Spring 2020 Brochure by Independent Curators International

Independent Curators International

Spring/Summer 2020

SPRING/SUMMER 2020 CALENDAR MARCH Apichatpong Weerasethakul: The Serenity of Madness Taipei Fine Arts Museum (Taipei, Taiwan) Through March 15

APRIL Axis Mundo: Queer Networks in Chicano L.A. The Gund Gallery at Kenyon College (Gambier, OH) Through April 12 Publishing Against the Grain Blue Star Contemporary (San Antonio, TX) Through May 3

Axis Mundo: Queer Networks in Chicano L.A. The Gund Gallery at Kenyon College (Gambier, OH) Through April 12

Never Spoken Again: Rogue Stories of Science and Collections Eli and Edythe Broad Art Museum at Michigan State University (East Lansing, MI) Through August 23

Publishing Against the Grain Blue Star Contemporary (San Antonio, TX) Through May 3

Wanda Nanibush James Gallery, CUNY Graduate Center (New York, NY) April 22

Never Spoken Again: Rogue Stories of Science and Collections Eli and Edythe Broad Art Museum at Michigan State University (East Lansing, MI) Through August 23 Curator’s Perspective: Jacopo Crivelli Visconti Americas Society (New York, NY) March 7 Pablo José Ramírez ICI New York March 10

MAY Publishing Against the Grain Blue Star Contemporary (San Antonio, TX) Through May 3 Never Spoken Again: Rogue Stories of Science and Collections Eli and Edythe Broad Art Museum at Michigan State University (East Lansing, MI) Through August 23 4th Annual Independents Spring Benefit New York, NY May 20 Soundings: An Exhibition in Five Parts Kitchener-Waterloo Art Gallery (Kitchener, Canada) Opens May 29

JUNE Soundings: An Exhibition in Five Parts Kitchener-Waterloo Art Gallery (Kitchener, Canada) Through August 9

Never Spoken Again: Rogue Stories of Science and Collections Eli and Edythe Broad Art Museum at Michigan State University (East Lansing, MI) Through August 23

Publishing Against the Grain Stacion â&#x20AC;&#x201C; Center for Contemporary Art Prishtina Summer School as School 2020 (Prishtina, Kosovo) Opens August 3

JULY Soundings: An Exhibition in Five Parts Kitchener-Waterloo Art Gallery (Kitchener, Canada) Through August 9 Never Spoken Again: Rogue Stories of Science and Collections Eli and Edythe Broad Art Museum at Michigan State University (East Lansing, MI) Through August 23 Summer Cocktails (New York, NY) July 8 Seeing Sound Kadist (San Francisco, CA) Opens July 8

AUGUST Soundings: An Exhibition in Five Parts Kitchener-Waterloo Art Gallery (Kitchener, Canada) Through August 9 Seeing Sound Kadist (San Francisco, CA) Through August 22

do it A4 Art Museum (Chengdu, China) Opens August 8

Check out ICIâ&#x20AC;&#x2122;s website for more upcoming programs announced throughout the year, and to sign up for our mailing list.

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WELCOME Connected to more than 70 countries, ICI forms an international framework for sharing knowledge and resources—promoting cultural exchange, access to art, and public awareness of the curator’s role. ICI’s exhibitions, public events, and professional development programs travel to cities around the world, forging lasting curatorial collaborations, and generating new knowledge about art in different cultural contexts. Over time and across borders, ICI programs inform each other to create a multiplicity of perspectives on a subject and reflect the full complexity of art today. For example, ICI has developed over the past year programs that consider Indigenous knowledge systems in curatorial and artistic practices, including a recent Curatorial Intensive in Aotearoa/New Zealand; an upcoming New York program with Wanda Nanibush, an Anishinaabe-kwe curator; SOUNDINGS, an exhibition of new commissions by Indigenous artists from North America, curated by Candice Hopkins and Dylan Robinson; and a CPPC research fellowship supporting Pablo José Ramírez’s curatorial research into Garifuna art and culture. This Spring, ICI will launch an expanded program of Curatorial Research Fellowships that will further this type of accumulation of knowledge across programs, while also supporting curators with professional development and mentorship opportunities. In the Summer we will debut our latest exhibition, SEEING SOUND—curated by Barbara London, a pioneer

in the field of new media—that explores the recent trajectory of sound as art through the work of artists from New York, London, Bogotá, Tokyo, Singapore, and Hong Kong. It introduces new technologies, developed by Nokia Bell Labs with the artists in the show, and it builds on ICI’s own history of championing the latest advancements in the field of new media since our very first video art exhibition in 1975, and more recently with exhibitions such as WHAT SOUND DOES A COLOR MAKE? (2005–07) curated by Kathleen Ford, and WITH HIDDEN NOISE (2011–15) curated by Stephen Vitiello. I would like to take this opportunity to thank ICI’s extraordinary Board of Trustees, a growing group of dynamic visionaries whose leadership and dedication drive ICI’s mission forward. This past year, we have welcomed eight new Trustees to the Board, mirroring ICI’s own expansion. Their endorsement of our work brings new energy to it. I also want thank everyone who makes ICI what it is today: the curators, the artists, our collaborators, art spaces, and all those who connect with ICI programs in person, in print, or online; the trusts and foundations that support us; the many individuals who make our programs possible, especially the members of the Leadership Council, the International Forum, and the Independents; and of course ICI’s staff, working tirelessly to forge new collaborations every day and support new voices and perspectives in art and the curatorial field. —Renaud Proch Executive & Artistic Director

TABLE OF CONTENTS EXHIBITIONS

8 SEEING SOUND 10 NEVER SPOKEN AGAIN 14 SOUNDINGS: AN EXHIBITION IN FIVE PARTS 16 DO IT 18 AXIS MUNDO 20 PUBLISHING AGAINST THE GRAIN 22 APICHATPONG WEERASETHAKUL 24 TALKING TO ACTION PUBLIC EVENTS

28 NEW YORK PROGRAMS 30 CURATORâ&#x20AC;&#x2122;S PERSPECTIVE 32 COMRADESHIP

CURATORIAL INTENSIVE AND PROFESSIONAL PROGRAMS

36 CURATORIAL INTENSIVE 38 PAST PROGRAM: CAPE TOWN 42 ALUMNI UPDATES 44 CURATORIAL FORUM 46 RESEARCH FELLOWSHIPS SUPPORT ICI

52 GET INVOLVED! 54 THE INDEPENDENTS 56 LIMITED EDITIONS 58 ANNUAL BENEFIT & AUCTION 62 THANK YOU

EXHIBITIONS

Exhibitions are the meeting point of art and audiences, where new perspectives can be experienced through the work of artists. Since 1975, ICI exhibitions have shared the practice of more than 4,000 artists in countries around the world, including Argentina, Afghanistan, Brazil, Canada, Czech Republic, Denmark, Ethiopia, England, France, Germany, Hong Kong, Iceland, Jamaica, Kosovo, Latvia, Lithuania, Mexico, New Zealand, Poland, Russia, Sweden, Thailand and more. Wherever they take place, ICI exhibitions have the potential to build a shared understanding of artistic practice and are solid foundations for exchange in the curatorial field. Our projects connect art spaces to their audiences and art scenes to one another, across social, political, and cultural borders. Today, ICI exhibitions are the result of collaborations with hosting institutions and curators. They are conceived to reflect our times, adapt to their changing contexts, and generate new content and propositions at every venue.

Tours through 2024

demonstrate the effort and individuality within musical compositions. Bani Haykal and Aura Satz seek to present multiple interpretations of language through their interactive artworks made of everyday technologies (e.g. the telephone and computer). Through familiar interfaces, the artists imaginatively translate and redefine words, sounds, and music. Seth Cluett’s video installation the stratified character of nature and Juan Cortés’s interactive installation Supralunar, use sound to probe magical impressions of the Universe and transport viewers to specific places, while Yuko Mohri and Marina Rosenfeld use sound to create visual ecosystems to situate their mixed-media sculptures. Mohri’s You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, includes rotating speakers that create an environment where visitors can interact with visual and audible manifestations of often invisible systems, and in Rosenfeld’s Music Stands, the viewer is immersed among three sculptures that resemble music stands emitting unpredictable tones that echo and amplify through the space.

Seeing Sound Curated by Barbara London Seth Cluett, Juan Cortés, Iain Forsyth and Jane Pollard, Bani Haykal, Yuko Mohri, Marina Rosenfeld, Aura Satz, and Samson Young Seeing Sound is an immersive exhibition that explores the recent trajectory of sound as a dynamic branch of contemporary art practice, curated by one of the most influential curators of new media art, the founder of the Videomedia Exhibition & Collection Programs at The Museum of Modern Art (MoMA), New York. Developed with Nokia Bell Labs Experiments in Art and Technology (E.A.T.), which pioneered some of the technologies used in the exhibition, Seeing Sound features interactive installations by eight artists based in New York, London, Bogotá, Tokyo, Singapore, and Hong Kong. The artists in the exhibition create immersive experiences, using sound as a sensorial and pliant material that enchants as an intangible, but integral component of art and daily life. They incorporate this fluid medium into their distinctive practices, and work across disciplines to move between music and composition, video and performance, sculpture and installation. Through their integration and interrogation of sound, they challenge ideas about what art in a perpetual state of flux may be. Iain Forsyth and Jane Pollard’s installation Requiem for 114 Radios, and Samson Young’s video Muted Lion Dance are revelatory interpretations of sound. Both of the works reimagine musical productions, breaking apart the sonic experience of performances and then rebuilding the score to better curatorsintl.org/exhibitions

CURATOR Barbara London is a New York-based curator and writer, who founded the Video-media Exhibition & Collection Programs at The Museum of Modern Art.

For information contact Becky Nahom at becky@curatorsintl.org or call 212 254 8200. Seeing Sound is a traveling exhibition curated by Barbara London, with the support of Research Assistant Kristen Clevenson and produced by Independent Curators International (ICI). This exhibition and tour are supported, in part, by Nokia Bell Labs Experiments in Art and Technology (E.A.T.) program and with the generous support of ICI’s Board of Trustees and International Forum.

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Iain Forsyth and Jane Pollard, Requiem for 114 Radios, 2016. Courtesy the artist and Kate MacGarry Gallery.

Samson Young, Muted Situation #2: Muted Lion Dance, 2014, instruction score, video. (Production Still) ÂŠ Samson Young. Courtesy the artist. Photo by Dennis Man Wing Leung.

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Tours through 2023

ecologies. These practices examine not only the collected objects and the systems of distribution that facilitate their circulation but also the disciplines and subjects of study that they trade in. Variously, the works shed light on myths, simulations, fake currencies, war games, and the slow violence of systematic racism that historically underpin collecting practices. Together they open the field for considering our agency in how our histories and futures may be constituted otherwise.

Never Spoken Again Curated by David Ayala-Alfonso Morehshin Allahyari, Maria Thereza Alves, François Bucher, Giuseppe Campuzano, Alia Farid, Sofía de Grenade, Laura Huertas Millán, Ulrik López, Carlos Motta, Erkan Öznur, David Peña Lopera, Michael Rakowitz, Beatriz Santiago Muñoz, Reyes Santiago Rojas, Daniel R. Small, and Felipe Steinberg

For information contact Becky Nahom at becky@curatorsintl.org or call 212 254 8200. Never Spoken Again: Rogue Stories of Science and Collections is a traveling exhibition curated by David Ayala-Alfonso and produced by ICI. It is the result of a new series of programs, pioneered with the support of the Hartfield Foundation, aimed at providing opportunities to alumni of ICI’s Curatorial Intensive as they move through the stages of their career, and reflecting ICI’s commitment to fostering and championing new curatorial voices who will shape the future of the field. Never Spoken Again is made possible with the generous support of ICI’s Board of Trustees and International Forum. Additional support for Erkan Öznur’s participation is provided by SAHA.

On a desk of the private study collection of the Museum für Naturkunde in Berlin, an old stuffed parrot guards a vast ornithology collection. An excited young scientist reads a story on the origins of the desiccated animal for the purpose of entertaining a group of visitors: it may have been the last “speaker” of a dead indigenous language from colonial Venezuela, or a German prince’s precious gift to the naturalist Alexander von Humboldt. There is no clear understanding which of these versions, if any, might be true. Never Spoken Again: Rogue Stories of Science and Collections is a traveling exhibition that reflects on the birth of modern collections, the art institutions that sustain them and their contingent origin stories. Curated by Colombian curator David Ayala-Alfonso, an alumnus of ICI’s Curatorial Intensive, the exhibition is part of ICI’s new series of programs supporting emergent voices in the curatorial field. Considering how institutional collections organize our lives Never Spoken Again brings together artists whose works open up a critique of material culture, iconography, and political

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CURATOR David Ayala-Alfonso is a Colombian curator, artist, and researcher working between Bogotá and London. Most recently he was Curator in Residence and Academic Coordinator at FLORA ars+natura in Bogotá. Following his

participation in the Curatorial Intensive in New York in 2010, he received the ICIDedalus Award for Curatorial Research in 2012. Among many projects, he is currently preparing a publication on critical heritage to be released later this year.

Carlos Motta, Corpo Fechado-The Devils Work, 2018, HD, single-channel video (color, sound), 24:47 min, film still. Courtesy of P•P•O•W Gallery and the artist.

Morehshin Allahyari, She Who Sees the Unknown (still). Video. Courtesy of Upfor Gallery and the artist.

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Never Spoken Again: Rogue Stories of Science and Collections, installation view at the Eli and Edythe Broad Art Museum at Michigan State University, East Lansing, 2020. Photo: 12 Eat Pomegranate Photography. Courtesy of MSU Broad and ICI.

Tours through 2023

The exhibition is cumulative, limning an ever-changing community of artworks, shared experience and engagement as it travels. Soundings shifts and evolves, gaining new artists and players in each location. Some artworks have multiple parts, others change to their own rhythm as the exhibition grows. At the core of the exhibition is a grounding in concepts of Indigenous land and territory. To move beyond the mere acknowledgement of land and territory here means offering instructions for sensing and listening to Indigenous histories that trouble the colonial imaginary. Soundings activates and asserts Indigenous resurgence through the actions these artworks call forth.

Soundings: An Exhibition in Five Parts Curated by Candice Hopkins and Dylan Robinson Raven Chacon and Cristóbal Martínez, Sebastian De Line, Camille Georgeson-Usher, Cheryl L’Hirondelle, Kite, Tanya Lukin Linklater, Ogimaa Mikana, Peter Morin, Lisa C. Ravensbergen, Heidi Senungetuk, Olivia Whetung, and Tania Willard

CURATORS Candice Hopkins is Senior Curator of the 2021 Toronto Biennial of Art. Dylan Robinson is the Canada Research Chair in Indigenous Arts at Queen’s University.

Soundings: An Exhibition in Five Parts features newly commissioned scores, performances, videos, sculptures and sound by Indigenous and other artists who respond to this question: How can a score be a call and tool for decolonization? Unfolding in a sequence of five parts, the scores take the form of beadwork, videos, objects, graphic notation, historical belongings, and written instructions. During the exhibition these scores are activated at specific moments by musicians, dancers, performers and members of the public, gradually filling the gallery and surrounding public spaces with sound and action.

For information contact Becky Nahom at becky@curatorsintl.org or call 212 254 8200. Soundings: An Exhibition in Five Parts is a traveling exhibition curated by Candice Hopkins and Dylan Robinson, and organized by Agnes Etherington Art Centre, Queen’s University, Canada and ICI. The exhibition and tour are made possible, in part, with the generous support from ICI’s Board of Trustees and International Forum, with additional support for the exhibition by the Social Sciences and Humanities Research Council of Canada, the Canada Council for the Arts’ New Chapter Program, the Isabel and Alfred Bader Fund of Bader Philanthropies, the Ontario Arts Council, the City of Kingston Arts Fund through the Kingston Arts Council, and the George Taylor Richardson Memorial Fund at Queen’s University.

Soundings, installation view, Agnes Etherington Arts Centre, Kingston, 2019. Photo by Paul Litherland. Courtesy of AEAC and ICI.

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Tania Willard, Surrounded/Surrounding, 2018, wood burning fire ring, laser etched cedar wood logs from SecwĂŠpemc Territory, relief print on paper on view at the Agnes Etherington Arts Centre. Gifted to Four Directions Aboriginal Student Centre, Kingston, 2019. Photo by Paul Litherland. Courtesy of AEAC and ICI.

Raven Chacon and CristĂłbal Martinez, A Song Often Played on the Radio, film still, 2018. Courtesy of the artists.

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Tours through 2021

to Iceland. Many new versions have appeared, including do it (museum), do it (home), do it (TV), do it (seminar), and an online do it in collaboration with e-flux. Every time it is presented, do it is reinterpreted anew, engaging the local community in a dialogue that responds to a set of instructions. A call to action, do it invites the presenting venues and visitors to take part, interpret, re-invent and generate ideas, creating new dynamic institutional and exhibition formats for years to come.

do it Curated by Hans Ulrich Obrist do it began in 1993, the result of a conversation between Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier who mused about the potential of “scores,” or written instructions by artists, to create exhibition formats that could be more flexible and open-ended—exhibitions that would never stop. Since then, do it has become the longest-running and most far-reaching exhibition to ever happen—constantly generating new versions of itself. It has grown from a selection of 12 instructions to an ongoing project including over 400 artist-submitted instructions that have been carried-out at institutions all over the world from Austria to Australia, from Thailand to Uruguay, and from Canada

Yoko Ono, Wish Tree (1996). do it, installation view, Symfonik Fest - Gränslandet, Stockholm, 2019. Courtesy of Najda Sjöström.

Erwin Wurm, Untitled (1995). do it, installation view, Garage Museum of Contemporary Art, Moscow, 2014. Photo by Anton Silenin.

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DO IT (IN SCHOOL) The newest version of do it, produced by ICI in partnership with Studio in a School (Studio), do it (in school) is a selection of instructions that form a study-based curriculum for high-school students. It represents a new take on art education, a solid base from which to learn about conceptual art and some of the most influential art practices of this century. Students learn about contemporary artists from around the world, and have the opportunity to interpret the works themselves while generating artworks that respond to their personal experience. In 2018–19, Studio artist-instructors adopted do it (in school) in their on-going work with three New York City high schools. The works produced through the program formed the basis of an exhibition at Hunter East Harlem Gallery in Spring 2019. Through this collaboration with Hunter College, do it (in school) empowered high-schoolers to become active participants in a city college environment.

DO IT (ARCHIVE)  The do it (archive), curated by ICI and Hans Ulrich Obrist in collaboration with Joseph Grigley, is a compilation of ephemera, photographs, and videos, that acts as an appendix to the exhibition, presenting the project’s vast history, its global reach, and evolution over the past 20+ years. It can be shown alongside any presentation of do it, and gives important historical context to the exhibition.

do it (in school) is made possible with the generous collaboration of Uri Aran, and by ICI’s Board of Trustees, ICI’s Leadership Council and the Jeanne and Dennis Masel Foundation, and additional gifts to ICI’s Access Fund.

PUBLICATION do it: the compendium by Hans Ulrich Obrist, published by ICI and DAP, marks the exhibition’s 20th anniversary.

do it (archive), installation view, do it 2013, Manchester Art Gallery, Manchester, 2013. Photo Credit: Alan Seabright

CURATOR Hans Ulrich Obrist is Artistic Director of the Serpentine Galleries, London. For information contact Becky Nahom at becky@curatorsintl.org or call 212 254 8200.

do it (in school), installation view, Hunter East Harlem Gallery, New York, 2019. Courtesy of Hunter East Harlem Gallery and ICI.

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Tours through 2021

Chicano Art Movement, performance art, and queer aesthetics and practices. Axis Mundo marks the first historical consideration and significant showing of many of these pioneering artists’ work. It presents their work—painting, performance ephemera, print material, video, music, fashion, and photography—in the context of significant artistic and cultural movements: mail art and artist correspondences; the rise of Chicanx, LGBTQ, and feminist print media; the formation of alternative spaces; fashion culture; punk music and performance; and artistic responses to the AIDS crisis.

Axis Mundo Curated by C. Ondine Chavoya and David Evans Frantz Laura Aguilar, Jerri Allyn, Carlos Almaraz, Skot Armstrong, David Arnoff, Steven Arnold, Asco, Judith F. Baca, Alice Bag, Tosh Carrillo, Monte Cazazza, Edward Colver, Vaginal Davis, DIVA TV, Jerry Dreva, Tomata du Plenty, Elsa Flores, Anthony Friedkin, Harry Gamboa Jr., Roberto Gil de Montes, Gronk, Jef Huereque, Louis Jacinto, Ray Johnson, Robert Lambert, Robert Legorreta (Cyclona), Les Petites Bonbons, Mundo Meza (with Simon Doonan), Judy Miranda, Ray Navarro (with Zoe Leonard), Nervous Gender, Graciela Gutiérrez Marx and Edgardo Antonio Vigo, Richard Nieblas, Dámaso Ogaz, Pauline Oliveros (with Alison Knowles), Genesis Breyer P-Orridge, Ferrara Brain Pan, Clemente Padín, Phranc, Ruby Ray, Albert Sanchez, Teddy Sandoval, Joey Terrill, Cosey Fanni Tutti, Patssi Valdez, Ricardo Valverde, Jack Vargas, Gerardo Velázquez, Johanna Went (with Scott Lindgren), and Faith Wilding

PUBLICATION Edited by C. Ondine Chavoya and David Evans Frantz with Macarena Gómez- Barris. Texts by Julia BryanWilson, Iván A. Ramos, and more. Co-Published by DelMonico Books/ Prestel and ONE Archives at the USC Libraries, 2017. CURATORS C. Ondine Chavoya is Professor of Art History and Latina/o Studies at Williams College. David Evans Frantz is an independent curator based in Los Angeles.

For information contact Becky Nahom at becky@curatorsintl.org or call 212 254 8200.

Axis Mundo: Queer Networks in Chicano L.A. is the first exhibition of its kind to excavate histories of experimental art practice, collaboration, and exchange among over 50 Los Angeles-based queer Chicanx artists between the late 1960s and early ‘90s. It reveals extensive new research into the collaborative networks that connected these artists to one another in and beyond Los Angeles, and to artists from many different communities, cultural backgrounds, sexual orientations, and international urban centers, thus deepening and expanding narratives about the development of the curatorsintl.org/exhibitions

Axis Mundo: Queer Networks in Chicano L.A. was organized by ONE National Gay & Lesbian Archives at the USC Libraries in collaboration with The Museum of Contemporary Art, Los Angeles, and the traveling exhibition and tour are organized by ICI. Additional support is provided through grants from the Getty Foundation, the National Endowment for the Arts, the Calamus Foundation of New York, Inc., the City of West Hollywood through WeHo Arts, Kathleen Garfield, the ONE Archives Foundation, the USC Libraries, and the Luis Balmaseda Fund for Gay & Lesbian Archives.

Axis Mundo: Queer Networks in Chicano L.A., installation view, Williams College Museum of Art, Williamstown, 2019. Photo by Jim Gipe / Pivot Media. Courtesy of WCMA and ICI.

Patssi Valdez, Reclining (Betty Salas and Gloria), c. early 1980s. Black-and-white photograph, 8 x 10 in. (20.3 x 25.4 cm). Courtesy of Patssi Valdez.

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Tours through 2021

that connect theoretical, social, political, and aesthetic questions with a focus on community, whether understood in relation to a particular place, or defined in identitarian or diasporic terms. Included in the exhibition are print journals like White Fungus (Taiwan) and Bisagra (Peru) alongside more experimental forms like Our Literal Speed (United States). In bringing together these projects from around the world, Publishing Against the Grain reveals how their material and discursive activities respond to intersecting subjects such as contemporary aesthetics, diaspora, sex and gender, gentrification, race, language, and art history. A selection of key publications was drawn from ICI’s international network of collaborators. These curators, artists, and scholars involved in independent publishing are represented in the exhibition through their own projects and those of others who have influenced their work and school of thought. The exhibition continues to grow and accumulate as it travels, when new publications are added at every site.

Publishing Against the Grain Art Against Art (Germany), Bisagra (Peru), Chimurenga / The Chronic (South Africa), Curatorial Dictionary (Hungary), East of Borneo (United States), Exhausted Geographies (Pakistan), Fillip (Canada), Glänta (Sweden), Makhzin (United States / Lebanon), Our Literal Speed (United States), Pages (The Netherlands / Iran), PISEAGRAMA (Brazil), Raking Leaves (Sri Lanka), SALT. (United Kingdom), Start Journal (Uganda), Stationary (Hong Kong), Tráfico Visual (Venezuela), White Fungus (Taiwan), and many others. Publishing Against the Grain provides a space for reading, thinking, and conversing, where slowing down can become a form of intellectual resistance. It encourages discursive public participation, self-reflective investigation, and invites visitors to discover new perspectives while connecting multiple spheres of contemporary art. In the context of today’s corporatization and commodification of cultural institutions, and in many political situations where free speech becomes ever more precarious, independent publishing has shown extraordinary vitality and importance as a platform for disseminating alternative, progressive and autonomous positions. Publishing Against the Grain highlights the current state of publishing and art criticism as it exists in small journals, experimental publications, websites, and radio, as well as other innovative forms. It is organized around projects curatorsintl.org/exhibitions

For information contact Becky Nahom at becky@curatorsintl.org or call 212 254 8200.

Publishing Against the Grain, installation view, Critical Distance Centre for Curators, Toronto, 2019. Courtesy of CDCC and ICI.

Publishing Against the Grain, installation view, Adjective (detail), Zeitz Museum of Contemporary Art, Cape Town, 2017. Courtesy of Zeitz MOCAA and ICI.

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Tours through 2020

the tradition of American experimental film. In both his narrative films and experimental projects, personal memories are interwoven with the ephemeral and supernatural, evoking the fluidity and distortions of history. Each presenting art space has the opportunity to work with Weerasethakul to expand upon the scope of the exhibition, by drawing from their collections and archives, for instance, or showcasing additional screenings of his feature films; and to plan together the flow of the exhibition following the artist’s response to the space. The survey is divided into distinct parts: one corresponds to his private world, populated with beloved friends, family, and long-time collaborators; others consider the public experience through abstract dimensions of viewership, light, memory, and the poetics of temporal, spatial and spiritual displacement. The survey culminates with a selection of recent work addressing the social reality in his homeland.

Apichatpong Weerasethakul: The Serenity of Madness Curated by Gridthiya Gaweewong Apichatpong Weerasethakul: The Serenity of Madness is a selective survey of the work of Apichatpong Weerasethakul, the internationally acclaimed artist and independent filmmaker based in Chiang Mai. This exhibition presents more than 25 works following Weerasethakul’s practice from his first experimental films to his most recent work, ranging across media from short films to video art, video diaries, prints and archival material. Weerasethakul’s reflexive and non-linear work has explored themes of faith, memory and rebirth, often drawing upon narrative traditions of his native Isaan region. His stories reflect diverse literary and cinematic genres including science fiction, adventure and myth, as well as

For information contact Becky Nahom at becky@curatorsintl.org or call 212 254 8200. The exhibition and tour are made possible, in part, with the generous support of MAIIAM Contemporary Art Museum, Chiang Mai.

Apichatpong Weerasethakul: The Serenity of Madness, installation view, Oklahoma City Museum of Art, 2018. Courtesy of OKCMOA and ICI.

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PUBLICATION This exhibition is accompanied by a publication produced by ICI and edited by Weerasethakul, as part of ICI’s Sourcebook series.

CURATOR Gridthiya Gaweewong is the Artistic Director of the Jim Thompson Art Center.

Apichatpong Weerasethakul: The Serenity of Madness, installation view, Taipei Fine Arts Museum, Taipei, Taiwan, 2019. Courtesy of TFAM and ICI.

Apichatpong Weerasethakul: The Serenity of Madness, installation view, Nùcleo de Arte da Oliva, São João da Madeira, Portugal, 2018. Photo by Dinis Santos. Courtesy of Oliva and ICI.

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Toured through 2019

ITINERARY Ben Maltz Gallery, Otis College of Arts and Design, Los Angeles, CA, September 17–December 10, 2017; Sullivan Galleries, School of the Art Institute of Chicago, Chicago, IL, August 27–December 8, 2018; Arizona State University Art Museum, Tempe, AZ, February 9–July 20, 2019; Pratt Manhattan Gallery, New York, NY, September 27–December 14, 2019

Talking to Action Curated by Bill Kelley Jr. Talking to Action: Art, Pedagogy, and Activism in the Americas investigated contemporary, community-based social art practices in the United States and throughout Latin America and built a direct dialogue with artists and researchers across the hemisphere to discuss shared concerns. The exhibition focused on the collaborative, dialogically-based form of art making that is most often referred to as “social practice” with roots in public practice, community-based, participatory, relational and sociallyengaged art. Consequently, the artists in Talking to Action came from a range of trans-disciplinary practices, blurring the lines between object making, political and environmental activism, community organizing, and performance. Talking to Action was the result of a collaboration with Otis College of Art and Design, Los Angeles; the Sullivan Galleries of the School of the Art Institute, Chicago; Arizona State University, Tempe; and Pratt Manhattan Gallery, New York.

THANK YOU TO THE ARTISTS Liliana Angulo Cortés, BijaRi, Bulbo and Galatea audio/visual, Cog●nate Collective, Grupo Contrafilé, Sandra de la Loza and Eduardo Molinari, Dignicraft, Etcétera, Colectivo FUGA, Clara Ianni and Débora Maria da Silva, Iconoclasistas, Kolectivo de Restauración Territorial, Suzanne Lacy, Taniel Morales, Andrés Padilla Domene and Ivan Puig Domene, POLEN, Ultrared and School of Echoes Los Angeles

Talking to Action: Art, Pedagogy, and Activism in the Americas was curated by Bill Kelley, Jr., Curator and Lead Researcher. Karen Moss was Consulting Curator. Talking to Action was organized by Ben Maltz Gallery at Otis College of Art and Design as part of Pacific Standard Time: LA/LA. The exhibition and tour were made possible, in part, with the generous support of the Getty Foundation, PST: LA/LA presenting sponsor Bank of America, the ICI Board of Trustees and ICI’s International Forum.

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Talking to Action: Art, Pedagogy, and Activism in the Americas, installation view, Ben Maltz Gallery, Otis College of Arts and Design, Los Angeles, 2017. Courtesy of Ben Maltz Gallery, Otis College of Arts and Design.

Talking to Action: Art, Pedagogy, and Activism in the Americas, installation view, Sullivan Galleries, School of Art Institute of Chicago, Chicago, 2018. Courtesy of SAIC and ICI.

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PUBLIC EVENTS

Every year, ICI produces events that examine contemporary art and culture through the work of curators. Free and open to all, they promote public conversations that center on curatorial practice and provide opportunities for continued learning by opening new perspectives on art from around the world. ICI public events include programs led by curators, artists, and other cultural producers from across ICI’s international network of collaborators, as well as professional seminars and conferences. ICI’s New York Programs highlight curatorial practice locally and reflect on ICI’s international programs. The Curator’s Perspective talks feature leading international curators, and are presented with partner institutions, including CUNY Graduate Center, Hunter College, MoMA, Americas Society, and many more in New York and occasionally across the U.S. In addition, events related to ICI exhibitions take place internationally in collaboration with presenting art spaces; and closeddoor seminars and public conferences bring together multiple international perspectives to generate and share knowledge that advances curatorial discourse.

New York Programs

UPCOMING PROGRAMS Tuesday, March 10, 6:30-8pm Pablo José Ramírez ICI New York

Throughout the year ICI presents free, public events in New York, including conversations between curators and artists, panel discussions, small press events, screenings, and reading sessions. They provide access to international curatorial practices and highlight local individuals and collectives whose practice and research align with our mission. New York Programs connect with the ideas taken up by our programs around the world, including questions of accessibility and inclusivity; indigeneity and rootedness in place; the modern museum in the global era; and gender, race, and representation. Events take place at ICI New York, located at 401 Broadway, or at partner art institutions across the city. They are scheduled and announced throughout the year. Check ICI’s website for details and updates.

Pablo José Ramírez will speak about the relationship between indigeneity, Mestizaje and contemporary art, from a comparative perspective. Ramírez will also discuss some of his recent projects including: his research around Garifuna Cultures in the Central American Caribbean; his editorial ideas around non-western sonic cultures with the curatorial platform Infrasonica, and his work as Adjunct Curator at Tate Modern. He was the sixth recipient of the ICI/CPPC Travel Award for Central America and the Caribbean in 2019. Wednesday, April 22, 6:30–8pm Wanda Nanibush James Gallery, CUNY 365 Fifth Ave., New York Wanda Nanibush will present on her work, research, and the development of new curatorial ideas and displays within Indigenous practice. Nanibush is an Anishinaabe-kwe curator based in Toronto, Ontario, where she serves as the Curator of Canadian and Indigenous Art at the Art Gallery of Ontario. Organized in partnership with CUNY’s PhD Program in Art History and the James Gallery at the Graduate Center.

ICI’s New York public programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

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PAST PROGRAMS

Talking to Action: Art and Politics in the Americas, Panel Discussion, September 26, 2019. Organized by Pratt Manhattan, this event brought Bill Kelley, Jr., curator of ICI’s traveling exhibition Talking to Action: Art, Pedagogy, and Activism in the Americas, together with scholar Jennifer S. Ponce de León, in a conversation moderated by Macarena Gómez-Barris, cultural critic. They discussed the types of exchanges that exist between artists and researchers featured in the exhibition, blurring the lines between object making, political and environmental activism, community organizing, and performance.

Donald Judd Interviews Marathon Reading, October 19, 2019. Organized in partnership with the Judd Foundation and David Zwirner Books, this day-long reading celebrated the new publication Donald Judd Interviews. ICI Collaborators including Barbara London, Juliana Steiner, and Sally Tallant read from historical interviews with Judd. The reading of interviews, sourced from over four decades, were interspersed with archival audio recordings of the original interviews, selected in conversation with co-editor of Donald Judd Interviews, Caitlin Murray.

Soft and Wet: Publication Launch & Conversation, November 16, 2019. ICI and EFA hosted a closing reception and launch of Soft and Wet, a publication reflecting on the exhibition of the same title curated by Sadia Shirazi. The evening featured readings of excerpts from the Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States (1980) catalog by Kazuko Miyamoto, Howardena Pindell, and Judy Blum Reddy, and a conversation about “Third World Women Artists” in the 1970s and 80s and the linkages with Soft and Wet.

The Conditions of the Archive: FESTAC 77, January 27, 2020. Curator and scholar, Oluremi Onabanjo spoke with renowned artist Marilyn Nance about Nance’s photographic archive of FESTAC 77, the Second World Black and African Festival of Arts and Culture held in Lagos in 1977. Nance documented the historic celebration of Pan-African art and culture through more than 1,500 images, which she carefully archived and protected for years. The two recounted how their meeting in South Africa led to their collaboration on the resurfacing of the archive, and the production of an upcoming publication of these photographs. This event was organized in collaboration with Denniston Hill.

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Curator’s Perspective

UPCOMING PROGRAM Saturday, March 7, 4–5:30pm Jacopo Crivelli Visconti Americas Society, New York

The Curator’s Perspective is a free, itinerant public talk series featuring established U.S. and international curators, who present on their work and research. It was developed to offer audiences ways to connect with timely information and a wide variety of international perspectives on contemporary art and curating today. The series sheds light on movements and models that are shaping the curatorial field today, addressing questions about art, culture, and the artists and exhibitions that curators look to.

Jacopo Crivelli Visconti, the curator of the greatly-anticipated 34th Bienal de São Paulo, opening in September, will present on his vision and curatorial concepts behind the Bienal. Based in São Paulo, Visconti curated the Pavilion of the Republic of Cyprus at last year’s Venice Biennale, as well as the Brazilian Pavilion at the 52nd Venice Biennale in 2007. In 2014, he was the curator of the 12th Bienal de Cuenca, Ecuador. Other recent curatorial projects include: Memories of Underdevelopment, Museum of Contemporary Art of San Diego (2017); Héctor Zamora – Dinâmica não linear, Centro Cultural Banco do Brasil, São Paulo (2016); Sean Scully, Pinacoteca do Estado de São Paulo (2015). This program is organized with Americas Society and ICI Trustee Sarina Tang, a member of the International Advisory Board of the Bienal de São Paulo. The Curator’s Perspective series is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, by a grant from the James Howell Foundation, and by generous contributions from the ICI Board of Trustees and ICI Access Fund. This program is also made possible by ICI Trustee Sarina Tang.

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PAST PROGRAM

Curator’s Perspective: Ralph Rugoff, November 2, 2019, The Morgan Library & Museum.

On November 2, 2019, Ralph Rugoff, the Director of London’s Hayward Gallery, presented on May You Live in Interesting Times, the 2019 Venice Biennale for which he served as Curator and Artistic Director. Rugoff used this presentation, held just three weeks before the end of the international exhibition, to reflect on the biennial, the steps involved in conceiving a project of this scale, the concepts he chose to focus on, as well as the critical reception of the exhibition. The 2019 Venice Biennale had been characterized by a list of artists more concise than in recent years, and Rugoff discussed the work of a handful of artists who were central to his thinking. He addressed the responses to several art works in the exhibition, including the controversial project by Christoph Büchel, which evoked the death of

hundreds of people attempting to cross the Mediterranean Sea from North Africa to Italy in 2015. Rugoff contrasted the reception of the work with his own reading of it and the artist’s intensions behind it. Rugoff also spoke about the architectural intervention in the Arsenale, creating a new path through the space by dividing it with plywood partitions. Conceptually, he structured and articulated the exhibition in two distinct curatorial propositions, in the Arsenale and in the Giardini. Each presented works by the same artists within a different narrative, suggesting multiple readings of the art of our times, rather than a definitive statement on it. The Curator’s Perspective with Ralph Rugoff was presented at the Morgan Library & Museum in New York.

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Publication: Comradeship Comradeship: Curating, Art, and Politics in Post-Socialist Europe is a collection of essays by Zdenka Badovinac, a forward-thinking Slovenian curator, museum director, and scholar. It captures her influential voice in international conversations rethinking the geopolitics of art after the fall of communism. A ferocious critic of unequal negotiations between East and West, and a historian of the avant-garde art that emerged in socialist and post-socialist countries in the last century, she has been an advocate for radical institutional forms. Comradeship: Curating, Art, and Politics in Post-Socialist Europe by Zdenka Badovinac Edited by J. Myers-Szupinska Foreword by Kate Fowle Published by ICI, distributed by D.A.P. $19.95

“Whip smart, politically astute, curatorially inventive: Zdenka Badovinac is nothing less than the most progressive and intellectually rigorous female museum director in Europe. This anthology includes key essays accompanying her series of brilliant exhibitions in Ljubljana, and is essential reading for anyone interested in the differences between former east and former west. For anyone seeking curatorial alternatives to the neoliberal museum model of relentless expansion and dumbed-down blockbusters, Badovinac is a galvanizing inspiration.” —Claire Bishop, art historian and critic

Comradeship is the third book in the Perspectives in Curating series, which offers timely reflections by curators, artists, critics, and art historians on emergent debates in curatorial practice around the world. Previous titles in the series include: Thinking Contemporary Curating (2012) and Talking Contemporary Curating (2015) by Terry Smith. ICI publications are made possible in part by the generous support of the Evelyn Toll Family Foundation, and contributions from ICI’s Board of Trustees, Leadership Council, and International Forum. Additional funding for Comradeship was made available by the Trust for Mutual Understanding. Visit our website to order Comradeship and for a complete list of publications.

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Spotlight: Comradeship Reading Group

REFLECTIONS The experiment of our Comradeship Reading Group was two-fold, to immerse ourselves in the specific historical and geopolitical contexts of Zdenka Badovinac’s curatorial practice while rethinking her critical insights in relation to our current work as cultural producers within the artistic landscape of New York. Comradeship allows for readers to grasp critical ideas that emerge directly from Badovinac’s curatorial, institutional, and writing practice. By attuning to the local histories and political imaginaries embedded within artworks produced in Central and Eastern Europe during and after state socialism, Badovinac’s curatorial practice performs the “self-historicization” that it advocates. The numerous case studies of her essays offer a method for conceiving our responsibility towards reframing artistic practices that lie outside of art historical narratives presented in Western institutions. Her writing enabled our group to view history as an incomplete project, and curating as a collaborative act for voicing history’s new narratives, and creating different structures of communality. Through the Reading Group, Badovinac’s writing enabled us to see New York’s art ecosystem and our roles within it with new eyes, as both contrasts and similarities were productively revealed between her curatorial context in Ljubljana and our readings of it in New York. And when I think of the many conversations, alliances, friends, and modes of comradeship that emerged throughout, I can hear Badovinac’s evocative questions: “Is it our task to correct existing histories? Or is it instead to establish alternate forms of cultural production that allow for more utopian arrangements to come into view?”

To coincide with the publication of Comradeship: Curating, Art, and Politics in Post-Socialist Europe by Zdenka Badovinac, ICI formed the Comradeship Reading Group. Artists, curators, musicians, writers and other cultural producers met monthly to consider how the breadth of material Badovinac covers in her collected writing intersects with contemporary practice in the context of New York. The discussion series, conceived by ICI’s Director of Programs Amanda Parmer, ran from February 2019 to February 2020. Each session, free and open to the public, focused on a single chapter from the publication, and was led by two of the series’ Core Participants, who included Shehab Awad, Margot Bouman, Yin Ho, Ladi’Sasha Jones, Carlos Kong, Lynn Maliszewski, Birgit Rathsman, Jovana Stokic, and Mike Tan.

Comradeship Reading Group, ICI New York.

Carlos Kong is a writer and art historian pursuing a PhD at Princeton University.

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CURATORIAL INTENSIVE AND PROFESSIONAL PROGRAMS

ICI’s Curatorial Intensive was established in 2010 as a professional development program for emerging curators, bringing working professionals together to gain new skills and perspectives on pragmatic aspects of curating, as well as to generate an international exchange of ideas and more inclusive curatorial field. The Curatorial Intensive is organized three times a year with partner institutions around the world. It has taken place in 20 cities including Addis Ababa, Auckland, Bangkok, Bogotá, Manila, Mexico City, Moscow, and New Orleans, giving access to professional development and international engagement opportunities to a broader community of curators. An unparalleled, dynamic curatorial network of Curatorial Intensive alumni has developed over the last decade, now counting over 450 curators from 70 countries. They represent—and are shaping— the future of curatorial practice. ICI has developed a series of research fellowships, mentorships, seminars and conferences, and professional convenings, geared in part towards alumni of the Curatorial Intensive as they move from early- to mid-career levels in their practices. These programs serve to sustain the development of multiple curatorial voices, promote mobility, and generate new knowledge in the field.

Curatorial Intensive

fifth program to be conducted entirely in Spanish, offering Spanish-speaking curators the opportunity to meet colleagues from around the world, share ideas on how to push the parameters of their practice, and build a network for future collaborations. Details about this program will be available in the Spring, and the application process will open in April. Applicants should be fluent in Spanish, as seminars and discussions will take place primarily in Spanish.

This Spring, ICI will organize a Curatorial Intensive focused on independent curatorial practices developing in local contexts that are defined by the presence of biennials or triennials. Reflecting on the many new biennials or triennials that have launched over the last decade, especially in regional art centers in the U.S., the program will consider the ebbs and flows of these large-scale exhibitions and their role in developing new audiences and infrastructures that can represent new opportunities to local independent curators. This Curatorial Intensive will take place in the U.S. and details about the program will be announced in March, when the application process will open. In July, ICI will organize the sixth Curatorial Intensive in Latin America, in a continued commitment to professional development opportunities on the continent since 2012. This will be the

The Curatorial Intensive is made possible in part by grants from the Hartfield Foundation, and by generous contributions from ICI’s Leadership Council, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund. ICI offers several scholarship packages available to all curators. In addition, as part of an ongoing partnership with the Joyce Foundation to support greater diversity in the curatorial field in the U.S., scholarships are available for African-, Latinix-, Asian-, Arab-, and Native American curators based in the Great Lakes region. Additional scholarships for the Curatorial Intensive are generously provided by the Elizabeth Firestone Graham Foundation, Rockefeller Brothers Fund, and SAHA. For more details on scholarship opportunities visit curatorsintl.org. For more information on the Curatorial Intensive, visit ICI’s website, curatorsintl.org, or contact Monica Terrero at monica@curatorsintl.org.

Faculty Charlotte Huddleston, Balamohan Shingade, and Taarati Taiaroa with participant, Tyson Campbell. Curatorial Intensive in Auckland. Artspace Aotearoa. July 30, 2019.

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Participants of the 2019 Curatorial Intensive in New Orleans with Sanford Biggers. March 28, 2019.

Participants of the 2019 Curatorial Intensive in Auckland. Te Uru Waitakere Contemporary Art Gallery. July 30, 2019.

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PAST PROGRAM

and roundtable discussions that were led by: Raphael Chikukwa (Chief Curator, National Gallery of Zimbabwe), Kate Fowle (Director, MoMA PS1), Nkule Mabaso (Curator, Michaelis Galleries at the University of Cape Town), Jay Pather (Associate Professor, University of Cape Town & Director of the Institute for Creative Arts), Renaud Proch (Executive Director, ICI), Storm Janse van Rensburg (Senior Curator, Zeitz Museum of Contemporary Art Africa), Tracey Rose (Artist, Johannesburg), and Jochen Volz (General Director Pinacoteca de São Paulo).

Curatorial Intensive In Cape Town November 14-20, 2019 This past Fall, ICI presented the Curatorial Intensive in Cape Town in partnership with Institute for Creative Arts, at University of Cape Town. This was the sixth program on the continent, and second in South Africa, since 2013. The program coincided with Infecting the City, the longest running public arts festival in South Africa, through which we considered modes of positioning art practice within public spaces and the fabric of the city, as well as models of audience engagement that encourage collective remembrance. 12 emerging curators from Botswana, Colombia, Italy, Nigeria, South Africa, Uganda, and the United States attended seminars, site visits, individual meetings,

The Curatorial Intensive is made possible in part by grants from the Hartfield Foundation, Rockefeller Brothers Fund, and by generous contributions from ICI’s Leadership Council, the ICI Board of Trustees, and the supporters of ICI’s Access Fund. For more information on the Curatorial Intensive, visit ICI’s website, curatorsintl.org, or contact Monica Terrero at monica@curatorsintl.org

Tandazani Dhlakama (Curatorial Intensive Dakar ’16), currently Assistant Curator, Zeitz MOCAA, speaking to the Curatorial Intensive participants in Cape Town, November 2019.

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Report: Cape Town Reflections from Martha Kazungu On the fourth day of the Curatorial Intensive in Cape Town, the South African artist Tracey Rose set it before me plainly: she burst my bubble with a sensational thought: there are no rules in the creative world. I had traveled to the southern tip of the African continent, in the final lap of my graduate studies in Germany. It was my first trip to South Africa, and the Curatorial Intensive was both an immersive and refreshing encounter. For some of my colleagues and I, the first day was intense. Perhaps because of the unfamiliarity, it was difficult to communicate effortlessly, and also laboring under the desire to imprint a favorable first impression. But this spell vanished after a couple of days. All participants were undertaking captivating projects, through various approaches, but some had common grounds. For instance, many of us addressed commemoration and remembering through our curatorial practice. Twin Mosia’s project deals with remembering the Second Anglo-Boer War (1899-1902) and bringing to life the hard experiences of the war from black perspectives. Innocent Ekejuba’s project titled 15X15X15 seeks to uncover the Biafran War in 15 different ways in 15 locations, to address a sense of forgetting, and that history could be at the verge of repeating itself fifty years after the end of the war. My project, which celebrated 50 years of Makerere Art Gallery, at Makerere University in Kampala, Uganda, was also an act of commemoration. In addition to the program’s daily presentations by the faculty, we explored art spaces around Cape Town. At A4 Arts Foundation, I had the magical first encounter with an original Malick Sidibe. At the prestigious Zeitz MOCAA, I savored some of the ongoing exhibitions, as well as Acts at Crossroads, a solo presentation of the work of Otobong Nkanga curated by Koyo Kouoh, both of whom I was delighted to meet for the first time. Furthermore, I was happy to see some of the programs of the Infecting the City festival, conceived by Jay Pather, which gave us a chance to discover innovative approaches to public art and site-specific art across the city of Cape Town. There are many lessons that I took with me from the Curatorial Intensive, which I will forever cherish. Of all these lessons is the significance of tactics, of a systematic approach towards project execution in which I divide operations into smaller and realistic tasks. I might have taken a lifetime to figure this solution. I will also remember Raphael Chikukwa’s presentation on how it took him a decade to make a Zimbabwe Pavilion a reality at the Venice Biennale. Ten years is a long time, to imagine that one can gather the patience, yet this was possible because of the small and systematic steps that were done during this time, all focused on a singular goal. While breaking the rules, it is possible to take one step at a time, to break a large exhibition idea like mine up into smaller projects without feeling like something is missing. Martha Kazungu is a Ugandan writer and curator. She has worked with Makerere Art Gallery, 32 Degrees East, the Ugandan Arts Trust, and Goethe Zentrum Kampala, and served as curatorial assistant for the 2016 Kampala Art Biennale. She is currently completing her Master’s degree in African Verbal and Visual Art with a focus on media and curating in Africa at the University of Bayreuth, Germany.

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Curatorial Intensive in Cape Town participants, 2019.

Alumni Updates

ALUMNI NEWS Nic Brierre Aziz (New Orleans ’19) has been awarded the Warhol Foundation Grant for his research on the migration of black Haitians and its influence on the art and culture of the places they traveled both as slaves and as free people.

Ulya Soley How shall we dress for the occasion? Presented by Protocinema 601Artspace, New York January 11—March 22, 2020

Diana Campbell (Inhotim ’12) curated the fourth edition of the Dhaka Arts Summit: Seismic Movements (February 7–15, 2020).

Are we experiencing the “end of the future” or the “end of history”? This exhibition, featuring artists Chulayarnnon Siriphol, Deniz Tortum, Kathryn Hamilton, and Pınar Yoldaş, considers our obsession with future scenarios and how we try to make sense of personal mortality, technological progress and environmental collapse. It invites us to contemplate our multiple, contradictory experiences of time. How do we fight the accelerated passage of time? Why do we take measures to undo the effects of time? How shall we dress for the occasion? As we experience a contrast between technology’s promise of a better future and learning to die in light of dystopian scenarios, discussions around both perspectives push us to think about time in novel ways. How shall we dress for the occasion? is a cross-cultural dialogue that asks questions about both the passage and value of time, in order to explore the way we think about, foresee and define the future.

Naz Cuguoğlu (New Orleans ‘17) curated The Word for World is Forest, at CCA Wattis Institute in San Francisco, California (April 16–May 16, 2020). Lauren Schell Dickens (New Orleans ’15) has been awarded the Warhol Foundation Grant for her research on Filipino art and notions of nationhood, identity, migration, immigration, colonialism, and economic pressures. Amanda de la Garza Mata (Londonderry ’13) has been appointed Director General of Visual Arts at the University Museum of Contemporary Art in Mexico City (MUAC). Kabelo Malatsie (Accra ’17) is curating the 2020 edition of Art Dubai’s Residents section (March 25–28, 2020). Kwasi Ohene-Ayeh (Accra ’17) cocurated the 12th edition of the Bamako Photography Biennial (November 30, 2019–January 31, 2020).

Ulya Soley participated in the Curatorial Intensive in Bangkok in 2018, where she first encountered the work of Chulayarnnon Siriphol. This group exhibition was presented in New York by Protocinema, an arts organization founded by Curatorial Intensive alum Mari Spirito (Inhotim ’12).

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Rachel Reese (New York Spring ’14) has been appointed Director and Curator of Cress Gallery of Art at UTC in Chattanooga, Tennessee. Victor Wang (New York Fall ’11) has been appointed Artistic Director and Chief Curator of M WOODS Museum in Beijing. 42

Chulayarnnon Siriphol, Golden Spiral, 2018, Video installation, 18’, Courtesy of 601Artspace/Etienne Frossard

Deniz Tortum and Kathryn Hamilton, ARK, 2020, 2 channel video installation, 13’22’’, Courtesy of 601Artspace/ Etienne Frossard

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Curatorial Forum

Participants included: Wassan Al-Khudhairi, Chief Curator, Contemporary Art Museum (St. Louis); Joseph Becker, Associate Curator of Architecture and Design, San Francisco Museum of Modern Art; Giovanna Borasi, Chief Curator, Canadian Centre for Architecture; Maite Borjabad, Assistant Curator of Architecture and Design, Art Institute of Chicago; Anthony Carfello, Independent Curator; Claire D’Alba, Curator, Art in Embassies, U.S. Department of State; Dina Deitsch, Director and Chief Curator, Tufts University Art Galleries; Don Desmett, Interim Curator, Kalamazoo Institute of Arts; Grace Deveney, Assistant Curator, Museum of Contemporary Art Chicago; Catherine Futter, Ph.D, Director of Curatorial Affairs, Nelson Atkins Museum of Art; Kimberli Gant, Curator of Modern and Contemporary Art, Chrysler Museum of Art; Jia Gu, Director and Curator, Materials & Applications; Mary Heathcott, Executive Director, Blue Star Contemporary; Carmen Hermo, Curator of Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum Associate; Kaytie Johnson, Bruce Kammerling Curator, San Diego History Center; Ross Jordan, Curatorial Manager, Jane Addams Hull-House Museum; Veronica Kessenich, Executive Director, Atlanta Contemporary; Emily A. Kuhlmann, Director of Exhibitions & Curatorial Affairs, Museum of the African Diaspora; Leslie Laird Luebbers, Director, Art Museum of the University of Memphis; Barbara London, Independent Curator; Diana Nawi, Independent Curator; Monica Obinski, Curator of 20th and 21st Century Design, Milwaukee Art Museum Demmer; Meg Onli, Philadelphia Assistant Curator, Institute of Contemporary Art; Marina -Teresa Otero Verzier, Architect and Director of Research, Het Nieuwe Instituut; Heather Pesanti, Curator

From September 19–21, 2019, the Curatorial Forum offered 40 curators the opportunity to engage with their colleagues, gain exclusive insights into the fair’s curated elements, and explore among peers significant issues relevant to curating, programming, institution-building and audience engagement. Developed in partnership with EXPO CHICAGO, the 2019 Curatorial Forum opened with a keynote presentation by Zoe Butt, Artistic Director, The Factory Contemporary Arts Centre, Ho Chi Minh City. Five peer-led, closed-door sessions focused on topics including “Race, Gender, Representation,” “Architecture” (as part of an expanded partnership with the Graham Foundation for Advanced Studies in the Fine Arts, to coincide with the 2019 Chicago Architecture Biennial), “Placefulness,” “Accessibility,” and “University Galleries in the Era of Globalized Knowledge.” These were led by C. Ondine Chavoya, Professor of Art History and Latina/o Studies, Williams College, Williams; José Esparza Chong Cuy, Executive Director and Chief Curator, Storefront for Art and Architecture, New York; Sara Raza, independent curator, New York; Cara Starke, Director of the Pulitzer Arts Foundation, St Louis; and Dominic Asmall Willsdon; Director of the Institute for Contemporary Art at Virginia Commonwealth University, Richmond.

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Valentine Umansky, Curator of LensBased Arts, Contemporary Arts Center; Max Weintraub, Senior Curator, Aspen Art Museum; Abigail Winograd, MacArthur Fellows Program 40th Anniversary Exhibition Curator, Smart Museum of Art; and Tanya Zimbardo, Assistant Curator of Media Arts, San Francisco Museum of Modern Art.

and Director of Curatorial Affairs, The Contemporary Austin Chief; Allison Quinn, Director of Exhibitions and Residencies, Hyde Park Art Center; Wil Ruggiero, Independent Curator; Anne-Claire Schmitz, Director and Curator, La Loge; Claudia Schmuckli, Curator-in-Charge of Contemporary Art and Programming and de Young Museum Curator for Contemporary Art, Fine Arts Museums of San Francisco; Lorelei Stewart, Director, 400 Gallery, University of Illinois at Chicago; Irene Sunwoo, Director of Exhibitions, Columbia University Graduate School of Architecture, Planning and Preservation;

Support of the 2019 Curatorial Forum was provided by Heritage Auctions; Marjorie and Louis Susman/the Museum of Contemporary Art Chicago; the Graham Foundation for Advanced Studies in the Fine Art; the Emily Hall Tremaine Foundation; Willis Towers Watson; and Terry Dowd Incorporated.

2019 Curatorial Forum closed-door session at the Graham Foundation. Courtesy of ICI and EXPO Chicago.

2019 Curatorial Forum and Exchange participants at the Graham Foundation. Courtesy of ICI and EXPO Chicago.

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Research Fellowships

ICI Research Fellowships offer opportunities to leverage ICI’s programs and our international network of collaborators to travel, learn from one another, and pursue lines of inquiry into artistic and curatorial practices. ICI is expanding its program of curatorial Research Fellowships, with a focus on promoting experimentation, collaboration, and international engagement in the field. The expansion is primarily aimed towards ICI’s Curatorial Intensive alumni, and part of a series of new opportunities providing alumni with critical support as they move through the stages of their career. This Spring, new Research Fellowships will offer continued learning opportunities, mentorship, and support to four mid-career curators based anywhere around the world. Each fellowship is structured by the curator’s goals to develop new knowledge and their needs for the advancement of their practice. Fellows have access to advisement sessions with a mentor, to meetings with ICI Collaborators from across our network, and to travel opportunities to conduct their research. Updates on the development of the Fellows’ research will be posted on ICI’s Website through the end of the year. The new Research Fellowships will be announced in April, and will focus on independent curatorial practice in the Midwestern United States; the development of collaborative networks for art education in Southern Africa; and Indigenous curatorial and artistic practices, in conjunction with ICI’s traveling exhibition Soundings.

Over the last decade, ICI has developed Research Fellowships for emerging and mid-career curators, aimed at supporting them in the advancement of their practice and to generate new knowledge in the field. These Research Fellowships have complemented ICI’s professional development programs for curators at all career levels, from the Curatorial Intensive for emerging curators and the Curatorial Seminar for midcareer professionals, to other research-focused and network-building convenings for all professionals, such as the Curatorial Forum. ICI Research Fellowships were often created through partnerships with other organizations and foundations, such as the French Institute, the Joyce Foundation, and SAHA, as well as most recently with the Colección Patricia Phelps de Cisneros (see next pages for details on the ICI/ CPPC Travel Award).

For more information contact Monica Terrero at monica@curatorsintl.org. ICI’s new, expanded program of Research Fellowships in 2020 is made possible with the leading support of the Hartfield Foundation, and by grants from the Elizabeth Firestone Graham Foundation, the Joyce Foundation, and the Rockefeller Brothers Fund, as well as generous contributions from the members of ICI’s Leadership Council.

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Brandon Alvendia, ICI Research Fellow. Curatorial Intensive in New Orleans, March 2015.

Tania Willard, Surrounded/Surrounding, 2018, installation view in Soundings: An Exhibition in Five Parts, Agnes Etherington Arts Centre at Queens University, Toronto. Collection of the artist. Gifted to Four Directions Aboriginal Student Centre, Kingston, 2019. Photo by Paul Litherland. Courtesy of AEAC and ICI.

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Research Fellowships

REPORT 2019 ICI/CPPC TRAVEL AWARD Pablo José Ramírez Garifunas communities, exiled and anti-colonial resilience

Since 2012, ICI and Colección Patricia Phelps de Cisneros (CPPC) have partnered to support individual curatorial research in Central America and the Caribbean. The program supports a contemporary art curator based anywhere in the world to travel to the region and conduct research about art and cultural activities; it has produced unique scholarship, and perspectives, as well as new collaborations across the region and internationally. Previous ICI/CPPC Travel Award recipients included Pablo Leon de la Barra, Remco de Blaaij, Maria Elena Ortiz, Leah Gordon and Andre Eugene, Marina Reyes Franco. In 2019, Pablo José Ramírez, a curator, theorist, and writer based in Guatemala, received the Award to conduct research into the aesthetic legacy of the Garifuna population in relation to their colonial history.

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Overview of Livingston, Image: Pablo José Ramírez

The history of the Garifuna has been unique, not just exemplary of the complexities of the histories of racialization in Central America and the Caribbean, but one that remains a vibrant testimony of a dignifying creative resistance that shares as many bonds with the African diaspora as it does with the local indigenous population. I began my travels where the first Garifuna settlement happened after exile (Roatan, Honduras), ending in St. Vincent and the Grenadines, where the story of Garifuna resistance begins. During the trips, two strategies guided my approach to Garifuna culture: long open conversations with key cultural actors, and the quasi archaeological work of finding traces of visual and performative culture, which encrypts and holds collective memory. The history of the Garifuna people is deeply entangled with the colonial memory of deterritorialization, with the constant idea of an ancient home being far away. These forms of memory are encrypted in visual, performative and spiritual practices that

Hotel Henri Bergson, Livingston, August 2019. Image: Pablo José Ramírez

serve as strategies of survival. I tried to hold most of the meetings in places where the work of the people was actually taking place, including in restaurants or during dance practice, as happened with the Garifuna ballet in Tegucigalpa.

possible axes of inquiry are still to be discovered. For instance, one of the unexplored aspects is the Garifuna history is its diaspora in the United States. I was surprised to learn that more than 80,000 Garifuna currently live in the Bronx, for example. The ICI/CPPC Award allowed me to do the fieldwork that will lead to further research, essays or curatorial projects that can articulate a history of colonial resilience and resistance that manifests itself through a vibrant culture. Since receiving the ICI/CPPC Travel Award, Pablo José Ramírez was named Adjunct Curator, First Nations and Indigenous Art, at Tate Modern. He is based in Guatemala.

Murals at hotel Henri Bergson walls, Livingston, August 2019. Image: Pablo José Ramírez

This text is an excerpt of Ramírez’s travel report. Read the full text on ICI’s website in the Research tab.

These travels couldn’t result in a final statement around Garifuna culture, but more of an approach where different

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SUPPORT ICI

When connecting artists to one another and to an audience, curators create more than experiences. They build essential infrastructures—through exhibitions or art spaces and institutions—that foster local art scenes. In turn, by connecting curators from around the world to one another, ICI provides an international framework for knowledge-sharing within which art practices can further develop. ICI is a unique organization that focuses on the role of the curator as a contextualizing force for contemporary art. Every year ICI presents over 60 programs— exhibitions, events, publications, research and training opportunities for curators—in collaboration with art spaces in up to 20 countries around the world. Our partnerships have formed a network of collaborators that spreads across all 50 U.S. states and to over 70 countries. Through ICI you connect with the curators, artists, and art spaces that shape contemporary art across the globe.

Get Involved!

INTERNATIONAL FORUM The International Forum brings together an exclusive group of people who share ICI’s mission and global reach. With access to ICI programs, select international exhibitions, biennials, and art fairs around the world, patrons of the Forum stay connected through ICI to the curators and artists who shape the contemporary art world. Members have the opportunity to join ICI on exclusive trips in the U.S. and abroad, receive VIP access to some of the leading art fairs internationally, along with recommendations of what can’t be missed at major art events and in select cities around the world. In New York, the International Forum connects directly to ICI’s programs through a series of exclusive events, studio visits, cocktails, and dinners with international curators and artists held throughout the year.

Every year, individuals who champion a global outlook in the arts and share ICI’s mission, join forces to make possible ICI’s international programs. They share our belief that contemporary art can impact audiences everywhere and that we all gain when bringing people together around the critical work of artists. Through ICI, they gain a unique perspective on art by connecting with a network of collaborators that extends to over 70 countries, composed of the curators, artists and art spaces that shape the contemporary art world. LEADERSHIP COUNCIL ICI’s extensive global presence would not be possible without the transformative role of the Leadership Council. Established in 2013 and chaired by ICI Trustee Sarina Tang, the visionary group develops new initiatives that elevate ICI to the next level.

Suzette Bross, Julia Bruck, Alfredo Deza, Lacy Davisson Doyle, Terry Fassburg, Joan Borinstein and Gary Gartsman, Bettina Jebsen, Paula Karstens, Emily Jane Kirwan, Nicole Klagsbrun, Sally Morgan Lehman, Kathleen O’Grady, Sally Ross, Susan Seelig, Doreen Small, Younghee Kim-Wait, Joseph and Sheila Yurcik.

Sarina Tang, Chair Sarah Arison, Josh Brooks and Jung Lee, Lee Broughton, Eric Bunnag Booth, MAIIAM Contemporary Art Museum, William Bush, Adriana Cisneros and Nicholas Griffin, Dimitris Daskalopoulos, Faruk and Fusun Eczacibasi, Kathy Fuld, Jane Glassman, Fine Art Dealers Association, Marian Goodman, Peter and Laurie Grauer, Agnes Gund, Marlene Hess, LaVon Kellner, Toby Devan Lewis, Dorothy Lichtenstein, Alexander Logsdail, Jeanne and Dennis Masel, Julie Mehretu and Jessica Rankin, Patricia Phelps de Cisneros, Emily Rauh Pulitzer, Patrizia Sandretto Re Rebaudengo, Hanna Schouwink, Jack Shear, Jerry Speyer, Svetlana Uspenskaya and Alexey Kousmichoff, Mercedes Vilardell, Lawrence and Alice Weiner. curatorsintl.org/support

Contact Manuela@curatorsintl.org for more information about how to join and support ICI.

UPCOMING PROGRAMS Tuesday, May 5, 10am LEADERSHIP COUNCIL Frieze Week Exhibition Tour

Thursday, March 5, 10am INTERNATIONAL FORUM Breakfast with Jacopo Crivelli Visconti

ICI’s Leadership Council invites you to an annual tradition: every year on the Tuesday before Frieze New York, a curator-led tour takes you through an exhibition. On May 5, visit the Hill Art Foundation, a public exhibition and education space founded by collectors J. Tomilson and Janine Hill.

Join ICI for an exclusive breakfast and presentation with Jacopo Crivelli Visconti, curator of the Bienal de São Paulo 2020, in advance of his participation in ICI’s Curator’s Perspective—an itinerant public discussion series featuring national and international curators.

June 20–25, 2020 ICI Travels Milan & Turin, ITALY ICI’s upcoming patrons trip to Milan and Turin in Italy is set to take place June 20-25, 2020. This 6-day, 5-night exclusive program continues our engagement with ICI’s 2019 Leo Award recipient, Patrizia Sandretto Re Rebaudengo, who has graciously offered to host our group in Turin and provide us with her personal recommendations and insights. The trip begins in Milan with private, curator-led visits to top contemporary art spaces such as the Fondazione Prada and Pirelli HangarBicocca. We continue in Turin with collection visits and artist studio tours, visits to the Castello de Rivoli, The GAM, Galleria di Arte Moderna, and of course the Fondazione Sandretto Re Rebaudengo, designed by Claudio Silvestrin, which is now an internationally acknowledged center for research, experimentation, and exchange between artists, critics, curators and collectors from all over the world. Contact Manuela Paz at Manuela@curatorsintl.org for pricing and to reserve your spot.

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The Independents

Adam Abdalla, Danny Baez, Charlotte Bancroft, Kristen Becker, Liddy Berman, Lara A. Björk, Alyson Cafiero, Susanna Callegari, Fischer Cherry, Maggie Clinton, Alix Dana, Bridget Donahue, Julie Emerson, Monica F. Eulitz, Shawna Cooper Gallancy, Bill Glennon, Taymour Grahne, Alexa Halaby, Ebony L. Haynes, Astrid Hill, Patton Hindle, Alix Hornyan, Heather Hubbs, Jon Huddleson, Naomi Huth, Kelly C. Jones, Jeremiah Joseph, Lauren Kelly, Kristin Korolowicz, Phyllis Lally Seevers, Sims Lansing, Max Levai, Alex Logsdail, Franceso Longenecker, Julia Lukacher, Liz Luna, Max Marshall, Celine Mo, Charles Moffett, Josie Nash, Paula Naughton, Larry Ossei-Mensah, Sarah Paul, Rita Pinto, Paul Richert-Garcia, Lucia Roldan, Thomas Rom, Molly Rowe, Laura Saenz, Amanda Singer, Jenny Slayton-Green, Thor Shannon, Julie Solovyeva, Jessica Speiser, Tasha Sterling, Seth Stolbun, Katharine Urbati, Dexter Wimberly, Christopher Wise, Jonathan Winter, Georgia Wright, Susan Yi, Adam Yokell

The Independents is an invitationonly membership group of dynamic individuals active in the contemporary art world that support the organization’s programs and vision for the future. The Independents gain insights by connecting with emerging and established curators, artists, collectors, and leading figures in the art world that keep their fingers on the pulse of contemporary art worldwide. With shared reading, educational programs, and social events alongside ICI’s staff, Board of Trustees, and other patrons, members are part of a truly international art organization.

Contact Manuela@curatorsintl.org for more information about the Independents.

ICI Independents at CANADA for Tribeca Gallery Walk led by Elizabeth Dee

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UPCOMING PROGRAMS Wednesday, February 19 Cocktails with a Curator

Wednesday, May 20 4th Annual INDEPENDENTS Spring Benefit

Join MoMA’s Ana Janevski, Curator in the Department of Media & Performance, for an intimate conversation and cocktail reception hosted by art advisor Lara A. Björk. Janevski will share with the Independents her insights on performance at the “new MoMA” and discuss upcoming projects. This annual series, designed exclusively for the Independents, brings members together for an evening of discussions around art, featuring curators whose perspectives are central to the latest developments in the New York art world.

Save the date for the 4th Annual Independents Spring Benefit, which promises to be another fun-filled evening with performances, artist prizes, and more! Last year ICI organized Raffle Night at James Cohan Gallery hosted by Independent Paula Naughton. The comedic artist-duo Talk Hole MC’ed the event, artist Brujo_selector DJ’ed and grand prizes were donated by Trisha Baga, Liz Glynn, and Sarah Braman.

PAST PROGRAMS

On Saturday, September 14, 2019, the Independents gathered for a champagne reception at SFA Advisory hosted by Lisa Schiff on the occasion of Tribeca Gallery Walk. Elizabeth Dee, founder of the Independent art fair, then led ICI members on a walking tour of new galleries and exhibitions in Tribeca.

On Monday, December 16, 2019, the Independents and Pace Gallery Director, Francesco Longenecker, hosted a festive holiday reception. Guests were led on a tour of the new building and exhibitions followed by champagne by the fireplace.

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Limited Editions

Martine Syms Baphomet, 2019 Powder coated steel 2 1/2 x 3 x 3 inches Edition of 20 + 5 APs $2,000 + shipping

Martine Symsâ&#x20AC;&#x2122; multimedia works offer a critical exploration of the performance, circulation and consumption of blackness and contemporary identity politics in visual culture. Baphomet, named after the English deity, features Syms signature color choice of purple, and employs her practice of appropriating imagery from popular culture and the internet, in this case replicating a faceless devil emoji. Syms is represented by Bridget Donahue in New York and Sadie Coles HQ in London.

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Kahlil Robert Irving Music Memorial in Film [(Greeting Screening Chained) Daily Ritual & tribute (TERROR)] Personally constructed decal on industrial ceramic tile 14 1/4 x 9 7/8 inches Edition of 20 + 3 APs $2,500 + shipping

Kahlil Robert Irving’s ceramic sculptures critically engage with the history of the medium and challenge constructs around identity and culture in western civilization. This examination of the digital media, memory, and race in Irving’s practice is embedded in each ceramic tile. Irving is represented by Callicoon Fine Arts in New York.

For more information, contact Francisco Correa Cordero, 212 254 8200 or Francisco@curatorsintl.org or visit ICI’s website.

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Annual Benefit & Auction On Monday, October 21, 2019, ICI held its Annual Benefit & Auction in New York City. ICI’s Board of Trustees, staff, and the 2019 Benefit Committee—championed by Co-Chairs Carlos Basuldo, Alex Logsdail, and Sarina Tang, as well as honorary Co-Chairs Sydie Lansing and Ann Schaffer—welcomed guests from around the world to celebrate 44 years of commitment to curatorial excellence and innovation. See a complete list of the 2019 Benefit Committee on page 60. On the occasion ICI honored Patrizia Sandretto Re Rebaudengo with the Leo Award, presented by Carlos Basualdo, Keith L. and Katherine Sachs

Renaud Proch, Kate Fowle, and Rashid Johnson

Senior Curator of Contemporary Art, Philadelphia Museum of Art. The 2019 Leo Award was a unique sculpture created by Martine Syms. ICI also celebrated former ICI Director-at-Large Kate Fowle, who was recently named Director of MoMA PS1. Rashid Johnson led the special toast in her honor.

Agnes Gund, Patrizia Sandretto Re Rebaudengo, and Kate Fowle

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Sarina Tang, Carlos Basualdo, and Renaud Proch

Every year, ICI is proud to benefit from the generosity of artists who donate works to the Auction, which, for the first time this year, was conceived with the guidance and advice of the Benefit Auction Curatorial Committee (see on page 61 for more). Over 35 works were included in the eveningâ&#x20AC;&#x2122;s silent and live auctions, which were hosted online by Artsy. The live auction was performed by Gabby Palmieri, and included works by Amoako Boafo, Mira Dancy, Robert Mapplethorpe, Paul Pfeiffer, and an exclusive studio visit with Andra Ursuta.

Sydie Lansing

Gabby Palmieri

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Benefit & Auction Committees Thank you to our wonderful Benefit Co-Chairs Carlos Basualdo Alex Logsdail Sarina Tang

Nicholas Logsdail, Alex Logsdail

Thank you to our Benefit Committee 47 Canal, Adam Abdalla, Noreen Ahmad, Yona Backer, Liddy Berman, Jeffrey Bishop, Allison Card, Janis Gardner Cecil, Christo, Ann Cook, Paula Cooper Gallery, Deli Gallery, Bridget Donahue, Embajada, Mia Enell, False Flag, Terry Fassburg, Bridget Finn, Maxine Frankel, Gavin Brown’s enterprise, Jack & Dolly Geary, Carol & Arthur Goldberg, Marian Goodman, Jeannie Minskoff Grant, Agnes Gund, Heather Hubbs, Jon Huddleson, Anne Huntington, Naomi Huth, James Cohan Gallery, Rashid Johnson & Sheree Hovsepian, Tony Karman, LaVon Kellner, Belinda Kielland, Emily Jane Kirwan, Marianne Lafiteau, Sims Lansing, Sydie Lansing, Jo Carole Lauder, Dorothy Lichtenstein, Cindy Livingston, Nicholas Logsdail, Alex Logsdail, and Lisson Gallery, Rose Lord, Robert Mapplethorpe Foundation, Dennis & Jeanne Masel, Monique Meloche, Joel Miller, Sam Moyer, Night Gallery, Vik Muniz, Reyes | Finn, Paul Richert-Garcia, Ann & Mel Schaffer, Lisa Schiff, Hanna Schouwink, Phyllis Lally Seevers, Patterson Sims, Sarina Tang, Barbara Toll, Helen and Peter Warwick, Chris Wise, Virginia Wright, Joseph and Sheila Yurcik.

Honorary Co-Chairs Sydie Lansing Ann Schaffer Leadership Committee Maurizio Cattelan Dimitris Daskalopoulos Fondazione Sandretto Re Rebaudengo Jeannie Minskoff Grant and T. Grant Agnes Gund Jo Carole and Ronald S. Lauder Nicholas Logsdail, Alex Logsdail, and Lisson Gallery Lisa Schiff Honorees’ Circle Belinda Kielland Sydie Lansing Joel Miller Curators’ Circle Jack Geary Marianne Lafiteau Sims Lansing Ann & Mel Schaffer Sarina Tang Barbara Toll Artists’ Circle Marian Goodman Elizabeth Leatherman Jeannie and Dennis Masel Patterson Sims and Katy Homans Helen and Peter Warwick

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2019 Annual Benefit & Auction

Andra Ursuta, Pablo Vargas Lugo, Omar Velazquez, Grace Weaver, William Wegman, Richard Wentworth, Neil Winokur, Nate Young, and Sarah Zapata.

We are grateful to the inaugural ICI Benefit Auction Curatorial Committee Magali Arriola Matthew Higgs Barbara London Larry Ossei-Mensah Tumelo Mosaka Paul Schimmel Franklin Sirmans

And those who helped us make the Auction the success that it was 47 Canal, 56 Henry, Noreen Ahmad, Jill Brienza, Deli Gallery, Embajada, Gavin Brown’s enterprise, Sydie Lansing, The Mapplethorpe Foundation, Monique Meloche, Night Gallery, Paula Cooper Gallery, Reyes | Finn, Hanna Schouwink, Phyllis Lally Seevers, Amir Shariat

And to the artists who so generously donated works to ICI’s Benefit Auction in support of ICI’s ongoing programs in contemporary art around the globe John Baldessari, Alex Becerra, Amoako Boafo, Daniel Boccato, LaKela Brown, Christo, Mira Dancy, Brock Enright, Al Freeman, Dalton Gata, Joel Grey, Jeff Koons, Yayoi Kusama, Robert Mapplethorpe, Duane Michals, Eduardo Navarro, Elle Perez, Paul Pfeiffer, Alexis Rockman, Rachel Rose, Marina Rosenfeld, Cindy Sherman, David Shrobe, Jessica Stockholder,

Our warmest thanks to our generous sponsors

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Thank You On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions continue to make possible our programs worldwide, by providing crucial support to our exhibitions, public events, research and training initiatives, and publications. PATRONS David & Robin Auchincloss, Roland Augustine, Candace Barasch, Laura Bardier, Tony Bechara, Patricia Bell, Jill Brienza, Phong Bui, Bryan Byala, Lisa Byala, Ginevra Caltagirone, Allison Card, Andrea Cashman, Barbara Bertozzi Castelli, Janis Gardner Cecil, Angelo Chan, Joe Cohen, Susan Coote, Beth Daniels, Suzanne Egeran, James Sollins & Louise Eliasof, Mia Enell, Marta Fontalon, Photios Giovanis, Dunja Gottweis, Laird Grant & John Groody, Lili Hart, Marieluise Hessel, Rashid Johnson & Sheree Hovsepian, Anne Huntington, Singapore Tyler Print Institute, Meg & Howard Jacobs, Koegel J John, Mia Khimm, Mark & Ellie Lainer, Raymond Learsy, Elizabeth Willis Leatherman, Andrew Littlejohn, Robert Longo, Rose Lord, Ellen Chesler & Matthew Mallow, Iris Marden, Bee & Gregor Medinger, Marsy Mittleman, Hilarie Morgan, Giorgio Spanu & Nancy Olnick, Gabriela Palmieri, Cécile Panzieri, Laura Paulson, Marc Payot, Roberta Polato, Shaun Caley Regen, Sheila Robbins, Mary Sabbatino, Kathy Sachs, Jane Sadaka, Barbara Salmanson, James Stanton & Kelli Shaughnessy, Suzanne Slesin, Lily Snyder, Melissa Soros, Patricia Specter, Tavares Strachan, John & Eleanor Sullivan, Jr., Sally Tallant, Julie & Hans Utsch, Joan Van der Grift, Frank Walter, III, Helen Warwick, Begum Yasar TRUSTS, FOUNDATIONS, AND GOVERNMENT AGENCIES A G Foundation, Albuquerque Community Foundation, The Andy Warhol Foundation for the Visual Arts, Chartwell Trust, Colección Patricia Phelps de Cisneros (CPPC), Emily Hall Tremaine Foundation, Elizabeth Firestone Graham Foundation, Evelyn Toll Family Foundation, Foundation To-Life, Founders of the Irresistible Thing, the Ford Foundation, Graham Foundation for Advanced Studies in the Fine Arts, Hartfield Foundation, James Howell Foundation, the Joyce Foundation, Keller Family Foundation, kurimanzutto, Lambent Foundation Fund of Tides Foundation, New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, Rockefeller Brothers Fund, SAHA, ST PAUL St Gallery – Auckland University of Technology, The Toby Lewis Foundation, Trust for Mutual Understanding LEADERSHIP COUNCIL Sarina Tang, Chair Sarah Arison, Josh Brooks and Jung Lee, Lee Broughton, Eric Bunnag Booth, MAIIAM Contemporary Art Museum, William Bush, Adriana Cisneros and Nicholas Griffin, Dimitris Daskalopoulos, Faruk and Fusun Eczacibasi, Kathy Fuld, Jane Glassman, Fine Art Dealers Association, Marian Goodman, Peter and Laurie Grauer, Agnes Gund, Marlene Hess, LaVon Kellner, Toby Devan Lewis, Dorothy Lichtenstein, Alexander Logsdail, Jeanne and Dennis Masel, Julie Mehretu and Jessica Rankin, Patricia Phelps de Cisneros, Emily Rauh Pulitzer, Patrizia Sandretto Re Rebaudengo,

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Hanna Schouwink, Jack Shear, Jerry Speyer, Svetlana Uspenskaya and Alexey Kousmichoff, Mercedes Vilardell, Lawrence and Alice Weiner INTERNATIONAL FORUM Suzette Bross, Julia Bruck, Alfredo Deza, Lacy Davisson Doyle, Terry Fassburg, Joan Borinstein and Gary Gartsman, Bettina Jebsen, Paula Karstens, Emily Jane Kirwan, Nicole Klagsbrun, Sally Morgan Lehman, Kathleen O’Grady, Sally Ross, Susan Seelig, Doreen Small, Younghee Kim-Wait, Joseph and Sheila Yurcik. INDEPENDENTS Adam Abdalla, Danny Baez, Charlotte Bancroft, Kristen Becker, Liddy Berman, Lara A. Björk, Alyson Cafiero, Susanna Callegari, Fischer Cherry, Maggie Clinton, Alix Dana, Bridget Donahue, Julie Emerson, Monica F. Eulitz, Shawna Cooper Gallancy, Bill Glennon, Taymour Grahne, Alexa Halaby, Ebony L. Haynes, Astrid Hill, Patton Hindle, Alix Hornyan, Heather Hubbs, Jon Huddleson, Naomi Huth, Kelly Jones, Jeremiah Joseph, Lauren Kelly, Kristin Korolowicz, Phyllis Lally Seevers, Sims Lansing, Max Levai, Alex Logsdail, Franceso Longenecker, Julia Lukacher, Liz Luna, Max Marshall, Celine Mo, Charles Moffett, Josie Nash, Paula Naughton, Larry OsseiMensah, Sarah Paul, Rita Pinto, Paul Richert-Garcia, Lucia Roldan, Thomas Rom, Molly Rowe, Laura Saenz, Amanda Singer, Jenny Slayton-Green, Thor Shannon, Julie Solovyeva, Jessica Speiser, Tasha Sterling, Seth Stolbun, Katharine Urbati, Dexter Wimberly, Christopher Wise, Jonathan Winter, Georgia Wright, Adam Yokell

Curatorial Intensive participants of the Curatorial Intensive in New Orleans in collaboration with Contemporary Arts Center, New Orleans (CAC) and Prospect New Orleans, March 22–28, 2019

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ABOUT ICI

STAFF

ICI supports the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement. Curators are arts community leaders and organizers who champion artistic practice, build essential infrastructures and institutions, and generate public engagement with art. Our collaborative programs connect curators across generations, and across social, political, and cultural borders. They form an international framework for sharing knowledge and resourcesâ&#x20AC;&#x201D;promoting cultural exchange, access to art, and public awareness for the curatorâ&#x20AC;&#x2122;s role.

Renaud Proch Executive & Artistic Director Frances Wu Giarratano Deputy Director Manuela Paz Director of Development & Strategic Planning Jenn Hyland Development Manager Becky Nahom Exhibitions Manager Madeline Yee Administration & Communications Manager Francisco Correa Cordero Executive Coordinator Monica Terrero Programs Coordinator

BOARD OF TRUSTEES Sydie Lansing Honorary Chair Jeannie M. Grant Patterson Sims Chairs Belinda Buck Kielland President Ann Schaffer Vice President Barbara Toll Treasurer Adam Abdalla Noreen Ahmad Neil Barclay Jeffrey Bishop Christo & Jeanne-Claude* Bridget Finn Jack Geary LaVon Kellner Lauren Kelly Jo Carole Lauder Cindy Livingston Joel Miller Sam Moyer Vik Muniz Angel Otero Carol Salmanson Mel Schaffer Lisa Schiff Sarina Tang Leadership Council Chair Christopher Wise Trustees Emeriti: Gerrit L. Lansing* Chairman Emeritus Maxine Frankel Carol Goldberg Agnes Gund Virginia Wright* ICI Co-founders*: Susan Sollins Nina Castelli Sundell * In Memoriam

Designer: Scott Ponik Printing: G & P Printing, New York Cover: Tanya Lukin Linklater, We wear one another, 2019, performance, Kingston. Courtesy of the Agnes Etherington Art Centre. Photo: Tim Forbes. From the traveling exhibition Soundings: An Exhibition in Five Parts. See page 14 for more information. ÂŠ2020 Independent Curators International (ICI) and the authors. 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 application, or additional copies by mail, contact madeline@curatorsintl.org

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