�$GGLV�$EDED��(WKLRSLD� Curatorial Intensive in Mexico-XQH���±-XO\��0XVHR�-XPH[�0H[LFR�&LW\��0H[LFR�

EXHIBITIONS

do it-DQXDU\���±0D\���Utah Museum of Contemporary Art(Salt Lake City, UT)

$SULO���±-XO\��*DUDJH�&HQWHU�IRU�Contemporary Art(Moscow, Russia)

With Hidden Noise0D\���±-XO\��:DYH�+LOO�%URQ[��1<�

May 27–July 26.DWKHULQH�(��1DVK�*DOOHU\��University of Minnesota(Minneapolis, MN)

Living as Form (The Nomadic Version)April 15–May 15+HUQGRQ�*DOOHU\��$QWLRFK�College(Yellow Springs, OH)

-XQH���±6HSWHPEHU���Plains Art Museum(Fargo, ND)

Project 35: Volume 2May 4–25Sri Lanka Archive of Contemporary Art, Architecture & Design(Jaffna, Sri Lanka)

JULY–AUGUST HUB EVENT Summer Cocktails:HGQHVGD\��-XO\���������±�SP

EVENT

Online Summer Book Sale$XJXVW��±6HSWHPEHU��

CURATORIAL INTENSIVES

Curatorial Intensive in Mexico-XQH���±-XO\��0XVHR�-XPH[��0H[LFR�&LW\��0H[LFR�

Curatorial Intensive in Moscow$XJXVW��±��*DUDJH�&HQWHU�IRU�Contemporary Art(Moscow, Russia)

EXHIBITIONS

do it$SULO���±-XO\��*DUDJH�&HQWHU�IRU�Contemporary Art(Moscow, Russia)

With Hidden Noise0D\���±-XO\��:DYH�+LOO�%URQ[��1<�

May 27–July 26.DWKHULQH�(��1DVK�*DOOHU\��University of Minnesota(Minneapolis, MN)

-XO\���±6HSWHPEHU��+HQU\�$UW�*DOOHU\��8QLYHUVLW\�RI�:DVKLQJWRQ�6HDWWOH��:$�

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

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

4

Artistic processes tied to game playing have historically attracted the avant-garde, most famously the chess PDVWHU�0DUFHO�'XFKDPS��+LV�HYHU\�DUWLVWLF�PRYH�KDG�KLV�FKHVV�SDUWQHU�LQ�PLQG��\RX��WKH�YLHZHU��*DPHV�ZHUH�also intrinsic to the work of war-addled Surrealists and 'DGDLVWV��WKH�LQYHQWRUV�RI�H[TXLVLWH�FRUSVH�DQG�DXWRPDWLF�GUDZLQJ��LQ�WKHLU�TXHVW�WR�XSHQG�WKH�ERXUJHRLV�SUHWHQVLRQV�RI�DUW�DQG�IUHH�WKH�DUWLVWLF�LPDJLQDWLRQ��,Q�WKH�����V�DQG�����V��WKH�FRXQWHUFXOWXUDO�DQG�DQWLZDU�)OX[XV�JURXS�DQG�WKH�1HZ�*DPHV�)RXQGDWLRQ�TXHVWLRQHG�FDSLWDOLVP�DQG�FRUSRUDWH�FXOWXUH�E\�VWDJLQJ�PDVVLYH�SXEOLF�JDPHV�LQ�FLW\�SDUNV��0RYLQJ�DZD\�IURP�WKH�FODVVLFDO�FKHVV�SHULRG�RI�NLQJV��TXHHQV��DQG�ELVKRSV��WKH�ZRUNV�LQ�WKLV�H[KLELWLRQ�GR�QRW�UHSUHVHQW�PHGLHYDO�¿JXUHV�EXW�VWUDWHJLHV�RI�GHFLVLRQ�PDNLQJ�DURXQG�FRQWHPSRUDU\�LVVXHV�

,Q�WKH�DUFDGH�RI�JDPHV�LQ�WKH�VKRZ�LV�D�YHUVLRQ�RI�*XLWDU�+HUR�E\�&RU\�$UFDQJHO��KRSVFRWFK�E\�0DU\�)ODQDJDQ��DQG�5\DQ�*DQGHU¶V�YHUVLRQ�RI�EODFNMDFN²ZKLOH�WKH�PRUH�mystically inclined may gravitate toward Allan McCollum DQG�0DWW�0XOOLFDQ¶V�GLYLQLQJ�JDPH�

,&,¶V�QHZHVW�ÀH[LEOH�H[KLELWLRQ�LV�D�UHVSRQVH�WR�WKH�JURZLQJ�SUHVHQFH�RI�SDUWLFLSDWRU\�DQG�OLYH�SUDFWLFH��7UDYHOLQJ�LQ�DQ�HDV\�WR�VKLS�ER[��Free Play includes smaller works and digital software as well as instructions IRU�EXLOGLQJ�ODUJHU�ZRUNV�PHDQW�WR�SURYRNH�DHVWKHWLF�DFWLYLW\�DQG�GLVFRXUVH��

ARTISTS

Cory Arcangel, Patrick Bernier and Olive Martin, Ruth &DWORZ��0DU\�)ODQDJDQ��)XWXUHIDUPHUV��5\DQ�*DQGHU��$OODQ�0F&ROOXP�DQG�0DWW�0XOOLFDQ��3DXO�1REOH��<RNR�Ono, Pedro Reyes, Jason Rohrer, David Shrigley, Erik 6YHGlQJ��-HDQQH�YDQ�+HHVZLMN�DQG�5ROI�(QJHOHQ

CURATOR

0HOLVVD�(��)HOGPDQ�LV�D�6HDWWOH�EDVHG�LQGHSHQGHQW�FXUDWRU�DQG�ZULWHU��DQG�LV�D�IUHTXHQW�FRQWULEXWRU�WR�Art in America, Frieze, and Aperture��DPRQJ�RWKHU�SXEOLFDWLRQV��+HU�UHFHQW�H[KLELWLRQV�LQFOXGH�Dance Rehearsal: Karen Kilimnik’s World of Ballet and Theatre (2012), organized E\�WKH�0LOOV�&ROOHJH�$UW�0XVHXP��2DNODQG��ZKLFK�WUDYHOHG�to the Museum of Contemporary Art, Denver; Afterglow: Rethinking California Light and Space Art (2010), :LHJDQG�*DOOHU\��1RWUH�'DPH�GH�1DPXU�8QLYHUVLW\�$UW�*DOOHU\��%HOPRQW��&$��DQG�WKH�+HDUVW�$UW�*DOOHU\�DW�6W��0DU\¶V�&ROOHJH��:DOQXW�&UHHN��&$��DQG�Sampler: Textiles at Creative Growth��������DW�&UHDWLYH�*URZWK�$UW�&HQWHU��2DNODQG��)HOGPDQ�KDV�WDXJKW�DW�WKH�&DOLIRUQLD�&ROOHJH�RI�WKH�$UWV��WKH�6DQ�)UDQFLVFR�$UW�,QVWLWXWH��DQG�*ROGVPLWK¶V�College, London, and is credited with organizing the ¿UVW�PRQRJUDSKLF�H[KLELWLRQV�LQ�$PHULFD�IRU�.LOLPQLN��0DUWLQ�.LSSHQEHUJHU��DQG�+LURVKL�6XJLPRWR�LQ�WKH�HDUO\�1990s as a curator at the Institute of Contemporary Art, 3KLODGHOSKLD�

BASIC FACTS

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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 involve the viewer, that reflect on the nature of participation in art.

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6

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\�DUWLVWV��WR�FUHDWH�H[KLELWLRQ�IRUPDWV�WKDW�FRXOG�EH�PRUH�ÀH[LEOH�DQG�RSHQ�HQGHG��do it went from a selection of WZHOYH�LQVWUXFWLRQV�WR�DQ�RQJRLQJ�SURMHFW�LQFOXGLQJ�RYHU�����DUWLVWV��(YHU\�WLPH�LW�ZDV�SUHVHQWHG��LQ�DQ\�RI�WKH�more than 60 venues worldwide, do it was re-interpreted DQHZ��0DQ\�QHZ�YHUVLRQV�DSSHDUHG��LQFOXGLQJ�do it (museum), do it (home), do it (TV), do it (seminar), and an online do it LQ�FROODERUDWLRQ�ZLWK�H�ÀX[��DPRQJ�RWKHUV�

7R�FHOHEUDWH�WKH�WZHQWLHWK�DQQLYHUVDU\�RI�do it LQ�������2EULVW DQG�,&,�FROODERUDWHG�RQ�LWV�QHZHVW�LWHUDWLRQ��VWHP-PLQJ�IURP�D�QHZ�SXEOLFDWLRQ� do it: the compendium²FRPSOHWH�ZLWK�WKH�KLVWRU\�RI�WKLV�ODQGPDUN�SURMHFW�DQG�ZLWK�D�VHOHFWLRQ�RI�����DUWLVWV¶�LQVWUXFWLRQV��LQFOXGLQJ����EUDQG�QHZ�RQHV��$�FDOO�WR�DFWLRQ��do it invites you to take part, to interpret, re-invent, and generate ideas, creat-LQJ�QHZ��G\QDPLF�LQVWLWXWLRQDO�DQG�H[KLELWLRQ�IRUPDWV�IRU�\HDUV�WR�FRPH�

CURATOR

+DQV�8OULFK�2EULVW�LV�FR�GLUHFWRU�RI�WKH�6HUSHQWLQH�*DOOHULHV��/RQGRQ��3ULRU�WR�WKLV��KH�ZDV�WKH�&XUDWRU�RI�WKH�0XVpH�G¶$UW�0RGHUQH�GH�OD�9LOOH��3DULV��6LQFH�KLV�¿UVW�show World Soup (The Kitchen Show) in 1991, he has FXUDWHG�PRUH�WKDQ�����

2EULVW¶V�UHFHQW�SXEOLFDWLRQV�LQFOXGH�A Brief History of Curating, Project Japan: Metabolism Talks with Rem Koolhaas, Everything You Always Wanted to Know About Curating But Were Afraid to Ask, do it: the compendium, Think Like Clouds, Ai Weiwei Speaks, Sharp Tongues—Loose Lips—Open Eyes—Ears to the Ground, along with new volumes of his Conversation Series�

BASIC FACTS

1XPEHU�RI�DUWLVWV�RU�DUWLVWV�JURXSV�����1XPEHU�RI�ZRUNV�����6SDFH�UHTXLUHG��H[WUHPHO\�ÀH[LEOH��WKRXJK�DW�OHDVW�������

VTXDUH�IHHW�LV�UHFRPPHQGHG7RXU�GDWHV��0DUFK�����±'HFHPEHU�����)RU�IXUWKHU�ERRNLQJ�GHWDLOV�VHH�SDJH���

ITINERARY

In the past year alone, do it�KDV�WUDYHOHG�WR���LQWHUQDWLRQDO�venues including New York where it was shown entirely RXWGRRUV��.RVRYR��ZKHUH�WKH�LPPDWHULDO�QDWXUH�RI�WKH�SURMHFW�ZDV�XVHG�WR�GLVVHPLQDWH�do it through national mainstream media, Hungary where it took the shape of D�RQH�QLJKW�SDUW\��DQG�WKH�8.�ZKHUH�LW�¿OOHG�DQ�HQWLUH�PXVHXP��,Q�������do it travels to Australia, Russia, and 6RXWK�$IULFD��DQG�PDQ\�SODFHV�LQ�EHWZHHQ��

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CURATORS

Leezy Ahmady (Afghanistan/US), Meskerem Assegued (Ethiopia), Daina Augaitis (Canada), Defne Ayas (Turkey/The Netherlands), Regine Basha (US), Valerie Cassel-Oliver (US), María del Carmen Carrión (Ecuador/US), 5RVLQD�&D]DOL��*XDWHPDOD���6WXDUW�&RPHU��86�8.���Veronica Cordeiro (Brazil/Uruguay), Christopher Cozier �7ULQLGDG�DQG�7REDJR���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�Mitra (Canada), Nat Muller (The Netherlands), Sharmini Pereira (Sri Lanka), Nataša Petrešin-Bachelez (France/6ORYHQLD���.DWKULQ�5KRPEHUJ��$XVWULD���6XQ�-XQJ�.LP��6RXWK�.RUHD���0DWV�6WMHUQVWHGW��1RUZD\�6ZHGHQ���David The (Australia/Thailand), Philip Tinari (US/China), &KULVWLQH�7RKPH��/HEDQRQ���5DOXFD�9RLQHD��5RPDQLD���-RFKHQ�9RO]��*HUPDQ\�8.���$GQDQ�<LOGL]��*HUPDQ\�

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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, inspiring shared discourse in places as varied as Berlin, Germany; Cape Town, South Africa; Lagos, Nigeria; Los Angeles, California; New Orleans, Louisiana; Skopje, Macedonia; Storrs, Connecticut; Taipei, Taiwan; and Tirana, Albania. Following the widespread popularity and success of the first exhibition, ICI has collaborated with 35 more international curators to produce PROJECT 35: VOLUME 2.

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I think we must take what contemporary artists are doing seriously. They are essentially the conscience of society and they indicate when something isn’t going right.

In a small-scale society that is Suriname it is important to offer alternative insights to different world issues that are at the same time home issues. What better way to do so than through art.�²:LOOHP�(OLDV��³:KHQ�$UW�DQG�:KDW�)RU´��5HDG\WH[�$UW�*DOOHU\��RSHQLQJ�UHFHSWLRQ�IRU�Project 35: Volume 2�

CARIBBEAN COLLABORATION

,Q�IDOO�������,&,�WHDPHG�XS�ZLWK�IRXU�&DULEEHDQ�EDVHG�DUW�organizations, as well as ARC Magazine, to screen and discuss a selection of videos from Project 35: Volume 2��7KH�FROODERUDWLRQ�EHJDQ�EHWZHHQ�,&,�DQG�&KULVWRSKHU�&R]LHU²D�JXHVW�FXUDWRU�RI�Project 35, who also runs WKH�DUW�VSDFH�$OLFH�<DUG�LQ�7ULQLGDG�DQG�7REDJR²DQG�VRRQ�LQYROYHG�WKUHH�RWKHU�DUWLVW�UXQ�VSDFHV�LQ�WKH�UHJLRQ��5HDG\WH[�$UW�*DOOHU\�LQ�6XULQDPH��1/6�LQ�-DPDLFD��DQG�)UHVK�0LON�LQ�%DUEDGRV��$Q�H[DPSOH�RI�KRZ�,&,�H[KLELWLRQV�FDQ�EH�WKH�FDWDO\VW�IRU�GLVFRXUVH�DQG�UHJLRQDO�QHWZRUNV�RI�H[FKDQJH��WKH�YLGHRV�FRQWLQXHG�WR�ORRS�simultaneously in the four venues throughout the fall/winter season, inspiring local artists, curators, and art KLVWRULDQV��$�IXOO�UHSRUW�ZLOO�EH�DYDLODEOH�LQ�ARC Magazine DQG�RQ�,&,¶V�ZHEVLWH��FXUDWRUVLQWO�RUJ��XQGHU�WKH�5HVHDUFK�VHFWLRQ�

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ARTISTS

Jonathas de Andrade (Brazil), Marwa Arsanios �/HEDQRQ���=E\QČN�%DODGUiQ��&]HFK�5HSXEOLF���0LFKDHO�%OXP��,VUDHO�&DQDGD��DQG�'DPLU�1LNãLü��%RVQLD�Sweden), Deanna Bowen (US/Canada), Pavel Braila �0ROGRYD���$VOÕ�dDYXúR÷OX��7XUNH\���3DUN�&KDQ�.\RQJ��6RXWK�.RUHD���&KHQ�=KRX��&KLQD���-RVHI�'DEHUQLJ�(Austria), Elena Damiani (Peru), Shezad Dawood �8.���$QQLND�(ULNVVRQ��6ZHGHQ���$QWDQDV�*HUOLNDV�(Lithuania), Annemarie Jacir (Palestine), Jin-Me Yoon �.RUHD���/DUV�/DXPDQQ��1RUZD\���$QtEDO�/ySH]��$�����������*XDWHPDOD���5H\QLHU�/H\YD�1RYR��&XED���Basim Magdy (Egypt), Cinthia Marcelle (Brazil), Bradley 0F&XOOXP��-DFTXHOLQH�7DUU\��86���,YDQD�0�OOHU��)UDQFH�7KH�1HWKHUODQGV�&URDWLD���$KPHW�gJ�W��7XUNH\���-HQQ\�Perlin (US), Agnieszka Polska (Poland), Sara Ramo �6SDLQ���:RN�WKH�5RFN��,QGRQHVLD���6RQD�6DIDHL��,UDQ���Heino Schmid (The Bahamas), Sun Xun (China), Prilla 7DQLD��,QGRQHVLD���$OH[DQGHU�8JD\��.D]DNKVWDQ���'DOH�<XGHOPDQ��6RXWK�$IULFD���+HOHQ�=HUX��(WKLRSLD�

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10 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�LV�D�VHOHFWLRQ�RI�ZRUNV�E\�DUWLVWV�IURP�a vast repository of new performance from around the ZRUOG�VLQFH�������D�SHULRG�WKDW�KDV�ZLWQHVVHG�DQ�H[SR-QHQWLDO�JURZWK�LQ�WKH�¿HOG��%ULQJLQJ�WRJHWKHU�VRPH�RI�WKH�PRVW�VLJQL¿FDQW�SUDFWLWLRQHUV�WRGD\��Performance Now VXUYH\V�FULWLFDO�DQG�H[SHULPHQWDO�FXUUHQWV�LQ�SHUIRUPDQFH�internationally, featuring key Performa commissions, DQG�ZRUNV�E\�0DULQD�$EUDPRYLü��-pU{PH�%HO��6SDUWDFXV�&KHWZ\QG��:LOOLDP�.HQWULGJH��DQG�&OLIIRUG�2ZHQV�� DPRQJ�RWKHUV��

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5RVH/HH�*ROGEHUJ¶V�VHPLQDO�VWXG\��Performance Art: From Futurism to the Present��¿UVW�SXEOLVKHG�LQ������DQG�QRZ�LQ�LWV�WKLUG�HGLWLRQ��LV�UHJDUGHG�DV�WKH�OHDGLQJ�WH[W�for understanding the development of the genre and has EHHQ�WUDQVODWHG�LQWR�PRUH�ODQJXDJHV��LQFOXGLQJ�&KLQHVH��&URDWLDQ��)UHQFK��-DSDQHVH��.RUHDQ��3RUWXJXHVH��6SDQLVK��DQG�5XVVLDQ��WKDQ�DQ\�RWKHU�ERRN�RI�LWV�NLQG��:KHQ�GLUHFWRU�RI�WKH�5R\DO�&ROOHJH�RI�$UW��5&$��*DOOHU\�LQ�/RQGRQ��*ROGEHUJ�HVWDEOLVKHG�D�SURJUDP�WKDW�SLR-QHHUHG�DQ�LQWHJUDWLYH�DSSURDFK�WR�FXUDWLQJ�H[KLELWLRQV��performance, and symposia, directly involving the various GHSDUWPHQWV�RI�WKH�5&$�LQ�DOO�DVSHFWV�RI�WKH�H[KLELWLRQV�SURJUDP��$V�FXUDWRU�DW�7KH�.LWFKHQ�LQ�1HZ�<RUN�VKH�continued to advocate for multi-disciplinary practices to KDYH�HTXDO�SURPLQHQFH�E\�HVWDEOLVKLQJ�WKH�H[KLELWLRQ�VSDFH��D�YLGHR�YLHZLQJ�URRP��DQG�D�SHUIRUPDQFH�VHULHV��,W�ZDV�KHUH�WKDW�*ROGEHUJ�FXUDWHG�WKH�¿UVW�VROR�H[KLEL-WLRQV�RI�&LQG\�6KHUPDQ��6KHUUL�/HYLQH��5REHUW�/RQJR��-DFN�*ROGVWHLQ��DQG�7KH�.LSSHU�.LGV��DPRQJ�RWKHUV��Most recently, her vision in the creation of Performa has set a precedent for performance art that is now impact-ing museum programming and diverse audiences across WKH�8�6��DQG�DEURDG��,Q�������VKH�ZDV�DZDUGHG�WKH�,&,�$JQHV�*XQG�&XUDWRULDO�$ZDUG�DQG�LQ������QDPHG�D�&KHYDOLHU�RI�WKH�2UGHU�RI�$UWV�DQG�/HWWHUV��6LQFH�������*ROGEHUJ�KDV�WDXJKW�DW�1HZ�<RUN�8QLYHUVLW\�

11

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CURATORS

Claire Tancons is a curator, writer, and researcher who KDV�IRFXVHG�RQ�&DUQLYDO�DQG�SXEOLF�FHUHPRQLDO�FXOWXUH��FLYLF�ULWXDOV��DQG�SRSXODU�PRYHPHQWV�IRU�WKH�ODVW�GHFDGH��7KH�DVVRFLDWH�FXUDWRU�IRU�3URVSHFW���1HZ�2UOHDQV������±����D�FXUDWRU�IRU�WKH��WK�*ZDQJMX�%LHQQDOH���������guest curator for CAPE09 (2009), associate curator for research for Biennale Bénin (2012), and a curator for WKH�*|WHERUJ�%LHQQLDO���������7DQFRQV�LV�FXUUHQWO\�WKH�curator for Up Hill Down Hall: An Indoor Carnival, Tate 0RGHUQ��DV�SDUW�RI�WKH������%0:�7DWH�/LYH�VHULHV�

.ULVWD�7KRPSVRQ�LV�$VVRFLDWH�3URIHVVRU�RI�$UW�+LVWRU\�at Northwestern University and the author of An Eye for the Tropics ��������6KH�KDV�ZULWWHQ�DUWLFOHV�LQ�Art Bulletin, Art Journal, American Art, Representations, The Drama Review, and Small Axe and has curated several H[KLELWLRQV��LQFOXGLQJ�WKH�National Exhibition �1(����������and Developing Blackness: Studio Photographs of “Over the Hill” Nassau in the Independence Era��������DW�WKH�1DWLRQDO�$UW�*DOOHU\�RI�WKH�%DKDPDV��

EN MAS’: CARNIVAL 21ST CENTURY STYLE Curated by Claire Tancons and Krista Thompson, co-organized with Contemporary Arts Center, New Orleans

EN MAS’ is a pioneering exploration of the influences of Carnival on contemporary performance practices in and of the Caribbean, North America, and Europe. Anchored in a series of 9 performances and commissions realized alongside the 2014 Carnival season, the exhibition considers the connections between contemporary practice, street performance, protest, and Carnival.

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5HVSRQGLQJ�WR�WKH�ZLGH�VFRSH�RI�:LOVRQ¶V�FDUHHU��3HWHU�'\NKXLV�KDV�DVVHPEOHG�D�GLYHUVH�FROOHFWLRQ�RI�ZRUNV�LQ�WKLV�UHWURVSHFWLYH�WKDW�LV�LQWHQGHG�DV�D�ÀH[LEOH��PRGXODU��DQG�FROODERUDWLYH�H[KLELWLRQ��&XUDWRUV�DW�HDFK�SUHVHQWLQJ�LQVWLWXWLRQ�FROODERUDWH�GLUHFWO\�ZLWK�WKH�DUWLVW�WR�VHOHFW�ZRUNV�IURP�WKH�RYHUODSSLQJ�VWDJHV�RI�:LOVRQ¶V�FDUHHU��6HOHFWLRQV�LQFOXGH�H[DPSOHV�RI�KHU�FRQFHSWXDOO\�EDVHG�SHUIRUPDQFHV��YLGHRV��DQG�SKRWR�WH[WV��RU�IRFXV�RQ�)UDQNOLQ�)XUQDFH��DQ�DUFKLYDO�RUJDQL]DWLRQ�IRXQGHG�E\�:LOVRQ��7KH�DUWLVW�KDV�ZRUNHG�ZLWK�FXUDWRUV�DW�SUHVHQWLQJ�LQVWLWXWLRQV�WR�IXUWKHU�H[SORUH�ZD\V�LQ�ZKLFK�LGHQWLW\�DQG�FRQWHVWHG�KLVWRULHV�FDQ�EH�SUHVHQWHG�LQ�WKH�FRQWH[W�RI�their local constituencies and according to each venue’s SURJUDPPLQJ�SULRULWLHV��,Q�VRPH�FDVHV��:LOVRQ�VHOHFWHG�works from the museum’s collection or worked with SHRSOH�LQ�WKH�FRPPXQLW\�WR�GHYHORS�DQ�H[KLELWLRQ�WKDW�H[SORUHV�WKH�QDWXUH�RI�YLVLELOLW\��RI�ZKDW�IHPLQLVP�PHDQV�QRZ��RU�RI�WKH�UROH�RI�DFWLYLVP�WRGD\�

CURATOR

Peter Dykhuis is director/curator of the Dalhousie Art *DOOHU\�LQ�+DOLID[��1RYD�6FRWLD��3ULRU�WR�WKDW�KH�ZDV�GLUHFWRU�RI�WKH�$QQD�/HRQRZHQV�*DOOHU\�DW�WKH�1RYD�Scotia College of Art and Design, and a guest curator for WKH�$UW�*DOOHU\�RI�1RYD�6FRWLD��

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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.

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LIVING ASFORM

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

LIVING AS FORM is an unprecedented, international project exploring over 20 years of cultural works that blur the forms of art and everyday life, emphasizing participation, dialogue, and community engagement. In collaboration with 25 curators from around the world, Nato Thompson has selected 48 socially engaged projects as the foundation of this exhibition, which expands as it travels.

Further increasing the diversity of practices that are represented in the show, each hosting institution selects DGGLWLRQDO�ZRUNV�WR�DGG�WR�WKH�H[KLELWLRQ��ZKLFK�WRXUV�YLD�D�KDUG�GULYH��,Q�DGGLWLRQ�WR�H[SDQGLQJ�WKH�FRQWHQW�RI�WKH�H[KLELWLRQ��HDFK�FROODERUDWLQJ�YHQXH�ZLOO�RUJDQL]H�VLWH�VSHFL¿F��VRFLDOO\�HQJDJHG��FRPPLVVLRQHG�SURMHFWV�RU�HYHQWV�WKDW�FRQQHFW�WR�WKH�WKHPH�DQG�³DFWLYDWH´�WKH�VKRZ��$V�WKH�HVVHQFH�RI�WKH�SURMHFW�LV�VRFLDO�HQJDJHPHQW��each venue is also encouraged to provide participatory H[SHULHQFHV�WKDW�SRVVHVV�VRPH�VRUW�RI�SROLWLFDO�RU�FRPPXQLW\�EDVHG�FRQWHQW�IRU�YLVLWRUV�WR�HQFRXQWHU��([DPSOHV�RI�HYHQWV�DOUHDG\�KHOG�E\�SUHVHQWLQJ�YHQXHV�LQFOXGH�D�FRQYHUVDWLRQ�EHWZHHQ�6DQ�)UDQFLVFR�DUHD�artists and high school students at a screening of Suzanne Lacy’s The Roof is On Fire; an artists talk with +RQJ�.RQJ�EDVHG�YLGHR�DUWLVWV�DFWLYLVWV��D�PXUDO�SURMHFW�with the Juvenile Justice Center of Mahoning County in 2KLR�DGGUHVVLQJ�WKHPHV�RI�FRPPXQLW\��VRFLDO�MXVWLFH��and individual rights; workshops connecting veterans ZLWK�FLYLOLDQV�ZLWK�:DUULRU�:ULWHUV��D�3KLODGHOSKLD�EDVHG�DUWV�RUJDQL]DWLRQ��DQG�SUHVHQWDWLRQV�E\�6DKUDZL�DUWLVWV�during the Arts and Human Rights Festival in the Sahrawi UHIXJHH�FDPSV�RI�7LQGRXI��:HVWHUQ�6DKDUD�

Something historically unique is happening in cultural production that requires different rules for art than those of the twentieth century…. This culturally savvy method of civic production has manifested in everyday urban life and growing civil unrest. Living as Form is an opportunity to cast a wide net and ask: How do we make sense of this work, and in turn, how do we make sense of the ZRUOG�LQ�ZKLFK�ZH�¿QG�RXUVHOYHV"�²1DWR�7KRPSVRQ

Living as Form (The Nomadic Version)�LV�WKH�ÀH[LEOH��H[SDQGLQJ�LWHUDWLRQ�of Living as Form��D�VLWH�VSHFL¿F�SURMHFW�SUHVHQWHG�E\�&UHDWLYH�7LPH�LQ�WKH�KLVWRULF�(VVH[�6WUHHW�0DUNHW�LQ�1HZ�<RUN��IURP�6HSWHPEHU����WR�2FWREHU����������

CURATOR

Nato Thompson is Chief Curator at Creative Time, 1HZ�<RUN��DV�ZHOO�DV�D�ZULWHU�DQG�DFWLYLVW��$PRQJ�KLV�SXEOLF�SURMHFWV�IRU�&UHDWLYH�7LPH�DUH�WKH�ODVW���Creative Time Summits, Tania Bruguera’s Immigrant Movement International, Democracy in America: The National Campaign, and Waiting for Godot��D�SURMHFW�E\�3DXO�&KDQ�KHOG�LQ�1HZ�2UOHDQV��+LV�ERRN�Seeing Power: Art and Activism in the Age of Cultural Production�ZLOO�EH�SXEOLVKHG�LQ�6SULQJ������E\�0HOYLOOH�+RXVH�3XEOLVKLQJ��Thompson was formerly a curator at MASS MoCA, and he also curated ICI’s Experimental Geography, which WUDYHOHG�WR���YHQXHV�LQ�1RUWK�$PHULFD�

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Hub Event—Off Site: New York’s Hidden Noise 6DWXUGD\�0D\���������SPAnthology Film Archives(New York, NY)

ICI and Stephen Vitiello have organized this event, which LQFOXGHV�D�VFUHHQLQJ�RI�SLRQHHULQJ�¿OPV�DERXW�H[SHUL-PHQWDO�VRXQG�LQ�WKH�����V��DQG�D�FRQYHUVDWLRQ�EHWZHHQ�9LWLHOOR�DQG�$OYLQ�/XFLHU��

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Stephen Vitiello is a sound and media artist whose sound LQVWDOODWLRQV�KDYH�EHHQ�SUHVHQWHG�LQWHUQDWLRQDOO\�ERWK�LQ�SXEOLF�VSDFHV�DQG�PXVHXPV��$PRQJ�KLV�UHFHQW�SURM-ects are A Bell for Every Minute��D�VLWH�VSHFL¿F�SURMHFW�FRPPLVVLRQHG�E\�&UHDWLYH�7LPH�IRU�WKH�+LJK�/LQH��1HZ�York (2010), and included in the Museum of Modern $UW¶V�H[KLELWLRQ�Soundings: A Contemporary Score ��������2ULJLQDOO\�IURP�1HZ�<RUN��9LWLHOOR�LV�QRZ�EDVHG�LQ�5LFKPRQG��9$�ZKHUH�KH�LV�RQ�WKH�IDFXOW\�RI�.LQHWLF�,PDJLQJ�DW�9LUJLQLD�&RPPRQZHDOWK�8QLYHUVLW\�

ARTISTS

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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, yet important exhibitions focused on the medium, sound art is made accessible to a wider range of venues across continents with this artist-curated exhibition.

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WITH HIDDENNOISE

Harald Szeemann: Documenta 5�H[SORUHV�WKH�PDQ\�IDF-ets of this particularly controversial Documenta through WKH�H[KLELWLRQ�FDWDORJXH��HSKHPHUD��DUWLVWV¶�SXEOLFDWLRQV��DQG�HGLWLRQV�SURGXFHG�LQ�FRQMXQFWLRQ�ZLWK�WKH�H[KLELWLRQ��DV�ZHOO�DV�SXEOLVKHG�UHYLHZV�DQG�FULWLFDO�UHVSRQVHV��7KH�DVVHPEOHG�PDWHULDOV�SURYLGHG�D�ULFK�MXPSLQJ�RII�SRLQW�for art history students, artists, and general audiences to plunge into the international contemporary art scene of 1972, to see what this particularly fertile cultural moment SURGXFHG��7KH�DVVHPEOHG�PDWHULDOV�LQFOXGH�ZRUNV�E\�&DUO�$QGUH��+DQV�+DDFNH��'RQDOG�-XGG��6RO�/H:LWW��$UW��/DQJXDJH��5REHUW�0RUULV��'RURWKHD�5RFNEXUQH��6HWK�6LHJHODXE��DQG�PDQ\�PRUH��9HQXHV�PLJKW�KRVW�DQ�HYH-QLQJ�RI�ORFDO�DUWLVWV¶�WDONV�RQ�FRQWUDFWV�DQG�ULJKWV��EXLOGLQJ�from discussion of the Artists Reserved Rights Transfer and Sale Agreement, or could work with community JURXSV�WR�JHQHUDWH�WKHLU�RZQ�����GD\�VHULHV�RI�HYHQWV�

CURATOR

David Platzker is Curator of Drawings and Prints at the 0XVHXP�RI�0RGHUQ�$UW��1HZ�<RUN��)URP������WR�������KH�ZDV�WKH�GLUHFWRU�RI�6SHFL¿F�2EMHFW��DQ�LQQRYDWLYH�JDO-OHU\��ERRNVKRS��DQG�VWRUHKRXVH�IRU�D�UDQJH�RI�LWHPV�LQ-FOXGLQJ�DUWLVWV¶�SXEOLFDWLRQV��PXOWLSOHV��DQG�XQLTXH�ZRUNV�RI�DUW��DV�ZHOO�DV�OLWHUDWXUH��PXVLF��DQG�FRXQWHUFXOWXUH��%HIRUH�IRXQGLQJ�6SHFL¿F�2EMHFW��3ODW]NHU�ZDV�WKH�H[HFX-WLYH�GLUHFWRU�RI�3ULQWHG�0DWWHU�IURP������WR�������WKH�QRQSUR¿W�LQVWLWXWLRQ�GHGLFDWHG�WR�WKH�SURPRWLRQ�RI�DUWLVWV¶�ERRNV�DQG�SXEOLFDWLRQV��+LV�FXUDWRULDO�SURMHFWV�DW�6SHFL¿F�2EMHFW�DQG�3ULQWHG�0DWWHU�LQFOXGHG�VKRZV�RI�-RKQ�%DOGHVVDUL��+DQQH�'DUERYHQ��0DUFHO�'XFKDPS��*XHUULOOD�*LUOV��-HQQ\�+RO]HU��<RNR�2QR��5D\PRQG�3HWWLERQ��(G�5XVFKD��DQG�&ODHV�2OGHQEXUJ��$W�WKH�0XVHXP�RI�0RGHUQ�Art he co-curated There Will Never Be Silence: Scoring John Cage’s 4’33” LQ�FROODERUDWLRQ�ZLWK�-RQ�+HQGULFNV�

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DOCUMENTA 5EXHIBITIONS

HARALD SZEEMANN: DOCUMENTA 5 Curated by David Platzker

Organized nearly 40 years ago, DOCUMENTA 5 is one of the most important and referenced exhibitions of the postwar era. Both hailed and derided by artists and crit-ics, the exhibition was the largest, most expensive and most diverse of any exhibition anywhere, and foreshadowed all large-scale, collaboratively curated, comprehensive mega-shows to come. Perhaps the most famous curator of the last 50 years, curator Harald Szeemann was a central focus of the restaging of his pioneering exhibition, WHEN ATTITUDES BECOME FORM at the Prada Foundation, in Venice last year. His archive and library were recently acquired by the Getty Research Institute, to be mined by art historians and curators for years to come.

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University of California, Berkeley Art Museum and 3DFL¿F�)LOP�$UFKLYH��0D\±6HSWHPEHU�������%HUNHOH\��CA); Iris and B. Gerald Cantor Art Gallery,�6HSWHPEHU±'HFHPEHU�������:RUFHVWHU��0$���Boca Raton Museum of Art,�-XO\±6HSWHPEHU�������%RFD�5DWRQ��FL); Longwood Center for the Visual Arts,�2FWREHU������±-DQXDU\�������)DUPYLOOH��9$���Washington State University, Museum of Art, January–April 2014 �3XOOPDQ��:$�

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Lawrence Rinder is director of the University of California, %HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F�)LOP�$UFKLYH��+H�LV�DOVR�D�ZULWHU�RI�DUW�FULWLFLVP��SRHWU\��GUDPD��DQG�¿FWLRQ�

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Mary Belknap, Jeremy Burleson, Attilio Crescenti, Daniel *UHHQ��:LOOLH�+DUULV��&DUO�+HQGULFNVRQ��0LFKDHO�%HUQDUG�/RJJLQV��'ZLJKW�0DFNLQWRVK��-RKQ�3DWULFN�0DF.HQ]LH��James Miles, Dan Miller, James Montgomery, Marlon Mullen, Bertha Otoya, Aurie Ramirez, Evelyn Reyes, /DQFH�5LYHUV��-XGLWK�6FRWW��:LOOLDP�6FRWW��:LOOLDP�7\OHU

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CREATECurated by Lawrence Rinder, with Matthew HiggsOrganized by the University of California, Berkeley Art Museum and Pacific Film Archive

Over the past 3 years, CREATE traveled across the US, presenting a unique selection of the most important works created in the last 20 years by artists involved with 3 nonprofit organizations: Creativity Explored, Creative Growth Art Center, and the National Institute for Art and Disabilities Art Center (NIAD). These organizations were founded with the belief that exceptional creativity can emerge in anyone, and they support the work of artists with developmental disabilities through group studio practice.

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Orange County Museum of Art, 2FWREHU±-DQXDU\�2012 (Newport Beach, CA); University of California, %HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F�)LOP�$UFKLYH, )HEUXDU\±-XQH�������%HUNHOH\��&$���Morris and Helen Belkin Art Gallery, 6HSWHPEHU±'HFHPEHU������(Vancouver, BC Canada); SITE Santa Fe��)HEUXDU\±�0D\�������6DQWD�)H��10���The Bronx Museum of the Arts, -XQH±6HSWHPEHU�������%URQ[��1<���Smart Museum of Art��2FWREHU������±-DQXDU\�������&KLFDJR��,/�

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&RQVWDQFH�0��/HZDOOHQ�LV�DGMXQFW�FXUDWRU�DW�WKH�8QLYHUVLW\�RI�&DOLIRUQLD��%HUNHOH\�$UW�0XVHXP�DQG�3DFL¿F�)LOP�$UFKLYH��6KH�KDV�FXUDWHG�PDQ\�PDMRU�UHWURVSHFWLYHV�DQG�H[KLELWLRQV�RI�DUWLVWV�LQFOXGLQJ�$QW�)DUP��3DXO�.RV��%UXFH�1DXPDQ��DQG�$OOHQ�5XSSHUVEHUJ��

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Adam II (the late Paul Cotton), Bas Jan Ader, Terry Allen, $QW�)DUP��(OHDQRU�$QWLQ��$VFR��*OXJLR�³*URQN´�1LFDQGUR��3DWVVL�9DOGH]��:LOOLH�+HUUyQ�,,,�DQG�+DUU\�*DPERD�-U����0LFKDHO�$VKHU��-RKQ�%DOGHVVDUL��*DU\�%H\GOHU��*HRUJH�%ROOLQJ��1DQF\�%XFKDQDQ��&KULV�%XUGHQ��5REHUW�+��&XPPLQJ��3HWHU�'¶$JRVWLQR��/RZHOO�'DUOLQJ��*X\�GH�&RLQWHW��0RUJDQ�)LVKHU��7HUU\�)R[��+RZDUG�)ULHG��&KDUOHV�*DLQHV��'DYLG�+DPPRQV��+HOHQ�0D\HU�+DUULVRQ�DQG�1HZWRQ�+DUULVRQ��-RH�+DZOH\��0HO�+HQGHUVRQ��5REHUW�&DPSEHOO�DQG�$OIUHG�<RXQJ��/\QQ�+HUVKPDQ��6WHSKHQ�.DOWHQEDFK��$OODQ�.DSURZ��5REHUW�.LQPRQW��3DXO�.RV��6X]DQQH�/DF\��6WHSKHQ�/DXE��:LOOLDP�/HDYLWW��)UHG�Lonidier, Mike Mandel, Tom Marioni, Paul McCarthy, Jim Melchert, Susan Mogul, Linda Mary Montano, Bruce 1DXPDQ��0DUWKD�5RVOHU��$OOHQ�5XSSHUVEHUJ��(G�5XVFKD��6DP¶V�&DIp��7HUUL�.H\VHU��0DUF�.H\VHU��DQG�'DYLG�6KLUH���'DUU\O�6DSLHQ�ZLWK�0LFKDHO�$��+LQWRQ��,OHQH�6HJDORYH��$OODQ�6HNXOD��%RQQLH�2UD�6KHUN��$OH[LV�6PLWK��%DUEDUD�7��6PLWK��/DUU\�6XOWDQ��7�5��8WKFR��'RXJ�+DOO��-RG\�3URFWHU��DQG�'LDQH�$QGUHZV�+DOO���*HU�YDQ�(ON��:LOOLDP�:HJPDQ��-RKQ�:RRGDOO��$OIUHG�<RXQJ

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STATE OF MINDSTATE OF MIND: NEW CALIFORNIA ART CIRCA 1970Curated by Constance Lewallen and Karen Moss

In a 4-venue international tour that brought the exhibition’s reach beyond California, STATE OF MIND shed light on Conceptual and related avant-garde activities in the late 1960s and early 1970s and the critical interchange between artists living in the Golden State.

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CURATORIAL INTENSIVE

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

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

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Meskerem Assegued��'LUHFWRU��=RPD�&RQWHPSRUDU\�$UW�&HQWHU��$GGLV�$EDED���María del Carmen Carrión �$VVRFLDWH�'LUHFWRU��3XEOLF�3URJUDPV��5HVHDUFK��,&,��New York), Raphael Chikukwa (Chief Curator, National *DOOHU\�RI�=LPEDEZH��+DUDUH���Kate Fowle (Chief &XUDWRU��*DUDJH��0RVFRZ��DQG�'LUHFWRU�DW�/DUJH��,&,���Naima Keith (Chief Curator, Studio Museum Harlem, New York), Riason Naidoo (Director of South African 1DWLRQDO�*DOOHU\��&DSH�7RZQ��6RXWK�$IULFD���Jimmy Ogonga �DUWLVW��1DLUREL���Renaud Proch �([HFXWLYH�Director, ICI), Konjit Seyoum��'LUHFWRU��$VQL�*DOOHU\�� $GGLV�$EDED�

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Magali Arriola��&XUDWRU��-XPH[�)RXQGDWLRQ�� María del Carmen Carrión��$VVRFLDWH�'LUHFWRU��3XEOLF�3URJUDPV��Research, ICI, New York), Ekaterina Degot (Professor, Rodchenko School for Photography and Media Art, Moscow), Kate Fowle��&KLHI�&XUDWRU��*DUDJH�&HQWHU�for Contemporary Culture, Moscow, and Director-at-Large, ICI), Koyo Kouoh (Artistic Director, Raw Material

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Program Dates: June–September 2013

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Zoe Butt �([HFXWLYH�'LUHFWRU�DQG�&XUDWRU�DW�6jQ�$UW��+R�Chi Minh), María del Carmen Carrión (Associate Director RI�3XEOLF�3URJUDPV��5HVHDUFK��,&,��1<���Colin Chinnery �$UWLVWLF�'LUHFWRU�RI�WKH�:XKDQ�$UW�7HUPLQXV��:+�$�7����:XKDQ��&KLQD���Fulya Erdemci��&XUDWRU����WK�,VWDQEXO�Biennial), Kate Fowle��&KLHI�&XUDWRU�DW�*DUDJH��0RVFRZ��and Director-at-Large of ICI), Hou Hanru (Curator of the 5th Auckland Triennial), Vasif Kortun (Director of 5HVHDUFK�DQG�3URJUDPV��6$/7��,VWDQEXO���Julian Myers (Associate Professor at California College of the Arts, San Francisco), Georges Pfruender��+HDG�RI�WKH�:LWV�6FKRRO�RI�$UWV��-RKDQQHVEXUJ��6RXWK�$IULFD���Andrea Phillips �&XUDWRU�RI�3XEOLF�3URJUDPPH��,VWDQEXO�%LHQQLDO��������Sally Tallant (Director of the Liverpool Biennial), Fatos Ustek (independent curator and art critic)

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Philip Bither �0F*XLUH�6HQLRU�&XUDWRU�RI�3HUIRUPLQJ�$UWV��:DONHU�$UW�&HQWHU��0LQQHDSROLV���María del Carmen Carrión��$VVRFLDWH�'LUHFWRU�RI�3XEOLF�3URJUDPV��Research, ICI, New York), Michael Connor (Editor & Curator, Rhizome, New York), Bradford Nordeen (Director, Dirty Looks, New York), Gridthiya Gaweewong (Artistic Director, Jim Thompson Art House, Bangkok), Chrissie Iles (Anne and Joel Ehrenkranz Curator, :KLWQH\�0XVHXP�RI�$PHULFDQ�$UW��1HZ�<RUN���Corey McCorkle (artist, New York), Renaud Proch��([HFXWLYH�Director, ICI), Stephen Vitiello (artist, Richmond, VA)

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María del Carmen Carrión��$VVRFLDWH�'LUHFWRU�RI�3XEOLF�Programs & Research, ICI, New York), Doryun Chong �&KLHI�&XUDWRU��0��+RQJ�.RQJ���Cosmin Costinas �([HFXWLYH�'LUHFWRU�3DUD�6LWH�$UW�6SDFH��+RQJ�.RQJ���Patrick D. Flores (Curator, Vargas Museum, Manila, and $GMXQFW�&XUDWRU��1DWLRQDO�$UW�*DOOHU\��6LQJDSRUH���Kate Fowle �&KLHI�&XUDWRU��*DUDJH�&HQWHU�IRU�&RQWHPSRUDU\�Culture, Moscow, and Director-at-Large of ICI), Yasuko Furuichi��([KLELWLRQ�&RRUGLQDWRU��$VLD�DQG�2FHDQLD�6HFWLRQ��$UWV�DQG�&XOWXUH�'HSW���7KH�-DSDQ�)RXQGDWLRQ��Tokyo), Michio Hayashi (Dean and Professor, Faculty of /LEHUDO�$UWV��6RSKLD�8QLYHUVLW\��7RN\R���Mami Kataoka (Chief Curator, Mori Art Museum, Tokyo), Raiji Kuroda (Chief Curator, Fukuoka Asian Art Museum), Dr. Sook-Kyung Lee (Research Curator, Tate Research &HQWUH��$VLD�3DFL¿F��/RQGRQ���Yanagi Yukinori (artist, Hiroshima)

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Fernanda Albuquerque (curator, Porto Alegre), María del Carmen Carrión �$VVRFLDWH�'LUHFWRU�RI�3XEOLF�Programs & Research, ICI, New York), Jaime Cerón (Visual Arts Department, Ministerio de Cultura, Bogotá), Sofía Hernández Chong Cuy (Curator, Colección Patricia Phelps de Cisneros, New York), Kate Fowle �&KLHI�&XUDWRU�DW�*DUDJH��0RVFRZ��DQG�'LUHFWRU�DW�Large of ICI), Victor Manuel Rodríguez (Vice-rector, Universidad Pedagógica Nacional, Bogotá), Chus Martínez��+HDG�RI�WKH�,QVWLWXWH�RI�$UW��WKH�)+1:�Academy of Arts and Design, Basel), Mariangela Méndez (Curator, Associate Professor Facultad de Artes y Humanidades de la Universidad de los Andes, Bogotá), Lucas Ospina (Artist and Professor, Universidad de Los Andes, Bogotá), José Roca��(VWUHOOLWD�%��%URGVN\�$GMXQFW�Curator of Latin American Art, Tate Modern, London and Artistic Director, FLORA ars+natura, Bogotá), Miguel Ventura��DUWLVW��0H[LFR�&LW\�

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There are currently 257 alumni of the Curatorial Intensives, based in 54 countries and 21 states. ICI remains in contact with them through the Curator’s Network, and keeps up-dated on the exhibitions and projects that are realized after being developed through the Intensives, as well as all their curatorial projects around the world.

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Ryan WongServe the People: The Asian American Movement in New York 'HFHPEHU��������±0DUFK���������Interference Archive, Brooklyn, New York

Serve the People: The Asian American Movement in New York charts a history of Asian American activism, organizing, and cultural production in the 1970s––the ¿UVW�H[KLELWLRQ�WR�IRFXV�RQ�1HZ�<RUN�DV�D�FHQWHU�RI�WKLV�SKHQRPHQRQ��7KURXJK�SRVWHUV��OHDÀHWV��QHZVSDSHUV��¿OP��DQG�PXVLF��Serve the People shows how Asian $PHULFDQ�LGHQWLW\�ZDV�VKDSHG�E\�UHFODLPHG�KLVWRULHV��revolutionary politics, feminist awareness, third worldism, DQG�FRPPXQLW\�RUJDQL]LQJ�

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Marcela Guerrero was recently named Curatorial Fellow DW�WKH�+DPPHU�0XVHXP��ZKHUH�VKH�ZLOO�EH�ZRUNLQJ�RQ�WKH�H[KLELWLRQ�The Political Body: Radical Women in Latin America, 1960–1985��JXHVW�FXUDWHG�E\�&HFLOLD�)DMDUGR�+LOO�DQG�$QGUHD�*LXQWD��

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Mari Spirito received the Saat Saath Curatorial 5HVHDUFK�*UDQW��D�XQLTXH�JUDQW�WKDW�HQGRZV�YLVLRQDU\�LQWHUQDWLRQDO�FXUDWRUV�ZLWK�UHVRXUFHV�WR�H[WHQG�WKHLU�UHVHDUFK�LQWR�,QGLD�

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My research took as its starting point a portrait of Robert Morris, which he used for the poster of his show at Castelli Sonnabend in 1974. The image shows him bare-chested with sadomasochistic garb. I decided to take this VHOI�VWDJLQJ�DV�D�EDVLV�WR�UHÀHFW�XSRQ�DUWLVWLF�VWUDWHJLHV�that appeared with the emergence of feminism and address issues of gender and identity. In the course of the last months, this research has been growing toward D�UHÀHFWLRQ�RQ�WKH�DZDUHQHVV�DQG�VWUDWHJLHV�GHYHORSHG�by artists around the existence of their practice outside of the exhibition space. More precisely, it addresses the way artists have worked on modes of exposing themselves or their work through further media—in magazines, websites, or any form of documentation. These questions surrounding the perception of the artwork or artistic practice outside the exhibition space echo conversations I have recently had with a younger generation of artists (Timur Si-Qin, Antoine Catala, Ian Cheng, Stewart Uoo, and Anicka Yi). Within their working process, they take into account the conditions of how their work is perceived. Some of them developed an acute awareness for materials such as press releases, which surround the exhibition, others devote strong attention to the documentation of their works, knowing that the widest audience is to be found online. ²)DQQ\�*RQHOOD

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7RGD\��:HVWHUQ�FXUDWRUV�DUH�¿QDOO\�FKDOOHQJLQJ�Eurocentric approaches to art history. This requires broadening one’s intellectual horizons—not only look-ing beyond Western artistic practices, but also looking through lenses that are not of the West, given the ideo-logical connections that have always existed between geography and artistic ‘style.’

In order to understand artistic practices that exist beyond the West, one must pay attention to—and respect—local identities, while simultaneously resisting the temptation to fall for the allure of ‘folk’ production. This paradigm shift also requires Western curators to rise above a patroniz-ing mindset that ‘forgives’ art that neglects Western standards.—Miguel Amado

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This idea of “parallelism” has been with me for a while, but was again activated by a visit to the 48 Cantones government in Totonicapan. It was a simple visit that showed how a political force could function in parallel to an understood hegemonic governmental power. The 48 Cantones, in short, is a centuries-old Mayan governmen-WDO�ERG\��VWLOO�DFWLYH�WRGD\�WKDW�H[LVWV�QH[W�WR�WKH�RI¿FLDO�Guatemalan government, albeit non-national. Where the state is organized formally through the Guatemalan gov-ernment, society is seemingly organized politically and socially through 48 Cantones.

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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, curators based in Buenos Aires, Glasgow, Seoul, and Utrecht will talk about art, culture, and the exhibitions in which they are most interested at the moment, as well as the artists and the socio-political contexts that are shaping curatorial practice now.

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ALLEN RUPPERSBERG SOURCEBOOK: REANIMATING THE 20TH CENTURY

In 2011, ICI launched a new publication series, SOURCEBOOK, dedicated to contem-porary 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 se-lected from their own archive, annotated with personal commentary. The Sourcebook series follows the development of an artist’s oeuvre through the very material that inspires and influences it. Following the success of the inaugural MARTHA WILSON SOURCEBOOK, ICI is developing the second issue with ALLEN RUPPERSBERG.

ALLEN RUPPERSBERG

For the second Sourcebook in the series, ICI has invited $OOHQ�5XSSHUVEHUJ�WR�FXOO�WKURXJK�KLV�DUFKLYHV�VWRUHG�EHWZHHQ�&OHYHODQG�DQG�/RV�$QJHOHV��7KLV�SXEOLFDWLRQ�ZLOO�EH�WKH�¿UVW�WR�ORRN�DW�D�UDQJH�RI�5XSSHUVEHUJ¶V�ZRUN�IURP�����±������7XUQLQJ�WKH�PLFURVFRSH�RQ�WR���LPSRUWDQW�ZRUNV�IURP�5XSSHUVEHUJ¶V�FDUHHU��WKH�SXEOLFDWLRQ�GHOYHV�LQWR�WKH�LQÀXHQFHV�DQG�UHVHDUFK�WKDW�OHG�WR�HDFK�RI�WKH�works, which illustrate the idea of reanimating twentieth-century popular culture through ephemeral and pre-GLJLWDO�PDWHULDOV��7KH�DUWZRUNV�EHLQJ�H[SORUHG�LQFOXGH�5XSSHUVEHUJ¶V�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��No Time Left to Start Again / The B and D of R ’n’ R��

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Laurie SimmonsWalking Petit Four, 1990–91Duotone offset Lithograph�������[��������LQFKHVEdition of 75$1,200

Pat SteirThursday, 1990-916SLW�ELWH�DQG�DTXDWLQW�DQG�KDUGJURXQG�HWFKLQJ���[����LQFKHVEdition of 75$1,000

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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, Laurie Simmons, and Pat Steir. Most recently, ICI teamed up with Liz Glynn to produce a new edition of the artist’s well-known jewelry pieces.

41LIMITED EDITIONS

Liz GlynnUntitled������ *ROG�SODWHG�EURQ]H��VLOYHU�SODWHG�EURQ]H��DQG�SODWHG�EURQ]H�QHFNODFH ��HGLWLRQV�RI����DOO�XQLTXH $1,500

ABOUT THE ARTIST

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,Q�KHU�UHODWLRQVKLS�WR�VFXOSWXUH��*O\QQ�LV�LQVSLUHG�E\�PDWH-rials of all sorts, which also recount narratives of cyclical XVH��WUDQVIRUPDWLRQ��FKDQJH�DQG�GHFD\��,QVWDOODWLRQV�DQG�VFXOSWXUDO�REMHFWV�WDNH�IRUP�IURP�SDOHWWHV��VFUDSV��UH�XVHG�materials, or papier mâché; and her sculptures have a

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ANNUAL BENEFIT

On Tuesday November 19 in New York City, ICI’s 2013 Annual Benefit & Auction celebrated our 38-year long commitment to curatorial practice and contemporary art. ICI honored Miuccia Prada with the Leo Award and Germano Celant with the Agnes Gund Curatorial Award to acknowledge the work of a team, recognizing the honorees’ individual contributions to the world of contemporary art as well as their work together at Fondazione Prada, including the recent exhibition WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013, the ambitious reenacting of the seminal exhibition by one of the forefathers of independent curating, Harald Szeemann. Agnes Gund, ICI Trustee Emerita, presented the Awards created by artist Liz Glynn.

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BENEFIT COMMITTEE

Ann Cook%HOLQGD�.LHOODQGNoreen AhmadCo-chairs

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7KH������$XFWLRQ�IHDWXUHG�DUWZRUNV�E\�.DPURR]�$UDP��.RUDNULW�$UXQDQRQGFKDL��-RKQ�%DOGHVVDUL��*LQD�%HDYHUV��(OOHQ�%HUNHQEOLW��:DOHDG�%HVKW\��&+5,672��&ODLUH�)RQWDLQH��0DUWLQ�6RWR�&OLPHQW��$OH[�'D�&RUWH��-LP�Drain, Brock Enright, Charles Harlan, Daniel Heidkamp, &DUVWHQ�+|OOHU��&ROLQ�+XQW��-HQQLH�&��-RQHV��-RVK�.OLQH��&XUWLV�.XOLJ��'HQLVH�.XSIHUVFKPLGW��:LOOLDP�/DWWD��1DWH�/RZPDQ��$JQHV�/X[��(GGLH�0DUWLQH]��/LQGD�0DWDORQ��'DQ�McCarthy, Julie Mehretu, Sam Moyer, Yoko Ono, Anna 2VWR\D��7\VRQ�5HHGHU��'DQLHO�5LFK��$OOHQ�5XSSHUVEHUJ��'DQ�6KDZ�7RZQ��$ODQ�6KLHOGV��$OH[DQGUH�6LQJK��-RVK�7RQVIHOGW��&KXFN�:HEVWHU��DQG�'XVWLQ�<HOOLQ�

Art folks really know how to party. How do we know this to be true? Because there was a bar in the elevator on the way up to the Independent Curators International EHQH¿W�RQ�7XHVGD\�QLJKW��

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SPONSORS

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Miuccia Prada, after earning a degree in Political 6FLHQFH�IURP�0LODQ�8QLYHUVLW\��EHJDQ�GHVLJQLQJ�DFFHV-VRULHV�IRU�WKH�H[FOXVLYH�IDPLO\�EXVLQHVV�IRXQGHG�E\�KHU�JUDQGIDWKHU�LQ�������$W�WKH�HQG�RI�WKH�����V��3UDGD�DQG�3DWUL]LR�%HUWHOOL�EHFDPH�EXVLQHVV�SDUWQHUV�DQG�EHFDPH�the driving force of the development and international H[SDQVLRQ�RI�3UDGD��7KHLU�VKDUHG�FXOWXUDO�LQWHUHVWV�DQG�passion for contemporary art led them to create the )RQGD]LRQH�3UDGD�ZLWK�WKH�DLP�WR�SUHVHQW�³WKH�PRVW�radical intellectual challenges in contemporary art and FXOWXUH�´�6LQFH�������)RQGD]LRQH�3UDGD�KDV�EHHQ�GHGL-cated to this mission, with the desire to offer cutting-edge SURMHFWV��FRQFHLYH�H[KLELWLRQV�LQ�GLDORJXH�ZLWK�PDMRU�FRQ-WHPSRUDU\�DUWLVWV�OLNH�/RXLVH�%RXUJHRLV��:DOWHU�'H�0DULD��Thomas Demand, and John Baldessari, and realize VSHFLDO�LQWHUQDWLRQDO�SURMHFWV��VXFK�DV�&DUVWHQ�+|OOHU¶V�³'RXEOH�&OXE´�LQ�/RQGRQ�DQG�WKH�³3UDGD�7UDQVIRUPHU´�LQ�6HRXO�E\�20$��,Q�������WKH�)RQGD]LRQH�3UDGD�RSHQHG�D�QHZ�H[KLELWLRQ�VSDFH�LQ�9HQLFH��&D¶�&RUQHU�GHOOD�5HJLQD��D�KLVWRULF�SDOD]]R�RQ�WKH�*UDQG�&DQDO�

Germano Celant, director of the Fondazione Prada since 1995, is a renowned art historian, critic, and theoretician, ZKR�KDV�VHUYHG�DV�WKH�FXUDWRU�RI�KXQGUHGV�RI�H[KLEL-WLRQV�ZRUOGZLGH�DQG�SXEOLVKHG�PRUH�WKDQ�����ERRNV�DQG�FDWDORJXHV��&HODQW�LV�WKH�FXUDWRU�RI�WKH�)RQGD]LRQH�$OGR�5RVVL�LQ�0LODQ��DQG�)RQGD]LRQH�(PLOLR�H�$QQDELDQFD�9HGRYD�LQ�9HQLFH��+H�ZDV�WKH�6HQLRU�&XUDWRU�RI�&RQWHPSRUDU\�$UW�DW�WKH�6RORPRQ�5��*XJJHQKHLP�0XVHXP�LQ�1HZ�<RUN�IURP������WR�������WKH�DUWLVWLF�GL-UHFWRU�RI�WKH�¿UVW�%LHQQDOH�GL�)LUHQ]H���������FXUDWRU�RI�the 47th Venice Biennale (1997), and artistic supervisor IRU�*HQRD¶V�\HDU�DV�(XURSHDQ�&XOWXUDO�&DSLWDO�LQ�������$�ORQJWLPH�FRQWULEXWLQJ�HGLWRU�WR�Artforum and Interview Magazine, Celant writes regular columns for the Italian magazines L’Espresso and Interni. He received the Frank -HZHWW�0DWKHU�$ZDUG�LQ������IRU�H[FHSWLRQDO�DUW�FULWLFLVP��

ANNUAL BENEFIT

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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-scene access to ICI programs in New York, select international exhibitions, biennials, and art fairs around the world.

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 RI�H[FOXVLYH�HYHQWV��VLWH�YLVLWV��FRFNWDLOV��DQG�GLQQHUV�with international curators and artists held throughout WKH�\HDU��$V�D�PHPEHU�RI�WKH�,QWHUQDWLRQDO�)RUXP��\RX�will receive recommendations on the places to visit and FXUDWRUV�WR�PHHW�ZKHQ�WUDYHOLQJ�LQGHSHQGHQWO\��)LQDOO\��HDFK�'HFHPEHU�GXULQJ�1$'$�0LDPL�%HDFK��WKH�)RUXP�PHHWV�ZLWK�RWKHU�,&,�FROODERUDWRUV��/HDGHUVKLS�&RXQFLO�PHPEHUV��WKH�,&,�%RDUG�RI�7UXVWHHV��JXHVW�FXUDWRUV��DQG�DUWLVWV�DW�WKH�$QQXDO�0LDPL�/XQFKHRQ��

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ICI Conversations: Prospect New Orleans March 24, 2014New York, NY

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NADA New YorkMay 9, 2014New York, NY

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LEADERSHIP COUNCIL

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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.

VISIONARY INITIATIVES

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THE LEADERSHIP COUNCIL

Sarina TangICI Board of Trustee’s International RepresentativeMercedes Vilardell3KLO�DQG�6KHOOH\�)R[�$DURQV�Josh Brooks and Jung Lee Jennifer Brown James Cohan)DUXN�DQG�)XVXQ�(F]DFLEDVL�$JQHV�*XQG�$OH[HL�.X]PLFKHY�DQG�6YHWODQD�.X]PLFKHYD�8VSHQVND\D� 0DULO\Q�*UHHQHJulie Mehretu and Jessica RankinPatricia Phelps de Cisneros+HOHQ�:DUZLFN

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ICI ANNUAL BENEFIT & AUCTION

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$OH[HL�.X]PLFKHY��6YHWODQD�.X]PLFKHYD�8VSHQVND\D��Sydie Lansing, Allegra Laviola, Jo Carole Lauder, 'RURWK\�/LFKWHQVWHLQ��/DXUH�/LP��7VDP�/LP��$OH[DQGHU�/RJVGDLO��5REHUW�/RQJR��5RVH�/RUG��/LVH�/¡YHQVNLROG��,VDDF�/XVWJDUWHQ��0LFKHOH�0DFFDURQH��7KH�5REHUW�Mapplethorpe Foundation, Laura Maria Mattioli, Sally 0DXQGHU��/LVVD�0F&OXUH��&ROOHHQ�0F0DKRQ��*UHJRU�and Bee Medinger, Jonathan Miller, Charles Moss, Liz 0XOKROODQG��'DYLG�1DVK��%DUEDUD�1HVVLP��&KULVWLQD�3DFHWWL��1DQF\�3RUWQR\��)RQGD]LRQH�3UDGD��6WHYH�.��3XOLPRRG��*HUDOG��/RXLVH�3XVFKHO��0ROO\�5DQG��/RUL�5HLQVEHUJ��.DWULQD�5HLWPDQ��7UDFH\��3KLOLS�5LHVH��.DULDQQH�5LPPHUHLG��&DURO�5ROOR��0HUHGLWK�5RVHQ��-DQH�6DGDND��.ULVWLQ�6DQFNHQ��,UYLQJ�6DQGOHU��$QQ�DQG�0HO�6FKDIIHU��%DUEDUD�6FKZDUW]��0LFKDHO�DQG�%�=��6FKZDUW]��6WHSKDQLH�6H\PRXU��.HOOL�6KDXJKQHVV\��3DWWHUVRQ�6LPV��.DW\�+RPDQV��*HRUJH�6LQJHU��6XVDQ�6ROOLQV��+DOVH\�6WHEELQV��/LVH�6WROW�1LHOVHQ��0LFNH\��/HLOD�6WUDXV��Andrew & Dana Stone, Mary Anne Talotta, Sarina Tang, &DUROHH�7KHD��'DYLG�7HLJHU��/XFLHQ�7HUUDV��%DUEDUD�7ROO��+HOHQ�:DUZLFN��&KULVWLDQ�:LUW]��-HII�:ULJKW��%HJXP�<DVDU��-RVHSK�<XUFLN��'DVKD�=KXNRYD

THE ARTISTS

.DPURR]�$UDP��.RUDNULW�$UXQDQRQGFKDL��-RKQ�%DOGHVVDUL��*LQD�%HDYHUV��(OOHQ�%HUNHQEOLW��:DOHDG�%HVKW\��&+5,672��0DUWLQ�6RWR�&OLPHQW��$OH[�'D�&RUWH��-LP�Drain, Brock Enright, Claire Fontaine, Charles Harlan, 'DQLHO�+HLGNDPS��&DUVWHQ�+|OOHU��&ROLQ�+XQW��-HQQLH�&��-RQHV��-RVK�.OLQH��&XUWLV�.XOLJ��'HQLVH�.XSIHUVFKPLGW��:LOOLDP�/DWWD��1DWH�/RZPDQ��$JQHV�/X[��(GGLH�0DUWLQH]��Linda Matalon, Dan McCarthy, Julie Mehretu, Sam Moyer, Yoko Ono, Anna Ostoya, Tyson Reeder, Daniel 5LFK��$OOHQ�5XSSHUVEHUJ��'DQ�6KDZ�7RZQ��WKH�HVWDWH�RI�$ODQ�6KLHOGV��$OH[DQGUH�6LQJK��-RVK�7RQVIHOGW��&KXFN�:HEVWHU��'XVWLQ�<HOOLQ�

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THANK YOU1(7:25.��$&&(66

On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions have made a year of expanded, interrelated programs worldwide possible, by providing crucial support to our itinerant exhibitions, public events, training initiatives, and publications.

47

ACCESS ICI1(7:25.��$&&(66

ICI STAFF

Renaud Proch ([HFXWLYH�'LUHFWRUUHQDXG#FXUDWRUVLQWO�RUJ�������������[���

Kate Fowle Director-at-Large NDWH#FXUDWRUVLQWO�RUJ

María del Carmen Carrión Associate Director of Research & 3XEOLF�3URJUDPV PGF#FXUDWRUVLQWO�RUJ�������������[���

Soojin Chang ([HFXWLYH�&RRUGLQDWRUVRRMLQ#FXUDWRUVLQWO�RUJ�������������[���

Alaina Claire Feldman ([KLELWLRQV�0DQDJHU DODLQD#FXUDWRUVLQWO�RUJ�������������[���

Frances Wu Giarratano ([KLELWLRQV��3XEOLFDWLRQV�$GYLVRU IZJ#FXUDWRUVLQWO�RUJ

Sarah Giovanniello Administrative & CommunicationsCoordinatorsarah@curatorsintlorg�������������[���

Susan Hapgood Senior Advisor VXVDQ#FXUDWRUVLQWO�RUJ

Misa Jeffereis 3XEOLF�3URJUDPV��5HVHDUFK�Coordinator PLVD#FXUDWRUVLQWO�RUJ�������������[���

Heather Jones ([KLELWLRQV�$VVLVWDQWKHDWKHU#FXUDWRUVLQWO�RUJ�������������[���

Chelsea Pierce Curatorial Intensive CoordinatorFKHOVHDSLHUFH#FXUDWRUVLQWO�RUJ

Laurel Voss Associate Director of Communications & FinanceODXUHO#FXUDWRUVLQWO�RUJ�������������[���

ICI BOARD OF TRUSTEES

*HUULW�/��/DQVLQJ Chairman Emeritus

Sydie Lansing Honorary Chair

Patterson Sims Chairman

Melville Straus%DUEDUD�7ROO Vice Chairs

-HDQQLH�*UDQW President

Ann Schaffer Vice President

Jeffrey BishopJill Brienza&KULVWR��-HDQQH�&ODXGH Ann CookSusan Coote0D[LQH�)UDQNHO Trustee Emerita&DURO�*ROGEHUJ Trustee Emerita$JQHV�*XQG Trustee Emerita%HOLQGD�%XFN�.LHOODQGJo Carole Lauder&DUDO�*��/HEZRUWK Trustee Emerita**Laure LimIsaac LustgartenVik MunizMel Schaffer6XVDQ�6ROOLQV � Executive Director Emerita1LQD�&DVWHOOL�6XQGHOO Trustee EmeritaSarina Tang

International Representative9LUJLQLD�:ULJKW Trustee Emerita

*ICI Co-founder**In Memoriam

CONTACT

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PARTICIPATION FEE

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EXHIBITION MATERIALS

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

Free Play (page 4)

do it(page 6)

Project 35: Volume 2�SDJH���

Performance Now(page 10)

Martha Wilson(page 12)

En Mas’: Carnival 21st Century Style�SDJH����

Living as Form (The Nomadic Version)(page 14)

With Hidden Noise(page 16)

Harald Szeemann: Documenta 5(page 17)

EXHIBITIONS

BOOKINGINFO

ABOUT ICIIndependent Curators International (ICI) produces exhibitions, events, publications, and curatorial training for diverse audiences around the world. Since 1975 ICI’s mission has been to connect emerging and established curators, artists, and institutions, forging international networks and generating new forms of collaboration.

In 2013, 10 ICI exhibitions were presented by 37 venues in 19 countries and 13 US states. 66 curators and artists contributed to ICI’s talks, public programs, and research initiatives; and 94 curators from over 33 countries and 8 US states participated in the Curatorial Intensives, ICI’s short-course professional training program.

CUrATorIAl prACTICE: EXHBITIoNS oN THE MoVE

with a wide range of exhibitions, ICI is able to collaborate with art spaces big and small, both nationally and internationally. Every ICI exhibition is an occasion for curatorial collaboration, to better respond to the local context in which it is presented, as well as an opportunity to connect to regional and international networks. Many champion the work of under-represented artists. generating new content every time they are presented, many ICI exhibitions are also cumulative, growing with every presentation.

CUrATorIAl rESEArCH: ACCESS To NEw THoUgHT

As ICI exhibitions generate new content that feeds into ,&,�UHVHDUFK�SODWIRUPV�RQ��DQG�RIÀLQH��,&,�SXEOLF�HYHQWV��fellowships, publications, and professional development initiatives create an unparalleled support structure for new curatorial research. In 2014, the Curatorial Intensive will take place in 5 cities internationally, and over 30 free events will happen at the Curatorial Hub in New York, along with public programs that aim to raise awareness of curatorial thinking around the world.

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

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