Page 1

Independent Curators International

Fall/Winter 2018–19


SEPTEMBER 2018 Miranda Lash Starr Foundation Hall, The New School (New York, NY) September 11 The Ocean After Nature The College of Wooster Art Museum (Wooster, OH) Through November 18 Axis Mundo: Queer Networks in Chicano L.A. * abridged version Vicki Myhren Gallery, University of Denver (Denver, CO) Through December 2

OCTOBER 2018 ICI Annual Benefit & Auction (New York, NY) Tuesday, October 23 The Ocean After Nature The College of Wooster Art Museum (Wooster, OH) Through November 18 Axis Mundo: Queer Networks in Chicano L.A. * abridged version Vicki Myhren Gallery, University of Denver (Denver, CO) Through December 2 do it Supercurator (Łódź, Poland) October 4–28 do it Complejo Cultural Parque de España (Rosario, Argentina) October 26–December 6 do it Kalamazoo Institute of Arts (Kalamazoo, MI) October 27–March 3

Check out ICI’s website for more upcoming programs and to sign up for our mailing list,

Curatorial Intensive in Bangkok Chulalongkorn University (Bangkok, Thailand) October 22–28



The Ocean After Nature The College of Wooster Art Museum (Wooster, OH) Through November 18

do it Kalamazoo Institute of Arts (Kalamazoo, MI) Through March 3

Axis Mundo: Queer Networks in Chicano L.A. * abridged version Vicki Myhren Gallery, University of Denver (Denver, CO) Through December 2

Axis Mundo: Queer Networks in Chicano L.A. Marjorie Barrick Museum of Art, University of Nevada, Las Vegas (Las Vegas, NV) January 11–March 16

do it Complejo Cultural Parque de España (Rosario, Argentina) Through December 6 do it Kalamazoo Institute of Arts (Kalamazoo, MI) Through March 3 Absolute Humidity ICI Curatorial Hub November 8

DECEMBER 2018 Axis Mundo: Queer Networks in Chicano L.A. * abridged version Vicki Myhren Gallery, University of Denver (Denver, CO) Through December 2 do it Nova Scotia College of Art and Design University (Halifax, Canada) December 4–December 15 do it Complejo Cultural Parque de España (Rosario, Argentina) Through December 6 do it Kalamazoo Institute of Arts (Kalamazoo, MI) Through March 3

Publishing Against the Grain Pitzer College Art Galleries (Claremont, CA) January 19–March 29 Harald Szeemann: Documenta 5 Southwest School of Art (San Antonio, TX) January 24–April 7 Curator’s Perspective: Hyunjin Kim (New York, NY) January 31

FEBRUARY 2019 do it Kalamazoo Institute of Arts (Kalamazoo, MI) Through March 3 Axis Mundo: Queer Networks in Chicano L.A. Marjorie Barrick Museum of Art, University of Nevada, Las Vegas (Las Vegas, NV) Through March 16 Publishing Against the Grain Pitzer College Art Galleries (Claremont, CA) Through March 29 Harald Szeemann: Documenta 5 Southwest School of Art (San Antonio, TX) Through April 7

WELCOME Fall comes with new inspiration, with new exhibitions and art, with space for reflection and promise of a bright future. At ICI, Fall comes with the launch of a new model for art education in NYC high schools using the exhibition DO IT (celebrated on this issue’s cover by Uri Aran’s AFTER DOODLE); with the Curatorial Forum in Chicago, convening 35 curators from 18 US states; and with ICI exhibitions opening in Argentina, Canada, Poland, and throughout the US. And while one of our exhibitions, the survey of Thai artist Apichatpong Weerasethakul curated by Gridthiya Gaweewong, continues its international tour, we head to Thailand to work with Gaweewong on our first Curatorial Intensive in Bangkok. 12 emerging curators from 10 countries will attend the Intensive there in October and become part of an ever-growing network of alumni who remain connected to ICI and represent the future of the curatorial field. With every brochure we feature the profile of an Intensive alum, and in this edition you will meet Ryan M. Dennis, who will team up again with ICI in September to lead a session of our Curatorial Forum in Chicago. Another alum, and the Chief Curator of the Contemporary Art Museum St. Louis, Wassan Al-Khudhairi will select and present the 2018 Gerrit Lansing Independent Vision Curatorial Award at our Annual Benefit & Auction on October 23.

As has been the tradition since 1990, we will also present the Leo Award at our Annual Benefit & Auction, recognizing visionary individuals who have fostered supportive environments for curators and artists. This year, we honor Emily Rauh Pulitzer, a firm believer in the power of art and the civic role of institutions. Mrs. Pulitzer’s cultural leadership and civic-minded dedication to St Louis is an inspiration echoed in ICI’s own commitment to the American art landscape, and to creating stronger arts communities across the country as much as around the world. ICI’s exhibitions and curatorial programs continue to champion more inclusive and connected art ecosystems. None of this would be possible without the involvement, passion and support of so many: the curators, the artists, our collaborators at museums and galleries around the world, the foundations, and our many supporters who make it all possible. And of course, at the core of our efforts are ICI’s dedicated Board of Trustees and extraordinary staff. This Fall, we welcome Amanda Parmer to the ICI team, our new Director of Programs. We’re excited to work with Amanda to shape ICI’s programs and a bright vision for the future. So join us this Fall, find us at an ICI program near you! Renaud Proch Executive Director















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


Tours through Winter 2020

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

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

PUBLICATION Edited by C. Ondine Chavoya and David Evans Frantz with Macarena GómezBarris. Texts by Julia Bryan-Wilson, Iván A. Ramos, and more. Co-Published by DelMonico Books/Prestel and ONE Archives at the USC Libraries, 2017. CURATORS C. Ondine Chavoya is Professor of Art History and Latina/o Studies at Williams College. David Evans Frantz is Associate Curator at the Palm Springs Art Museum.

For information contact Becky Nahom at or call 212 254 8200 x129.

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

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


Participants in the Christopher Street West Pride parade wearing Joey Terrill’s malflora and maricón T-shirts, June 1976. Photo by Teddy Sandoval. Courtesy of Paul Polubinskas.

Mundo Meza, Documentation of a window display at Maxfield Bleu, West Hollywood, c. early 1980s. Photo by Mundo Meza. Courtesy of Pat Meza.


10 Installation view of Axis Mundo: Queer Networks in Chicano L.A. at 205 Hudson Gallery. Photo by Stan Narten. Courtesy of Hunter College Art Galleries.


Tours through Winter 2021

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

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

For information contact Becky Nahom at or call 212 254 8200 x129.


PISEAGRAMA, Issue 7, 2015. Courtesy of PISEAGRAMA.


Tours through Winter 2021

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

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

For information contact Becky Nahom at or call 212 254 8200 x129. The exhibition and tour are made possible, in part, with the generous support of MAIIAM Museum of Contemporary Art.

PUBLICATION This exhibition is accompanied by a new Sourcebook, edited by Weerasethakul. (See page 48.)

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


Top, Middle: Apichatpong Weerasethakul: The Serenity of Madness, installation view, Núcleo de Arte da Oliva, 2018. Photo by Dinis Santos. Courtesy of Núcleo de Arte da Oliva and ICI. Bottom: Installation view, Oklahoma City Museum of Art, 2018. Courtesy of OKCMOA and ICI.


Tours through Winter 2018

originated through the salon structure that first canonized them. When one looks at Picasso here, they are viewing Picasso through the lens of Stein. From 1992 to 2014 Salon de Fleurus existed as an installation in lower Manhattan. Since then, it has appeared in fragments in Beirut, Paris and Los Angeles and is now touring as a complete artwork with ICI. The exhibition contains painting reproductions as well as a historic timeline of Stein and her circle, a special edition newsprint-catalogue, and training script for a “doorman” or gallery monitor to best evoke the story of the salon to visitors.

Salon de Fleurus Salon de Fleurus is a contemporary reconstruction of Gertrude Stein’s Parisian salon that existed at 27 rue de Fleurus from 1904–34. It is an artwork that displays and references a story of modern art’s beginnings through one of the first gathering places for artists such as Henri Matisse, Pablo Picasso, and Stein herself. It was in Stein’s salon that paintings by Cézanne, Matisse and Picasso were seen exhibited together for the first time both by her peers and transatlantic art experts who spread the word back home, eventually creating the American narrative of European modern art familiar today. Through painted reproductions exhibited within a constructed interior, the Salon de Fleurus questions where, why and how certain narratives of modern art

At the end of the day the importance of copying is that it compels us to question the importance of authenticity. — Clancy Martin on Salon de Fleurus, Brooklyn Rail, 2014. For information contact Becky Nahom at or call 212 254 8200 x129. Additional support for Salon de Fleurus is provided by the Fine Art Dealers Association (FADA).

PUBLICATION Accompanying the exhibition is a broadsheet catalogue designed by Garrick Gott. Each presenting venue produces a new edition.

ABOUT Salon de Fleurus is an educational institution dedicated to assembling, preserving, and exhibiting memories on early modern art.


Salon de Fleurus, installation view, Handwerker Gallery, Ithaca, 2018. Courtesy of Handwerker Gallery and ICI.

Salon de Fleurus, installation view, QUT Art Museum, Brisbane, 2018. Courtesy of QUT and ICI.


Tours through Winter 2018

understanding of the ocean as a massive planetary network reflecting the contemporary ecological, cultural, political, and economic significance of a globalized world. The Ocean After Nature presents artists who in the last 15 years have come to depict a space not of otherness but of self-reflection. The artists embrace personal themes of identity and migration, alongside more universal concerns related to tourism, trade, climate change, and the exploitation of natural resources. The exhibition features works in a wide variety of media–including photography, video, sculpture, music, and design. In addition, curators at each of the presenting venues will be invited to include additional work by at least one local artist, as a way to connect local concerns to an evolving international conversation.

The Ocean After Nature Curated by Alaina Claire Feldman UNITED BROTHERS, Ursula Biemann, CAMP, Yonatan Cohen and Rafi Segal, Mati Diop, Maria D. Rapicavoli, Drexciya, Peter Fend, Manuel Gnam, Renée Green, Peter Hutton, Hyung S. Kim, An-My Lê, Manny Montelibano, Deimantas Narkevičius, The Otolith Group, Ulrike Ottinger, Carissa Rodriguez, Allan Sekula and Nöel Burch, Supersudaca In their symbolism and narratives, seascapes have traditionally been an expression of power, defining history and forming identities. The Ocean After Nature explores a more recent

For information contact Becky Nahom at or call 212 254 8200 x129.

PUBLICATION This exhibition is accompanied by a catalogue, edited by the curator and featuring essays, interviews, and excerpts of film scripts. (See page 48.)

CURATOR Alaina Claire Feldman is a curator and Director of the Sidney Mishkin Gallery at CUNY Baruch College.


Ursula Biemann, film still from Subatlantic, 2015. Courtesy of the artist.

The Ocean After Nature, Installation view, Sheila C. Johnson Design Center, Parsons School of Design at The New School, 2018. Courtesy of ICI. Photographer: Marc Tatti.


Tours through Winter 2021


do it

do it (in school) is a curriculum-based version of do it. Produced by ICI in partnership with Studio in a School NYC (Studio), it represents a new approach to contemporary art education. This fall, three New York City high schools will collaborate with Studio artist instructors to carry out do it instructions as a handson art education class geared towards critical thinking and enhancing creative experiences. Students will learn about artists from around the world and their diverse practices, have the opportunity to interpret the works themselves while generating artworks that respond to personal narratives.

Curated by Hans Ulrich Obrist do it began in 1993, the result of a conversation between Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier who mused about the potential of “scores,” or written instructions by artists, to create exhibition formats that could be more flexible and open-ended—exhibitions that would never stop. Since then, do it has become the longest-running and most far-reaching exhibition to ever happen—constantly generating new versions of itself. It has grown from a selection of 12 instructions to an ongoing project including over 400 artists. Many new versions have appeared, including do it (museum), do it (home), do it (TV), do it (seminar), and an online do it in collaboration with e-flux. Every time it is presented, do it is reinterpreted anew. A call to action, do it invites you to take part, interpret, re-invent and generate ideas, creating new dynamic institutional and exhibition formats for years to come.

do it (in school) is made possible with the generous collaboration of Uri Aran, and by ICI’s Board of Trustees, Leadership Council, and gifts to ICI’s Access Fund, as well as the individuals and foundations that support Studio in a School’s New York City Schools Program.

For information contact Becky Nahom at or call 212 254 8200 x129.

do it at The Episcopal Academy, Newtown Square, 2014. Courtesy of The Episcopal Academy and ICI.


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

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

CURATOR Hans Ulrich Obrist is Artistic Director of the Serpentine Galleries, London.

do it instruction by Uri Aran enacted at the Juliet Art Museum, Clay Center for Arts and Sciences of West Virginia, Charleston, 2018. Courtesy of Clay Center and ICI.


Tours indefinitely

Harald Szeemann: Documenta 5, explores the many facets of this particularly controversial Documenta exhibition, which jumped outside the contemporary art sphere into an expanded realm of activity. This exhibition, curated by David Platzker, includes the exhibition catalogue, ephemera, artists’ publications and editions produced in conjunction with the exhibition, as well as published reviews and critical responses. The materials provide a rich jumping off point for art history students, artists, and audiences to plunge into the international contemporary art scene of 1972, to see what this particularly fertile cultural moment produced.

Harald Szeemann: Documenta 5 Curated by David Platzker 45 years later, Documenta 5, the exhibition that was criticized in 1972 as being “bizarre...vulgar...sadistic” by art critic and essayist Hilton Kramer and “monstrous... overtly deranged” by art historian and art critic Barbara Rose, resonates today as one of the most important exhibitions in history. Both hailed and derided by artists and critics, the exhibition was the largest, most expensive and most diverse of any exhibition anywhere, and foreshadowed all largescale, collaboratively curated, comprehensive mega-shows to come.

CURATOR David Platzker is Director of Specific Object and former Curator of Drawings and Prints at the Museum of Modern Art, New York. For information contact Becky Nahom at or call 212 254 8200 x129.

Joseph Beuys, aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975, installation view from Documenta 5 at kim?, Riga, 2011. Courtesy of kim? and ICI.


“Regarding Documenta V,” Flash Art, 1972. Courtesy of ICI.


Tours through Fall 2018

before returning to the US, with stops in Chicago, San Francisco, and Wichita, where the tour concluded this past August. Taking its title from a pun on “Mas” (short for masquerade and synonymous with carnival in the Englishspeaking Caribbean), EN MAS’ introduced performance art with a focus on the influence that Carnival and related masquerading traditions in and of the Caribbean and its diasporas have had on contemporary performance discourse and practice, in both the artistic and curatorial realms.

EN MAS’: Carnival and Performance Art of the Caribbean Curated by Claire Tancons and Krista Thompson

ITINERARY Co-organized with Contemporary Arts Center, New Orleans

Contemporary Arts Center, New Orleans, March–June 2015 (New Orleans, LA); The National Gallery of the Cayman Islands, January– March 2016 (Grand Cayman, Cayman Islands); National Art Gallery of the Bahamas, April–July 2016 (Nassau, The Bahamas); DuSable Museum of African American History, May–August, 2017 (Chicago, IL); Museum of the African Diaspora, September–March 2018 (San Francisco, CA); Ulrich Museum of Art, April–August 2018 (Wichita, KS)

Throughout the 2014 Caribbean Carnival season, EN MAS’ tracked nine artists as they engaged, transformed, or critiqued historical and contemporary Caribbean performance practices from Carnival in Santiago de los Caballeros, Port of Spain, Fort-de-France, Kingston, London and Brooklyn, to Junkanoo in Nassau and the New Orleans second line—or in their own imaginary cartographies and invented performance traditions. The resulting newly commissioned works took place according to different modes of public address and audience engagement including semi-private rituals at the margin of the festival celebrations and street processions in the midst of the carnival revelry. Reconstitutions from the performances, material remnants, as well as photographic and filmic interpretations formed the exhibition, with some of the best photographers, filmmakers and videographers working in the Caribbean. It debuted at the CAC, New Orleans in March 2015, with an exhibition design by Gia Wolff, and traveled to the Caribbean with presentations in Grand Cayman and the Bahamas,

THANK YOU TO THE ARTISTS John Beadle, Charles Campbell, Christophe Chassol, Nicolás Dumit Estévez, Marlon Griffth, Hew Locke, Lorraine O’Grady, Ebony G. Patterson, Cauleen Smith

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


PUBLICATION Edited by Claire Tancons, Krista Thompson. Texts by Shannon Jackson, Kobena Mercer, and more. (See page 49.)

CURATORS Claire Tancons is a curator and art historian. Krista Thompson is the Weinberg College Board of Visitors Professor and Professor of Art History at Northwestern University.

Cauleen Smith, H-E-L-L-O videostill. Location: St. Augustine Church. Sousaphone: Desmond Provost. Cinematography: William Sabourin, 2014.

Marlon Griffith, POSITIONS + POWER, 2014, Port of Spain, Trinidad. Š Arnaldo James, 2014.


Nicolás Dumit Estévez, C Room (2014), installation view from EN MAS’, Contemporary Arts Center, New Orleans, 2015. Photo: Sarrah Danziger. 26




Every year, ICI produces dozens of events that examine contemporary art and culture through the work of curators. They open new perspectives on art from around the world, promote public conversations and provide an opportunity for continued learning. ICI events include talks by curators and artists, presentations of curatorial practices from across ICI’s international network of collaborators, as well as professional seminars and conferences. In ICI’s Curatorial Hub in New York, free public events facilitate the informal exchange of ideas and experiences among curators, artists and New York audiences. The Curator’s Perspective talks feature international curators, and are presented with partner institutions across the city, including CUNY Graduate Center, Hunter College, MoMA, Americas Society, and many more in New York and occasionally across the U.S. In addition, events related to ICI exhibitions take place internationally in collaboration with presenting art spaces; and closed-door seminars and public conferences bring together a multiplicity of international perspectives to further advance curatorial discourse, generating and sharing knowledge in the field.


Curator’s Perspective

UPCOMING PROGRAMS September 11, 2018, 7pm Miranda Lash

The Curator’s Perspective is a free, itinerant public discussion series featuring U.S. and international curators. It was developed as a way for audiences in New York to connect with timely information and a wide variety of international perspectives on contemporary art today. The series sheds light on movements and models that are still in formation or have been overlooked. This year, speakers in the series will include curators based in Berlin, Cape Town, Louisville, and San Juan, addressing questions about art, culture, and the artists and exhibitions they are most interested, as well as the socio-political contexts that are shaping curatorial practice now.

Miranda Lash (Curator of Contemporary Art, Speed Art Museum) will present on the realities and mythologies associated with the American South, and why it remains among of the most contested topics in our understanding of American national identity. Lash will put forth a more expansive idea of the South, exploring it as a potent, volatile, and ultimately malleable concept, which has exerted considerable influence over the politics, emotions, and memory of this country. January 31, 2019, 7pm Hyunjin Kim Hyunjin Kim is the curator of the Korean Pavilion for the upcoming Venice Biennale. She will discuss her practice with a focus on curating performance. As part of Curatorial Lab Seoul, a collaborative she founded in 2012 focused on producing interdisciplinary research, exhibitions and performances, often testing the limits of durational collaboration, she co-organized Jewyo Rhii’s object-based theater production Ten-Year Please in 2017. March 12, 2019, 7pm Brian Curtin Brian Curtin is a curator based between Bangkok and Ho Chi Minh City, where he was recently named director of the non-profit Sàn Art. From 2011-18 he also ran the experimental venue H Project Space in Bangkok. As an independent curator he has worked internationally, in China, Korea, the UK, and the US, as well across Southeast Asia.



Jay Pather Hosted by The Drawing Center on May 8, 2018, Jay Pather, Director of the Gordon Institute for Performing and Creative Arts (GIPCA), spoke about curating performance and live art in public space in Cape Town. Drawing from his experiences of curating the Infecting the City Public Art Festival and the ICA Live Art Festivals, Pather examined the act of curating in cities of acute transition, societies in crisis and in contexts of intersectional tensions.

Natasha Ginwala On April 12, 2018 at ICI’s Curatorial Hub, Natasha Ginwala, curator at Gropius Bau in Berlin, spoke about curating Contour Biennale 8 entitled Polyphonic Worlds: Justice as Medium in 2017. Ginwala articulated her curatorial strategies in terms of endurance, collectivity and continuum, resonating with Audre Lorde’s provocation, “Revolution is not a onetime event.”

All events in the Curator’s Perspective series are free of charge and open to the public. For more information about upcoming events visit ICI’s website,, or contact Christina Davis at The 2018 Curator’s Perspective program is made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and by the generous contributions from the ICI Board of Trustees and ICI’s Gerrit Lansing Education Fund.

Gabi Ngcobo On February 22, 2018 at Skowhegan School of Painting & Sculpture, Gabi Ngcobo, curator of the 10th Berlin Biennale for Contemporary Art, discussed her curatorial concept for this iteration of the biennial titled We don’t need another hero, which she framed as a conversation with artists and contributors who think and act beyond art as they confront the incessant anxieties perpetuated by a willful disregard for complex subjectivities.


Curatorial Hub

UPCOMING PROGRAMS Thursday, September 6, 6:30–8pm Tracing Obsolescence: Evelyn Owen, Dana Whabira and Neelika Jayawardane

Every year, ICI presents 20 free, public events in the Curatorial Hub: curators and artists talks, panel discussions, small press events, performative lectures, and screenings. Featuring speakers from around New York and the world, Hub events provide access to local and international practices in an informal exchange of ideas and experiences among professionals and with the public. To remain responsive to the latest developments in the field, events are scheduled and announced throughout the year.

Curator Evelyn Owen will be in conversation with artist Dana Whabira and writer Neelike Jayawardane, who is included in Owen’s exhibition, Tracing Obsolescence, on view at apexart from September 8–October 27, 2018. The artists in this exhibition use material and psychic traces left by industrial-scale manufacturing and extraction as a starting point for their explorations of contemporary environmental, socio-economic, and geo-political crises.

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

Friday, September 14, 6:30–8pm Ingrid Schaffner, Curator, Carnegie International, 57th Edition, 2018

Unless otherwise noted, all Hub events are held in the ICI Curatorial Hub, 401 Broadway, New York.

The Vera List Center for Arts and Politics (VLC) Wollman Auditorium, The New School Ingrid Schaffner, Curator of the 57th Carnegie International, will present on her curatorial thinking for this edition. Presenting work by 32 artists and artist collectives, the exhibition invites visitors to explore what it means to be “international” at this moment in time, and to experience museum joy. In collaborationwith VLC. The Curatorial Hub was established with the support of the Rockefeller Brothers Fund, and programs at the Hub are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.



To and Fro: Inventions of Brazil in the swing of a hammock. June 5, 2018. Curator Raphael Fonseca spoke about an archive that he has sourced of over nine hundred images of hammocks that suggest contrasting ideas of “Brazilianness.” He considered the relations between the iconography of the hammock and different contested concepts of Brazilian identity, including laziness and tropical visual culture, the traditions of participatory art in Brazil, and the association between the object and native culture.

Meteor Shower / Días Sin Shower. May 17, 2018. Ren (Rachel) Ellis Neyra, who served as Faculty on the 2017 Curatorial Intensive in New Orleans, read poems from her debut poetry book Meteor Shower / Días Sin Shower, published by La Impresora Press in San Juan, Puerto Rico. Ellis Neyra’s poems’ American English cum Spanglish syntaxis arranges translations of Robert Hayden, Laurie Weeks, Gil Cuadros, Eduardo Corral, and Dante Alighieri.

Front International: An American City. April 19, 2018. Michelle Grabner, Artistic Director of FRONT International: Cleveland Triennial for Contemporary Art, presented on its inaugural edition. The FRONT Triennial occupied museums, civic institutions and alternative spaces across Cleveland, Akron and Oberlin from July to September 2018, with ambitious projects, including performance and theater throughout the landscape and built environment.

Radical Women: Latin American Art, 1960-1985. April 10, 2018. Co-organized with the Brooklyn Museum, curators Cecilia Fajardo-Hill and Andrea Giunta spoke about the exhibition Radical Women: Latin American Art, 1960–1985, which was on view at the Brooklyn Museum from April 13–July 22, 2018. The conversation was moderated by Curatorial Intensive alumna and Whitney Curator Marcela Guerrero.


Curatorial Forum

September 27–29, 2018 In addition to events, meeting and visits to the fair, the Curatorial Forum will feature a series of peer-led, closed-door sessions focused on critical questions related to regional collaborations, race and representation, contemporary art literacy, socially engaged practice, and performance.

Developed in partnership with EXPO CHICAGO, the Curatorial Forum will bring to Chicago 30 mid-career and established curators from across the country, working independently or with an institutional affiliation. The program was conceived to foster strong national and regional networks for curatorial and institutional collaboration, encourage critical thinking, and reflect on practices that are responsive to local art communities while inscribed in a global art discourse. The Curatorial Forum offers curators the opportunity to engage with their colleagues, gain exclusive insights into the fair’s curated elements, and explore among peers significant issues relevant to curating, programming, institution-building and audience engagement.

Keynote lecture Jochen Volz, Director of the Pinacoteca de São Paulo, recipient of ICI’s 2017 Agnes Gund Curatorial Award. Session leaders include Dean Daderko, Curator of Contemporary Arts Museum Houston, Houston, TX; Ryan N. Dennis, Programs Director of Project Row Houses Curator, Houston, TX; Candice Hopkins, Co-curator of SITE Santa Fe Biennial, Santa Fe, NM; Katie A. Pfohl, Curator of Modern and Contemporary Art, New Orleans Museum of Art, New Orleans, LA; and Amy Sadao, Daniel W. Dietrich II Director of ICA Philadelphia, Philadelphia, PA. Participants of this convening include Michael J. Anderson, Oklahoma City Museum of Art Director of Curatorial Affairs| Oklahoma City, OK; Mara Baldwin, Handwerker Gallery Director, Ithaca, NY; Andrea Barnwell Brownlee, Spelman College of Fine Art Director, Atlanta, GA; Joseph Becker, SFMOMA Associate Curator of Architecture and Design, San Francisco, CA; Leslie Brothers, Ulrich Museum of Art Director, Wichita, KS; Rachel Cook, On the Boards Artistic Director, Seattle, WA; Eric Crosby, Carnegie Museum of Art Richard


Mensah, Museum & Exhibition Studies at the University of Illinois in Chicago’s School of Art and Art History Visiting Professor, Chicago, IL; Srimoyee Mitra, Stamps Gallery Director, Ann Arbor, MI; Sofía Gallisá Muriente, Beta-Local Co-Director, San Juan, PR; Kim Nguyen, CCA Wattis Curator and Head of Programs, San Francisco, CA; Karen Patterson, John Michael Kohler Arts Center Senior Curator, Sheboygan, WI; Ana Torok, Museum of Modern Art Assistant Curator of Prints and Drawings, New York, NY;Joey Yates, Kentucky Museum of Art and Craft Curator, Louisville, KY; among others.

Armstrong Curator of Modern and Contemporary Art, Pittsburgh, PA; Sally Frater, Ulrich Museum of Art Curator of Modern and Contemporary Art, Wichita, KS; Elizabeth Gessel, Museum of the African Diaspora Director of Public Programs, San Francisco, CA; Marcela Guerrero, Whitney Museum of American Art Assistant Curator, New York, NY; Andria Hickey, Museum of Contemporary Art Cleveland Senior Curator, Cleveland, OH; Kaela Hosking, Phoenix Art Museum Museum Education Director, Phoenix, AZ; Naima Keith, California African American Museum Deputy Director and Chief Curator, Los Angeles, CA; Lucy

Participants of the 2017 Curatorial Forum during a breakout session at the Graham Foundation.


Participants of the Curatorial Forum at EXPO CHICAGO September 13-17, 2017.





ICI’s Curatorial Intensive program was established in 2010 as the world’s first short-course training program for curators. Intended to bring working professionals together to gain new skills and perspectives on pragmatic aspects of curating, as well as to increase dialogue in curatorial ideas, the Intensive supports early- to mid-career curators working independently or institutionally in emerging and established art centers around the world. Programs are held in the U.S. and internationally with institutional partners. The Intensive has taken place in cities from Addis Ababa to Bogota, from New Orleans to Moscow; giving access to professional development and international engagement opportunities to a broader community of curators. Each Curatorial Intensive program consists of a weeklong schedule of seminars, workshops, Individual meetings, and site visits, developed by ICI and led by prominent curators, artists, critics, and directors. Participants apply with an exhibition proposal to workshop throughout the program, and develop into a full proposal that can be realized. An unparalleled, dynamic curatorial network of alumni has developed over the last 9 years, counting over 440 curators from 68 countries. They represent— and are shaping—the future of curatorial practice.



Focusing on the regional context of the rapidly expanding contemporary art landscape in Bangkok, participants will engage with key practitioners, curators, and artists, active in the city and internationally. Seminars, site visits, individual meetings, and roundtable discussions will be led by a group of professionals that includes: Remco de Blaaij (Director, Artspace, New Zealand), Zoe Butt (Artistic Director, The Factory Contemporary Arts Centre, Ho Chi Minh City), Gridthiya Gaweewong (Artistic Director, Jim Thompson Art Center, Bangkok), Mami Kataoka (Chief Curator, Mori Art Museum, Tokyo), Renaud Proch (Executive Director, ICI), Mari Spirito (Founding Director, Protocinema, Istanbul), and David Teh (National University of Singapore), among others.

Curatorial Intensive in Bangkok October 22–28, 2018 This Fall, ICI presents the inaugural Curatorial Intensive in Bangkok, Thailand, developed in partnership with the Faculty of Fine and Applied Arts at Chulalongkorn University to coincide with the launch of its international postgraduate program in Curatorial Practice, and with the James H.W. Thompson Foundation.

2019 PROGRAMS Please note that ICI’s Curatorial Intensive in New Orleans will take place from March 22–28, 2019, in collaboration with the Contemporary Arts Center New Orleans and Prospect New Orleans. The open call for applications will take place in November 2018.

ICI offers several scholarship packages available to all curators. In addition, scholarships are available for applicants based in Thailand and Southeast Asian countries. Taiwanese curators (based in Taiwan) are eligible to a scholarship from the Taipei Cultural Center in New York, which covers the full program fee and a stipend for travel and accommodation expenses. A scholarship for a curator from Turkey, based anywhere in the world, will be supported by SAHA. For more information on the Curatorial Intensive, visit ICI’s website,, or contact Christina Davis at

Chulalongkorn University, Bangkok, Thailand.


Report: New Orleans Reflection from Lucy Mensah Prior to participating in the 2018 ICI Curatorial Intensive New Orleans, I had visited New Orleans on three separate occasions. What fascinated me about this port city was the blending of cultures, which was palpable in the architecture, music, food, and festival culture. Of course, at the root of this vibrant culture is the triangulation of colonialism, enslavement and commerce. The entanglement of beauty and violence, appeared to be the catalyst behind Prospect.4, titled The Lotus in Spite of the Swamp, which was organized by curator Trevor Schoonmaker and coincided, with the Curatorial Intensive. Hybridity, fluidity, confluence, and cross-cultural exchange were the conceptual threads that connected the exhibition to the structure of the Intensive. A running theme of the Intensive was “site-specificity,” which took on different valences throughout the course of the program. The curators invited this year were encouraged to think critically about how our locales could inform our exhibitions. My cohort—comprising a talented, brilliant group of curators—were based in different cities, including New Orleans, Chicago, New York, Mexico City, San Francisco and Amsterdam. At the time, I was based in Detroit, working as a new Assistant Curator of Contemporary Art at the Detroit Institute of Arts. The diversity of cities represented made for such productive discussions about local history, audiences, and the ways in which the institutions we belonged to informed our exhibition-planning process. The seminars that were facilitated by guest speakers certainly brought the challenges of curatorial-institutional relations to the foreground. For instance, Sofía Gallisá Muriente, co-director of the art organization Beta-Local in Puerto Rico, led a seminar that challenged us to think about how revolutionary movements could inform radical strategies of curatorial praxis and navigating institutional spaces. One of the most memorable opportunities in the “field” was a studio visit with the talented—and hospitable—local mixed-media artist Dawn DeDeaux, who greeted us with an arrangement of po’boys, Zapps Potato Chips, and cocktails. DeDeaux’s body of work is a response to her city. I found the paradoxes of beauty and disaster to be very palpable in the artist’s work, including the glass works that charted water levels during Katrina, as well as mud-works DeDeaux made while she was temporarily displaced from her home. Fundamentally, Katrina had forced DeDeaux to use whatever materials she could find, which was the soil right under her. Lucy Mensah attended the Curatorial Intensive in New Orleans in January 2018. She is a Chicago-based curator specializing in post-WWII and contemporary African American culture. Most recently, she was an assistant curator of Post-1950 Contemporary Art at the Detroit Institute of Arts.


Alumni Updates

ALUMNI NEWS Paulina Ascencio (New Orleans ’15) was appointed Associate Curator at Ladera Oeste in Guadalajara, Mexico.

Courtney Lane Stell and Michal Novotny (NY Summer ’11) Devon Dikeou: Tricia Nixon: Summer of 1973 Centre for Contemporary Art FUTURA, Prague On view June 29–September 16, 2018

Leah Gordon (NY Summer ’12) co-curated POTOPRENS: The Urban Artists of Port-au-Prince, on view at Pioneer Works, NY until November 11, 2018. Saisha Grayson (New Orleans ’15) was named curator of Time-Based Art at The Smithsonian American Art Museum; and

Tricia Nixon: Summer of 1973 is an exhibition comprised of works by American Artist, Devon Dikeou. The exhibition captures the essence of America during the 1970s, while drawing parallels to present-day crises and politics in the United States.

Anne Reeve (NY Fall ’12) was named Associate Curator at the Hirshhorn Museum and Sculpture Garden, both in Washington, D.C. Marcela Guerrero (Buenos Aires ’13) co-organized Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art at the Whitney Museum of American Art on view through September 30, 2018 in New York, NY.

This exhibition developed as a collaboration between Stell, Director of the Rocky Mountain College Gallery in Denver, and Novotny, who is Director & Curator of Centre for Contemporary Art FUTURA, Prague.

Tessa Maria Guazon (Manila ’16) will curate the Philippine Pavilion at the 2019 Venice Biennale, and Birta Guðjónsdóttir (NY Summer ’11) will be co-curator of the Iceland Pavilion. Euridice Kala (NY Fall ’13) organized Open Lab at Colonie, Paris. Kabelo Malatsie (Accra ’17) was named Director of Visual Arts Network of South Africa (VANSA) in Johannesburg. Fari Nzinga (New Orleans ’18) was appointed Curatorial Fellow at the Kalamazoo Institute of Arts in Kalamazoo, Michigan. Larry Ossei-Mensah (New Orleans ’16) was appointed senior curator at the Museum of Contemporary Art Detroit.


Installation views, Devon Dikeou, Tricia Nixon: Summer of 1973, Centre for Contemporary Art FUTURA, Prague, CZ.


Participants of the 2018 Curatorial Intensive in Mexico City.



Alumni Profile: Ryan N. Dennis

Who are the artists you are excited to work with right now? It’s always tough to narrow down a list—I am constantly researching and discovering new artists. Today, I am excited about my partner, a musician named Jawwaad Taylor. His sound pushes the boundaries of traditional jazz. I am excited to work with him in my professional life because he challenges me to approach my curatorial practices in new ways. His methodology inspires me to take more risks unapologetically. Black female artists like Simone Leigh, Rashida Bumbray, Regina Agu, Tiona Nekkia McClodden, bell hooks, Salome Asege and so many more excite and inspire me on a daily basis. They create work that is meaningful and necessary, for themselves and the culture. They have conviction and stand by their values, navigating the art world while calling shit out. They all have very different approaches—learning from them and their practices teaches me so much.

How would you define your work as a curator? What are the most pressing challenges you face? My role as curator is constantly evolving. I have to consider what’s happening in the world—locally, nationally, and globally—as well as what’s happening in contemporary art. My role is to shake up the ways we typically engage and work within the field; I am always curious about and in search of new information, material, or practices that expand my thinking. As a curator, my job is not only to care for the art itself, but also for the many relationships that I balance, nurture, and maintain. I practice radical hospitality in all my interactions, because the relationships I build are so important to my curatorial practice and way of life. I view the work almost as an equation: research plus relationships plus care and sensitivity plus education plus knowledge of the field and an awareness of what’s happening in society equals curator. The biggest challenges I face at the moment have to do with fundraising and weathering the impact of national budget cuts. Support for the arts is decreasing. Individual patrons and would-be patrons are becoming very selective with how they spend their money, given the current climate. Also, I find many of the conversations around diversity, equity, and inclusion to be challenging. People want diversity but don’t understand all that needs to happen to get us to a more equitable and just world. That work gets done by taking significant action and thinking about these terms as more than buzzwords to include in the next big grant application!

Are there any essays/books, exhibitions, or artists we should watch out for? I had the opportunity to catch the We Wanted a Revolution: Black Radical Women, 1965-85 exhibition at the Brooklyn Museum in 2017 and have been referencing the Sourcebook of that exhibition ever since. The exhibition and the book are so rich—they definitely influenced both my approach to research and my thinking on the best ways to build an archive. I am looking forward to the Autumn Knight: In Rehearsal catalog that the Krannert Art Museum is publishing later this year. The book is the first and only monograph focused on the work of emerging artist Autumn Knight. Knight started her performance art career in Houston at Project Row Houses, and she continues to excel. 46

ied protest practices of Nigerian women. I am also very excited about the strategic art plan that I am building with a group of local organizers and artists. The plan provides equitable, collaborative arts programming for the northern Third Ward community—we’ll be mounting projects in the Third Ward from May through the end of the year. We hope to get Third Ward officially recognized as a cultural district in Texas.

I believe, in order to do the work of a curator, one’s spirit and internal selves need to be in alignment. New strategies and risks have to be taken. To this end, adrienne marie brown’s book Emergent Strategy has been transformational for me. I truly recommend it as book to read, and then re-read! Every time I pick it up, I find new jewels. A rapid fire list of artists to watch out for: Autumn Knight, Regina Agu, Rabea Ballin, Jamal Cyrus, Vitus Shell, Carrie Schneider, Tatyana Fazlalizadeh, Sable Elyse Smith, Tschabalala Self, Nathaniel Donnett, Tiona Nekkia McClodden, Shani Peters, and Maria Gaspar.

Can you talk a little about your journey from Houston to New York and back to Houston? A journey indeed! I had been working at the Menil Collection for a little over 2 years, and knew that it was time for me to experience New York City. I left Houston to obtain my Masters at Pratt and started working at different organizations and museums in New York to gain experience and build my network. I landed at the Museum for African Art while finishing up my Masters, and worked on some incredible exhibitions, like El Anatsui’s first US retrospective. I worked with South African artist Jane Alexander, and the Ibrahim El-Salahi exhibition with curator Salah Hassan and Lisa Binder. Working in New York was a great experience and taught me so many unforgettable life lessons. I decided to return to Houston after I was recruited to take the position at Project Row Houses. It has been wonderful to be back in Houston, getting the opportunity to travel globally, discovering more and more artists who are deeply interested in the socio-political landscape.

What upcoming projects are you working on? Since the last quarter of 2017 I have been working on all things related to Project Row Houses’ 25th anniversary. I am also editing the first Project Row Houses book: Collective Creative Actions: Project Row Houses at 25 will be available in October 2018. When this work slows down, I can give all my attention to the Fall Round (what Project Row Houses calls its exhibitions) which will be themed around protest, justice, and artistic self-reliance. I am also working on a project in collaboration with Pia Agrawal at the Cynthia Woods Mitchell Center: the artist, Okwui Okpowasili, is investigating the use of the voice in the social space to create a collective song. This project engages a number of local and international communities, and is inspired by the embod-

Ryan N. Dennis is the Public Art Director of Project Row Houses in Houston. She attended the Curatorial Intensive in New Orleans in 2015, and will lead a session of the Curatorial Forum this fall.



The Ocean After Nature

Apichatpong Weerasethakul Sourcebook

Edited by Alaina Claire Feldman Foreword by Renaud Proch Texts by Negar Azimi, Ursula Biemann, Yonatan Cohen and Rafi Segal, María del Carmen Carrión, Övül O. Durmusoglu, Kodwo Eshun, Patrick Flores, Ed Halter, Ebony L. Haynes, May Joseph, Amanda Parmer, Lisa Le Feuvre, Lucy R. Lippard, Andrey Misiano, Allan Sekula and Noël Burch, Lanka Tattersall, Virgil B/G Taylor, Jordan G. Teicher and Sarah Wang. Published by ICI, 2016 Designer: Geoff Kaplan / General Working Group Softcover, 80pp, 5 x 7” ISBN: 9780916365936. $15.00

Edited by Apichatpong Weerasethakul Foreword by Alaina Claire Feldman and Kate Fowle, Interviews with Gridthiya Gaweewong, Andrea Lissoni, Withit Chandawong. Text by Amara D. Angelica, Mo Costandi, Robert Destatte and Jeannie Schiff on Federico Garcia Lorca, Elizabeth Armstrong Moore, Jenjira Pongpas, Maddie Stone, and Apichatpong Weerasethakul. Co-published by ICI and MAIIAM Contemporary Art Museum, 2016 Designer: Scott Ponik Hardcover, 272pp, 11 x 8.5” ISBN 9780916365912. $39.95

Lead essays by Lucy R. Lippard and Alaina Claire Feldman provide a framework to the exhibition of the same name, while artists, critics, writers and curators have each been asked to respond to one work in the exhibition, offering unique interpretations of the artists’ work and inviting readers to trace the various paths of influence the ocean has had on contemporary art practices. Similarly, this publication is designed so that participating venues are able to add their own content.

Apichatpong Weerasethakul is one of the leading artists and filmmakers of his generation known for his original and influential artistic voice. Weerasethakul’s personal selection of diary entries, interviews, websites, scientific journals, poetry, and photographs emphasize his deep commitment to the culture, spirituality, politics and human rights of people often marginalized both in and out of Thailand. This Sourcebook was published to accompany the exhibition Apichatpong Weerasethakul: The Serenity of Madness. (See page 14).

The publication accompanies the exhibition The Ocean After Nature (see page 18), which includes new works by local artists whenever it travels to a new venue.

Previous titles in the series include: Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces; and A l l e n Ru ppersberg Sourcebook: Reanimating the 20th Century. Both are available through ICI’s website.


EN MAS’: Carnival and Performance Art of the Caribbean

Talking Contemporary Curating Terry Smith

Edited by Claire Tancons, Krista Thompson Foreword by Neil Barclay, Renaud Proch Text by D. Eric Bookhardt, Petrina Dacres, Paul Goodwin, Shannon Jackson, Erica Moiah James, Nicholas Laughlin, Thomas J. Lax, Alanna Lockward, Kobena Mercer, Annie Paul, Claire Tancons, Krista Thompson, Yolande-Salomé Toumson. Designer: Geoff Kaplan / General Working Group Hardcover, 230pp, full color, 8 x 10” Co-published by ICI and CAC New Orleans, 2016 Distributed by D.A.P. ISBN: 978-0-916365-89-9. $49.95

Edited by Kate Fowle, Leigh Markopoulos Preface by Kate Fowle, Terry Smith Published by ICI, Fall 2015 Distributed by D.A.P. Designer: Scott Ponik ISBN: 978-0-916365-90-5. $19.95

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

Accompanying the exhibition EN MAS’: Carnival and Performance Art of the Caribbean (See page 24), this publication includes critical essays by the curators Claire Tancons and Krista Thompson, as well as key newly commissioned texts by Shannon Jackson and Kobena Mercer, which together offer formal and theoretical analyses of the artists’ projects, as well as Caribbean aesthetic practices and their impact on art and performance studies more broadly.

Talking Contemporary Curating is the second book in the Perspective in Curating series. It follows and builds upon the author’s ground-breaking Thinking Contemporary Curating, 2012, which inaugurated the series and was the first single-author publication to ever comprehensively explore what is distinctive about contemporary curatorial thought.

ICI publications are made possible in part by the generous support of the Evelyn Toll Family Foundation, and contributions from ICI’s Board of Trustees, Leadership Council, and International Forum. Additional support was provided by kurimanzutto for Apichatpong Weerasethakul Sourcebook; and by the Elizabeth Firestone Graham Foundation for The Ocean After Nature catalog. EN MAS’: Carnival and Performance Art of the Caribbean received the support of the Emily Hall Tremaine Exhibition Award, with additional support from The Andy Warhol Foundation for the Visual Arts, and l’Institut français, in support of African and Caribbean projects.

Visit our webpage for a complete list of publications




When connecting artists to one another and to an audience, curators create more than experiences. They build essential infrastructures–through exhibitions or art spaces and institutions–that foster local art scenes. In turn, by connecting curators from around the world to one another, ICI provides an international framework for knowledge-sharing within which art practices can further develop. ICI is a unique organization that focuses on the role of the curator as a contextualizing force for contemporary art. Every year ICI presents over 60 programs– exhibitions, events, publications, research and training opportunities for curators–in collaboration with art spaces in up to 20 countries around the world. Our partnerships have formed a network of collaborators that spreads across all 50 U.S. states and to over 65 countries. Through ICI, you connect with the curators, artists and art spaces that shape contemporary art across the globe.


Annual Benefit & Auction

Wednesday, October 23, 6:30pm ICI’s Annual Benefit & Auction 547 West 26th Street New York City

ICI’s 2018 Benefit Committee—cochaired by Noreen K. Ahmad, Agnes Gund, and Jack Shear—joined by ICI’s Board of Trustees and staff invite you to an evening of celebrations of ICI, contemporary art, and visionaries around the world. During the evening, ICI will honor Emily Pulitzer and the Pulizter Arts Foundation with the Leo Award and marking ICI’s continued commitment to the new generation, an emerging curator will receive the Gerrit Lansing Independent Vision Award.

The 2018 Benefit & Auction will celebrate ICI’s commitment to curatorial excellence, and will be an occasion to raise a glass to the organization’s future, as ICI continues to forge important international networks for curators, artists, art spaces and all practitioners in the field of contemporary art. This year ICI returns to Chelsea to celebrate at 547 West 26th Street, formerly Cedar Lake. The space will be transformed by Jung Lee and Josh Brooks, who together form FÊTE, New York’s expert event planners. TABLES & TICKETS Leadership Circle Table $25,000 ($23,800 tax-deductible) 12 tickets with an exclusive table. ICI will invite an artist and a curator on your behalf. Membership to the Leadership Council and recognition in all printed material and ICI’s website.

Honoree’s Circle Table $15,000 ($14,000 tax-deductible) 10 tickets with a premium table. ICI will invite an artist and a curator on your behalf. Membership to the International Forum.

Curators’ Circle Table $10,000 ($9,200 tax-deductible) 8 tickets and a reserved table. ICI will invite a curator on your behalf.

Artists’ Circle Tickets $3,500 ($3,100 tax-deductible) 4 tickets and ICI will invite an artist on your behalf.

Individual Dinner Ticket* $1,000 ($900 tax-deductible) *Limited availability

All proceeds for this event help support ICI’s programming. ICI is a 501(c)(3) non-profit organization. A portion of each ticket is tax-deductible as a charitable contribution


Lehman Lehman, Dominique Levy, Dorothy Lichtenstein, Lyles & King, Dennis & Jeanne Masel, Monique Meloche, Joel Miller, Rassa Montaser, Sam Moyer, Liz Mulholland, Josie Nash, Nazy Nazhand, Nara Roesler, Salon 94, Ann & Mel Schaffer, Hanna Schouwink, Phyllis Lally Seevers, Carole Server, Jack Shear, Adam Shopkorn & Carolyn Tate, Calum Sutton, Sarina Tang, Barbara Toll, Rachel Uffner, Vanity Projects, Joseph and Sheila Yurcik, and more.

BENEFIT COMMITTEE Co-chairs: Noreen K. Ahmad, Agnes Gund, and Jack Shear Honorary Co-chairs: Sydie Lansing and Ann Schaffer Committee: Adam Abdalla, Noreen Ahmad, Shane Akeroyd, Alexander & Bonin, Liddy Berman, Nicole Berry & The Armory Show, Stefania Bortolami, Jill Brienza, CANADA, Janis Gardner Cecil, Center for Italian Modern Art (CIMA), Ann Cook, Lacy Davisson, Yulia Dultsina, Anat Ebgi, Brian Faucette, David Fierman, Bridget Finn, Kate Fowle, Jack and Dolly Geary, Photi Giovannis, Carol & Arthur Goldberg, Marian Goodman, Jeannie Minskoff Grant, Carol Greene, Ebony Haynes, Anne Huntington, Naomi Huth, Tony Karman, LaVon Kellner, Sean Kelly, Belinda Kielland, Klaus von Nichtssagend Gallery, Jo Carole Lauder, Sally Morgan Lehman & Jay

LIVE & SILENT AUCTION ICI’s live auction will be led by Gabby Palmieri. The live and silent auctions online are powered by ARTSY, where the bidding begins early; and during the evening, guests will place their bids alongside ICI supporters from around the world. Visit ICI’s website and for featured artworks.

2017 Annual Benefit & Auction, Photo: BFA


Leo Award At its Annual Benefit & Auction, ICI will honor Emily Pulitzer and the Pulizter Arts Foundation with the 2018 Leo Award. Named after early ICI supporter and legendary art dealer Leo Castelli, the award honors extraordinary commitment to artists and pioneering contributions to the field of contemporary art. In awarding this year’s Leo, ICI reflects upon the importance of regional leadership in the arts that brings communities together and connects them to ideas from around the world. Mrs. Pulitzer’s belief in the power of art and architecture, and the civic role of art institutions to help inform our understanding of the world, is evident in the vision behind the Pulitzer Arts Foundation. A space for contemplation and close looking, the Pulitzer organizes and presents special exhibitions of historic and contemporary art from around the world, and offers a range of creative, participatory public programs that engage St. Louis’ many communities. Established in 2001, the Foundation is housed in a building designed by Tadao Ando and anchored by two major commissioned works of art on permanent display, by Richard Serra and Ellsworth Kelly.

Photo courtesy of Pulitzer Arts Foundation.

Mrs. Pulitzer serves on the boards of the Contemporary Art Museum St. Louis, the St. Louis Symphony Orchestra, and the city’s Grand Center Arts District. A longtime member of the Museum of Modern Art’s Board in New York, she was named a Life Trustee in 2011. Furthermore, she is deeply involved in the Pulitzer Center on Crisis Reporting, where she serves as President of the Board of Directors.

Past recipients of the Leo Award include Dimitris Daskalopoulos, Marian Goodman, Michael Govan, Roy and Dorothy Lichtenstein, Patricia Phelps de Cisneros, Miuccia Prada, and Dasha Zhukova.


Independent Vision Award

THE NOMINEES Merve Elveren (Senior Programmer SALT, Istanbul and Ankara, Turkey), Violeta Horcasitas (Independent curator and Founder, Satélite, Mexico City), Fang-Tze Hsu (Independent curator and archivist, Singapore), Liu Ding (Artist and curator, Beijing, China) and Carol Yinghua Lu (Phd scholar, University of Melbourne, Director, Beijing Inside-Out Art Museum), Aram Moshayedi (Curator, Hammer Museum, Los Angeles), Luiza Proença (Writer and independent curator, São Paulo, Brazil), Vipash Purichanont (Assistant Curator, Thailand Biennale, Krabi 2018), Yasmeen Siddiqui (Founding Director, Minerva Projects, Denver, CO), Nicole Smyth-Johnson (Independent Curator, Kingston, Jamaica)

Established in 2001 as an initiative of the Gerrit Lansing Education Fund, the Independent Vision Curatorial Award reflects ICI’s commitment to supporting international curators early in their careers who have shown exceptional creativity and prescience in their exhibition-making, research, and related writing. This year we have reached out to 9 international curators and ICI collaborators, and asked them to nominate a curator for this award. From those nominations, Wassan Al-Khudhairi, Chief Curator of the Contemporary Art Museum St. Louis, will select and present this year’s award.

Merve Elveren

Violeta Horcasitas

Fang-Tze Hsu

Liu Ding

Carol Yinghua Lu

Aram Moshayedi

Luiza Proença

Vipash Purichanont

Nicole Smyth-Johnson

The 2018 Gerrit Lansing Independent Vision Curatorial Award Nominating Committee is comprised of: Jessica Berlanga Taylor, Amy Cheng, Amanda Coulson, Patrick D. Flores, Mary Jane Jacob, Miranda Lash, Andre Mesquita, Natasa Petresin-Bachelez, and Kitty Scott.

Yasmeen Siddiqui Lu


Get Involved!

INTERNATIONAL FORUM The International Forum brings together an exclusive group of people who share ICI’s mission and global reach. With behind-the-scenes access to ICI programs, select international exhibitions, biennials, and art fairs around the world, patrons of the Forum stay connected through ICI to the curators and artists who shape the contemporary art world.

Every year, individuals who champion a global outlook in the arts and share ICI’s mission, join forces to make possible ICI’s international programs. They share our belief that contemporary art can impact audiences everywhere and that we all gain when bringing people together around the critical work of artists. Through ICI, they gain a unique perspective on art by connecting with a network of collaborators that extends to over 65 countries, composed of the curators, artists and art spaces that shape the contemporary art world.

Members have the opportunity to join ICI on exclusive trips in the U.S. and abroad, receive VIP access to some of the leading art fairs internationally, along with recommendations of what can’t be missed at leading art events and in select cities around the world. In New York, the International Forum connects directly to ICI’s programs through ICI Conversations, a series of exclusive events, studio visits, cocktails, and dinners with international curators and artists held throughout the year.

LEADERSHIP COUNCIL ICI’s extensive global presence would not be possible without the transformative role of the Leadership Council. Established in 2013 and chaired by ICI Trustee Sarina Tang, the visionary group develops new initiatives that elevate ICI to the next level. Over the last five years, the Council has worked closely together with ICI staff to expand the organization’s capacities and nurture ICI’s international curatorial networks from the inside out.

Joan Borinstein and Gary Gartsman, Lacy Davisson Doyle, T.A. Fassburg, Bettina Jebsen, Emily Jane Kirwan, Nicole Klagsbrun, Dominique Markham, Kathleen O’Grady, Susan Seelig, Doreen Small, Joseph Yurcik, Andres Zervigon Contact for more information about how to join and support ICI.

Sarina Tang, Chair Sarah Arison; Josh Brooks and Jung Lee; Eric Bunnag Booth, MAIIAM Contemporary Art Museum; Adriana Cisneros and Nicholas Griffin; Paula Crown; Faruk and Fusun Eczacibasi; Jane Glassman, Fine Art Dealers Association; Marian Goodman; Peter and Laurie Grauer; Agnes Gund; Marlene Hess; Toby Devan Lewis; Dorothy Lichtenstein; Julie Mehretu and Jessica Rankin; Patricia Phelps de Cisneros; Jerry Speyer; Mercedes Vilardell; Lawrence and Alice Weiner


UPCOMING PROGRAMS September 4, 2018 International Forum Fall Museum Tour

December 6, 2018 Leadership Council Annual Luncheon in Miami

ICI invites members of the Forum to kick off the season with a private tour of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art curated by ICI alumni, Marcela Guerrero, Assistant Curator at The Whitney Museum. The exhibition features the work of seven emerging Latinx artists based in the United States and Puerto Rico.

Every December, members of the Leadership Council and their guests reconvene under the Miami sun at the Annual Luncheon, a welcome interlude in a busy week, to share everyone’s thoughts on the fairs and the latest in art in the city and around the world. It is also an opportunity to celebrate the ICI programs made possible by the Leadership Council, and to launch a new limited edition created by an artist exclusively for ICI and presented at NADA Miami.


On Tuesday evening, April 24, Roya Sachs, Curator for the Lever House Art Collection, gave a tour of Adam Pendleton’s site-specific installation for ICI’s International Forum and Leadership Council members.

On Tuesday May 1, ICI hosted its annual International Forum Museum Tour to kick off Frieze Week in New York. Katherine Brinson, The Guggenheim’s Daskalopoulos Curator of Contemporary Art, led patrons on a private tour of Danh Vo’s Take My Breath Away followed by a breakfast reception at The Wright, Guggenheim’s restaurant.


The Independents

Adam Abdalla, Danny Baez, Todd von Ammon, Kristen Becker, Liddy Berman, Alyson Cafiero, Brandy Carstens, Maggie Clinton, Alix Dana, Bridget Donahue, Monica F. Eulitz, Shawna Gallancy, Bill Glennon, Taymour Grahne, Alexa Halaby, Ebony L. Haynes, Astrid Hill, Patton Hindle, Alix Hornyan, Heather Hubbs, Jon Huddleson, Naomi Huth, Jeremiah Joseph, Jennifer Joy, Lauren Kelly, Phyllis Lally Seevers, Sims Lansing, Max Levai, Alex Logsdail, Kristen Lorello, Julia Lukacher, Liz Luna, Celine Mo, Charles Moffett, Josie Nash, Paula Naughton, Larry OsseiMensah, Sarah Paul, Rita Pinto, Paul Richert-Garcia, Thor Shannon, Jessica Speiser, Tasha Sterling, Katherine Urbati, Dexter Wimberly, Christopher Wise, Adam Yokell

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

Contact for more information about the Independents.

Independents at Sean Kelly Gallery for ICI’s 2nd Annual Spring Benefit, Photo courtesy: BFA



On Saturday April 21, ICI Independent and Director of Eleusis Art Advisory, Liddy Berman, led fellow Independents on a gallery hop of gallery located on the upper east side including, Aquavella, Gagosian, Jack Tilton Gallery, Craig F. Starr, Nara Roesler, and Mendes Wood.

On May 30, 2018 ICI hosted RAFFLE NIGHT, ICI’s 2nd Annual Independents’ Spring Benefit hosted by Lauren Kelly and fellow ICI Independents, Kristen Becker, Allison Brant, Alix Dana, Allison Derusha, Ebony L. Haynes, Patton Hindle, Jon Huddleson, Julia Lukacher, Candice Madey, Charles Moffett, Sam Moyer, Paula Naughton, Paul Richert-Garcia, Leily Solemani, Dexter Wimberly, and Christopher Wise. NY drag queen Linda Simpson led the raffle while DJ Monkey (artist Raul de Nieves) provided tunes and guests went home with prizes by Printed Matter, Murakami, Aesop, Vanity Projects, Jessica Stockholder, Jose Davila, Eddie Martinez and more!



Uri Aran After Doodle, 2017

For ICI, Uri Aran has created After Doodle, a series of meticulously printed, painted and drawn assemblages, which include playful doodles, stream-of-consciousness thoughts, rhetorical questions and comical prompts that have been removed from their original context. Together, these informal markings are arranged to appear both recognizable and uncanny—how we read them exposes our own complicities within idiosyncratic systems of personal and cultural communication. Each work in this series is completely unique and

Silkscreen monotype with ink and graphite drawing 20 x 23.5 inches (framed) Edition of 20 + 4 AP, each unique



involved a silkscreen monotype with individual drawing and painting on white satin somerset paper. Aran has expanded upon his original instruction “Doodle” for the ICI exhibition do it, curated by Hans Ulrich Obrist. After Doodle will support ICI’s newest initiative, do it (in school), a new version of do it that will create a different approach to art education for 300+ students in NYC public schools in 2018.

September 25–29, 2018 EXPO Chicago, Booth 415 Navy Pier, Chicago IL Discover ICI’s latest editions at EXPO Chicago 2018 including works by Uri Aran and Jessica Stockholder among others.

Contact for more information


Thank You On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions continue to make possible our programs worldwide, by providing crucial support to our exhibitions, public events, research and training initiatives, and publications. PATRONS Jan Abrams, Dru Arstark, Yan Assoun, David & Robin Auchincloss, Laura Bardier, Marianne Lafiteau & Henri Barguirdjian, Tony Bechara, Annie Belz, William Bernhard, Benjamin Bischoff, Franklin Boyd, Allison Brant, Peter Brant, Estrellita Brodsky, Alexander Brodsky, Anne Bruder, F Bunts, Ildiko & Gilbert Butler, Tei Carpenter, Barbara Bertozzi Castelli, Janis Gardner Cecil, Katherine Chan, Amanda Minami Chao, Neil Chen, Fischer Cherry, Jillian Choi, Marco Coello, James Cohan, Michelle Hellman Cohen, Justin Conner, Susan Coote, Dagny Corcoran, William Cummings, Beth Daniels, Gale & Shelby Davis, Renata de Paula, David Dechman, Anne Delaney, Leah Demchick, Allison Derusha, Matthew Dipple, Jean Douglas, Yulia Dultsina, Alia Fattouh, Steven Fisher, Scott Friedman, Kathy & Richard Fuld, Marnie Gelfman, Jill Gerstenblatt, Anthony Ressler & Jami Gertz, Jay Gorney & Tom Heman, Sarah Goulet, Laird Grant, Lynn & Martin Halbfinger, Anne & Matt Hamilton, Maria Heinz, Sarah Elise Herget, Marieluise Hessel, Scott Hoffman, Anne Huntington, Jessica Ingram, Meg & Howard Jacobs, Priscilla Kanady, Tony Karman, Margie & Donald Karp, Tulsi Karpio, Sean Kelly, Susi Kenna, Helen Kornblum, Wynn Kramarsky, Raymond Learsy, Elizabeth Willis Leatherman, Sally Morgan Lehman, Dominique Levy, Rose Lord, Glenn Lowry, Lily Lyons, Candice Madey, Ellen Chesler & Matthew Mallow, Jonathan Mallow, Iris Marden, Dennis & Jeanne Masel, Marjorie Mayrock, Annbel McCall, Bee & Gregor Medinger, Jonathan Miller, Luis Morais, Scott Myers, Shulamit Nazarian, Sarah Palmer, Cécile Panzieri, Robert Pickett, Judith Pineiro, Ben Rawlingson Plant, Vivian Pollock, Nancy Portnoy, Matthew Powers, Yael Reinharz, Michael Ringier, Sheila Robbins, Mark Rosenthal, Wilbur & Hilary Ross, Sally Ross, Lynne Sable, Jane Sadaka, Carol Salmanson, Pamela Sanders, Hanna Schouwink, Sharon Schultz, Dara Segal, Patricia & Charles Selden, Carole Server, Anna Marie Shapiro, Adam Shopkorn, Jane Stageberg, Stanley Stairs, Robert & Gillian Steel, Sue Stoffel, Lise Stolt-Nielsen, Tavares Strachan, Peter Svrcek, Clarice Oliveira Tavares, Ann Temkin, Lucien Terras, Carolee Thea, Ronnie & Alvin Trenk, Pilar Vahey, Denise Vohra, Helen Warwick, Sarah Watson, Ralph Watson, Nina West, Jessica Wilcox, Alison Katz Wolfson, Pedro Mendes & Matthew Wood, Jordan Zmijewski, Sharón Zoldan, Iris Zonlight FOUNDATIONS A G Foundation, ADAA Foundation, Albuquerque Community Foundation, The Andy Warhol Foundation for the Visual Arts, Elizabeth Firestone Graham Foundation, Emily Tremaine Foundation, Evelyn Toll Family Foundation, FADA Foundation, Foundation To-Life, Ford Foundation, The French Institute, Fundación Alumnos47, Hartfield Foundation, The Joyce Foundation, Keller Family Foundation, kurimanzutto, New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, Patronato de Arte Contemporáneo (PAC), SAHA, The Toby Lewis Foundation, Trust for Mutual Understanding, VIA Art Fund


LEADERSHIP COUNCIL Sarah Arison, Josh Brooks & Jung Lee, Eric Bunnag Booth, MAIIAM Contemporary Art Museum, Adriana Cisneros & Nicholas Griffin, Paula Crown, Faruk & Fusun Eczacibasi, Jane Glassman, Fine Art Dealers Association, Marian Goodman, Peter & Laurie Grauer, Agnes Gund, Marlene Hess, Toby Devan Lewis, Dorothy Lichtenstein, Julie Mehretu & Jessica Rankin, Patricia Phelps de Cisneros, Jerry Speyer, Sarina Tang, Chair, Mercedes Vilardell, Lawrence & Alice Weiner INTERNATIONAL FORUM Joan Borinstein & Gary Gartsman, Lacy Davisson Doyle, Terry A. Fassburg, Bettina Jebsen, Emily Jane Kirwan, Nicole Klagsbrun, Dominique Markham, Kathleen O’Grady, Susan Seelig, Doreen Small, Joseph Yurcik, Andres Zervigon INDEPENDENTS Adam Abdalla, Daniel Baez, Kristen Becker, Liddy Berman, Alyson Cafiero, Brandy Carstens, Maggie Clinton, Alix Dana, Bridget Donahue, Monica F. Eulitz, Shawna Gallancy, Bill Glennon, Taymour Grahne, Alexa Halaby, Ebony L. Haynes, Astrid Hill, Patton Hindle, Alix Hornyan, Heather Hubbs, Jon Huddleson, Naomi Huth, Jeremiah Joseph, Jennifer Joy, Lauren Kelly, Sims Lansing, Max Levai, Alex Logsdail, Julia Lukacher, Liz Luna, Celine Mo, Charles Moffett, Josie Nash, Paula Naughton, Larry Ossei-Mensah, Sarah Paul, Rita Pinto, Paul Richert-Garcia, Phyllis Lally Seevers, Thor Shannon, Jessica Speiser, Tasha Sterling, Katherine Urbati, Todd von Ammon, Dexter Wimberly, Christopher Wise, Adam Yokell

Curatorial Intensive participants of the Curatorial Intensive in Mexico City with Fundación Alumnos47, January 12–18, 2018.


ICI Board of Trustees Trustees Emeritae: Maxine Frankel Carol Goldberg Agnes Gund Caral G. Lebworth* Virginia Wright

Gerrit L. Lansing* Chairman Emeritus Sydie Lansing Honorary Chair Jeannie M. Grant Patterson Sims Chairs

ICI Co-founders*: Susan Sollins Nina Castelli Sundell * In Memoriam

Barbara Toll Treasurer

Renaud Proch Executive Director

Belinda Buck Kielland President

Kate Fowle Director-at-Large

Ann Schaffer Vice President Noreen Ahmad Jeffrey Bishop Christo & Jeanne-Claude* Ann Cook Bridget Finn Jack Geary LaVon Kellner Jo Carole Lauder Joel Miller Sam Moyer Vik Muniz Mel Schaffer Sarina Tang Leadership Council Chair


ICI STAFF Renaud Proch Executive Director Kate Fowle Director-at-Large Amanda Parmer Director of Programs Becky Nahom Exhibitions Coordinator Christina Davis Public Programs & Research Coordinator María del Carmen Carrión Public Programs & Research Advisor Manuela Paz Director of Development & Strategic Planning Jenn Hyland Development Manager Francisco Correa-Cordero Executive Coordinator Bessie Zhu Office & Communications Manager Editors: Renaud Proch and Bessie Zhu Designer: Scott Ponik Printing: G & P Printing, New York Cover: Uri Aran, After Doodle (detail), 2017. Silkscreen monotype with ink and graphite drawing. 20 x 35 inches (framed), Edition 8 of 20 + 4 AP, each unique. ©2018 Independent Curators International (ICI) and the authors. Reproduction rights: You are free to copy, display, and distribute the contents of this publication under the following conditions: You must attribute the work or any portion of the work reproduced to the author and ICI, giving the article and publication title and date. If you alter, transform, or build upon this work, you may distribute the resulting work only under a license identical to this one, and only if it is stated that the work has been altered and in what way. For any reuse or distribution you must make clear to others the license terms of this work. You must inform the copyright holder and editor of any reproduction, display, or distribution of any part of this publication. To receive a downloadable PDF version of this application, or additional copies by mail, contact

Independent Curators International 401 Broadway, Suite 1620 New York, NY 10013 USA


Non-Profit Organization U.S. Postage PAID New York, New York Permit No. 5188

ICI's 2018-19 Fall/Winter Brochure  

Independent Curator International's bi-annual publication includes all the information on our current and future exhibitions, education prog...

ICI's 2018-19 Fall/Winter Brochure  

Independent Curator International's bi-annual publication includes all the information on our current and future exhibitions, education prog...