Project 35

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INDEPENDENT CURATORS INTERNATIONAL

GIFA<:Kۀ‚ PART 1 OF 4

ARTISTS GUY BEN-NER, YUKIHIRO TAGUCHI, DAN HALTER, ZHOU XIAOHU, WANDA RAIMUNDI-ORTIZ, THE PROPELLER GROUP, KOTA EZAWA, EDWIN Sà NCHEZ, AND ROBERT CAUBLE CURATORS MAI ABU ELDAHAB, MAMI KATAOKA, KATHRYN SMITH, LU JIE, FRANKLIN SIRMANS, ZOE BUTT, CONSTANCE LEWALLEN, JOSÉ ROCA, AND RAIMUNDAS MALASAUSKAS INTRODUCTION

Project 35 is a program of single-channel videos selected by 35 international curators who have each chosen one work from an artist that they think is important for audiences around the world to experience today. The resulting selection is released in four installments, and is presented simultaneously in an ever-expanding number of venues.

the extent to which video is now one of the most important and far-reaching mediums for contemSRUDU\ DUW ,Q WKLV ¿UVW LQVWDOOPHQW IRU H[DPSOH D curator from Egypt, now living in Brussels has selected a piece from an artist based in Israel. At the same time, a Colombian curator living between Philadelphia and Bogotå has selected a project from a Colombian artist who has had few opportunities to present his work outside of his own country. The collective desire for communication — for sharing perspectives — is evident in Project 35 through the subjects dealt with by each artist. These range from re-interpretations of philosophical propositions to uprisings and protests in South Africa, propaganda news broadcasts in China, and emerging youth culture in modernday Ho Chi Minh City. The works also reveal the diversity of approaches artists are now taking to the medium, using various animation techniques, as well as borrowing from the language of cinema, performance, and even YouTube to produce works that weave between documenWDU\ DQG ¿FWLRQ

7KLV ÂżUVW FKDSWHU RI Project 35 begins with Guy Ben-Ner’s Berkeley’s Island (1999), which refers In developing Project 35, ICI (Independent to the philosopher George Berkeley’s famous &XUDWRUV ,QWHUQDWLRQDO LV UHĂ€HFWLQJ RQ LWV RZQ dictum “to be is to be perceivedâ€?. It is the cura35-year history and interest in video as a medium tors’ and ICI’s hope that these videos are “perthat not only gives artists the potential for experi- ceivedâ€? by as many people as possible, so that mentation, but which can also be widely and eas- the artists’ works have the potential to be a cataily disseminated. Furthermore, the project draws lyst for conversations and exchange across the on ICI’s extensive network of curators to trace world. a complexity of regional and global connections among practitioners, as well as to demonstrate

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GUY BEN-NER BERKELEY’S ISLAND

1999 Single-channel video with color and sound 15 mins. Courtesy the artist Selected by MAI ABU ELDAHAB

,Q PXFK RI *X\ %HQ 1HUÂśV ZRUN WKH GLVWLQFWLRQ EHWZHHQ DXWRELRJUDSK\ DQG ÂżFWLRQ LV EOXUUHG DV the trials of domestic life are re-enacted for the screen. His videos are cunningly reductive in the MX[WDSRVLQJ RI VHHPLQJO\ PRUDOLVWLF SRVLWLRQV DQG WKH XVH RI VLPSOH FLQHPDWLF HOHPHQWV ² ÂżOP VHWV dramatic soundtracks and voiceovers, amateur actors, and minimal camera setups. The works abound with references to early Conceptual performance pieces, particularly those of Dennis Oppenheim and his contemporaries, whose use of their own body was central to their practice. Berkeley’s Island is one of Ben-Ner’s early video pieces. Here, he treats the ego in isolation (the artist) as his subject, by re-creating the Robinson Crusoe story on a miniature “islandâ€? of sand in his own kitchen, showing himself stranded within his own family environment. The video’s title alludes to philosopher George Berkeley and his assertion that “to be is to be perceived.â€? The protagonist proceeds to commit various taboo acts on his island, such as masturbating and stealing, since in his VROLWXGH WKHVH DFWV QR ORQJHU H[LVW 7KH ZRUN LV DQ LPSRUWDQW UHĂ€HFWLRQ RQ WKH SRVLWLRQ RI WKH DUWLVW LQ VRFLHW\ DQG RQ WKH LQĂ€XHQFH RI FLQHPD RQ YLVXDO FXOWXUH DQG SHUKDSV HYHQ D SROLWLFDO VDWLUH RQ WKH isolated position of his homeland, Israel, within the Middle East. — Mai Abu ElDahab

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INDEPENDENT CURATORS INTERNATIONAL

Y U K I H I R O TA G U C H I Selections from M O M E N T

2007–08 Single-channel video excerpts: “Moment-performative installation� 2007, color with no sound, 2 mins., 25 secs. “Moment-performative spazieren� 2008, color with no sound, 4 mins., 30 secs. “Moment-making� 2007, color with sound, 3 mins., 23 secs. (Overall running time: 10 mins., 18 secs.) Courtesy the artist Selected by M A M I K ATA O K A

Yukihiro Taguchi refers to his artistic practice as “performative installation,â€? in which he creates a VSDWLDO LQVWDOODWLRQ E\ UHGHÂżQLQJ DQ H[LVWLQJ VSDFH PDNLQJ LQFUHPHQWDO FKDQJHV WKURXJK PLQLPDO interventions; in his videos, he records these changes consecutively using stop action, altering any conventional sense of time. In his single-channel video series Moment EDQDO Ă€RRUERDUGV LQ WKH DUWLVWÂśV VWXGLR VXGGHQO\ FRPH WR OLIH DQG WUDYHO WKURXJK WKH FLW\ RI %HUOLQ UHSUHVHQWLQJ PDQ\ Ă€H[LEOH and diverse possibilities absent from their original use. What viewers don’t see here, and are left to LPDJLQH LV WKH DUWLVWÂśV SDLQVWDNLQJ ODERU RI SK\VLFDOO\ PRYLQJ WKH Ă€RRUERDUGV EHWZHHQ VHTXHQFHV While employing a simple idea and traditional methods of producing moving images, this series of works expands the potential of single-channel video as well as of ordinary daily lives in playful and enjoyable ways. — Mami Kataoka

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INDEPENDENT CURATORS INTERNATIONAL

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D A N H A LT E R UNTITLED (ZIMBABWEAN Q U E E N O F R AV E )

2005 Single-channel video with color and sound 3 mins., 33 secs. Courtesy the artist Selected by K AT H RY N S M I T H

Untitled (Zimbabwean Queen Of Rave), which Halter made soon after graduating from art school, sets the tone for the succession of witty and uncompromising works that he has done since, bearing witness to post-colonialism’s often-paradoxical state of hope and abjection. His own subjectivity is particularly complex, as a Zimbabwean citizen of Swiss heritage, living in South Africa as an immigrant, watching Zimbabwe’s economic and political collapse from just across the border. How would he assert his agency and whiteness, destined to always be alien, never native? Would these issues be evident in his practice? How could he avoid them? Like all good propaganda, this video piece works on an emotional as well as a rhetorical level. Rozalla 0LOOHU D N D WKH =LPEDEZHDQ 4XHHQ RI 5DYH ZDV WKH ÂżUVW =LPEDEZHDQ VLQJHU WR KDYH D ZRUOG SRS hit, “Everybody’s Free (to feel good),â€? three years before democracy came to South Africa. (There is an autobiographical aspect, too: Dan Halter went to high school with Rozalla’s brother John.) The driving beat and the singer’s assurance that “together we’ll make it throughâ€? are insistently positive, yet somewhat at odds with the accompanying visuals. Footage of white kids — the protagonists of 1990s rave culture — dancing in open spaces is intercut with images of mass protest and township uprisings. The juxtaposition is immediately unsettling. It feels dangerous. Is it okay to play sampling games with such different cultural and political realities? Were the white youth of Southern Africa ÂżGGOLQJ ZKLOH 5RPH EXUQHG VR WR VSHDN" 7KHLU KHDYLQJ ERGLHV SRXQG WKH JURXQG DQG WKH\ UDLVH their arms with a resolve similar to that of the protesters. Stripped of their ideological disparities, both scenarios demonstrate the participants’ deep desire for an alternative reality. Both harness the psychology of crowds to move individual sensibilities to mass consciousness. A political imperative LV FDPRXĂ€DJHG LQ DQ RWKHUZLVH LQQRFXRXV SRS WUDFN WKDW PD\ MXVW LQ WKH FRQWHPSRUDU\ PRPHQW prove to be a greater call to action than the incentive provided by the dismal state of world politics. — Kathryn Smith PROJECT 35

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ZHOU XIAOHU U TO P I A N M A C H I N E

2002 Single-channel video with color and sound 8 mins. Courtesy the artist Selected by LU JIE

Zhou Xiaohu is best known for his claymation sculptural installations featured in his meticulously made video dramas. Utopian Machine, produced in 2002, uses claymation to deconstruct and reinterpret the formulaic news broadcasts of Chinese public channels. These public broadcasts are SURJUDPPHG WR LQFXOFDWH DQG PDLQWDLQ D QDWLRQDO XWRSLDQ RXWORRN =KRX¶V FOD\PDWLRQ ¿JXUHV UHHQDFW VFHQHV RI VLJQL¿FDQW QDWLRQDO DQG LQWHUQDWLRQDO HYHQWV IURP WKH V WR WKH SUHVHQW LQFOXGLQJ Nixon’s 1972 visit to China, the development of Shanghai’s Pudong district in the 1990s, and the DWWDFN RQ WKH :RUOG 7UDGH &HQWHU¶V WZLQ WRZHUV LQ WRJHWKHU ZLWK UHDO DQG ¿FWLRQDO FXOWXUDO events from China’s socialist history. — Lu Jie

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INDEPENDENT CURATORS INTERNATIONAL

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WA N D A R A I M U N D I - O R T I Z TO P I C 1 : C O N T E M P O R A RY A RT

2006 Single-channel video with color and sound 8 mins., 50 secs. Courtesy the artist Selected by FRANKLIN SIRMANS

Wanda Raimundi-Ortiz’s video Topic 1: Contemporary Art LV WKH ÂżUVW LQ D WULORJ\ RI YLGHRV IHDWXULQJ her character Chuleta, a smart and sassy young urban Latina. With an eye on viral videos and a desire to explain herself outside the walls of art school, Raimundi-Ortiz made these video works out of a desire to create a different kind of place to experience contemporary art — one, perhaps more welcoming to those with no prior experience. Mixing the vernacular language of youth and SRSXODU FXOWXUH ZLWK D Ă€DLU IRU WKH PHORGUDPDWLF &KXOHWD VSHDNV LUUHYHUHQWO\ RI WKH ZKLWH FXEH and its impositions on looking at art in various locations in New York City. She also touches on postmodernism and identity politics, in her efforts to “try and bridge the gap between the art world and the world like us, like people, like me and you.â€? To conclude, she explains her desire for this lesson as a means of “bridging the gaps and building communities.â€? Using the easily accessible D.I.Y. aesthetic of much video art, Raimundi-Ortiz’s performance explores the televisual world in a realm between public-access cable television and the confessionals of reality TV. — Franklin Sirmans

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INDEPENDENT CURATORS INTERNATIONAL

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THE PROPELLER GROUP UH . . .

2007 Single-channel video with color and sound 7 mins. Courtesy the artists Selected by ZOE BUTT

Based in Ho Chi Minh City and Los Angeles, The Propeller Group is an art collective slash media production company comprised of Phunam, Matt Lucero, and Tuan Andrew Nguyen. Much of their art tackles critical issues concerning the condition of contemporary life as mediated by various cultural channels internationally, challenging the methods by which ideas of culture are produced and disseminated. Uh . . . captures the ever-changing urban landscape of Ho Chi Minh City in Vietnam by focusing on the JUDI¿WL WDJ RI DQ HPHUJLQJ \RXWK FXOWXUH WU\LQJ WR QDYLJDWH WKH WUDQVLHQFH RI XUEDQ OLIH WKHUH FUHDWLQJ QHZ VWUDWHJLHV IRU LQGLYLGXDO VHOI H[SUHVVLRQ :H VHH SDVVHUVE\ VWUROO SDVW WKH JUDI¿WL WDJ VFUDZOHG RQ various public walls, and motorbikes whiz past in seeming nonchalance. Slowly we realize that what we are viewing is an imagined landscape inside the artists heads. In Vietnam, freedom of artistic expression is highly controlled, with the use of public spaces under tight government observation. This work explores not only Vietnam’s shifting cultural and physical landscape, but also questions WKH UHDOLW\ RI FKDQJH $UH WKH FKDQJHV DFWXDO RU DUH WKH\ MXVW ÀHHWLQJ YLVLRQV RI D SRWHQWLDO IXWXUH" — Zoe Butt

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INDEPENDENT CURATORS INTERNATIONAL

K O TA E Z AWA L E N N O N S O N TA G B E U Y S

2004 Single-channel video with color and sound 2 mins., 10 secs. Courtesy the artist and Haines Gallery, San Francisco Selected by C O N S TA N C E L E WA L L E N

In Lennon Sontag Beuys, San Francisco-based artist Kota Ezawa has transformed video clips of historic appearances by three twentieth-century cultural icons, all deceased, by digitally animating these seminal events and stripping them down to their essence, while keeping them immediately recognizable. John Lennon, during his 1969 Bed-In for Peace with Yoko Ono while on their honeymoon in Amsterdam, insists that non-violence is the only path to peace; Susan Sontag, in a 2001 speech at Columbia University in New York, discusses the potential for photographs to become instruments of protest; and German artist Joseph Beuys, at the New School for Social Research during his three-city lecture tour “Energy Plan for the Western Man” in 1974, explains his concept of art as social sculpture to reinvigorate Western culture and achieve positive societal change. Each of the three believed that artists have a moral responsibility to go beyond self-expression and that art can and should be a force for good. Implicit in this video work is the question of whether such idealism still pertains today. — Constance Lewallen

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INDEPENDENT CURATORS INTERNATIONAL

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EDWIN SĂ NCHEZ CLASES DE CUCHILLO (KNIFE LESSONS)

2006-07 Single-channel video with color and sound 8 mins., 16 secs. Courtesy the artist Selected by JOSÉ ROCA

Edwin Sånchez deals with the myriad manifestations of violence in Colombia, South America, where he lives and works. His videos and the actions he takes in them are raw and often disturbing, yet rife with humor and irony. He often explores the ambiguities and contradictions of morality, ethics, legality and exploitation in his video works, as when he encounters a crippled beggar asking for money on an urban sidewalk and covers him with a cardboard box, or when he steals a square meter of cobblestones from one of Bogotå’s main streets. In Clases de cuchillo, — a manual of crime, in three short acts — a drug addict and mugger that Sånchez befriended in the streets of Bogotå explains in detail how to fabricate a makeshift knife and KRZ WR XVH LW LQ D ¿JKW RU UREEHU\ 3URPSWHG E\ WKH DUWLVW ZKR ZH KHDU EXW GR QRW VHH KH GUDZV WKH different types of knives and explains their advantages; then he builds a knife from a broken saw EODGH DQG GLVFDUGHG SODVWLF FXSV DQG ODVW KH H[SODLQV KRZ WR DWWDFN DQG GHIHQG \RXUVHOI LQ D ¿JKW or to kill someone. Each of the three acts is coolly and dispassionately conceived in a different art PHGLXP GUDZLQJ VFXOSWXUH DQG SHUIRUPDQFH 7KH LPDJHV HOLFLW IURP WKH YLHZHU FRQÀLFWLQJ IHHOLQJV of attraction and repulsion — empathy for the destitute man who is endearingly candid, and the need to continually remind oneself of the brutality of the actions he is describing. — JosÊ Roca

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INDEPENDENT CURATORS INTERNATIONAL

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ROBERT CAUBLE ALICE IN WONDERLAND, OR WHO IS GUY DEBORD?

2003 Single-channel video with color and sound 23 mins., 20 secs. Courtesy the artist Selected by RAIMUNDAS MALASAUSKAS

Since 1865, when Lewis Carroll’s novel Alice’s Adventures in Wonderland ZDV ¿UVW SXEOLVKHG LW KDV reappeared in many different editions, translations, and interpretations into other mediums, some taking a long leap from the original. Each Alice has her own Wonderland: they vary according to the \HDU RI WKH SURGXFWLRQ WKH VW\OH RI DGDSWDWLRQ DQG WKH ODQJXDJH RI WUDQVODWLRQ %XW ¿UVW DQG IRUHPRVW it depends on Alice herself. The world that Robert Cauble sent Disney’s Alice to turned out to be VRPHWKLQJ IDU IURP ZKDW VKH H[SHFWHG WR ¿QG D EUXWDO \HW HQWHUWDLQLQJ LQWURGXFWLRQ WR *X\ 'HERUGœV WKHRU\ RI D VRFLHW\ RI WKH VSHFWDFOH 7DONLQJ ÀRZHUV QRZ SHUIRUP D UDS YHUVLRQ RI WKH 6LWXDWLRQLVW manifesto; the Cheshire cat decodes traces of space in its own footsteps; karaoke subtitles tamper with history; and Alice’s tour of Wonderland concludes with a spectacular music video. While she is there, Alice realizes she is a part of it, yet she tries to escape it. She returns more transformed than other Alices, with heretical thoughts. But to where does she return? Perhaps the world she came from — that infamous society of the spectacle she was trying to escape. Cauble has re-engineered Disney’s cartoon with such love and precision that, despite the shortcomings of being part of that spectacle, I only wish I was that Alice. And then YouTube came. — Raimundas Malasauskas

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INDEPENDENT CURATORS INTERNATIONAL

8IK@JKJ G U Y B E N - N E R (b. 1969, Ramat Gan, Israel) lives and works in Tel Aviv, Israel. He received a

B.Ed. from Hamidrasha Art Teachers School in Ramat Hasharon, Israel, in 1997 and an M.F.A. from Columbia University, New York, in 2003. His solo exhibitions include shows at Postmasters Gallery, New York (2003, 2005, 2006, and 2007) and the Center of Contemporary Photography, Australia (2006). His work has also been presented in many group exhibitions, including Moby Dick (2003, Postmasters Gallery, New York), Video Lounge (2004, Vox Populi, Philadelphia), Venice Biennale (2005), Greater New York (2005, P.S.1, New York), Skulptur Projekte Münster (2007), Shanghai Biennale (2008) and Liverpool Biennial (2008). In 2007 he was awarded a residency in Berlin from DAAD (the German Academic Exchange Service) and is currently a guest lecturer at the Bezalel Academy of Art and Design, Jerusalem. Y U K I H I R O TA G U C H I (b. 1980, Osaka, Japan) lives and works in Berlin. He graduated with a B.A.

in painting from Tokyo National University of Fine Arts and Music in 2004. His solo exhibitions include shows at Het Plafond, Netherlands (2006), Galerie Air Garten, Berlin (2007), and Hiroshima City Museum of Contemporary Art, Japan (2008). Taguchi has also participated in many group exhibitions, including the Sarajevo International Culture Exchange (2004), Pictura (2006, Dordrecht, Netherlands), Feld für Kunst (2006, Hamburg), and shows at Gallery K:ITA, Berlin (2007), Galerie der Künste, Berlin (2008), and Temporary Art Centre, Eindhoven, Netherlands (2008). He has received several awards for artistic excellence, including Hunt for This Century’s Leonardo da Vinci! International Art Triennale, grand prize (2007), Asia Digital Art Award, award for excellence (2008), and 12th Japan Media Arts Festival, excellence prize (2008). D A N H A LT E R (b. 1977, Harare, Zimbabwe) lives and works in Cape Town, South Africa. He

graduated with a B.A. from the Michaelis School of Fine Art, University of Cape Town in 2001. Halter has had two solo exhibitions, at João Ferreira Gallery, Cape Town (2006) and Derbylius Gallery, Milan (2008). His work has also been shown in various group exhibitions, including Second to None (2006, South African National Gallery, Cape Town), Next Wave Festival (2006, Melbourne, Australia), Zeitgenössiche Fotokunst aus Südafrika (2007, Neuer Berliner Kunstverein, Berlin), VideoBrasil (2007, São Paulo), and Havana Biennale (2009). In 2008, he was a MTN New Contemporaries selection, and completed two international residencies, in Zurich and in Rio de Janeiro. Z H O U X I A O H U (b.1960, Changzhou, Jiangsu Province, China) lives and works in Shanghai. He

studied sculpture at Suzhou Art Institute 1980–83, and graduated from Sichuan Academy of Fine Arts in 1989 with a B.F.A. in painting. Zhou has had four solo exhibitions, at Sichuan Academy of Fine Arts, Chongqing, China (1989), Moscow Central House of Artist, Russia (2002), Ethan Cohen Fine Arts, New York (2005), and Walsh Gallery, Chicago (2007). His work has also been shown in various group exhibitions, including Shanghai Biennale (2000), New Zone-Chinese Art (2003, Zacheta National Gallery of Art, Warsaw, Poland), China Now (2004, Museum of Modern Art, New PROJECT 35

ABOUT THE ARTISTS

York), Between Past and Future (2004, International Center of Photography, New York), Express (2005, Shanghai Duolun Museum of Modern Art, China), Shanghai Surprise (2005, Kulturreferentin der LHS Munich), and The Real Thing: Contemporary Art from China (2007, Tate Liverpool). WA N D A R A I M U N D I - O R T I Z (b. 1973, New York) lives and works in New York. She graduated

in 1998 from the Fashion Institute of Technology, New York, with an A.A.S. (associate of applied science) degree, and in 2008 from Rutgers University, New Jersey, with an M.F.A. Raimundi-Ortiz has had solo exhibitions at Longwood Gallery, Bronx, New York (2004), the Center for Puerto Rican Studies, Hunter College, New York (2006), and Jersey City Museum (2009, New Jersey). She has participated in several group exhibitions, including Ring and AIM 25 (2002 and 2005, Bronx Museum of Art), El Museo’s Bienal (2005, El Museo del Barrio, Bronx, New York), Wild Girls (2006, Exit Art, New York), Tropicalisms (2006, Jersey City Museum), and Salad Days (2008, Artists Space, New York). Raimundi-Ortiz has also been the recipient of the 2001 Bronx Recognizes Its Own (BRIO) Award and a 2002 fellow at the Skowhegan School of Painting and Sculpture, Skowhegan, Maine. T H E P R O P E L L E R G R O U P (formed in 2006) is an art collective and media production company

comprised of visual artists from Saigon and Los Angeles — namely Phunam, Matt Lucero and Tuan Andrew Nguyen. Phu Nam studied at Ecole des Beaux Art Hanoi and the Khmer Arts Restoration in Bangkok, Thailand. Matt Lucero holds a BFA from the University of California Riderside and an MFA from California Institute of the Arts. Tuan Andrew Nguyen graduated from the University of California Irvine with a BA, and the California Institute of the Arts with an MFA.Their work has not only been VKRZQ RQ PDLQVWUHDP WHOHYLVLRQ DQG LQWHUQDWLRQDO ¿OP IHVWLYDOV EXW DOVR LQ PDMRU PXVHXPV DQG galleries abroad. Most recent projects include the Singapore Biennale (2011); Against Easy Listening (2010), 1A Space, Hong Kong; Porcelain (2010), Zeeuws Museum, Middelburg, The Netherlands; Lim Dim (2009) Stenersenmuseet, Oslo, Norway; and The Financial Crisis (Session I-V)’ (2009), Frieze Film UK, which was also screened on the UK’s Channel 4 (produced in collaboration with 'DQLVK DUW FROOHFWLYH µ6XSHUÀH[¶ K O TA E Z AWA (b. 1969, Cologne, Germany) lives and works in San Francisco. He graduated in 1995

from San Francisco Art Institute with a B.F.A., and received his M.F.A. in 2003 from Stanford University. His solo exhibitions include shows at the Wexner Center for the Arts, Columbus, Ohio (2009), Murray Guy, New York (2008), Hayward Gallery, London (2007), and Charles H. Scott Gallery, Emily Carr Institute, Canada (2007). His work has also been shown in various group exhibitions, including The Moving Image: Scan to Screen, Pixel to Projection (2009, Orange County Museum of Art, California), Superlight (2009, Museum of Contemporary Art, Cleveland, Ohio), Brought to Light: Photography and the Invisible, 1840–1900 (2008, San Francisco Museum of Modern Art, California), The Cinema Effect: Illusion, Reality, and the Moving Image, Part II: Realisms (2008, The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC), and the 5th Seoul International Media Art Bienniale (2008, Seoul Museum of Art, Korea). The awards he has received are the Meisterschüler, Kunstakademie Düsseldorf (1995), Jack and Gertrude Murphy Fellowship (2002), Louis Comfort Tiffany Foundation Award (2003), and SECA Art Award (2006). E D W I N S Á N C H E Z (b. 1976, Bogotá, Colombia) lives and works in Bogotá. He graduated from

Universidad Jorge Tadeo Lozano, Bogotá, with a degree in industrial design in 2002 and an M.F.A in 2007. He has had solo exhibitions at El Bodegón, Bogotá (2007), Galería Santafé del Planetario PROJECT 35

ABOUT THE ARTISTS

Distrital, Bogotå (2010), and Valenzuela Kienner Galeria, Bogotå (2010). Sånchez’s works have also been shown in several group exhibitions, including the Festival de Performance de Cali (2006, Cali, Colombia), Encuentro de Medellin MDE 07 (2007, Medellin, Colombia), Despistando al Enemigo (2008, Laboratorio Interdisciplinario para las Artes, Bogotå), and the 13th Salon Regional de Artistas Zona Centro (2009, Casa Museo Rojas Pinilla, Bogotå). R O B E R T C A U B L E (b. Oahu, Hawai’i) lives and works in Chicago. He graduated from The School

of the Art Institute of Chicago with a B.F.A. in 2005. His works have been shown in various group exhibitions, including Cine y Casi Cine 0XVHR 1DFLRQDO &HQWUR GH $UWH 5HLQD 6RÂżD 6SDLQ London Film Festival (2004), and International Film Festival Rotterdam (2004, Netherlands), CAC TV (2005, Vilnius Contemporary Arts Center, Lithuania), Video 2005 (2005, Art in General, New York) Video Visions (2005, Institute of Contemporary Arts, London), and What Remains (2007, Busker Gallery, Chicago). He has also curated two exhibitions: Relatives, Runaways, and Trees: Videos of Kinship (2004, Munki Haus, Chicago) and An Evening with Caveh Zahedi (2005, Chicago Filmmakers, Chicago).

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INDEPENDENT CURATORS INTERNATIONAL

:LI8KFIJ M A I A B U E L D A H A B (b. Cairo, Egypt) lives and works in Antwerp, Belgium, where she has been

WKH GLUHFWRU RI WKH QRQ SURÂżW DUW VSDFH 2EMHFWLI ([KLELWLRQV VLQFH IDOO 7KHUH VKH KDV RUJDQL]HG solo exhibitions by Guy Ben-Ner, Mariana Castillo Deball, Sancho Silva, Michael Smith, Chris Evans, Kirsten Pieroth, and Michael Stevenson, among others. She is a regular guest lecturer at the Higher Institute of Fine Arts (HISK) in Ghent, a member of the editorial board of A Prior Magazine (Ghent), and a participant in the Reading Group at the ICA (London). In 2006, she was curator of the exhibition and publication Philip at Project Arts Center (Dublin); co-editor of DOTDOTDOT 13; editor of CAC Interviu 7-8; co-editor with Sven Augustijnen of A Prior 14; guest teacher at the School of Visual Arts (New York); and a member of the curatorial team of Manifesta 6: European Biennale of Contemporary Art in Nicosia, which was canceled before its opening, scheduled for September 2006. In 2009, she co-curated A Fantasy for Allan Kaprow with Philippe Pirotte at the Contemporary Image Collective, Cairo, and is currently working with the Piet Zwart Institute in Rotterdam on their 2010 M.F.A. graduation show. M A M I K ATA O K A (b. 1965, Nagoya, Japan) lives and works in Tokyo and London; she is currently

chief curator at Mori Art Museum in Tokyo and international associate curator at Hayward Gallery in London. The exhibitions she curated at Mori include Roppongi Crossing: New Visions in Contemporary Japanese Art 2004 (2004), Ozawa Tsuyoshi (2004), All about Laughter (2007), and Ai Weiwei: According to What?(2009). At the Hayward, she curated Laughing in a Foreign Language (2008) and Ujino and the Rotators (2009), and co-curated Walking in My Mind (2009). Before that, she was a chief curator at Tokyo Opera City Art Gallery from 1998 to 2002, where she curated Releasing Senses (1999), Tatsuo Miyajima (2000), and Rirkrit Tiravanija (2002), among others. In 2007 she co-curated Beautiful New World: Contemporary Visual Culture from Japan in Beijing and Guangzhou; and in 2009, she co-curated Discovery: discovering contemporary at ShContemporary in Shanghai and Platform Seoul 2009 (P1). K AT H RY N S M I T H (b.1975, Durban, South Africa) lives in Cape Town, South Africa, and she is a

VHQLRU OHFWXUHU DQG KHDG RI ¿QH DUWV VWXGLR SUDFWLFH LQ WKH 'HSDUWPHQW RI 9LVXDO $UWV 8QLYHUVLW\ RI Stellenbosch, east of Cape Town. In addition to teaching, she does her own studio work, organizes exhibitions, and does scholarly research. Smith’s writing has been published in catalogues and journals in South Africa and internationally, and she served as a curatorial correspondent for both the 2005 Turin Triennale and the 2008 Biennale of Sydney, participating in discussions and public events for those exhibitions and contributing essays to the catalogues. Her research interests include criminography, camera-based mediums, psycho-geographic art strategies, and historical avant-garde and experimental/radical practices in South African art. She recently established an informal project space in her studio, for her or invited guests to present projects informed by, and directed at, critical conversations about art practice.

PROJECT 35

ABOUT THE CURATORS L U J I E (b. 1964, Fujian, China) is currently based in Beijing, where since 2002 he has been

chief curator of the Long March Project, a complex, multi-platform, international arts organization and ongoing art project, originally conceived as a series of exhibitions, performances, symposia, and discussions at public sites in China along the route of Mao Zedong’s historic Long March. He graduated in 1988 with a B.F.A. from the China Academy of Arts in Hangzhou, and received an M.A. in curating in 1999 from Goldsmiths College, University of London. Lu is currently an advisor for the Asia Art Archive in Hong Kong; and on the Editorial Board Yishu – Journal of Contemporary Chinese Art (Vancouver). He has curated numerous contemporary art projects and exhibitions, including the following Long March projects, which were presented in various international locations: A Walking Visual Display (2002), The Great Survey of Paper-cutting in Yanchuan County (2004), Yan’an Project (2006), No Chinatown (2007), and Ho Chi Minh Trail (Duong Truong Son) (2008-ongoing). Lu has given lectures and talks at numerous educational institutions and museums in Asia, Europe, and North America. F R A N K L I N S I R M A N S (b. 1969, Queens, New York) lives and works in Los Angeles, where he

is the department head and curator of contemporary art at the Los Angeles County Museum of Art (LACMA). From 2006 through 2009, he was the curator of modern and contemporary art at the Menil Collection in Houston, where the exhibitions he organized included NeoHooDoo: Art for a Forgotten Faith (which traveled to P.S.1 in New York and to Miami Art Museum); and before that he was cocurator of Basquiat (2005–06: Brooklyn Museum, Los Angeles Museum of Contemporary Art, and Museum of Fine Arts, Houston). More recently he co-curated Steve Wolfe: On Paper (2009, Menil Collection and Whitney Museum of American Art). Sirmans was the 2007 recipient of the David C. Driskell Prize awarded by the High Museum of Art, Atlanta; and in 2009 he received one of the ¿UVW *ROG 5XVK $ZDUGV JLYHQ E\ WKH 5XVK 3KLODQWKURSLF $UWV )RXQGDWLRQ 6LUPDQV KDV DOVR ZULWWHQ essays for several exhibition catalogues, and articles and reviews in publications such as the New York Times, Time Out New York, Essence, and Grand Street. Z O E B U T T (b. 1976, Newcastle, Australia) lives and works in Ho Chi Minh City, Vietnam, where

she is the curator and director of programs and development for Sàn Art, an independent artist-run gallery space and reading room. From 2001 to 2007 she was assistant curator for contemporary Asian art at the Queensland Art Gallery, Brisbane, Australia, where she assisted in the development RI WKH $VLD 3DFL¿F 7ULHQQLDO RI &RQWHPSRUDU\ $UW $37 DQG LQ NH\ DFTXLVLWLRQV IRU WKH PXVHXP¶V contemporary Asian art collection and other associated gallery programs; and from 2007 to 2009 she was director of international programs for the Long March Project, a complex, multi-platform, international artist organization and ongoing art project based in Beijing, China. For more than ten years she has been researching contemporary Asian art and has curated and co-curated exhibitions DQG FRQWULEXWHG WR YDULRXV LQWHUQDWLRQDO DUW SXEOLFDWLRQV WKDW KDYH UHÀHFWHG WKH G\QDPLF DUW RI WKLV region. C O N S TA N C E L E WA L L E N (b. New York, New York) lives and works in San Francisco, California,

ZKHUH VKH LV DGMXQFW FXUDWRU DW WKH 8QLYHUVLW\ RI &DOLIRUQLD %HUNHOH\ $UW 0XVHXP DQG 3DFL¿F )LOP Archive. As senior curator there from 1998 to 2007, she curated many national and international traveling exhibitions, including Joe Brainard (2001); Dream of the Audience: Theresa Hak Kyung Cha (2001); Everything Matters: Paul Kos, a Retrospective (2003); Ant Farm 1968–1978 (2004, cocurated with Steve Seid); and A Rose Has No Teeth: Bruce Nauman in the 1960s (2007). In 2009 PROJECT 35

ABOUT THE CURATORS

she organized Allen Ruppersberg: You and Me or the Art of Give and Take at the Santa Monica Museum; and she co-curated State of Mind: New California Art ca. 1970, with Karen Moss of the Orange County Museum, which will open in 2011. Lewallen has written many essays and articles, and also edited the book ExileĂŠ and Temps Morts: Selected Works by Theresa Hak Kyung Cha (2009). J O S E R O C A (b. 1962, Barranquilla, Colombia) lives and works in BogotĂĄ, Colombia, and in

Philadelphia, where he is currently artistic director of 3KLODJUDÂżND , a contemporary printmaking event. From 1998 to 2008 he managed the arts program of the Banco de la RepĂşblica in BogotĂĄ, establishing it as one of the most respected institutions in the Latin American circuit. Roca was a FR FXUDWRU RI WKH ÂżUVW Poly/graphic Triennial in San Juan, Puerto Rico (2004); the 27th Bienal de SĂŁo Paulo in Brazil (2006); the Encuentro de MedellĂ­n MDE07 (2007); and of Cart[ajena], a series of urban interventions in Cartagena, Colombia (2007). He also served on the awards jury for the 52nd Venice Biennial (2007). R A I M U N D A S M A L A S A U S K A S (b. 1973, Vilnius, Lithuania) is a writer and curator who lives and

works in Paris. From 1995 to 2006 he was a curator at CAC Vilnius and CAC TV; in 2007 he cowrote the libretto of an opera, Cellador, which was performed in Paris; in 2007–08 he was a visiting curator at California College of Arts, San Francisco, and from 2007 to 2009 he was also a curator at Artists Space, New York. His writings are concerned with contemporary phenomena, biographies DQG VWRULHV DGGUHVVLQJ WKH SDUDOOHO ZRUOGV RI VFLHQFH PHGLD ¿OP OLWHUDWXUH DQG PDVV FXOWXUH

PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

GIFA<:Kۀ‚ PART 2 OF 4

ARTISTS SAMMY BALOJI, JOS DE GRUYTER AND HARALD THYS, ANDREA BĂœTTNER, ALEXANDER APĂ“STOL, DANIELA PAES LEĂƒ O, RANBIR KALEKA, HO TZU NYEN, AND STEPHEN SUTCLIFFE CURATORS BISI SILVA, ANTHONY HUBERMAN, CHUS MARTINEZ, RUTH AUERBACH, YANE CALOVSKI, DEEKSHA NATH, WENG CHOY LEE, AND HANS ULRICH OBRIST PERSPECTIVES ON PROJECT 35* ICI has built its symbolic capital from creating an extensive network of curators and institutions that support each other’s efforts, allowing for the circulation of an ever-growing number of inspiring exhibitions. Project 35 is a program of single-channel videos selected by 35 international curators, each of whom was asked to select the work of one artist. The project permits simultaneous presentation in different venues. This potential for multiplication and dissemination offers ICI the opportunity of exploring the shaping of a collective and far-reaching audience who will be sharing a communal visual experience on a scale more generally associated with mass media. The program goes back to a basic principle that was core to video art at its initial appearance: broad access and circulation, which appear to have gotten ORVW DV WKLV PHGLXP EHFDPH UDUHÂżHG E\ WKH PDUNHW Project 35 follows a curatorial model that allows for extended distribution, concurrent presentation, and internationality, which bears striking comparison to another model of production and dissemination of moving images—that of underground filmmaking industries which have developed, somewhat ironically, alongside the emergence of black markets.

Thanks to technological developments that have EURDGHQHG DQG IDFLOLWDWHG DFFHVV WR ÂżOPPDNLQJ ZH DUH ZLWQHVVLQJ WKH VXUJH RI DQ DOWHUQDWLYH ÂżOP industry around the world, in places as distant from Hollywood as Nigeria and Ecuador. Riding the wave of a quickly expanding international piracy market, these industries are rapidly forming global networks and cross-fertilizing one another with a viral velocity. A recent research initiative on the Ecuadorian XQGHUJURXQG ÂżOP LQGXVWU\ VKRZV WKHVH ÂżOPPDNHUV² all of them self-taught—looking not so much at Hollywood as their visual reference, but at martial-arts movies from Hong Kong, South Korean soap RSHUDV PXVLFDO DQG PHORGUDPDWLF IHDWXUH ÂżOPV from India, and luchadores movies from Mexico. Their un-disciplinary impulse has not only created an alternative industry, but a community of viewers, who is retro-feeding them with the visual imagery RI WKH YLGHR DQG ÂżOP WKH\ DUH ZDWFKLQJ , ZRQGHU what can be learned and applied to the making and distribution of exhibitions from this divergent ecosystem that has pushed the boundaries not only in the way individuals and communities produce images but also in the form they circulate and consume them. Can the format of Project 35 be an opportunity to recruit a potential international community of visual GHFRGHUV" &RXOG WKLV EH D PRPHQW WR ÂżQG D PRUH participatory audience that will bring fresh new readings to these works, with the potential of initiating enlightened discussions about center-periphery relations and the political potential of the moving image? I’d like to imagine that this traveling program, with its possibility of multiple and simultaneous showings, might build a collective imaginary that will hold us together, and will allow for new voices to develop in the medium.

— María del Carmen Carrión * To introduce each new disc, ICI curator to provide some thoughts on reflecting on it from their specific offering new Perspectives on

has asked a the program, context and Project 35.

INDEPENDENT CURATORS INTERNATIONAL

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SAMMY BALOJI M E M O RY

2006 Single-channel color video with sound 14 mins. Courtesy the artist Selected by B I S I S I LVA

Absence, presence, reclaiming space, re-inserting the body, remembering the past, and not forgetting the present are some of the issues and themes that permeate the works of Congolese artist Sammy Baloji. Using the powerful, communicative potential of photography and video to excavate the histories hidden behind apparent truths, Baloji tries to capture the contemporary realities and paradoxes of his homeland in the Katanga region of the Democratic Republic of Congo. As in the semi-abstract video work Gravesend (2007) by British artist Steve McQueen, Baloji’s Memory highlights environmental exploitation as well as human suffering. In his related photomontage series Memory (also 2006), the GHVRODWH ODQGVFDSH LV ¿OOHG ZLWK WKH DEDQGRQHG LQIUDVWUXFWXUH RI DQ LQGXVWULDO ZDVWHODQG WKDW ZDV once a thriving mining city. Superimposed on contemporary color images of empty warehouses and rusted scaffolding are archival black-and-white photographs of indigenous people displaced from their homeland to work in the mines. In his video work Memory, a collaboration featuring award-winning Congolese dancer and FKRUHRJUDSKHU )DXVWLQ /LQ\HNXOD WKH QDUUDWLYH PRYHV IURP VWLOO LPDJHV RI FRORQLDO WLPHV WR ¿OPHG representations of the post-colonial present. The video begins with footage of speeches given by a VXFFHVVLRQ RI SRVW LQGHSHQGHQFH OHDGHUV $V WKH YLGHR VKLIWV IURP WKH VRXQG RI XQIXO¿OOHG SURPLVHV it takes on an elegiac tempo in which the rhythm of Linyeluka’s movements acts as a metaphor for the souls that are born in, live among, and then die amidst the ruins of the vast mineral resources of what was once the economic center of the Congo. — Bisi Silva

PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

JOS DE GRUYTER AND HARALD THYS DER SCHLAMM VON BRANST (THE C L AY F R O M T H E B R A N S T )

2008 Single-channel color video with sound 20 mins. Courtesy the artists; dependance, Brussels; and Galerie Isabella Bortolozzi, Berlin Selected by ANTHONY HUBERMAN

The work of Belgian artists Jos de Gruyter and Harald Thys is ruthlessly silent. Their videos are KHDY\ EORZV RI VSHHFKOHVVQHVV DQG HYHQWOHVVQHVV EXW DUH ÂżOOHG ZLWK VXFK KXPRU DQG LQWLPDF\ WKDW they feel heartfelt and human. Der Schlamm von Branst tells the non-story of a group of people in a windowless clay-modeling studio. They stand around, almost as inanimate as the half-sculpted forms that rest on the tables and pedestals around them. They speak, but only in groans and sobs, stuck in their own inability to communicate, or attempting to speak an unknown language of objects. This room is a place of creation, where Man makes Art, but these men and women have lost their control and authority over what they’ve made. It’s so pathetic, too pathetic in fact, that it’s almost funny, but laughter still comes with a sense of uncanny familiarity. By not saying anything, de Gruyter and Thys warn of the exhaustion and immobility that comes from inhabiting a culture RI VSHHG HIÂżFLHQF\ FRQQHFWLYLW\ DQG LQIRUPDWLRQ ,Q IDFW LI GH *UX\WHU DQG 7K\V ZHUH WR UHVSRQG to John Cage’s remark “I have nothing to say and I’m saying it,â€? they might well respond, “I have something to say, and I’m not saying it.â€? — Anthony Huberman

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INDEPENDENT CURATORS INTERNATIONAL

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ANDREA BĂœTTNER LITTLE WORKS

2007 Single-channel color video with sound 10 mins., 45 secs. Courtesy the artist Selected by C H U S M A RT I N E Z

Little Works centers on a closed order of Carmelite nuns in a convent in Notting Hill, London. Since % WWQHU ZDV QRW SHUPLWWHG WR GR DQ\ RI WKH ¿OPLQJ LQ WKH FRQYHQW KHUVHOI VKH DVNHG WKH QXQV WR make hand-held videos of their everyday lives and of the objects they make in their spare time, ranging from crochet baskets to religious icons. These unpretentious craft objects, which remain untouched by art and by secular life, were displayed by the nuns in a shrinelike installation in the convent, as shown in the video. The nuns are engaged in a curious conversation about production, everyday life, and display. They used the camera as a way to establish connections among themselves and between their community DQG WKH RXWVLGH ZRUOG 7KH VXEMHFW GRHV QRW WUDQV¿JXUH WKH VXEVWDQFH ,Q WKLV ZRUN % WWQHU H[SORUHV the kind of physical and symbolic space that religious values, notions, inherited attachments, and prejudices still have in art and culture. Bßttner often employs references with religious connotations in order to explore our expectations of art. In exposing the tension between contemporary art and the traditional crafts for example, she questions a fundamental understanding of art as secular sapientia (secular knowledge). Today, most of us share a common understanding that contemporary art and culture thrive in the VHFXODU DUHQD KRZHYHU 0RGHUQLVP EXULHG UDWKHU WKDQ HUDVHG FHQWXULHV RI WKHRORJLFDO LQÀXHQFH DLPHG DW SURYLGLQJ D VSHFL¿F UHOLJLRXV Weltanschauung, a world-view. Bßttner tries to unearth these controversies associated with this development, using the space provided by contemporary art, in order to rethink the dilemmas and dead ends that arise when one invokes religion again. — Chus Martinez PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

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A L E X A N D E R A P Ă“ S TO L AV. L I B E RTA D O R

2006 Single-channel video with color and sound 4 mins., 30 secs. Courtesy the artist Selected by RUTH AUERBACH

Using photography and video as conceptual strategies, Venezuelan artist Alexander ApĂłstol explores WKH KLVWRULFDO FRQWUDGLFWLRQV EHWZHHQ WKH LGHD RI PRGHUQLW\ DQG LWV Ă€DZHG UHDOL]DWLRQ LQ WKH ZRUOG KH sees around him. Taking his cues from the realms of landscape and architecture, memory and the body, and the notion of identity, he questions and subverts generally accepted ideas about what is “real,â€? and the border between private and public. His recent work examines the failures of modern development in Latin American cities, particularly in his native country, and challenges the unfortunate consequences of the implanted ideals of order and progress as a utopian model. In successive series of digitally manipulated or documentary photographs and video pieces, ApĂłstol presents an inventory of urban images that show how the contemporary city dweller has managed to survive the city’s structural failure. In his video Av. Libertador, ApĂłstol avoids conventional narrative and incorporates segments of documentary interview with humor and irony. Av. Libertador is an important arterial road built as part RI &DUDFDVÂśV PRGHUQL]DWLRQ SURMHFW 7KH YLGHR EHJLQV ZLWK LPDJHV RI WKH KHDYLO\ WUDIÂżFNHG URDG² visual and textual codes to establish the ambiguity of the thematic discourse. Transsexuals occupy this avenue at night. ApĂłstol records them talking casually to the camera, claiming to be emblematic ÂżJXUHV IURP 9HQH]XHODQ PRGHUQ DUW VXFK DV PRGHUQ ODQGVFDSH SDLQWHU $UPDQGR 5HYHUyQ DQG NLQHWLF DUWLVW *HJR 7KLV ÂłDSSURSULDWLRQ´ LV VLPXODWHG LQ VKRWV RI DEVWUDFW DQG ÂżJXUDWLYH ODQGVFDSH murals painted on the walls of both sides of the road. The city and its people are demarcated, ideologically divided by cultural contrasts and social boundaries. Through metaphor, ApĂłstol makes manifest a polarization that confronts the citizen with two models in one country. — Ruth Auerbach PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

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D A N I E L A PA E S L E Ăƒ O T H E F R E E D O M TO Q U E S T I O N

2008 Single-channel color video with sound 22 mins. Courtesy the artist Selected by YA N E C A L O V S K I

“I will be a witness, not just because I have been asked to, but also because unlike the role of the observer, it is an attitude that brings with it a sense of personal evolvement. The only way I know how to do things.â€? — Daniela Paes LeĂŁo, in The Freedom to Question (2008) The Freedom to Question requires an ongoing reading and listening; it is a packed 22 minutes of interwoven monologue and dialogues that question politicized hospitality. Our listening completes the process of our seeing, our collective witnessing of a rather curious “cultural exchangeâ€?: for a period of six months (starting on November 7, 2007), Dutch artist Jeanne van Heeswijk (who is also founder of the Blue House, a creative living environment in a planned community on the outskirts of Amsterdam), and Igor Dobricic, then an arts programming administrator for the European Cultural )RXQGDWLRQ ZKLFK VSRQVRUHG YDQ +HHVZLMN VZDSSHG RIÂżFHV HYHU\ :HGQHVGD\ LQ RUGHU WR TXHVWLRQ how art can inspire new understanding and practices of hospitality, trust, and mutual understanding that comes with changing roles, attitudes, and decision-making responsibilities. As we watch the curious process of what van Heeswijk calls in the video “encapsulating (and) FRQVWDQW HYDVLRQ RI Âż[HG LGHQWLW\ HQGOHVV GLIIHUHQWLDWLRQ DQG FRQGLWLRQ RI G\QDPLF HPSWLQHVV ´ we are brought closer to the polarized cultural context of contemporary Dutch society. Paes LeĂŁo thrives in documentary situations that follow a non-linear and unashamedly subjective narrative process. She achieves something quite refreshing: a genuine dialectic removed from the overt intellectualization that is usually associated with conceptual documentaries. With a voice-over by her long-time collaborator, Canadian performer Tabitha Kane, The Freedom to Question has the remote sound of the detached experience of witnessing something by chance—a chance we ought to take. — Yane Calovski PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

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RANBIR KALEKA MAN WITH COCKEREL II

2004 Single-channel color video with sound 6 mins. Courtesy the artists Selected by D E E K S H A N AT H

Ranbir Kaleka’s Man with Cockerel II is akin to a poem: the image of a bald man carrying a cockerel is used in this video work as a repeated chorus or punctuation mark, appearing after brief vignettes RI ELUGV Ă€\LQJ D ERDW VDLOLQJ SDVW D VQDNH FUDZOLQJ WKXQGHU DQG OLJKWQLQJ HWF ,W VHHPV VLPSOH RQ ÂżUVW YLHZLQJ EXW HYHU\ LPDJH LQ WKH YLGHR LV EULHI DQG P\VWHULRXV WDQWDOL]LQJ ZLWKRXW SURYLGLQJ narrative enlightenment. For example, there are few clues as to the man’s cultural and professional DIÂżOLDWLRQV RU WKH GHÂżQLQJ DVSHFWV RI KLV SHUVRQDOLW\ WKH ORFDWLRQ VKRZLQJ WKH KRUL]RQ ZKHUH WKH RFHDQ PHHWV WKH VN\ LV HTXDOO\ XQGHÂżQHG DQG WKH LPDJHV ODFN VLJQV RI DQ\ VSHFLÂżF FXOWXUDO RU geographical identity. Although Kaleka shot the video in India, there is nothing overtly “Indianâ€? in it. Some viewers have interpreted it as representing the cyclic and episodic pattern of life itself. My way of approaching the work is to consider the dualities that it presents, such as the man’s desire to catch the bird and his inability to keep hold of it; here, Kaleka seems to be addressing the complicated and burdensome social and cultural assumptions about male libidinous behavior. Man with Cockerel II encourages me to talk about forms of masculinity outside the dominant discourse of patriarchy and its association with power and violence. It allows me to think of the men in my life who are tender and loving and vulnerable and human, rather than bloodthirsty animals/monsters, rulers/professional power-mongers, domestic imbeciles, etc. Finally we are not pitting one gender against the other but allowing aspects of both to emerge simultaneously, which have been sidelined from prominent polarized discourses. — Deeksha Nath

PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

HO TZU NYEN E P I S O D E 3 : TA N G D A W U — T H E M O S T RADICAL GESTURE, FROM 4 X 4— E P I S O D E S O F S I N G A P O R E A RT

2005 Single-channel color video with sound 23 mins. Courtesy the artist Selected by WENG CHOY LEE

In 2005, as part of the Singapore Art Show, Tzu Ho Nyen presented 4 X 4—Episodes of Singapore Art, an attempt to re-present four works of art by four Singaporean artists, across three different platforms: a four-part television series broadcast over the course of four weeks on Singapore’s arts television channel, with each episode focusing on one of the four works of art; a forum held at The Substation arts center; and a foldable postcard “cube” providing information about the four works of art, the four artists, the forum, and the four television episodes. Episode 3 of the series focuses on Da Wu Tang’s infamous performance where he approached the president of Singapore at a major art event, put on a jacket that had the words “Don’t Give Money to the Arts” embroidered on the back, and gave him a note saying, “Dear Mr. President, I am an artist and I am important.” However, rather than a straightforward documentary, what we see is “the making of” that documentary instead, as we watch the director and his assistant argue about the meaning of Tang’s “most radical gesture.” — Weng Choy Lee

PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

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STEPHEN SUTCLIFFE D E S PA I R

2009 Single-channel color video with sound 19 mins. Courtesy the artist Selected by HANS ULRICH OBRIST

Stephen Sutcliffe is among the most interesting young artists working in Europe today, and his SUDFWLFH FRQVLVWV PDLQO\ RI WKH SURGXFWLRQ RI VKRUW ÂżOPV²FROODJHV RI YDULRXV NLQGV RI PDWHULDO WKDW refuse to resolve into linear narratives and can foster new connections, new relationships, and new productions of reality. In making Despair, he drew on Vladimir Nabokov’s 1934 novel of that title, and especially its prevalent traits of doubling and narrative play. Building on these aspects, Sutcliffe’s work challenges WKH GLPHQVLRQV RI ÂżOP DV FROODJH Despair takes us on a multidimensional journey of super-dense layering and enmeshment of archive footage, photographic material, sound, pauses, and silences. As Sutcliffe recently mentioned in an interview with me, this video work contains many references WR 5DLQHU :HUQHU )DVVELQGHU VSHFLÂżFDOO\ WR )DVVELQGHUÂśV DGDSWDWLRQ RI WKH VDPH 1DERNRY novel. If Sutcliffe’s vision of the past is of a tissue of histories under permanent negotiation, Despair also suggests a variant and plural future, full of chance trajectories and the continual, interminable unraveling of order and disorder. — Hans Ulrich Obrist

PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

8IK@JKJ S A M M Y B A L O J I (b. 1978, Lubumbashi, Democratic Republic of Congo) lives and works in

Lubumbashi. He studied literature and information sciences and communication at Lubumbashi University, 2000–2005, and photography and video at Ecole SupÊrieure des Arts DÊcoratifs in Strasbourg, France, 2005. Baloji’s works have been exhibited at the Cultural Center FrancoMozambican Maputo, Mozambique (2007), Museum of Fine Arts, Yokohama (2008), MC2A, Bordeaux, France (2008), Art Center of Neuchatel, Switzerland (2009), and Center for Contemporary Culture, Barcelona (2009), and Museum for African Art, New York (2010). His work has also been included in numerous festivals and art fairs, including the 7th Rencontres Africaines de la Photographie, Mali (2007), Documentary Film Festival, Mozambique (2007), Festival International du Film d’Aubagne, France (2007), Contemporary Art Fair, Brussels (2008), Art Fair, Johannesburg (2009), Panafrican Festival, Algeria (2009), and Art Fair, Beijing (2009). H A R A L D T H Y S (b. 1966, Wilrijk, Belgium) & JOS DE GRUYTER (b. 1965, Geel, Belgium) live

and work in Brussels. Thys & De Gruyter’s collaborative practice has been included in many major art festivals including Manifesta 7, Italy (2008), Liste 08, Basel (2008), and the 5th Berlin Biennale (2008). Solo exhibitions of their works have been held at Museum for Contemporary Art MUHKA, Antwerp (2007), Isabella Bortolozzi, Berlin (2008), DĂŠpendance, Brussels (2009), and Kunsthalle Basel (2010). Their work has also been presented in numerous group exhibitions, including la Belgique Visionnaire (2005, Bozar, Brussels, curated by Harald Szeemann), Family Affairs (2006, Bozar, Brussels), and Ricarda &HQWUH GÂ?$UW &DVWUH $OÂż )UDQFH A N D R E A B Ăœ T T N E R (b. 1972, Stuttgart, Germany) lives and works in London and Frankfurt.

She received her M.A. in art history and philosophy in 2003 from Humboldt University, Berlin, and is currently a Ph.D. candidate at the Royal College of Art, London. Bßttner has participated in numerous group exhibitions including Text (2001, WBD, Berlin), In erster Linie (2004, Kunsthalle Fridericianum, Kassel), Shit Space (2006, Hockney Gallery, London), Species of Spaces and Other Pieces (2008, Hollybush Gardens, London), and Nought to Sixty (2008, ICA, London), and will have work in an upcoming show at Raven Row, London (May 2010). She has had solo exhibitions at Crystal Palace, London (2008), Hollybush Garden, London (2008), Croy Nielsen, Berlin (2009), Fabio Tiboni, Bologna, Italy (2009) and SE8, London (2009, as part of the Cabinets series). She received the Bonn Research Grant for her doctoral studies (2005–07), participated in a residency in Bad Tolz, Germany (2006), and was a recipient of the British Institute Award in 2005. A L E X A N D E R A P Ó S TO L (b. 1969, Barquisimeto, Venezuela) divides his time between Caracas

and Madrid. ApĂłstol studied art history at the Central University of Venezuela and photography at the Ricardo Armas School. Solo exhibitions of his work has been presented at the Museo de Arte ContemporĂĄneo SofĂ­a Imber, Venezuela (1994), Museo de Arte y DiseĂąo ContemporĂĄneo de Costa Rica (2002), Sala Mendoza, Venezuela (2004), and Palau de La Virreina, Spain (2006). He has also PROJECT 35

ABOUT THE ARTISTS

participated in group exhibitions at El Museo del Barrio, New York (2000), Casa de AmĂŠrica (2003), and Museo de Arte ContemporĂĄneo de Castilla y LeĂłn, Spain (2005) and in many international art fairs including the Havana Biennial (1997), Bienal de Barro de AmĂŠrica in Caracas (2001), SĂŁo Paulo Bienal (2002), Istanbul Biennial (2003), Prague Biennial (2003 and 2005), and Cuenca Biennial in Ecuador (2004). In 2002, ApĂłstol was in residence at the Casa de Americas, Madrid; in 2003, he was awarded Spain’s Endesa Scholarship for Contemporary Art, and in 2004, he was UHFHLYHG ÂżUVW SUL]H DW WKH WK ,QWHUQDWLRQDO &XHQFD %LHQQLDO LQ (FXDGRU D A N I E L A PA E S L E Ăƒ O (b. 1974, Coimbra, Portugal) lives and works in Amsterdam, The

1HWKHUODQGV 6KH JUDGXDWHG LQ ZLWK D GHJUHH LQ ¿QH DUWV IURP WKH 8QLYHUVLW\ RI 3RUWR 3RUWXJDO Her multidisciplinary work has been presented in numerous group exhibitions, including Arte non Stop (2000, Teatro Taborda, Portugal), Lengua Romance (2005, Harto-espacio, Uruguay), Evolution de l’Art (2007, The Blue House, The Netherlands), Women Beyond the Verge (2008, 1:1 Projects, Italy and England), and Homestories/Participants (2008, Centre of Contemporary Art, Ukraine). She has also participated in residencies sponsored by or at UNIDEE (2002, Fondazione Pistoletto, Italy), Arting Jerusalem (2003, Israel), The Blue House (2005–06, Amsterdam), and Les Laboratoires d’Aubervilliers (2006, Aubervilliers, France). R A N B I R K A L E K A (b. 1953, Punjab, India) lives and works in New Delhi, India. He received his

M.A. in painting in 1987 from the Royal College of Art, London. Kaleka has had solo exhibitions at Bose Pacia, New York (2005, 2008, 2009), and his work has been exhibited at many institutions and international venues, including the Museum of Contemporary Art, Los Angeles (2004), the Venice Biennale (2005), Art Basel 0LDPL %HUNHOH\ $UW 0XVHXP DQG 3DFLÂżF )LOP $UFKLYH %HUNHOH\ California (2006), Kunstmuseum Bern, Switzerland (2007), Chicago Cultural Institute, Illinois (2007), National Museum of Contemporary Art, Korea (2008), and Museo FundaciĂłn CristĂłbal GabarrĂłn, Spain (2009). He participated in a residency at Montalvo Arts Center, Saratoga, California (2004) and has taught at the Delhi College of Art, New Delhi. H O T Z U N Y E N (b. 1976, Singapore) lives and works in Singapore. He received a B.A. in 2002

from the University of Melbourne and an M.A. in Southeast Asian Studies in 2003 from the National University of Singapore. Tzo Nyen’s works have been included in the 26th São Paulo Bienale, Brazil (2004), 3rd Fukuoka Asian Art Triennial, Japan (2005), and Singapore Biennial, Singapore (2006). His video works have also been presented in the Bangkok International Film Festival (2004), Hong Kong International Film Festival (2004), and Cannes Film Festival (2009). He has received awards for both his academic achievement and his artistic practice, including the Jacques Derrida Exhibition and Prize (1999), Eye on the World Painting Competition (2001), Nokia Arts Awards (2001, 2002), and Singapore Youth Award for Arts and Culture (2009). S T E P H E N S U T C L I F F E (b. 1968, Glasgow, U.K.) lives and works in Glasgow. He received his

M.F.A. in 2002 from Glasgow School of Art. Sutcliffe has had solo exhibitions at Tart Contemporary, San Francisco (2005), Institute of Contemporary Art, London (2008), and Cubitt Gallery, London (2010). His works have been included in many international group shows, at institutions including Els Hannappe, Athens, Greece (2005), Studio Voltaire, London (2007), Art in General (2008), and WKH &HQWUH IRU &RQWHPSRUDU\ $UWV *ODVJRZ 7ZR RI KLV ÂżOPV Come to the Edge (2003) and Transformations (2005), were exhibited at Tate Britain as part of the Art Now Lightbox series in 2005. PROJECT 35

INDEPENDENT CURATORS INTERNATIONAL

:LI8KFIJ B I S I S I LVA (b. 1962, Lagos, Nigeria) is an independent curator based in Lagos and London and

the founder/director of Centre for Contemporary Art, Lagos, Nigeria (CCA Lagos). As director of CCA Lagos, she curated Fela, Ghariokwu Lemi and the Art of the Album Cover (2007), Ndidi Dike, Waka-into-Bondage: The Last ¾ Mile (2008), George Osodi, Paradise Lost: Revisiting the Niger Delta (2008), and Like A Virgin . . . Lucy Azubuike and Zanele Muholi (2009). In 2006, Silva cocurated the Dakar Biennale in Senegal, and in 2009 she co-curated the 2nd Thessaloniki Biennale of Contemporary Art, Greece. In 2008 she was co-selector with Portuguese curator Isabel Carlos of the prestigious international Artists’ Prize, Artes Mundi 3 in Wales. Silva has participated in several seminars and conferences locally and internationally and written for international art magazines and journals such as Agufon, Artforum, Artinfo.com, Art Monthly, Untitled, Third Text, and M Metropolis. She is also on the editorial board of N Paradoxa, an international feminist art journal. A N T H O N Y H U B E R M A N (b. 1975, Geneva, Switzerland) is a curator and writer based in New

York. As chief curator of the Contemporary Art Museum St. Louis, he organized exhibitions of Gedi Sibony, Lutz Bacher, Bruce Nauman, John Armleder, and Olivier Mosset, and initiated the ongoing exhibition series The Front Room. His recent group exhibition, For the blind man in the dark room looking for the black cat that isn’t there, traveled to museums in London, Detroit, Amsterdam, and Lisbon. He has previously worked as a curator at the Palais de Tokyo in Paris and at SculptureCenter in Long Island City, New York, and has published articles in art periodicals including Artforum, Afterall, and DotDotDot. He also co-directs The Steins, an occasional series of short exhibitions in New York. C H U S M A R T I N E Z (b. 1972, Galicia, Spain) is currently chief curator at the Museu d’Art Contemporani

de Barcelona (MACBA) and a co-curator of the 29th São Paulo Biennial (2010). While pursuing her M.A. in curatorial studies as a Fulbright Fellow at Bard College, Annandale-on-Hudson, New York, she co-ran Parkers Box gallery in Williamsburg, Brooklyn. In 2001–02 Martinez participated in a year-long program for the Sala Montcada Gallery at the “la Caxia” Foundation in Barcelona that examined the future of the art institution. She was artistic director of the Sala Rekalde in Bilbao Spain from 2002 to 2005, and directed the Frankfurt Kunstverein in Germany from 2006 to 2008. At the Frieze Art Fair in 2007, she staged the Frankfurt Kunstverein project A Delicious Feeling of &RQ¿GHQFH, which applied the idea of stand-up comedy to art presentation. R U T H A U E R B A C H (b. 1953, Düsseldorf, Germany) is a researcher on visual arts, a curator and

contemporary art critic, and is currently director of the Sala Mendoza in Caracas, Venezuela. Since completing her studies at the Central University of Venezuela from 1981 to 1986, she has curated many exhibitions, with a particular focus on the presentation of contemporary art from Venezuela, including Trasatlántica, The America Non Representativa, Museo Alejandro Otero, Caracas (1994), Utópolis, Galería de Arte Nacional, Caracas (2001), Adán y Eva ya no viven aquí, anymore! PROJECT 35

ABOUT THE CURATORS

(Adam and Eve no longer live here, anymore!), Houston Community College, Texas, as part of Fotofest (2002), Transatlantica: The America-Europa Non-Representativa, Museo de Arte Moderno Venezuela, (2005), and Double Perspective: 7 Contemporary Artists from Venezuela, Boliver Hall, London (2007) and Maddox Arts, London (2008). Auerbach has contributed articles to Gego: Obra Completa, 1955–1990, Eugenio Espinoza, and other catalogues and monographs. YA N E C A L O V S K I (b. 1973, Skopje, Macedonia) is an artist and curator living and working in

Skopje. His practice incorporates writing, drawing, video, public actions, publications, installations, and curatorial projects, and his work has been exhibited and published internationally, most recently in a solo exhibition at the European Kunshalle in Cologne, Germany (2009) and in Manifesta 7 in Bolzano, Italy (2008). Calovski is the founder and artistic director of “press to exit project space� in Skopje, Macedonia, and the contemporary art periodical D (D is for Drawing). He studied at the Pennsylvania Academy of the Fine Arts, Philadelphia (1992–96) and Bennington College, Vermont (1996–97) and participated in the post-graduate studio program at the CCA Kitakyushu, Japan (1999– 2000) and at the Jan van Eyck Academy, Maastricht, the Netherlands (2002–04). He is currently working on PONDER PAUSE PROCESS (A SITUATION), an exhibition project to be presented at the Tate Britain as part of Contemporary Art Society’s centenary program (2010). D E E K S H A N AT H (b. 1976, Mumbai) is an independent critic and curator based in New Delhi. She

is a Charles Wallace scholar (funded by the Charles Wallace India Trust under the supervision of WKH %ULWLVK &RXQFLO DQG KDV FRPSOHWHG KHU VWXGLHV LQ ¿QH DUWV DW 0DKDUDMD 6D\DMLUDR 8QLYHUVLW\ RI Baroda, Vadodara, India; City University, London; and Goldsmiths’ College, University of London. She curated House of Mirrors at Grosvenor Vadehra, London (2007); Still/Moving Image, inaugural exhibition of Devi Art Foundation, Gurgaon, India (2008); and co-curated the Best of Discovery VHFWLRQ DW 6K&RQWHPSRUDU\ WKH $VLD 3DFL¿F &RQWHPSRUDU\ $UW )DLU 6KDQJKDL Immersions at Anant Art Gallery, Delhi (2009); and Astonishment of Being at Birla Academy of Art and Culture, Kolkata (2009). She is currently desk editor at $UW $VLD3DFL¿F, New York and ArtEtc., Kolkata, and her writing has been published widely in books, exhibition catalogues, national and international magazines and journals; she was formerly editor of the web journal www.craftrevivaltrust.org. Deeksha has worked at the Tate Modern, London and the National Gallery of Modern Art, New Delhi. W E N G C H O Y L E E (b. 1963, Kuala Lumpur, Malaysia) lives and works in Singapore. He is an art

critic and president of the Singapore Section of the International Association of Art Critics. Formerly the artistic co-director of The Substation arts center, Lee is now director of projects, research, and publications at the Osage Art Foundation. He has lectured on art and cultural studies, convened international conferences, and written widely on contemporary art, and is a consultant lecturer at the Sotheby’s Institute of Art, Singapore. H A N S U L R I C H O B R I S T (b. 1968, Zurich, Switzerland) lives and works in London, where he

is co-director of exhibitions and programs and director of international projects at the Serpentine Gallery. Before that, he was curator of Museum in Progress, Vienna, from 1993 to 2000 and has been a curator at the MusÊe d’Art Moderne de la Ville de Paris since 2000. Obrist has curated and co-curated more than 200 solo and group exhibitions and biennials internationally since 1991, including World Soup (1991), Hotel Carlton Palace (1993), do it (1994), Take Me, I’m Yours (1995), PROJECT 35

ABOUT THE CURATORS

Manifesta 1 (1996), Live/Life (1996), Cities on the Move (1997), Nuit Blanche (1998), 1st Berlin Biennial (1998), Laboratorium (1999), Utopia Station (2003), Dakar Biennale (2004), 2nd Guangzhou Triennial (2005), 1st & 2nd Moscow Biennale (2005 and 2007), Lyon Biennale (2007), and Yokohama Triennial (2008). In 2007, Hans Ulrich co-curated Il Tempo del Postino with Philippe Parreno for the Manchester International Festival, also presented in Basel (2009), organized by Fondation Beyeler Art Basel and Theater Basel. In the same year, the Van Alen Institute awarded him the New York Prize Senior Fellowship for 2007–08. In 2008 he curated Everstill at the Lorca House in Granada. Obrist is contributing editor of Abitare Magazine, Artforum, and Paradis Magazine. GUEST AUTHOR M A R � A D E L C A R M E N C A R R I Ó N (b. 1976, Ibarra, Ecuador) is an Ecuadorian curator, writer, and

cultural adviser currently based in Quito and San Francisco. She is co-founder of ceroinspiración an exhibition and residency space in Quito, where she recently curated the exhibition Paco Gruexxo vs El Hombre Foca. Del Carmen’s former positions include assistant curator at Museo de Arte Moderno Casa de la Cultura, and research coordinator at Museo de la Ciudad, both in Quito. In 2005 she received her M.A. in curatorial practice at the California College of the Arts in San Francisco. )URP WR VKH ZRUNHG DV DVVRFLDWH FXUDWRU DW 1HZ /DQJWRQ $UWV D QRQ SUR¿W JDOOHU\ LQ San Francisco, where she organized several group exhibitions including The Revolving Archive (2006), Elusive Materials (2006), Five Habitats: Squatting at Langton (2006), Nothing Stands Still (2006), Critical Foreground (2007), and Small Things End, Great Things Endure (2008). She also curated solo exhibitions of Julio CÊsar Morales, Tercerunquinto, and Pete Nelson, and produced new video work by Adrian Paci. During that time, she started the video program A La Carta in Ecuador, presenting with guest curators from the U.S. and Latin America more than twenty video screenings of emerging and mid-career artists. In 2009 she designed Ecuador’s National Grants System for the Arts.

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INDEPENDENT CURATORS INTERNATIONAL

GIFA<:Kۀ‚ PART 3 OF 4

ARTISTS AZORRO GROUP, YASON BANAL, TRACEY MOFFATT, MERIS ANGIOLETTI, MICHAEL STEVENSON, VYACHESLAV AKHUNOV, BERYL KOROT, ANJA MEDVED, AND TRACEY ROSE

out, giving rise to new possibilities of understanding the power and potential of video as a medium.

This process can be seen in light of the proliferation of cell-phone-videos, which have produced entire Do-It-Yourself subcultures, powered by online engines such as YouTube. A plethora of mobile-videos now have their own screenings, competitions, festivals, in turn developing new publics that embrace this concurrence of producCURATORS tion, dissemination and consumption of video. During the past several months of labor protest SERGIO EDELSZTEIN, JOSELINA CRUZ, and escalating pro-democracy demonstrations in ALEXIE GLASS-KANTOR, FRANCESCO Egypt, edited media reports have ceased to proMANACORDA, MAGALI ARRIOLA, VIKTOR vide the comprehensive coverage needed. In reMISIANO, SUSAN SOLLINS, CHARLES sponse, young cultural activists devised a system ESCHE, AND SIMON NJAMI through which protestors can use their cell phones WR VLPXOWDQHRXVO\ ¿OP DQG XSORDG WKHLU IRRWDJH PERSPECTIVES ON PROJECT 35* online, via a mobile-phone-turned-server roaming the crowds. In some ways, Project 35 shares the values ICI has invited 35 curators from around the world of this new wave of mobile-video activism. While to each select one single-channel video work, curated screening programs traditionally share the culminating in the four-part touring video pro- edited characteristics of media reports and mongram that is Project 35. Mining on ICI’s extensive tages (they are constructed around a thesis), the international network of professionals, the project poly-curatorial model that Project 35 propagates is a budding model for organizing, sharing and resists this idea, developing meaning on the ground circulating art videos as cultural objects. In select- with its public. Its light weight serves small and ing works and inserting them into new contexts, independent institutions, and allows for a wide ICI has borrowed from the organizing principle of reach across the globe. Works that would most likely montage. But Project 35 goes beyond this model of never make it as far as Cairo, Ramallah or Beirut, will HGLWLQJ DQG LWV ¿QDO IRUP LV PRUH RSHQ LW H[FHHGV now feature with much more ease and affordability in the limitations of montage, and bares greater these cities’ cultural programs in the years to come. potential for audience participation. Indeed, the selection process is deliberately idiosyncratic—one — Sarah Rifky curator selects one artist work—and the compilation is organized along structural rather than topical * To introduce each new disc, ICI has asked a lines. The result is a greater engagement from the curator to provide some thoughts on the program, spectator who will imaginatively produce meaning reflecting on it from their specific context and across the videos. The possibilities for decoding offering new Perspectives on Project 35. WKHVH ZRUNV DUH LQ¿QLWHO\ ULFKHU DV WKH WUDGLWLRQDO boundaries between curators and audience become blurrier in this new type of montage. In turn, the distinction between producer and consumer fades

INDEPENDENT CURATORS INTERNATIONAL

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A Z O R R O G R O U P ( O S K A R D AW I C K I , IGOR KRENZ, WOJCIECH NIEDZIELKO, AND LUKAS SKAPSKI) WE LIKE IT A LOT

2001 Single-channel color video with sound 7 mins., 30 secs. Courtesy the artists and Raster Gallery, Poland

Selected by SERGIO EDELSZTEIN

Founded in post-Communist Poland, Azorro Group makes work that focuses on the idea of the perplexed Eastern European trying to understand the Western artistic—and social—values. We Like It a Lot is a satire of artistic bon-ton, exposing the lack of independent opinion and adherence to the majority’s taste. It features the four artists visiting exhibition after exhibition, sometimes even without really seeing the works, yet praising each one in exactly the same words, and agreeing on their approval. Funny and lovable, it leaves the public struggling to express their own approval of this work. —Sergio Edelsztein

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YA S O N B A N A L UNTITLED/AGAIN (MARIENBAD)

2009 6XSHU ÂżOP WUDQVIHUUHG WR '9' 13 mins. Courtesy the artist Selected by JOSELINA CRUZ

Yason Banal’s video Untitled/Again (Marienbad) is a hypnotic piece that works by creating fragile OD\HUV HDFK OD\HU GHQVHO\ ÂżOOHG ZLWK LFRQLF P\WKRORJLHV WR FUHDWH D WLJKW FRQFHQWULF SRLQW 7KLV complexity allows for the work to be embedded with what Banal often refers to in his practice as “constellationsâ€? in which he evokes various entertaining juxtapositions. For this video he uses Alain 5HVQDLVÂśV ÂżOP Last Year at Marienbad DV D WHPSODWH RYHUOD\LQJ WKDW ÂżOPÂśV VWUXFWXUH RI VOLSSDJH between memory and forgetting with his own tableaux vivants of seamless dislocations. He stitches together performances delivered by his actors against the backdrop of exhibition openings in various FLWLHV WKHQ FRPELQHV WKHVH ZLWK WKH PXVLF DQG VXEWLWOHV RI 5HVQDLVÂśV ÂżOP -XVW DV HYHU\WKLQJ VDLG E\ ; DQG $ WKH PDLQ SURWDJRQLVWV LQ WKH ÂżOP UHPDLQV DPELJXRXV DQG XQFHUWDLQ %DQDO ZLWKKROGV WKH SUHFLVH ORFDWLRQV DQG WKH REMHFWLYHV RI WKH SHUIRUPDQFHV LQ KLV YLGHR WKH SODFHV VKRZQ DUH DW EHVW blurry environments as detached as its actors are indifferent to each other and their sites. Banal’s video echoes the amorphous settings of Last Year at Marienbad, as encapsulated in X’s comment to A: “Well, then it was somewhere else, maybe, at Karlstadt, at Marienbad, or at Baden-Salsa—or even here, in this salon.â€? They must have met somewhere, but they never crossed paths. — Joselina Cruz

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T R A C E Y M O F FAT T W I T H G A RY H I L L B E R G OTHER

2009 Single-channel color video with sound 7 mins. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney Selected by A L E X I E G L A S S - K A N TO R

Tracey Moffatt’s Other LV WKH ODVW LQ D VHULHV RI ÂżOPLF PRQWDJHV RU ÂłPDVK XSV´ WKDW LQFOXGH Lip (1999), Artist (2000), Love (2003), Doomed (2007), and Revolution (2008). Moffatt works frequently in SKRWRJUDSK\ YLGHR DQG ÂżOP WKURXJK ZKLFK VKH H[FDYDWHV LVVXHV RI LGHQWLW\ DQG JHQGHU HVSHFLDOO\ in relation to Aboriginal Australia. As with much of Moffatt’s previous works, the visual repertoire of Other is rich and diverse, providing a funny, robust, and critical riff on the way “the nativeâ€? has been portrayed in popular cinema. Treading the borderline between political correctness and exploitation with cavalier determination, Other GLVUXSWV PLOG PDQQHUV E\ UHVLVWLQJ VXEMXJDWLRQ DQG QRW Ă€LQFKLQJ from complexity, often using pre-existing moving images ironically to create an unsettling yet ribald QDUUDWLYH RI FRPSURPLVHG SDUWV 6RXUFHG IURP SRSXODU FXOWXUDO DUFKLYHV DFURVV ÂżOP SKRWRJUDSK\ and tv, Other is an assertive work that considers “desire, provinciality, race and the longing for escape from social restraintâ€? in the context of insatiable consumption. — Alexie Glass-Kantor

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MERIS ANGIOLETTI 14 15 92 65 35 89 79 32 38 46 26 43 38 32 79 50 28 84 19 71 69 39 93 75 10

2009 Single-channel black-and-white video without sound 12 mins., 10 secs. Courtesy the artist Selected by FRANCESCO MANACORDA

0HULV $QJLROHWWL LV LQWHUHVWHG LQ PHQWDO SURFHVVHV DQG WKHLU SRWHQWLDO IRU WUDQVÂżJXUDWLRQ RI LQHUW material. Her video 14 15 92 65 35 89 79 32 38 46 26 43 38 32 79 50 28 84 19 71 69 39 93 75 10 shows a series of dancers wearing white masks performing actions that have no apparent relation to one another. The choreography is dictated by a meticulous process of translation from one mental FRGH WR DQRWKHU $QJLROHWWL DVNHG *LDQQL *ROIHUD DQ H[SHUW LQ PQHPRQLFV WR PHPRUL]H WKH ÂżUVW WZR hundred digits of the mathematical constant pi. Golfera used the Renaissance technique that draws RQ WKH YLVXDO DVVRFLDWLRQV EHWZHHQ WKH W\SRJUDSK\ RI QXPHUDO ÂżJXUHV DQG DOSKDEHWLFDO OHWWHUV This enabled him to recall precisely the two hundred numbers by associating them with various words, which he memorized as a list. Golfera assigned a mental image to each word, and then taught the series of images to the actors, who performed them. The resulting dance stands like a Chinese whisper (a children’s game known in the U.S. as “telephoneâ€?) to the original mathematical sequence, thereby increasing at every passage the semantic potential of a text originally consisting RI WRWDOO\ DEVWUDFW ÂżJXUHV 7KURXJK WKLV FRPSOH[ SURFHVV $QJLROHWWL KDV DOFKHPLFDOO\ JHQHUDWHG D three-dimensional translation offered to the viewer as a rebus to resolve. — Francesco Manacorda

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INDEPENDENT CURATORS INTERNATIONAL

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MICHAEL STEVENSON INTRODUCCIĂ“N A LA TEORĂ?A DE LA PROBABILIDAD

2008 PP ÂżOP WUDQVIHUUHG WR '9' ZLWK VRXQG 25 mins., 38 secs. Courtesy the artist and Vilma Gold, London Selected by MAGALI ARRIOLA

In 1979, a series of unlikely but decisive encounters took place on the island of Contadora. Those involved were Panamanian leader General Omar Torrijos and U.S. President Jimmy Carter, in addition to the deposed Shah of Iran, the peculiar Patricia Hearst, the insidious Manuel Noriega, and JosĂŠ de Jesus “ChuchĂşâ€? MartĂ­nez who, besides being a mathematician and philosopher, was Torrijos’s friend, bodyguard and close adviser. In IntroducciĂłn a la TeorĂ­a de la Probabilidad Michael 6WHYHQVRQ FRQĂ€DWHV HYHQWXDOLWLHV ZLWK UHDOLWLHV SROLWLFDO VWDNHV ZLWK KLVWRULFDO VHWEDFNV DV KH questions the way history is negotiated, constructed, and recounted—an inquiry in which, as the artist has said, “probability (...) becomes a way of conceptualizing narration. The other alternative ZRXOG EH IDWH ´ 7KH ÂżOP RSHQV ZLWK DQ DOWHUQDWLQJ VHTXHQFH RI EODFN DQG ZKLWH VFHQHV LOOXVWUDWLQJ the writings of ChuchĂş on probability, and an overhead view in full color of someone playing solitaire. A narrator describes in voiceover how, after the hostage crisis in Iran, and with the impossibility of the U.S. granting refuge to the Shah, Torrijos saw in the latter’s exile in Panama an opportunity to set up a negotiation: the General being a gambler, risked brokering a deal with the United States to secure the full implementation of the treaties that guaranteed Panama the control of what used to be known as the Panama Canal Zone, a territory under U.S. occupation since 1904. In playing his hand, the General decided to play the Shah card‌ — Magali Arriola

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V YA C H E S L AV A K H U N O V ASCENT

2004 Single-channel color video with sound 11 mins., 16 secs. Courtesy the artist Selected by V I K TO R M I S I A N O

Vyacheslav Akhunov is a pioneer in the contemporary art scene in Uzbekistan. His ideas and practice challenged the Soviet art orthodoxy since the 1970s when, as a painter, he overcame and avoided the Social Realist precepts and accepted academic canons by turning to subjects inspired by Sophist mystics. Incorporating oriental motifs of birds and animals, his early work was inspired by primal elements like earth, sand, and clay. In the mid-1990s, Akhunov began to use the principles of post-modernist collage and appropriation LQ KLV ZRUN ERUURZLQJ W\SHV RI &HQWUDO $VLDQ H[RWLF ¿JXUHV IURP WKH ZRUNV RI QLQHWHHQWK FHQWXU\ Russian painter Vasili Vereshchagin, and juxtaposing them political imagery of modern Uzbekistan. These works, together with the social position of the artist, strengthened his role as a political oppositionist. Since the late 1990s, he has further widened the scope of his practice, making largescale installations and videos. In his video works, done in collaboration with Sergei Tichina, he employs straight narration, telling simple but substantial stories resembling philosophic parables. This return to his old infatuation with Sophist texts is made obvious in a work such as Ascent (perhaps one his best video pieces). — Viktor Misiano

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INDEPENDENT CURATORS INTERNATIONAL

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B E RY L K O R O T FLORENCE

2008 Single-channel black-and-white video with sound 10 mins., 30 secs. Courtesy the artist Selected by SUSAN SOLLINS

,Q ,&, RUJDQL]HG LWV ÂżUVW H[KLELWLRQ VIDEOART:USA, which now seems prescient, as many of the artists who later became known as pioneer video artists were included in that show. It served ERWK DV WKH 8 6 HQWU\ WR WKH 6mR 3DXOR %LHQDO DQG WKH ÂżUVW VWHS WDNHQ E\ ,&, WR DQQRXQFH LWV presence as a major force to come in the world of contemporary art. VIDEOART:USA included Beryl Korot’s groundbreaking work with Ira Schneider, 4th of July in Saugerties (1972), along with works by artists such as Bruce Nauman, Joan Jonas, Bill Viola, Peter Campus, Eleanor Antin, Nam June Paik, and Steina and Woody Vasulka. Since that time, Korot has been a pioneer in collaborating with composer Steve Reich to create video operas such as The Cave (1993) and Three Tales together, they developed a major new format combining video installation, live musical performance, political content, and theatrical presence. The loom as an early computer has been a metaphor in Korot’s work. About Florence, she has stated, “I was playing at the computer and made a weaving out of bits of video footage of snowstorms and waterfalls, some elements of which were used in a previous work. . . . As I viewed the weaving I’d made on the computer, the name Florence Nightingale came to mind.â€? A student at heart, Korot read deeply in the writings of Nightingale, discovering an astute and powerful proto-feminist. Formally elegant and technically inventive, Korot’s video work Florence is a continuation of her own deep VRFLR SROLWLFDO FRPPLWPHQWV ÂżUVW UHYHDOHG WR XV DW ,&, LQ — Susan Sollins

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INDEPENDENT CURATORS INTERNATIONAL

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ANJA MEDVED S P O V E D N I C A Z A T I H O TA P C E ( S M U G G L E R S ’ C O N F E S S I O N A RY )

2010 Single-channel color video with sound 22 mins. Courtesy the artist Selected by CHARLES ESCHE

Anja Medved is a Slovenian artist based in Nova Gorica, a city that was split in two by the post1945 border settlement between Italy and what was then Yugoslavia. In the years since, the border has come to represent many things—from the hard edge of the Iron Curtain, in Western minds, to a softer meeting point for trade and exchange between social capitalist Italy and Marshal Tito’s VRFLDOLVW <XJRVODYLD LQ WKH V DQG œ V ,W ZDV HYHQ EULHÀ\ WKH HQWU\ SRLQW WR D ZDU ]RQH LQ Since Slovenia entered the European Union, control posts on its border with Italy, and with other E.U. neighboring states like Austria, have been largely abandoned. I selected this video work by Medved for the sixth U3 Triennial of Contemporary Slovenian Art in $V D ¿UVW VWHS LQ PDNLQJ LW 0HGYHG VHW XS D NLRVN RQ WKH OLQH WKDW VWLOO GLYLGHV *RULFD DQG asked passersby to give her photos they had of the border area over the past sixty years. She then selected certain images from this randomly compiled archive and talked to their owners about the pictures and their memories of the moment in time frozen by each photograph. As it unfolds, the video reveals a fascinating portrait of an arbitrary political division that had enormous effects on the lives of people living nearby. Even so, there is sometimes a hint of nostalgia for the certainties that the divided city represented in comparison with the current European mood of uncertainty and fearfulness in the wake of globalization. — Charles Esche

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INDEPENDENT CURATORS INTERNATIONAL

TRACEY ROSE THE COCKPIT

2008 Single-channel color video with sound 3 mins. Courtesy the artist Selected by SIMON NJAMI

God’s trial Tracey Rose has gathered a strange tribunal for a trial. Improbable. Surreal. She invites us into a comic book universe tainted with a touch of soap opera and Elizabethan popular theater. What is to develop into a trial begins with some gossip in which the artist is mocking herself. Then God appears who doesn’t know—, and He who should know everything doesn’t know the purpose and outcome of the gathering. A very recognizable Jesus greets his Dad with a face of a mentally retarded child. Contributing to the prevailing ambiance of a farce, an Indian (native American), is the one who spells out the charges against God: God, not the devil, is the one whose goal is to kill all people and, therefore, solely responsible for millions of deaths. The charges are not discussed, while in the background a group of houses are burning in a place that might be a South African township. God will be symbolically stoned to death, and his lawyer, a Jack/Joker-like character who looks like the typical representation of the devil, is the only one to come to His defense. Indeed, what would be the devil without God? He’d be forced to show his weakness and helplessness. The world, our world, would never be the same. Even though it might be perceived as a playful comedy, Tracey Rose’s The Cockpit deals with hatred, misery, a supreme plot against humanity—issues that have always been present in her work. This time, she takes the accusation to another level, in a manner that at times recalls Friedrich Nietzsche’s philosophy. For Rose, God is not only dead, He is guilty. Full stop. — Simon Njami

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INDEPENDENT CURATORS INTERNATIONAL

8IK@JKJ A Z O R R O G R O U P was founded in Poland in 2001, and works in the Polish cities of Krakow and

Warsaw. Its four members are Oskar Dawicki (b. 1971, Warsaw), Igor Krenz (b. 1959, Katowice), Wojciech Niedzielko (b. 1959, Elk), and Lukasz Skapski (b. 1958, Katowice). Azorro has participated in many video-art festivals including the 1st International Video-Art Biennial, Tel Aviv, Israel (2002), 8th Baltic Triennial of International Art, Vilnius, Lithuania (2002), Festival for New Media Art, Nottingham, United Kingdom (2003), and 11th International Media Art Biennale WRO 05, Wroclaw, Poland (2005). Solo exhibitions of Azorro’s work have been held at Bunkier Sztuki, Krakow (2003), Sparwasser HQ, Berlin (2004), Galeria Priestor for Contemporary Arts, Bratislava, Slovakia (2004), Center for Contemporary Art, Warsaw (2005), and Kurbas Center, Kiev, Ukraine (2006). Their work has also been included in group exhibitions including New Video, New Europe (2004, Renaissance 6RFLHW\ &KLFDJR Is it better to be a good artist or a good person? (2006, Raster at Rental Gallery, Los Angeles), Still Here: Humour in Post-Communist Performative Video (2007, Artspace, Sydney, Australia) and Fluxus East: Fluxus Networks in Central Eastern Europe (2008, Ludwig Museum, Budapest, Hungary). YA S O N B A N A L (b. 1972, Manila, Philippines) lives in Quezon City, Philippines, and London, U.K.

+H UHFHLYHG DQ 0 $ LQ ¿QH DUW IURP *ROGVPLWKV &ROOHJH /RQGRQ %DQDO KDV KDG QXPHURXV VROR exhibitions, including shows at London Metropolitan University, London (2004), A.I.T., Tokyo (2006), Lopez Museum and St. Scholastica, Manila (2007), and Queen’s Nails Annex Gallery, San Francisco (2009). His work has also been included in numerous group exhibitions internationally, including U.S.U.K.: You Suck (2005, Roger Smith Gallery, New York), the 1st Singapore Biennale (2006), Mixed Pickles (2007, K3 Project Space, Zurich), Futura Manila (2008, Osage Gallery, Soho Central, Hong Kong), and Asia Art Knots (2008, Cologne Art Fair, Germany). He has also been awarded residencies at the London Metropolitan University (2003–04) and Kunstlerhaus Buchsenhausen (2005), and has received the Ishabashi Foundation Award (2006), Japan Foundation Travel Grant (2007), and ANA/ Ford Foundation Grant (2007). T R A C E Y M O F FAT T (b. 1960, Brisbane, Australia) lives in New York, but returns frequently to

northern Australia. She studied visual communications at the Queensland College of Art. Since her ÂżUVW VROR H[KLELWLRQ LQ 6\GQH\ LQ 0RIIDWW KDV KDG VROR H[KLELWLRQV DW WKH &HQWUH IRU &RQWHPSRUDU\ Art, Glasgow (1992), DIA Center for the Arts, New York (1997), and Il Ponte Projects, Rome (2004). Her work has also been included in group exhibitions in major institutions including the Museum of Contemporary Art, Los Angeles (2000), Museum of Modern Art, New York (2004), International Center of Photography, New York (2004), Guggenheim Museum, New York (2007), Museo de Bellas $UWHV GH %LOEDR 6SDLQ DQG %URRNO\Q 0XVHXP 6KH ÂżUVW JDLQHG VLJQLÂżFDQW FULWLFDO DFFODLP IRU KHU ÂżOP ZRUN ZKHQ KHU VKRUW ÂżOP Night Cries ZDV VHOHFWHG IRU RIÂżFLDO FRPSHWLWLRQ DW WKH &DQQHV )LOP )HVWLYDO WKHQ DJDLQ LQ ZLWK KHU ÂżUVW IHDWXUH ÂżOP Bedevil. Her photography and video works have also been included in the Aperto of the 47th Venice Biennale, Italy (1997), PROJECT 35

ABOUT THE ARTISTS

SENI Art Festival, Singapore (2004), Sharjah Biennial, United Arab Emirates (2005), 5th Liverpool Biennial: International, Liverpool, U.K. (2008), 16th Biennale of Sydney, Australia (2008), and 6th $VLD 3DFLÂżF 7ULHQQLDO RI &RQWHPSRUDU\ $UW, Brisbane, Australia (2009). M E R I S A N G I O L E T T I (b. 1977, Bergamo, Italy) lives in Paris and Milan. She studied philosophy

DW WKH 6WDWH 8QLYHUVLW\ LQ 0LODQ LQ Âą DQG UHFHLYHG D GHJUHH LQ ÂżQH DUWV IURP WKH %HUJDPR Carrara Academy of Fine Arts in 2000, in photography from CFP Bauer in Milan in 2002, and in ÂżQH DUWV IURP WKH %UHUD $FDGHP\ RI )LQH $UWV LQ 0LODQ LQ $QJLROHWWL KDV KDG VROR VKRZV DW FuoriZona Arte Contemporanea, Macerata, Italy (2005), Hogeschool Zuyd, Maastricht, Netherlands (2006), Careof, Milan (2006), Galleria Tiziana di Caro, Salerno (2008), and Fondazione Galleria Civica, Trento (2010). Her works have also been included in group shows such as Tracce di un seminario (2002, Viafarini, Milan), NoParachute (2005, Art&Gallery, Milan), Frame-A selection of Italian artists (2006, Gertrude Contemporary Art Spaces, Melbourne), New Entries (2007, Careof, Milan), Pavillon 7 (2007, Palais de Tokyo, Paris), Heavier Than Air at ITCA-Prague Triennial (2008, Prague), InContemporanea at Triennale di Milan (2009, Milan), ArcheTime (2009, Tank Space, New York), and The Filmic Conventions (2009, FormContent, London). Angioletti was one of the ÂżQDOLVWV IRU WKH 3UHPLR )XUOD DQG WKH ZLQQHU LQ RI WKH 3UHPLR 1HZ <RUN 1HZ <RUN Prize), a residency for emerging Italian artists sponsored by the Italian Ministry of Foreign Affairs, the Italian Cultural Institute of New York, and the Italian Academy for Advanced Studies at Columbia University, New York. M I C H A E L S T E V E N S O N (b. 1964, Inglewood, New Zealand) lives and works in Berlin. He studied

at the Elam School of Fine Arts in Auckland, New Zealand in 1984–86. Stevenson has had solo exhibitions at Vilma Gold, London (2002), New Zealand Pavilion at the 50th Venice Biennale (2003), the CCA Wattis Institute for Contemporary Arts, San Francisco (2006), Darren Knight Gallery, Sydney (2004), Darren Knight Gallery, Sydney and Hamish McKay Gallery, Wellington (2009), and Etablissement d’en face, Brussels, and Objectif Exhibitions, Antwerp (2010). He has also participated in many group shows, including Selections Fall 1997 (1997, Drawing Center, New York), Black Friday: Exercises in Hermetics (2004, Galerie Kamm, Berlin), The Irresistible Force (2007, Tate Modern, London), The Malady of Writing (2009, Museu d’Art Contemporani, Barcelona), Morality: Act XI: Remember Humanity (2010, Witte de With Center for Contemporary Art, Rotterdam), 6th Berlin Biennale for Contemporary Art, (2010, Berlin), There Is No Alternative (2010, Konsthall C and Romanian Cultural Institute, Stockholm, Sweden), 4th Auckland Triennale (2010, Australia), and La Ciudad Interpretada/The City Interpreted, (2010, Public Art Project, Santiago de Compestela, Spain). V YA C H E S L AV A K H U N O V (b. 1948, Osh, Kyrgyzstan) lives and works in Tashkent, Uzbekistan.

He graduated from the Surikov Art Institute in Moscow and works in painting, collage, installation, performance, and video art. Akhunov has participated in several group exhibitions, including the 51st Venice Biennale (2005, Central Asian Pavilion), 1st Singapore Biennale (2006), Time of the Storytellers, Museum of Contemporary Art, Helsinki (2007), Live Cinema/The Return of the Image: Video from Central Asia (2007, Philadelphia Museum of Art), Traces du SacrĂŠ (2008, Centre Pompidou, Paris), Laughterlife (2008, Diehl + Gallery One, Moscow), and the 11th International Istanbul Biennial (2009).

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ABOUT THE ARTISTS B E RY L K O R O T (b. 1945, New York City) lives and works in Vermont and New York. Her video

installation work has been presented in solo exhibitions at various institutions, including The Kitchen (1975), Leo Castelli Gallery, New York (1977), Whitney Museum of American Art, New York (1980), DQG $OGULFK 0XVHXP 5LGJH¿HOG &RQQHFWLFXW +HU ZRUN KDV DOVR EHHQ LQFOXGHG LQ PDQ\ group exhibitions, including Documenta 6 (1977, Kassel, Germany), Points of Departure: Origins in Video (1990, Carnegie Museum of Art, Pittsburgh), The American Century: Art & Culture 1900– 2000 (1999, Whitney Museum, New York), Into the Light (2002, Whitney Museum, New York), and Medium Religion (2009, ZKM, Karlsruhe, Germany). Two video opera projects, The Cave (1993) and Three Tales (2002), on which she collaborated with composer Steve Reich, have been shown at the Brooklyn Academy of Music, New York (1993 and 2002), and at venues including the Dßsseldorf Kunsthalle, Germany (1995) and the Whitney Museum (2002 and 2006, respectively). She was the co-founder and co-editor of Radical Software ¹ WKH ¿UVW SXEOLFDWLRQ WR GRFXPHQW artists’ work and ideas concerning video. Her awards include a Guggenheim Fellowship (1994), an Anonymous Was a Woman grant (2008), and several grants from the National Endowment for the Arts and the New York State Council on the Arts. A N J A M E D V E D (b. 1969, Nova Gorica, Yugoslavia [now Slovenia]) graduated in 1993 from the

Ljubljana Academy of Theater, Radio, Film, and Television in Slovenia with a degree in theater and radio directing, and pursued postgraduate studies at the Art Center College of Design, Pasadena, California. She has had a solo exhibition at Mestna Galerija/City Gallery, Nova Gorica (2002) and has participated in various group exhibitions, including Territories, Identities, Nets (2005, Moderna Galerija, Ljublijana), Interrupted Histories (2006, Moderna Galerija, Ljublijana), Video in Progress: City Perspectives (2008–09, Photon Gallery, Ljublijana), Photonic, Luminatic: New Slovenian Photography and Video (2009, Cankarjev Dom, Mala Galerija, Ljunlijana, and galleries in Vienna and Bratislava), and the 6th U3 Triennial of Contemporary Slovenian Art (2010, Moderna Galerija, Ljublijana). Moja Meja (My Borderline), which she made in collaboration with Nadja Veluscek, was DZDUGHG WKH SUL]H IRU EHVW GRFXPHQWDU\ ¿OP DW WKH 9DOGDUQR 1DWLRQDO )LOP )HVWLYDO LQ ,WDO\ LQ and her Eu-foria multimedia project was awarded an Erasmus EuroMedia Medal by the European Society for Education and Communication in 2008. T R A C E Y R O S E (b. 1974, Durban, South Africa) lives and works in Johannesburg, London, and

Durban. She received her B.F.A. from University of the Witwatersrand, Johannesburg in 1996 and an M.F.A. from Goldsmiths College, University of London, in 2007. Rose’s work has been widely exhibited in Africa, Europe, and the United States. She has had solo exhibitions at the Goodman Gallery, Johannesburg (2002 and 2004), The Project, New York (2007), Caryatid & BinneKant Die Wit Does, Dßsseldorf Art Fair, Germany (2007), MC, Los Angeles (2008), Goodman Gallery, Johannesburg (2008), and Espace Doual’art, Douala, Cameroon (2009). Rose has also participated in group shows including Apartheid: El espejo sudafricano (2007, Centre de Cultura Contemporà nia de Barcelona, Spain), the 52nd Venice Biennale (2007), the 1st Thessaloniki Biennale (2007, Greece), Global Feminisms (2007, Brooklyn Museum, New York), Adding Substractions (2009, Bag Factory, Johannesburg), and Afro Modern: Journeys through the Black Atlantic (2010, Tate Liverpool, England).

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INDEPENDENT CURATORS INTERNATIONAL

:LI8KFIJ S E R G I O E D E L S Z T E I N (b. 1956, Buenos Aires, Argentina) is an independent curator based in Tel

Aviv, Israel. After studying at Tel Aviv University (1976–85), Edelsztein founded and directed Artifact Gallery in Tel Aviv (1987–95), and in 1998 he founded and became director and chief curator of the Center for Contemporary Art (CCA), also in Tel Aviv. At CCA, he curated seven Performance Art Biennials and four International Video Art Biennials (Video Zone), as well as numerous experimental and video art screenings, retrospectives, and performance events there and elsewhere in Israel. Since 1995, Edelsztein has curated exhibitions and video programs in Spain, China, the U.K., and other nations, as well as the Israeli exhibition at the 24th São Paulo Bienal in 1998 and the Israeli Pavilion at the 51st Venice Biennale in 2005. He has also lectured and written extensively for exhibition catalogues, web sites, and various magazines and journals. J O S E L I N A C R U Z is an independent curator based in Manila, Philippines. She studied art history

at the University of the Philippines, and received an M.A. in curating contemporary art from the Royal College of Art, London. Cruz has worked as a curator for the Lopez Memorial Museum in Manila (2001-04) and the Singapore Art Museum (2004–07). She was a curator for the 2nd Singapore Biennale in 2008 and one of the networking curators for the 13th Jakarta Biennale in 2009. Cruz was curator-in-charge of the Tà pies retrospective at the Singapore Art Museum (2005), co-curated All the Best: The Deutsche Bank Collection and Zaha Hadid, Singapore Art Museum (2006), and curated You Are Not a Tourist for Curating Lab, Singapore (part of the Singapore Art Show 2007) and Creative Index: An Exhibition in Manila (2010) for the 10th Regional Anniversary of the Nippon Foundation’s Asian Public Intellectuals Fellowship program. She also writes essays, reviews, criticism, and art commentary. A L E X I E G L A S S - K A N TO R (b. 1973, Sydney, Australia) is based in Melbourne, where since 2005

she has been the director and senior curator of Gertrude Contemporary, one of Australia’s longestrunning independent art spaces, housing galleries, sixteen artist’s studios, and an international exhibition and residency program. Before that, Glass-Kantor was a curator at the Australian Centre for the Moving Image (ACMI) and worked in state art institutions, museums, independent spaces, and festivals. As a curator, she has contributed to recent projects at institutions including Petronas Gallery, Kuala Lumpur, Malaysia (2007), SITE Santa Fe Biennial, New Mexico (2008), National University of Singapore Art Museum, Singapore (2008–09), Magazzino D’arte Moderna, Rome (2009), Ivan Dougherty Gallery, University of New South Wales, Sydney (2009), and Iberia Centre for Contemporary Art, Beijing (2010). Glass-Kantor regularly contributes to symposiums, forums, DQG MRXUQDOV WKURXJKRXW WKH $VLD 3DFL¿F UHJLRQ ZDV WKH $VLDOLQN FXUDWRU LQ UHVLGHQFH DW 6VDP]LH 6SDFH 6HRXO LQ DQG LV D ERDUG PHPEHU RI WKH 1DWLRQDO $VVRFLDWLRQ IRU WKH 9LVXDO $UWV 1$9$ Australia’s peak body for cultural advocacy.

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ABOUT THE CURATORS F R A N C E S C O M A N A C O R D A (b. 1974, Turin, Italy) is an independent curator based in London.

He graduated from the University of Turin and received an M.A. in curating contemporary art from the Royal College of Art, London, in 2003. Earlier this year he was appointed artistic director of the 2010 Artissima, the international art fair of contemporary art in Turin (opening November 2010). He worked as a curator at the Barbican Art Gallery, London, 2007–09, and his freelance practice has included curating Subcontinent: The Indian Subcontinent in Contemporary Art, Fondazione Sandretto Re Rebaudengo, Turin (2006) and national pavilions at the 52nd Venice Biennale (Tobias Putrih, Slovenian Pavilion, 2007 and Francis Upritchard, New Zealand Pavilion, 2009). Manacorda is also currently a visiting lecturer in exhibition history and critical theory in the Curating Contemporary Art department at the Royal College of Art, London. He has written extensively for Domus, Flash Art Italia, Flash Art International, Frieze, Metropolis M, Piktogram, Untitled, and Art Review. M A G A L I A R R I O L A (b. 1970, Paris, France) is based in Mexico City, where she is currently chief

curator at the Museo Tamayo Arte Contemporåneo, and from 1998 to 2001 was chief curator at the Museo Carrillo Gil. Arriola has also curated Alibis, Mexican Cultural Institute, Paris, and Witte de With, Rotterdam (2002), How to Learn to Love the Bomb and Stop Worrying about It, CANAIA, MÊxico City, and Central de Arte at WTC, Guadalajara, Mexico (2003–04), What once passed for a future, or Landscapes of the living dead at Art2102, Los Angeles (2005), Prophets of Deceit at Wattis Institute for Contemporary Art, San Francisco (2006), and the 8th Panama Biennial (2008). She was also a visiting curator at the Wattis Institute for Contemporary Art in San Francisco in 2006. Arriola has contributed to publications such as PoliÊster, ArtNexus, Parachute, Exit, Spike, Afterall and Manifesta Journal. V I K TO R M I S I A N O (b. 1957, Moscow, Russia) lives in Moscow and in Ceglie Messapica, Italy. He

was a curator of contemporary art at the Pushkin National Museum of Fine Arts, Moscow (1980–90) and the director of the Center for Contemporary Art (CAC), Moscow (1992–97). In his freelance practice, Misiano was on the curatorial team for Manifesta 1, Rotterdam (1996) and curated the Russian section of the 3rd Istanbul Biennial (1992), the 46th and 50th Venice Biennale (1995, 2003), the 1st Valencia Bienal, Spain (2001), the 25th and 26th São Paulo Bienal (2002, 2004), the Central Asia Pavilion at the 51st Venice Biennale (2005), Live Cinema/The Return of the Image: Video from Central Asia, Philadelphia Museum of Art (2007–08), and Progressive Nostalgia: Art from the Former USSR &HQWUR SHU OœDUWH FRQWHPSRUDQHD 3UDWR WUDYHOHG WR $WKHQV 7DOOLQQ (VWRQLD and Helsinki). In 1993 he was a founder of the Moscow Art Magazine and has been its editor-inFKLHI HYHU VLQFH DQG LQ KH ZDV D IRXQGHU RI WKH Manifesta Journal: Journal of Contemporary Curatorship (Amsterdam-Ljubljana) and since then has also been an editor there. He has been awarded an honorary doctorate from the Helsinki University for Art and Design. S U S A N S O L L I N S lives and works in New York. Sollins is co-founder and executive director

emerita of ICI (1975–96), and the founder and executive director of the art organization Art21 (1997ongoing) and executive producer/curator of its PBS television series “Art:21—Art in the Twenty-First Century� (2001–ongoing). She was a member of the senior curatorial team at the Smithsonian’s American Art Museum early in her career, and was visual-arts consultant for Thirteen/WNET’s tv program City Arts. Among the exhibitions she has curated are Art in Landscape, (1976–77), New Sculpture: Icon and Environment, (1983–84), Points of View: Four Painters, (1985–86), Eternal Metaphors: New Art from Italy (1989–92), all of which widely traveled through the US, and TABAIMO, PROJECT 35

ABOUT THE CURATORS

$UWVSDFH 1HZ <RUN DQG VKH KDV FR FXUDWHG PDQ\ H[KLELWLRQV LQFOXGLQJ Supershow!, (1979–80), After Matisse, (1986–88), and Team Spirit, (1990–92) all of which traveled to different LQVWLWXWLRQV LQ WKH 86 6KH KDV DOVR PDGH D IHDWXUH OHQJWK ÂżOP RQ :LOOLDP .HQWULGJH IRU EURDGFDVW on PBS (2010). Sollins currently serves on the boards of the MacDowell Colony and ICI. She has received a Peabody Award for “Art:21—Art in the Twenty-First Centuryâ€? (2007) and the Skowhegan Governors Award for Outstanding Service to Artists (2008). C H A R L E S E S C H E (b. 1962, England) lives and works in Eindhoven and Edinburgh. He is a curator

DQG ZULWHU DQG LV FXUUHQWO\ WKH GLUHFWRU RI 9DQ $EEHPXVHXP (LQGKRYHQ EHIRUH WKDW KH ZDV YLVXDO arts director at Tramway, Glasgow (1993–97), organized a research project at Edinburgh College of Art (1998–2002), and was director of Rooseum Center for Contemporary Art, MalmÜ (2000–2004). Since 2000, Esche has co-curated numerous exhibitions and events, including Amateur: Variable Research Initiatives, Gothenburg, Sweden (2000), Gwangju Biennial, Gwangju, Korea (2002), 9th Istanbul Biennial, Turkey (2005), Cork Caucus, Cork, 2005, the 2nd RIWAQ Biennial, Ramallah, Palestine (2007), Forms of Resistance, Van Abbemuseum, Eindhoven (2007), Becoming Dutch, Van Abbemuseum, Eindhoven, (2007–08), Once Is Nothing, at 1st Brussels Biennale, Brussels, (2008), Heartland, Van Abbemuseum, Eindhoven (2008–09), and 6th U3 Triennial of Contemporary Slovenian Art, Moderna Galerija, Ljubljana (2010). He is the co-founder of Afterall Journal and Books, based at Central Saint Martins College of Art and Design, University of the Arts, London, and CalArts, Los Angeles, and has co-edited Citizens and Subjects: The Netherlands, for example (2007) with Maria Hlavajova and Rosi Braidotti, for the Dutch Pavilion at the 52nd Venice Biennale. (VFKH KDV DOVR FRQWULEXWHG WR PDQ\ H[KLELWLRQ FDWDORJXHV DQG DUW PDJD]LQHV DQG D YROXPH RI KLV writings in Turkish and English, Modest Proposals, was published in 2005. S I M O N N J A M I (b. 1962, Lausanne, Switzerland) lives in Paris, where he is an independent

lecturer, curator, and art critic, and a visual-arts consultant for Cultures France, the French Ministry of Foreign Affairs’ cultural branch. He received an M.A. in art history and philosophy and a Ph.D. in law and modern literature. Njami has curated numerous exhibitions of African art and photography, including Die Andere Reise/The Other Journey: Africa and the Diaspora, Kunsthalle Krems, Vienna (1996), Les Rencontres Africaines de la Photographie, Bamako Photography Biennial, Mali (2001 and 2009), Up and Coming, ARCO, Madrid (2003), Africa Remix: Contemporary Art of a Continent, Museum Kunst Palast, Dßsseldorf (2004–07, traveling to London, Paris, Tokyo, and Johannesburg), and As You Like It WKH ¿UVW $IULFDQ FRQWHPSRUDU\ DUW IDLU LQ -RKDQQHVEXUJ DQG ZDV DOVR FR FXUDWRU ZLWK $QJROHVH DUWLVW )HUQDQGR $OYLP RI WKH ¿UVW $IULFDQ 3DYLOLRQ DW WKH QG Venice Biennale (2007). His latest shows are A Collective Diary (Tel-Aviv, 2010), a solo show of Cameroonian artist Bili Bidjocka (Paris, 2010) and A Useful dream (Brussels 2010). Njami is also co-founder and editor-in-chief of the Paris based cultural magazine Revue Noire, and has contributed essays to the catalogue for the Sydney Biennial and other exhibitions. His latest book a biography of President Leopold Sedar Senghor was published in 2007 (Fayard, Paris).

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GUEST AUTHOR S A R A H R I F K Y is a curator and writer living in Cairo, where she has been the curator of the

Townhouse Gallery of Contemporary Art since 2009 and an Adjunct Professor for the Advanced Art Seminar at the American University in Cairo since 2010. She is also a board member of MOTO: Museum of the Occident and co-editor of the artist book Damascus: Tourists, Artists and Secret Agents. Rifky has been a member of the artist network Reloading Images since 2008. She graduated from the Malmรถ Art Academy, Lund University, Sweden in 2003 with an MFA in Critical Studies and holds a BA in Visual Arts and Mass Communication from the American University in Cairo.

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1 " * 8 . 2 #& A B

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