ICI's Fall 2019-20 Brochure

Independent Curators International

Fall/Winter 2019–20

FALL/WINTER 2019–20 CALENDAR

SEPTEMBER Axis Mundo: Queer Networks in Chicano L.A. Williams College Museum of Art (Williamstown, MA) Opens September 6 Any Object Real or Imagined with Homeschool ICI New York September 10 Publishing Against the Grain McIntosh Gallery (London, Canada) Opens September 12 Curatorial Forum at EXPO Chicago The Graham Foundation (Chicago, IL) September 18–21 Comradeship Reading Group: Histories and their Different Narrators ICI New York September 24 Talking to Action: Art, Pedagogy, and Activism in the Americas Pratt Manhattan Gallery (New York, NY) Opens September 27 do it The New Gallery Austin Peay State University (Clarksville, TN) Opens September 30

OCTOBER

DECEMBER

Soundings: An Exhibition in Five Parts The Gund Gallery, Kenyon College (Gambier, OH) Opens October 4

Comradeship Reading Group: How NSK Made Present the Absence of History ICI New York December 17

Blackwood Film Screening Metrograph (New York, NY) October 18 Donald Judd Interviews Marathon Reading Judd Foundation (New York, NY) October 19 Comradeship Reading Group: The Scent of Apricots, or Back to the USA ICI New York October 30

NOVEMBER Curator’s Perspective Ralph Rugoff (New York, NY) November 2 Curatorial Intensive in Cape Town ICA at University of Cape Town (Cape Town, South Africa) November 13–20 Comradeship Reading Group: How Do We Work Collectivity as an Aesthetic Gesture?

ICI New York November 26 Apichatpong Weerasethakul: The Serenity of Madness Taipei Fine Arts Museum (Taipei, Taiwan) Opens November 30

JANUARY Axis Mundo: Queer Networks in Chicano L.A. The Gund Gallery, Kenyon College (Gambier, OH) Opens January 17 Never Spoken Again MSU Broad Museum (East Lansing, MI) Opens January 25

FEBRUARY Publishing Against the Grain Blue Star Contemporary (San Antonio, TX) Opens February 6

Check out ICI’s website for more upcoming programs announced throughout the year, and to sign up for our mailing list.

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WELCOME Every year, ICI’s exhibitions, events, publications, professional development programs and research initiatives expand the reach of contemporary art, empower early-career curators and new voices in curating, and advance new knowledge in the field.

And every year, ICI creates new, inclusive ways of supporting the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement. In the coming months, our exhibitions will be presented in existing and new collaborations with art spaces around the world from Taiwan to Tennessee; we will launch our latest exhibition, SEEING SOUND, curated by Barbara London, a champion of new media and pioneer in the curatorial field; we will expand our collaboration with Expo Chicago on the Curatorial Forum with a broader partnership with the Graham Foundation to foster stronger national and regional networks for institutional collaboration, in art and architecture; our Curator’s Perspective New York talk series will feature long-time ICI Collaborator and Artistic Director of this year’s Venice Biennale, Ralph Rugoff; and the Curatorial Intensive will head to Cape Town in collaboration with the Institute for Creative Arts.

These programs together forge an unparalleled international network for the sharing of knowledge and resources, contributing to the creation of a more inclusive environment and sustaining the growth of new voices and diverse perspectives in contemporary art.

On October 21, at ICI’s Annual Benefit & Auction, we will celebrate this ongoing work and ICI’s mission. We will also recognize the visionary Patrizia Sandretto Re Rebaudengo with the Leo Award, for her belief in promoting access to contemporary art, facilitating institutional collaboration, and investing in the next generation of curators, which is in so many ways reflected in ICI’s own mission. She is a leading force in championing the work of artists through exhibitions and the production of new works; fostering new and growing audiences through education; and pioneering institutional partnerships for the support of contemporary art and emerging curators—and we look forward to honoring her this Fall.

There are many more programs highlighted in this publication, and none of them would be possible without a constellation of people working together.

So on behalf of all of us at ICI, I would like to thank everyone who makes our work possible: the curators, the artists, our collaborators at museums and galleries around the world, the foundations, and our many visionary individuals who make it all a reality.

—Renaud Proch Executive Director

TABLE OF CONTENTS EXHIBITIONS

CURATORIAL INTENSIVE

8 SEEING SOUND 12 NEVER SPOKEN AGAIN 14 SOUNDINGS: AN EXHIBITION IN FIVE PARTS 16 DO IT 18 AXIS MUNDO 20 SPOTLIGHT: AXIS MUNDO IN LAS VEGAS 22 APICHATPONG WEERASETHAKUL 24 PUBLISHING AGAINST THE GRAIN 26 TALKING TO ACTION

40 PAST PROGRAMS: NEW ORLEANS, AUCKLAND 45 UPCOMING PROGRAM: CAPE TOWN 46 ALUMNI UPDATES 48 RESEARCH FELLOWSHIPS

EVENTS

30 NEW YORK PROGRAMS 32 COMRADESHIP 34 CURATOR’S PERSPECTIVE 36 CURATORIAL FORUM

SUPPORT ICI

52 ANNUAL BENEFIT & AUCTION, LEO AWARD 56 GET INVOLVED! 58 THE INDEPENDENTS 60 LIMITED EDITIONS 62 THANK YOU

EXHIBITIONS

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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.

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Tours through 2024

amples of the sonic material. The exhibition itself also moves expansively and innovatively beyond the standard exhibition space. At each venue, a work is performed as a collaborative telematic, long-distance event. The performance is carried out simultaneously between local musicians and artists and a second set of performers in the city of a future exhibition venue. This is one of the ways that the exhibition uses technology not to isolate, but to unite as it travels.

Seeing Sound Curated by Barbara London Seth Cluett, Juan Cortés, Iain Forsyth and Jane Pollard, Bani Haykal, Yuko Mohri, Marina Rosenfeld, Aura Satz, and Samson Young Sound is a sensorial and pliant material, an intangible part of daily life. Seeing Sound features eight works by artists, whose practices deconstruct, rebuild, manipulate, and visualize audio experience through digital and analog means.

Emphasizing the collective engagement of its audience, Seeing Sound places visitors in immersive encounters with sound as art to challenge the private quality of our contemporary sonic experience. Headphones and earbuds are absent from the exhibition. Instead of relying on these devices used to isolate and shape the individuated and solitary ways we listen to sound, the works create sonic landscapes that even expand beyond the exhibition space.

Seeing Sound establishes and highlights shared connections in sonic experiences foregrounding the potential of sound to bring people together from across cultures, languages, backgrounds, and generations. Working across music and composition, video and performance, sculpture and installation the artists—from New York, London, Bogota, Tokyo, Singapore, and Hong Kong— find new meaning by transcending conventional relationships to sound.

The eight works in Seeing Sound bring disparate contexts together in their constitutive parts: the sound of a drone reminiscent of a telephone dial tone; pastoral silence that coexists with intermittent urban noise; and the imagined seraphic sounds of the universe are some ex-

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

Seeing Sound is a traveling exhibition curated by Barbara London, with the support of Research Assistant Kristen Clevenson and produced by Independent Curators International (ICI). This exhibition and tour are supported, in part, by Nokia Bell Labs Experiments in Art and Technology (E.A.T.) program and with the generous support of ICI’s Board of Trustees and International Forum.

CURATOR Barbara London is a curator and writer who founded the video and media exhibition and collection programs at The Museum of Modern Art, New York.

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Seth Cluett, the stratified character of nature (detail), 2019, single channel video with multi-channel sound, dimensions variable. Courtesy of the artist.

Marina Rosenfeld, Music Stands, 2019, steel, UV prints on Dibond, foam, audio components, computer, sound.

Installation view at the Artists Institute. Photo by Christopher Aque. Courtesy of the artist and the Artists Institute.

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Yuko Mohri, You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, 2018. Installation view of Childhood: Another Banana Day for the Dream-Fish, Palais 10de Tokyo, Paris, France (June 22–September 9, 2018)

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Tours through 2023

Again brings together artists whose works open up a critique of material culture, iconography, and political ecologies. These practices examine not only the collected objects and the systems of distribution that facilitate their circulation but also the disciplines and subjects of study that they trade in.

Variously, the works shed light on myths, simulations, fake currencies, war games, and the slow violence of systematic racism that historically underpin collecting practices. Together they open the field for considering our agency in how our histories and futures may be constituted otherwise.

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

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

On a desk of the private study collection of the Museum für Naturkunde in Berlin, an old stuffed parrot guards a vast ornithology collection. An excited young scientist reads a story on the origins of the desiccated animal for the purpose of entertaining a group of visitors: it may have been the last “speaker” of a dead indigenous language from colonial Venezuela, or a German prince’s precious gift to the naturalist Alexander von Humboldt. There is no clear understanding which of these versions, if any, might be true.

Never Spoken Again: Rogue Stories of Science and Collections is a traveling exhibition that reflects on the birth of modern collections, the art institutions that sustain them and their contingent origin stories. Curated by Colombian curator David Ayala-Alfonso, an alumnus of ICI’s Curatorial Intensive, the exhibition is part of ICI’s new series of programs supporting emergent voices in the curatorial field.

Considering how institutional collections organize our lives Never Spoken

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Never Spoken Again: Rogue Stories of Science and Collections is a traveling exhibition curated by David Ayala-Alfonso and produced by ICI. It is the result of a new series of programs, pioneered with the support of the Hartfield Foundation, aimed at providing opportunities to alumni of ICI’s Curatorial Intensive as they move through the stages of their career, and reflecting ICI’s commitment to fostering and championing new curatorial voices who will shape the future of the field.

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

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

Felipe Steinberg, In God We Trust, 2013, Gold dies of a five dinar coin, 1 3/4 x 1 1/2 x 1 1/2 inches each. Courtesy of the artist.

Laura Huertas Millán, Journey to land otherwise known (still). Film. © Le Fresnoy – Laura Huertas Millán.

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Tours through 2023

The exhibition is cumulative, limning an ever-changing community of artworks, shared experience and engagement as it travels. Soundings shifts and evolves, gaining new artists and players in each location. Some artworks have multiple parts, others change to their own rhythm as the exhibition grows.

At the core of the exhibition is a grounding in concepts of Indigenous land and territory. To move beyond the mere acknowledgement of land and territory here means offering instructions for sensing and listening to Indigenous histories that trouble the colonial imaginary. Soundings activates and asserts Indigenous resurgence through the actions these artworks call forth.

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

CURATOR Candice Hopkins is Senior Curator of the 2019 Toronto Biennial of Art. Dylan Robinson is the Canada Research Chair in Indigenous Arts at Queen’s University.

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

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

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

Kite, Listener, 2018, l-sys visualiation, video still.

Courtesy of the artist.

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Raven Chacon, American Ledger (No. 1), 2018, vinyl transfer. Courtesy of the artist.

Kite. Listener, performance documentation, 2018. Photo by vog.photo.

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Tours through 2021

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 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.

do it installation view, Ilmin Museum of Art, Seoul, South Korea, 2017. Courtesy of the Ilmin and ICI.

do it installation view, Ilmin Museum of Art, Seoul, South Korea, 2017. Courtesy of the Ilmin and ICI.

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

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DO IT (IN SCHOOL) The newest version of do it, produced

by ICI in partnership with Studio in a School (Studio), do it (in school) is a selection of instructions that form a study-based curriculum for high-school students. It represents a new take on art education, a solid base from which to learn about conceptual art and some of the most influential art practices of this century. Students learn about contemporary artists from around the world, and have the opportunity to interpret the works themselves while generating artworks that respond to their personal experience.

In 2018–19, Studio artist-instructors adopted do it (in school) in their ongoing work with three New York City high schools. The works produced through the program formed the basis of an exhibition at Hunter East Harlem Gallery in Spring 2019. Through this collaboration with Hunter College, do it (in school) empowered high-schoolers to become active participants in a city college environment.

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

do it (archive) installation view, Ilmin Museum of Art, Seoul, South Korea, 2017. Courtesy of the Ilmin and ICI.

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

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

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Tours through 2021

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 Gómez- Barris. Texts by Julia BryanWilson, Iván A. Ramos, and more.

Co-Published by DelMonico Books/ Prestel and ONE Archives at the USC Libraries, 2017.

CURATORS C. Ondine Chavoya is Professor of Art History and Latina/o Studies at Williams College. David Evans Frantz is Associate Curator at the Palm Springs Art Museum.

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. curatorsintl.org/exhibitions

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

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

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Axis Mundo: Queer Networks in Chicano L.A., installation view, Marjorie Barrick Museum of Art, UNLV, Las Vegas, 2019. Photo by Josh Hawkins/UNLV Creative Services. Courtesy of Marjorie Barrick and ICI.

Axis Mundo: Queer Networks in Chicano L.A., installation view, Marjorie Barrick Museum of Art, UNLV, Las Vegas, 2019. Photo by Josh Hawkins/UNLV Creative Services. Courtesy of Marjorie Barrick and ICI.

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Spotlight: Axis Mundo

Reflections from Alisha Kerlin At the opening of Axis Mundo, a UNLV professor focusing on student movements and social justice education, Dr. Anita Revilla, told me this was the first time in 14 years that she felt welcome at the museum. “It’s like a mirror,” she said.

Axis Mundo was the first exhibition in the museum’s history to put queer voices center stage, and it came with scholarship, support, and press that shifted our history and could be used to leverage something new. The Barrick had never considered that such a huge and powerful show could travel to UNLV, and at first we were met with resistance within our own city: Why would we take a traveling exhibition when we could curate our own? Moreover, stakeholders in the community were concerned about the show’s “content” and the School District, a regular partner in our programs, could not endorse tours from local high school groups. When faced with the complexities of our community, the ICI team respectfully listened, talked through, and supported us in these challenges.

We started an open dialogue about the benefits of traveling Axis Mundo to Nevada because we all knew that there was tremendous potential in partnering with ICI. The show wasn’t packaged and plopped into our city. Together, we were part of creating something new.

The Las Vegas presentation of Axis Mundo came with a lot of firsts for all parties. It was the first time the exhibition was shown in its entirety in one space. It was also the first time the exhibition was presented with both Spanish and English descriptions. Co-Curators David Evans Frantz and C. Ondine Chavoya came out for the installation along with Becky Nahom, ICI’s Exhibitions Manager, making it possible for our small team to fully embrace the exhibition. With over 50 artists and more than 200 pieces, Axis Mundo was an ambitious undertaking

As they travel, ICI exhibitions offer the potential of larger, more ambitious and deeply-researched projects than would otherwise be possible without the sharing of knowledge and resources available through ICI’s network. When Alisha Kerlin, artist, educator, curator, researcher, and the executive director of the Marjorie Barrick Museum of Art at the University of Nevada, Las Vegas (UNLV), approached ICI about bringing Axis Mundo to Vegas, she knew that the exhibition would resonate with her community in unprecedented ways. The success of Axis Mundo at the Barrick earned the museum, newly under Kerlin’s leadership, countless press accolades, a surge of community support, including over 50 Thank-You notes sent by Axis Mundo visitors from a local community college, and even an award for the “Best Art Transformation” of 2019

by Las Vegas Weekly staff. Below is Kerlin’s account of the experience of showing Axis Mundo in Las Vegas.

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that raised the bar and became a model of research and curating.

As the exhibition opened, Frantz and Chavoya, along with several of the artists in the exhibition who could be present, generously shared stories about their work and expanded on the histories shared throughout the exhibition.

Hundreds of people attended the opening and the curators’ talk, many visiting the museum for the very first time.

Reflecting on Axis Mundo’s positive reception in Las Vegas is now a point of pride for many of us in the community.

We’re thrilled to see that the exhibition continues to travel across the country, building a whole new set of networks and histories along the way.

David Evans Frantz, Alisha Kerlin and C. Ondine Chavoya

Alisha Kerlin is the Executive Director of the Marjorie Barrick Museum of Art at the University of Nevada, Las Vegas.

Axis Mundo: Queer Networks in Chicano L.A. was on view at the Barrick from January 11 to March 16, 2019. To learn more about the Barrick’s program, visit www.unlv.edu/barrickmuseum. Check out ICI’s website for more information and updates about the exhibition and tour.

Axis Mundo: Queer Networks in Chicano L.A., opening reception and curators-led tour, Marjorie Barrick Museum of Art, UNLV, Las Vegas, January 11, 2019. Photo by Josh Hawkins/UNLV Creative Services. Courtesy of Marjorie Barrick and ICI.

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Tours through 2020

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, installation view, MAI IAM, 2016, courtesy of ICI.

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

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 film. In both his narrative films and

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The exhibition and tour are made possible, in part, with the generous support of MAIIM Museum of Contemporary Art.

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

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

Apichatpong Weerasethakul, Fireworks (Archives), For Monkeys Only, 2014. Video still. Courtesy of Kick the Machine Films.

Apichatpong Weerasethakul: The Serenity of Madness, installation view, MCAD, 2017, courtesy of MCAD.

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Tours through 2021

that connect theoretical, social, political, and aesthetic questions with a focus on community, whether understood in relation to a particular place, or defined in identitarian or diasporic terms. Included in the exhibition are print journals like White Fungus (Taiwan) and Bisagra (Peru) alongside more experimental forms like Our Literal Speed (United States).

In bringing together these projects from around the world, Publishing Against the Grain reveals how their material and discursive activities respond to intersecting subjects such as contemporary aesthetics, diaspora, sex and gender, gentrification, race, language, and art history.

A selection of key publications was drawn from ICI’s international network of collaborators. These curators, artists, and scholars involved in independent publishing are represented in the exhibition through their own projects and those of others who have influenced their work and school of thought. The exhibition continues to grow and accumulate as it travels, when new publications are added at every site.

Publishing Against the Grain Art Against Art (Germany), Bisagra (Peru), Chimurenga / The Chronic (South Africa), Curatorial Dictionary (Hungary), East of Borneo (United States), Exhausted Geographies (Pakistan), Fillip (Canada), Glänta (Sweden), Makhzin (United States / Lebanon), Our Literal Speed (United States), Pages (The Netherlands / Iran), PISEAGRAMA (Brazil), Raking Leaves (Sri Lanka), SALT. (United Kingdom), Start Journal (Uganda), Stationary (Hong Kong), Tráfico Visual (Venezuela), White Fungus (Taiwan), and many others.

Publishing Against the Grain provides a space for reading, thinking, and conversing, where slowing down can become a form of intellectual resistance. It encourages discursive public participation, self-reflective investigation, and invites visitors to discover new perspectives while connecting multiple spheres of contemporary art.

In the context of today’s corporatization and commodification of cultural institutions, and in many political situations where free speech becomes ever more precarious, independent publishing has shown extraordinary vitality and importance as a platform for disseminating alternative, progressive and autonomous positions.

Publishing Against the Grain highlights the current state of publishing and art criticism as it exists in small journals, experimental publications, websites, and radio, as well as other innovative forms. It is organized around projects curatorsintl.org/exhibitions

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

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Publishing Against the Grain, installation view, Pitzer College Art Galleries, Claremont, 2019. Image courtesy of Pitzer College Art Galleries and ICI.

Publishing Against the Grain, installation view, Center for Critical Distance, Toronto, 2019. Image: Shani Parsons.

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Tours through 2021

most often referred to as “social practice” with roots in public practice, community-based, participatory, relational and socially-engaged art. Consequently, the artists in Talking to Action explore a range of trans-disciplinary practices, blurring the lines between object making, political and environmental activism, community organizing, and performance.

Talking to Action is the result of a collaboration with Otis College of Art and Design, Los Angeles; the Sullivan Galleries of the School of the Art Institute, Chicago; Arizona State University in Tempe; and Pratt Manhattan Gallery, New York, where it will be on view this Fall from September 27 to December 14, 2019.

Talking to Action Curated by Bill Kelley Jr. Liliana Angulo Cortés, BijaRi, Bulbo and Galatea audio/visual, CogŸnate Collective, Grupo Contrafilé, Sandra de la Loza and Eduardo Molinari, Dignicraft, Etcétera, Colectivo FUGA, Clara Ianni and Débora Maria da Silva, Iconoclasistas, Kolectivo de Restauración Territorial, Suzanne Lacy, Taniel Morales, Andrés Padilla Domene and Ivan Puig Domene, POLEN, Ultrared and School of Echoes Los Angeles

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

Talking to Action: Art, Pedagogy, and Activism in the Americas investigates contemporary, community-based social art practices in the United States and throughout Latin America while attempting to build a direct dialogue with artists and researchers across the hemisphere to discuss shared concerns. The exhibition focuses on the collaborative, dialogically-based form of art making that is

Talking to Action: Art, Pedagogy, and Activism in the Americas is curated by Bill Kelley, Jr., Curator and Lead Researcher with Karen Moss, Consulting Curator.

Talking to Action is organized by Ben Maltz Gallery at Otis College of Art and Design as part of Pacific Standard Time: LA/LA, and managed as a traveling exhibition by ICI. The exhibition and tour are made possible, in part, with the generous support of the Getty Foundation, PST: LA/LA presenting sponsor Bank of America, the ICI Board of Trustees and ICI’s International Forum.

Procesión para unir a un hombre de maíz / Procesión del Señor de Maí (replica), 2008–present, installation. Courtesy of the Artist. Photo by Craig Smith, Courtesy of ASU Art Museum.

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Liliana Angulo Cortés, Tiempo del Pacífico [Pacific Time], 2015-2017. Courtesy of Ben Maltz Gallery, Otis College of Art and Design.

BijaRi on the rooftops of Santo Domingo as part of the intervention project Contando con Nosotros, 2011.

Digital photo. Encuentro Internacional de Medellín MDE11. Museo de Antioquia.

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EVENTS

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Every year, ICI produces dozens of events that examine contemporary art and culture through the work of curators. Free and open to all, they promote public conversations that center on curatorial practice and provide opportunities for continued learning by opening new perspectives on art from around the world. ICI events include programs led by curators, artists, and other cultural producers from across ICI’s international network of collaborators, as well as professional seminars and conferences.

ICI’s New York Programs highlight curatorial practice locally and bring together individuals, organizations and initiatives that resonate with, reflect upon and help contextualizing our international programs. The Curator’s Perspective talks feature leading 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 multiple international perspectives to generate and share knowledge in the interest of advancing curatorial discourse.

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New York Programs

UPCOMING PROGRAMS Tuesday, September 10 Any Object Real or Imagined with Homeschool ICI, 401 Broadway, New York

Every year ICI presents 20 free, public events in New York that connect with our exhibitions, talks, and conferences, drawing out the relationships between our international programs and the new knowledge they produce, in dialogue with our local communities in the city.

Discussions and workshops resonate with the several core ideas in our programs, including accessibility and inclusivity; indigeneity as rootedness in place; the modern museum in the global era; and gender, race, and representation.

In tandem, New York Programs also highlight individuals and collectives based in New York whose practice and research connect with the ideas and questions taken up by our programs.

They introduce engaged practitioners through their affinities with our mission, and activate this community to process current global and regional dynamics that curators are grappling with internationally in the context of New York.

Events are scheduled and announced throughout the year, check ICI’s website for updates.

Homeschool and ICI explore the ways that art and poetry expand our understanding of and relationship to objects.

As part of the discussion, the two organizations will consider how alternative forms of learning and distribution both form and support communities for producing such knowledge.

Saturday, October 19 Donald Judd Interviews Marathon Reading Judd Foundation, 101 Spring St., New York Organized in partnership with the Judd Foundation and David Zwirner Books, the reading celebrates the new publication Donald Judd Interviews. ICI Collaborators including Barbara London, Juliana Steiner, Sally Tallant read from these historical interviews with Judd. The reading of interviews, sourced from over four decades, will be interspersed with archival audio recordings of the original interviews, selected in conversation with co-editor of Donald Judd Interviews, Caitlin Murray.

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

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PAST PROGRAMS

Institutional Entropy with unbag. March 14, 2019. ICI and unbag hosted a conversation and workshop with Anthea Behm, Charles Eppley, David Hecht, Melanie Hoff, and Alicia Ritson —organizers and co-facilitators of the Interdisciplinary Art and Theory Program, Cybernetics Library, and New Museum Seminars, respectively. They discussed how knowledge-building programs nested within larger institutions and peripatetic platforms hosted by brick and mortar organizations propose alternative ways we may resource space as well as one another in an era of globalized knowledge-sharing.

Humboldt’s Parrot: David Ayala-Alfonso, Carlos Motta and Felipe Steinberg. March 18, 2019. Using Humboldt’s parrot as an entry point curator and ICI Curatorial Intensive Alum David Ayala-Alfonso was joined by artists Carlos Motta and Felipe Steinberg to facilitate conversations with attendees about the ways science and collecting practices intersect with political ecologies, historical rewritings, critical museology, and fiction. They discussed the ways these key threads shape AyalaAlfonso’s forthcoming ICI exhibition Never Spoken Again: Rogue Stories of Science and Collections (see page 12).

Book Launch: Autumn Knight: In Rehearsal with Amy. L Powell. May 23, 2019. Presented in collaboration with Denniston Hill, artist Autumn Knight and curator Amy L. Powell came together in celebration of their recent publication Autumn Knight: In Rehearsal. As artists are increasingly reflecting on modes of institutional knowledge production to make their work, they considered how the role of the curator is shifting and how these changes are shaping artist-curator dynamics, engagement and relationship to institutions, and community.

Godzilla vs. the Art World: Tomie Arai, Byron Kim, Herb Tam, and Ryan Wong. July 18, 2019. In collaboration with the Museum of Chinese in America (MOCA), ICI hosted a discussion with curators Herb Tam and Ryan Wong (Curatorial Intensive Alum, Tokyo ‘13), on their upcoming exhibition on the 1990s Asian-American art collective Godzilla, opening at MOCA in Spring 2020.

Tam and Wong were joined by Godzilla members Byron Kim and Tomie Arai, and many other members in the audience, for a discussion that offered insights into the history of Godzilla and the legacy of artist collectives more generally.

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

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

—Claire Bishop, art historian

Comradeship: Curating, Art, and Politics in Post-Socialist Europe

by Zdenka Badovinac Edited by J. Myers-Szupinska Foreword by Kate Fowle Published by ICI, distributed by D.A.P. $19.95 Comradeship is the third book in the Perspectives in Curating series, which offers timely reflections by curators, artists, critics, and art historians on emergent debates in curatorial practice around the world. Previous titles in the series include: Thinking Contemporary Curating (2012) and Talking Contemporary Curating (2015) by Terry Smith.

ICI publications are made possible in part by the generous support of the Evelyn Toll Family Foundation, and contributions from ICI’s Board of Trustees, Leadership Council, and International Forum. Additional funding for Comradeship was made available by the Trust for Mutual Understanding Visit our website to order Comradeship and for a complete list of publications.

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Comradeship Reading Group

UPCOMING PROGRAMS The Comradeship Reading Group started off on February 19 with a session led

by ICI’s Director of Programs Amanda Parmer examining the context for the main ideas discussed in the publication contained in the introductory chapter.

Each month, a session led by two Core Participants focuses on a single essay.

Check on ICI’s website for more information on each session closer to the date.

To coincide with the publication of Comradeship: Curating, Art, and Politics in Post-Socialist Europe by Zdenka Badovinac this Spring, ICI formed the Comradeship Reading Group. Led by a group of Core Participants, monthly sessions throughout 2019 bring together artists, curators, musicians, writers and other cultural producers to consider 20 years of Badovinac’s writing. Throughout the series we consider how the breadth of material Badovinac covers in her collected writing intersects with contemporary practice in the context of New York.

The sessions are free and open to the public, and held at ICI, 401 Broadway, Suite 1620, New York.

Core Participants include Shehab Awad, Margot Bouman, Kate Fowle, Yin Ho, Ladi’Sasha Jones, Carlos Kong, Lynn Maliszewski, MDR (Maria D. Rapicavoli), Amanda Parmer, Birgit Rathsman, Jovana Stokic, Cory Tamler, and Mike Tan. Tuesday, September 24, 6:30-8pm Histories and their Different Narratives Wednesday, October 30, 6:30-8pm The Scent of Apricots, or Back to the USA Tuesday, November 26, 6:30-8pm How Do We Work? Collectivity as an Aesthetic Gesture Tuesday, December 17, 6:30-8pm How NSK Made Present the Absence of History

Comradeship Reading Group: Interrupted Histories. ICI New York. May 21, 2019.

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Curator’s Perspective

UPCOMING PROGRAMS Saturday, November 2 Ralph Rugoff New York

The Curator’s Perspective is a free, itinerant public talk series featuring established U.S. and international curators, who present on their work and research.

It was developed to offer audiences ways to connect with timely information and a wide variety of international perspectives on contemporary art and curating today.

The series sheds light on movements and models that are shaping the curatorial field today, addressing questions about art, culture, and the artists and exhibitions that curators look to.

Ralph Rugoff. Photo: ©Jasper Clarke

Ralph Rugoff is the Artistic Director of the 2019 Venice Biennale and has been the Director of the Hayward Gallery of London since 2006. Rugoff was the Artistic Director of the XIII Biennale de Lyon in 2015 titled La vie moderne.

Between 1985 and 2002 he wrote art and cultural criticism for numerous periodicals. During the same period he began working as an independent curator, organizing exhibitions such as Just Pathetic (1990) and Scene of the Crime (1997), as well as the ICI exhibitions Transformers (1994–97) and At the Threshold of the Visible (1997–98).

The Curator’s Perspective series is made possible by a grant from the James Howell Foundation and by generous contributions from the ICI Board of Trustees and ICI Access Fund. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council.

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PAST PROGRAMS

Nicolas Bourriaud and Amanda Parmer, Curator’s Perspective: Nicolas Bourriaud. Center for the Humanities, The Graduate Center, CUNY. March 8, 2019. Photograph by: Romke Hoogwaerts

On March 8, 2019, Nicolas Bourriaud, Director of Montpellier Contemporain (MoCo), presented on the theoretical framework underpinning his current role as the Curator of the 16th Istanbul Biennial, on view from September 14 to November 10.

Bourriaud shared his research framework for the Biennial, including readings and the artists who inspired him. In particular, the curator spoke about the Pacific garbage patch, sometimes called the “Seventh Continent” which lent its name to the Biennial, as a metaphorical starting point for the exhibition: 3.4 million square kilometers, 7 million tons of floating plastic, which form one of the most visible effects of the Anthropocene.

His exhibition “is an anthropology of an off-centered world and an archaeology of our times. It shows today’s artistic production as a multiverse, an archipelago of differences, away from normative continents and massive entities. It defines

art as a molecular anthropology, which studies the human effects, tracks and prints in the universe, and their interaction with non-humans”.

This year Bourriaud contributes to the Istanbul Biennial’s history of strong curatorial statements since its creation in 1987. The Biennial has engaged an exhibition model that enables a dialogue between artists and the audiences through the work of the artists instead of a national representation model. Ten years ago, ICI’s Curator’s Perspective Series began with an inaugural lecture

by Vasif Kortun—the first single curator to direct the Biennial independently in 1992.

The Curator ’s Perspective with Nicolas Bourriaud was co-presented by ICI, the James Gallery and Center for the Humanities, The Graduate Center, CUNY.

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Curatorial Forum

September 19–21, 2019 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 accessibility; placefulness; race, gender and representation; and the modern museum in the global modern.

In addition, the Forum will include a session on architecture, as part of an expanded partnership with the Graham Foundation for Advanced Studies in the Fine Arts, to coincide with the 2019 Chicago Architecture Biennial.

Developed annually in partnership with EXPO CHICAGO, the Curatorial Forum brings to Chicago 40 mid-career and established curators from across the country, working independently and/or with institutional affiliation. The program is 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

Courtesy of Zoe Butt.

Zoe Butt, Artistic Director, The Factory Contemporary Arts Centre, Ho Chi Minh City) Session leaders include C. Ondine Chavoya, Professor of Art History and Latina/o Studies, Williams College, Williams; José Esparza Chong Cuy, Executive Director and Chief Curator, Storefront for Art and Architecture, New York; Sara Raza, independent curator, New York; Cara Starke, Director of the Pulitzer Arts Foundation, St Louis; and Dominic Asmall Willsdon; Director of the Institute for Contemporary Art at Virginia Commonwealth University, Richmond.

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Emily A. Kuhlmann, Museum of the African Diaspora Director of Exhibitions & Curatorial Affairs; Leslie Laird Luebbers, Art Museum of the University of Memphis Director; Diana Nawi, Independent Curator and co-curator of Prospect.5; Bill North, Salina Art Center Director and Director of Education & Programming; Monica Obinski, Milwaukee Art Museum Demmer Curator of 20th and 21st Century Design; Meg Onli, Institute of Contemporary Art, Philadelphia Assistant Curator; Heather Pesanti, The Contemporary Austin Chief Curator and Director of Curatorial Affairs; Anne-Claire Schmitz, La Loge Director and Curator; Claudia Schmuckli, Fine Arts Museums of San Francisco Curator-in-Charge of Contemporary Art and Programming; de Young Museum Curator for Contemporary Art; Irene Sunwoo, Columbia University Graduate School of Architecture, Planning and Preservation Director of Exhibitions; among others.

Participants of this convening include Wassan Al-Khudhairi, Contemporary Art Museum, St. Louis Chief Curator; Mark Beasley, Hirshhorn Museum Curator of Media and Performance Art; Joseph Becker, San Francisco Museum of Modern Art Associate Curator of Architecture and Design; Maite Borjabad, Art Institute of Chicago Assistant Curator of Architecture and Design; Anthony Carfello, Mak Center for Art and Architecture Deputy Director; Dina Deitsch, Tufts University Art Galleries Director and Chief Curator; Grace Deveney, Museum of Contemporary Art Chicago Assistant Curator; Catherine Futter, Ph.D, Nelson Atkins Museum of Art Director of Curatorial Affairs; Kimberli Gant, Chrysler Museum of Art Curator of Modern and Contemporary Art; Jia Gu, Materials & Applications Director and Curator; Mary Heathcott, Blue Star Contemporary Executive Director; Carmen Hermo, Brooklyn Museum Associate Curator of Elizabeth A. Sackler Center for Feminist Art; Kaytie Johnson, San Diego History Center Bruce Kammerling Curator; Storm Junge van Rensberg, Savannah College of Art and Design Head Curator;

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

Participants of the 2018 Curatorial Forum, EXPO Chicago. September 26–29, 2018.

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CURATORIAL INTENSIVE

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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.

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PAST PROGRAMS

Orleans), David Ayala-Alfonso (curator), Andrea Barnwell Brownlee (Director, Spelman College Museum of Art, Atlanta), Sanford Biggers (artist), Annalee Davis (Visual Artist, Founding Director of Fresh Milk, Barbados; Cofounder of Tilting Axis and Caribbean Linked), Gia Hamilton (Interim Director, New Orleans African American Museum), Diana Nawi (co-curator, Prospect.5), Amanda Parmer (Director of Programs, ICI), Katie Pfohl (Curator of Modern and Contemporary Art, New Orleans Museum of Art), and Renaud Proch (Executive Director, ICI)

Curatorial Intensive In New Orleans March 22–28, 2019 This past March, ICI presented the fifth Curatorial Intensive in New Orleans, in collaboration with the Contemporary Arts Center New Orleans (CAC) and Prospect New Orleans. This ongoing partnership represents ICI’s long-term commitment to New Orleans and the greater Gulf of Mexico region.

13 emerging curators from Colombia, Turkey, Germany, Spain, and the U.S. attended seminars, site visits, individual meetings, and roundtable discussions led by: Andrea Andersson (The Helis Foundation Chief Curator of Visual Arts, Contemporary Arts Center, New

The Curatorial Intensive is made possible in part by grants from the Ford Foundation, the Hartfield Foundation, and by generous contributions from ICI’s Leadership Council, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund.

Additional support for the Curatorial Intensive in New Orleans was generously provided by Lambent Foundation Fund of Tides Foundation, and scholarships were made possible by kurimanzutto, Prospect New Orleans, and SAHA. For more information on the Curatorial Intensive, visit ICI’s website, or contact Monica Terrero at monica@ curatorsintl.org.

Participants of the 2019 Curatorial Intensive in New Orleans: Public Symposium. Contemporary Arts Center New Orleans. March 28, 2019.

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Report: New Orleans Reflections from Nic Brierre Aziz I first heard about the Curatorial Intensive through a colleague and friend, Lydia Nichols, who participated in the 2016 program in New Orleans. At that point, I had just curated my first exhibition the previous year in the Arts Council of New Orleans’ gallery space and was very interested in learning more about ways to expand my knowledge and experience in the curatorial field. I had the opportunity to watch her presentation and discussion with other curators in the program during the 2016 Curatorial Intensive Symposium, which was extremely fruitful to me - especially as someone who had only fully learned what a “curator” was 12-18 months prior. From that point, I continued to become more involved in New Orleans’ art communities, curating programs and exhibitions across the city.

The next year, I focused on my curatorial practice and curated four exhibitions while also serving as a production assistant on two Prospect.4 projects—with John Akomfrah, and Otabenga Jones and the Kitchen Sisters. When the opportunity to apply for the ICI New Orleans Curatorial Intensive presented itself, I immediately embraced it.

As I reflect on my experience from the 2019 program, the numerous opportunities made it possible for me to refine my curatorial voice. Visiting Faculty Annalee Davis shared about her deeply personal practice in Barbados and how she “links biography with biology to understand her place in the world.” This resonated with me as much of my curatorial practice currently revolves around my Haitian heritage and family history. Being in New Orleans, I was able to share with the group the first installation of my Bote Bliye exhibition series which featured works from my family’s Haitian art collection and was on view at Preservation Hall during the program. This collection was started by my grandfather in 1944 and has now amassed to over 400 artworks.

I have been curating exhibitions with it around New Orleans since 2015 in an effort to illustrate Haiti’s vastly underdiscussed connection to the city. In addition to works from the collection, this series features relics from my grandparents’ lives such as letters that my grandfather wrote to my grandmother and pictures that he took of her during their time together.

I hosted all of the cohort in this extremely intimate space behind the public area of Preservation Hall, and provided a glimpse of my curatorial practice while also sharing more about myself and family in very vulnerable ways. But it was also empowering and I recall David Alaya-Alfonso saying that viewing the exhibition made him think about how he could integrate his family more into his practice to help them better understand it. Having the ability to share space and perspectives with such a dynamic group of individuals fed my practice in a countless number of ways. Now I feel stronger about the roles that my Haitian heritage and New Orleans nativity play in my work and the volume of my curatorial voice is forever changed for the better as a result.

Nic Brierre Aziz is an artist and curator born and raised in New Orleans. He participated in the Curatorial Intensive in New Orleans, March 2019. He is currently cultivating his community focused art practice as the Director of Programs for New Orleans based multi-arts organization Antenna and as the Community Engagement Curator for the New Orleans Museum of Art.

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PAST PROGRAMS

Design and Media), Remco de Blaaij (Director, Artspace Aotearoa, New Zealand), Patrick D. Flores (Curator, Vargas Museum, Manila and Artistic Director, Singapore Biennale 2019), Gridthiya Gaweewong (Artistic Director, Jim Thompson Art Center, Bangkok), Charlotte Huddleston (Director of ST PAUL St Gallery, Auckland University of Technology), Amanda Parmer (Director of Programs, ICI), Nathan Pohio (Artist and Curator), Renaud Proch (Executive Director, ICI), Balamohan Shingade (Assistant Director of ST PAUL St Gallery, Auckland University of Technology), Taarati Taiaroa (Artist and Educator), and Nina Tonga (Art Historian, Curator Pacific Art at the Museum of New Zealand Te Papa Tongarewa Te Papa, and Curator Honolulu Biennial 2019).

Curatorial Intensive in Auckland July 29–August 4, 2019 This past Summer, ICI presented the first Curatorial Intensive in Tāmaki Makaurau Auckland, Aotearoa New Zealand, in collaboration with Artspace Aotearoa.

The program drew upon the diverse cultural environment from Auckland and the greater te Moana Nui-a-Kiwa Pacific Ocean region, and coincided with the early stages of development of Artspace Aotearoa’s ‘The Drift,’ a new program that will examine and respond to alternative approaches to artistic education.

11 emerging curators from Australia, Indonesia, New Zealand, Singapore and the U.S. attended seminars, site visits, individual meetings, and roundtable discussions led by: Ute Meta Bauer (Founding Director, NTU CCA Singapore and Professor at NTU’s School of Art,

The Curatorial Intensive is made possible in part by grants from the Ford Foundation, the Hartfield Foundation, and by generous contributions from ICI’s Leadership Council, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund.

Additional support and scholarships for the Curatorial Intensive in Auckland were generously provided by Chartwell Trust, John and Jo Gow, and by ST PAUL St Gallery, Auckland University of Technology.

For more information on the Curatorial Intensive, visit ICI’s website, or contact Monica Terrero at monica@ curatorsintl.org.

Participants of the 2019 Curatorial Intensive in Auckland. Artspace Aoretorea. August 3, 2019.

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Ayesha Green, Pouarii Tanner, 2018, pen & watercolor on paper.

Twice a year, in conjunction with the Curatorial Intensive, ICI invites a curator in a city where the Intensive is held to put us in conversation with an artist as a way to catalyze some of ideas and issues that resonate in the arts communities that host our programs. An artwork by the artist is then featured on the cover of our semi-annual brochure, and presented in our New York space—a material touchstone that connects our local community to art practice in the places our programs travel to.

This fall, New Zealand-based Ayesha Green, of Ngāi Tahu and Ngāti Kahungunu, was selected by Remco de Blaaij, our collaborator on the Auckland Curatorial Intensive in Summer 2019.

Green’s acrylic painting Māmā Vereara (2017), held in front of the ocean, appears on the cover of this brochure and her drawing, Puarii Tanner (2018) hangs in our New York space for the fall of 2019.

Pouarii Tanner (2018) is part of a long-standing series of what seems to be simple portraits of friends and family of Ayesha Green. However, beyond this simplicity lies a complex understanding of indigenous whakawhanaungatanga and whakapapa—the shaping of relationships, connections and networks between people. Sharing her own record and adventure of tracing her Māori identity, Green offers a contemporary visual insight that is able to counter the representative nature of portraiture, instead advocating for the research potential her paintings provide for maker and viewer to learn about contemporary indigenous life in Aotearoa New Zealand.

Pourarii Tanner, depicted in this portrait is a creative instigator who co-organizes Te Arerenga Project, a residency project in Rarotonga that stimulates creative thinking and production in the Pacific.

—Remco de Blaaij Director of Artspace Aotearoa

Ayesha Green (Kai Tahu, Ngāti Kahungunu) is an artist based in Ōtepoti Dunedin, Aotearoa New Zealand, recently awarded the prestigious Aotearoa New Zealand National Contemporary Art Award in August 2019.

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

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

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UPCOMING PROGRAM

Curator, National Gallery of Zimbabwe), Hassan Darsi (Artist, La Source du Lion, Casablanca), Nkule Mabaso (Curator, Michaelis Galleries at the University of Cape Town), Jay Pather (Associate Professor, University of Cape Town & Director of the Institute for Creative Arts), Renaud Proch (Executive Director, ICI), Storm Janse van Rensburg (Senior Curator, Zeitz Museum of Contemporary Art Africa), and Jochen Volz (Director, Pinacoteca de São Paulo, 2018), among others.

Curatorial Intensive in Cape Town November 14–20, 2019 This Fall, ICI presents the Curatorial Intensive in Cape Town in partnership with Institute for Creative Arts, at University of Cape Town. This is the sixth program on the continent, and second in South Africa, since 2013. The program coincides with Infecting the City the longest running public arts festival in South Africa and consider the means and ramifications of creating a public art festival that locates itself in the contested public space of Cape Town.

Seminars, site visits, individual meetings, and roundtable discussions will be led by a group of professionals that includes: Raphael Chikukwa (Chief

The Curatorial Intensive is made possible in part by grants from the Hartfield Foundation, and by generous contributions from ICI’s Leadership Council, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund, and the supporters of ICI’s Access Fund.

ICI offers several scholarship packages available to all curators. In addition, as part of an ongoing partnership with the Joyce Foundation to support greater diversity in the curatorial field in the U.S., scholarships are available for African-, Latinix-, Asian-, Arab-, and Native American curators based in the Great Lakes region.

Additional scholarships for the Curatorial Intensive are generously provided by the Elizabeth Firestone Graham Foundation, and SAHA. For more details on scholarship opportunities visit curatorsintl.org.

For more information on the Curatorial Intensive, visit ICI’s website, curatorsintl.org, or contact Monica Terrero at monica@curatorsintl.org.

Indoni Dance, Arts and Leadership Academy, Inkululeko, Infecting the City 2016. Photograph by Oscar O’Ryan.

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Alumni Updates

ALUMNI NEWS Amara Antilla (Manila ’16) was appointed Senior Curator at The Contemporary Arts Center in Cincinnati.

Leandro Martínez Depietri Urgent Memories EAC – Espacio de Arte Contemporáneo Presented with BIENALSUR Montevideo, Uruguay July 25–November 17, 2019

Grace Anieza Ali (NY, Fall ‘14) curated group exhibition, Womens Work: Art & Activism in the 21st Century at Pen and Brush in New York. (April–August, 2019) Freya Chou (NY, Summer ‘11) curated Chris Evans, Pak Sheung Chuen: Two Exhibitions at the Hong-Gah Museum in Taipei. (June–July, 2019)

Urgent Memories seeks to reconfigure the national identities of the Southern Cone countries, erected on white immigrant status. Whiteness is defined by the anthropologist Gastón Gordillo as an issue of emotional conditioning rather than an ideology, a perception rather than an idea. It works as way of orienting bodies towards the desire, albeit not one they are always fully aware of, to create, define and feel through a kind of corporeal navigation, that national geography is principally European.

In Urgent Memories, the artistic practices of Gabriel Chaile, Bernardo Oyarzún and Cristina Piffer call into question the formation of these identities. Together, the artists develop an archeological investigation from the body outwards; they excavate the layers of formation of identities, exposing unstable architectures, which mutate and are transformed within the diverse encounters between dust-mud-stone and sound-word-text. Their installations function as cells or units of poetry that rename our built-up surroundings and propose alternative approaches and models of history-in-community.

João Laia (Londonderry ’13) was named Chief Curator of Finland’s Museum of Contemporary Kiasma.

Ingrid LaFleur (NOLA ‘16) curated a group exhibition, Manifest Destiny, in Detroit, MI. Lena Johanna Reisner (NOLA ‘19) cocurated a group exhibition, Pouring Into Array of Characters, at Galerie Im Turm in Berlin, Germany. (May–June, 2019) Eriola Pira (NY, Summer ’10) was appointed Curator at Vera List Center for Art and Politics in New York City.

Fatos Üstek (NY, Fall ’12) was appointed Director of Liverpool Biennial.

Sebastián Vidal Mackinson (Mexico City ‘14) curated a solo exhibition of Nicolás Robbio at Museo Sívori in Argentina. (March–June, 2019).

Giuliana Vidarte (Londonderry ’13) was appointed Head of Curatorships and Exhibitions of the Museo de Arte Contemporáneo–Lima.

Leandro Martínez Depietri developed this exhibition during the Curatorial Intensive in New Orleans in March 2019.

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Cristina Piffer, Bรกrbaros, 2019, part of Urgent Memories, EAC, Montevideo, Uruguay

Gabriel Chaile, Una forma de Resistencia, 2019, part of Urgent Memories, EAC, Montevideo, Uruguay

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Research Fellowships

INTERIM REPORT: 2019 ICI/CPPC TRAVEL AWARD Pablo José Ramirez Garifunas communities, exiled and anti-colonial resilience Part 1: The history that they have told you is incorrect

In the last nine years, ICI has developed fellowships for curators to travel and conduct research, often with partner organizations and foundations.

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

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Garifuna Flag, Photograph by: Pablo José Ramirez

I have always been attracted to the relationships that artists establish with environments outside of urban modernity. These relationships are indispensable markers for thinking of contemporary practices in Latin America. In these territories artistic creation occurs beyond neoliberal cosmopolitanism. It is for this reason that much of my research work focuses on these parts of the world.

This project has led me to travel to two radically different worlds, within the borders of the same country, Tegucigalpa and the Honduran Caribbean coast, as the first stage of my research. One of these places was the strange island of Roatán, where the voracious tourist infrastructure exists in contrast with the community of Punta Gorda. This is currently the only Garífuna community on the island, where they were taken by the British in the second half of the 19th century, after almost 100 years of the anti-colonial resistance in Saint Vincent and the Grenadines.

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Crisanto represents dialectical sides of the Garífuna culture.

Two questions are guiding my reflections on this research: the first is how to develop methodologies that challenge the relationship between subject, or research, and object, investigation. I am thinking about how post-ethnographic approaches, based on performativity and research, may be porous processes designed from the experiences that communities allow. The second question is about the limits within and between curatorial and anthropological research.

I am not interested in understanding the Garífuna culture as a form of Otherness to be translated. I am interested in how Garífuna history of creative resilience can teach us about the potentialities of mestizaje and anti colonial aesthetics.

“The history that they have told you is incorrect”, was how Jorge Chavez – a Garífuna musician and performer - introduced himself to me the day we first met in Tegucigalpa. His smile and invigorating energy, seemed to hide a deep frustration and anger, which I verified minutes later. Garífuna cultures are currently facing processes of folklorization that freeze and sanitize their cultural practice.

Outside of the development of urban centers their communities face a deep social and economical marginalization.

The legacy of Garífuna resistance is still vibrant in the performative practices that shape the daily lives of the population in their political struggle blurring lines between art and life.

Pablo José Ramirez is a curator, art writer and cultural theorist. He is the recipient of the 2019 ICI / Colección Patricia Phelps de Cisneros (CPPC) Travel Award for Central America and the Caribbean, and his research focuses on the history and culture of the Garífuna.

Photograph by: Pablo José Ramirez This text is an excerpt of Ramirez’s first travel report.

Read the full text on ICI’s website in the Research tab.

In the capital of Honduras, Tegucigalpa, I met with the official representatives of the Garífuna culture and the representatives of the alternative cultural movements, such as the Garífuna Ballet, founded and directed

by Armando Crisanto Meléndez. The ballet is one of the few examples of solid institutional platforms that have developed in Garífuna research and performative practices, with government support.

Of course, this has not been without criticism or controversy.

Conversing with Jorge Chavez, reminded me of the importance of understanding culture as a field of conflicts and negotiations -- never as a singular expression of collectivity. Chavez and 49

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SUPPORT ICI

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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.

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Annual Benefit & Auction

Monday, October 21, 6:30pm ICI’s Annual Benefit & Auction The Altman Building 135 W 18th St. New York City

ICI’s 2019 Benefit Committee—chaired

by Carlos Basualdo, Alex Logsdail, and Sarina Tang—joined by Honorary Chairs Sydie Lansing and Ann Schaffer and ICI’s Board of Trustees and staff invite you to join us for an evening of celebrations of ICI, contemporary art, and visionaries around the world.

The 2019 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.

During the evening, ICI will honor Patrizia Sandretto Re Rebaudengo with the Leo Award.

TABLES & TICKETS Leadership Circle Table $25,000 ($23,200 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 ($13,500 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 ($8,800 tax-deductible) 8 tickets and a reserved table. ICI will invite a curator on your behalf.

Artists’ Circle Tickets $4,000 ($3,400 tax-deductible) 4 tickets and ICI will invite an artist on your behalf.

Individual Dinner Ticket* $1,200 ($1,050 tax-deductible) *Limited availability.

Gabby Palmieri at the 2018 Annual Benefit & Auction, Photo: BFA 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.

The Benefit & Auction will be hosted at the Altamn Building in New York City, a space that will be transformed by Jung Lee and Josh Brooks, who together form FÊTE, New York’s expert event planners.

Cocktails and dinner will be designed by the innovative Abigail Kirsch.

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Committee (in formation): Noreen Ahmad, Liddy Berman, Jeffrey Bishop, Janis Gardner Cecil, Ann Cook, Embajada, Mia Enell, False Flag, Terry Fassburg, Bridget Finn, Jack & Dolly Geary, Carol & Arthur Goldberg, Marian Goodman, Jeannie Minskoff Grant, Heather Hubbs, Anne Huntington, Naomi Huth, Rashid Johnson & Sheree Hovsepian, Tony Karman, LaVon Kellner, Belinda Kielland, Sims Lansing, Sydie Lansing, Jo Carole Lauder, Dorothy Lichtenstein, Nicholas Logsdail, Alex Logsdail, and Lisson Gallery, Dennis & Jeanne Masel, Joel Miller, Sam Moyer, Night Gallery, Ann & Mel Schaffer, Patterson Sims, Sarina Tang, Barbara Toll, Joseph and Sheila Yurcik.

BENEFIT COMMITTEE Co-chairs: Carlos Basualdo, Alex Logsdail, and Sarina Tang Honorary Co-chairs: Sydie Lansing and Ann Schaffer Leadership Committee (in formation): Dimitris Daskalopoulos, Jeannie Minskoff Grant and T. Grant, Agnes Gund, The Ronald and Jo Carole Lauder Foundation, Nicholas Logsdail, Alex Logsdail, Lisson Gallery, Fondazione Sandretto Re Rebaudengo, and Lisa Schiff.

2018 Annual Benefit & Auction, Photo: BFA

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Live & Silent Auction

Curatorial Auction Committee (in formation): Magali Arriola, Matthew Higgs, Barbara London, Larry Ossei-Mensah, Tumelo Mosaka, Paul Schimmel, and Franklin Sirmans.

Every year, ICI is proud to benefit from the generosity of artists who donate works and experiences to ICI’s Benefit & Auction. To honor such generous commitment, ICI has offered artists since 2013 the choice to receive up to 20% of the sale of their donated works. Our team has also developed strong collaborations with curators, galleries, collectors and other collaborators to maximize the power of each gift.

New this year, ICI is building on this commitment to honoring artists’ generosity with the inauguration of a Curatorial Auction Committee to bring the voices of some of ICI’s curatorial collaborators to the Benefit & Auction and the planning of the Live & Silent Auction.

The 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 artsy.net for featured artworks.

ICI’s Silent Auction at the 2018 Annual Benefit & Auction, Photo: BFA

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Leo Award At its Annual Benefit & Auction, ICI will honor Patrizia Sandretto Re Rebaudengo with the 2019 Leo Award.

Named after early ICI supporter and legendary art dealer Leo Castelli, the award recognizes extraordinary commitment to artists and pioneering contributions to the field of contemporary art.

In awarding this year’s Leo, ICI considers the importance of its own mission and core values, reflected in the achievements of the honoree’s vision: promoting accessibility to contemporary art; facilitating institutional collaboration; and investing in the next generation of curators.

An avid collector for more than two decades, Sandretto Re Rebaudengo is the founder and President of Fondazione Sandretto Re Rebaudengo, which was established in 1995, opened its first exhibition space in 1997 in Guarene d’Alba, Italy, expanded into a center for artistic research and experimentation in 2002 in Turin, and will open an additional space in Madrid, designed by David Adjaye over the coming years.

Through the Fondazione, Sandretto Re Rebaudengo has actively promoted artists through exhibitions and the production of new works; fostered new and growing audiences through education; and created institutional partnerships for the support of contemporary art.

Photo: Andrea Basile

Among many international affiliations, Sandretto Re Rebaudengo is a member of MoMA’s International Council, the New Museum’s Leadership Council, the Advisory Committee for Modern and Contemporary Art of the Philadelphia Museum of Art, and the Board of Governors of the Center for Curatorial Studies at Bard College.

Reflecting Sandretto Re Rebaudengo’s commitment to the curatorial field, the Fondazione launched in 2007 the Young Curators Residency Programme, and in 2012 the Campo course for curators, providing early professional opportunities.

“Since the beginning, the passion and daily work of the Fondazione Sandretto Re Rebaudengo has been to contribute to an opening up of contemporary art to a wider audience. Investing in young curators and artists has been an exciting, rewarding and vital part of Fondazione Sandretto Re Rebaudengo’s program, which we are seeking always to develop.”

— Patrizia Sandretto Re Rebaudengo Past recipients of the Leo Award include Dimitris Daskalopoulos, Marian Goodman, Michael Govan, Roy and Dorothy Lichtenstein, Patricia Phelps de Cisneros, Miuccia Prada, Emily Rauh Pulitzer, and Dasha Zhukova.

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Get Involved!

INTERNATIONAL FORUM The International Forum brings together an exclusive group of people who share ICI’s mission and global reach.

With access to ICI programs, select international exhibitions, biennials, and art fairs around the world, patrons of the Forum stay connected through ICI to the curators and artists who shape the contemporary art world.

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

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

LEADERSHIP COUNCIL ICI’s extensive global presence would not be possible without the transformative role of the Leadership Council.

Established in 2013 and chaired by ICI Trustee Sarina Tang, the visionary group develops new initiatives that elevate ICI to the next level.

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

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

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

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UPCOMING PROGRAMS

Tuesday, September 3, 2019 International Forum Fall Exhibition Tour

Thursday, December 5, 2019 Leadership Council Annual Miami Luncheon

ICI invites members of the Forum to kick off the season annually with an exclusive curator-led tour of a NY exhibition.

This September, ICI collaborator and Executive Director and Chief Curator of the Storefront for Art and Architecture, José Esparza Chong Cuy, will lead patrons on a tour of Aquí vive gente: Museum of History and Community of Puerta de Tierra, an exhibition by a grassroots organization in Puerto Rico that aims to preserve the cultural heritage and collective memory of a San Juan community fighting gentrification forces called Puerta de Tierra.

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.

PAST PROGRAMS

On Wednesday, March 13, members of ICI’s International Forum convened for a tour of the exhibition Comfortably Numb at ANOTHER SPACE led by the preeminent New York-based curator, collector and philanthropist, Estrellita Brodsky. ANOTHER SPACE is a program established by the Daniel and Estrellita B. Brodsky Family Foundation to broaden international awareness and appreciation of art from Latin America.

From June 21–23, 2019 ICI patrons traveled to St. Louis to visit the city’s thriving arts scene with a focus on the Pulitzer Arts Foundation and Emily Rauh Pulitzer, ICI’s 2018 Leo Award recipient. The program included tours of the St Louis Museum of Art, the Contemporary Art Museum, the Pulitzer Arts Foundation, Laumeier Sculpture Park and Luminary, private collection visits of St. Louis’ leading philanthropists and artist studio tours.

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The Independents

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

Independents with Katherine Bernhardt at her studio, 2018

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PAST PROGRAMS

On Wednesday, February 20, 2019, ICI Independent Bridget Donahue hosted Cocktails with a Curator featuring co-curator of The Whitney Biennial 2019, Jane Panetta in conversation with Renaud Proch, Executive Director of ICI.

On Tuesday, May 28, 2019 ICI hosted Raffle Night!, the 3rd Annual Independents Spring Benefit at James Cohan Gallery and organized by Paula Naughton. The comedic artist-duo Talk Hole MC’d the event, artist Brujo_selector DJ’d and grand prizes were donated by Trisha Baga, Liz Glynn, and Sarah Braman.

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Limited Editions

Sam Moyer Untitled, 2018 Carved soap stone 8.5 x 5 x 8.5 inches Edition of 10 + 3 AP $6,500

Over the last 15 years, Sam Moyer has developed a distinctive language of abstraction that considers questions of value, labor and beauty. With Untitled, a limited edition created by Moyer exclusively for ICI, two delicate slabs of carved soap stone interlock as jigsaw pieces, creating a unit and echoing the notion of partnership Moyer is represented by Sean Kelly Gallery in New York.

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Liz Glynn Untitled, 2013 Gold-plated Bronze, Silver-plated Bronze, and Plated Bronze necklace 3 Editions of 9 $2,000

Jessica Stockholder Two and Fro, 2015 Metal, car side-view mirrors, industrial color paint 10 3/4 x 18 inches, approximately Edition of 20 $5,000

December 5–8, 2019 ICI at NADA Miami Ice Palace Studios 1400 North Miami Avenue Miami, FL ICI’s 2019 Limited Edition will launch at NADA Miami this December. Stay tuned for more information on this collaboration, and contact ICI if you would like to receive preview material.

In addition ICI will present a selection of limited editions.

Uri Aran After Doodle, 2017 Silkscreen monotype with ink and graphite drawing 20 x 23.5 inches (framed) Edition of 20 + 4 AP, each unique $6,500

For more information, contact Francisco Correa Cordero, 212 254 8200 x125 or Francisco@curatorsintl.org or visit ICI’s website.

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Thank You On behalf of the ICI Board of Trustees, we would like to thank all of the individuals whose generous contributions continue to make possible our programs worldwide, by providing crucial support to our exhibitions, public events, research and training initiatives, and publications.

PATRONS Jan Abrams, Alexander Ahn, Cole Akers, Christopher Apgar, Dru Arstark, Yan Assoun, David & Robin Auchincloss, Roland Augustine, Yona Backer, Laura Bardier, Maddy Beckwith, Claire Bergeal, Ronald Berk, Benjamin Bischoff, Debra Bosniak, Franklin Boyd, Lindsey Boylan, Peter Brant, Allison Brant, Estrellita Brodsky, F Bunts, Lisa Byala, Bryan Byala, Vira Capeci, Tei Carpenter, Janis Gardner Cecil, Jillian Choi, James Cohan, Nina Cohen, Michelle Hellman Cohen, Joe Cohen, Peter Luke Colon, Susan Coote, Beth Daniels, Beth Rudin De Woody, Lisa Dennison, Permele Doyle, Yulia Dultsina, Mia Enell, Heather Ewing, Alia Fattouh, Alaina Claire Feldman, Emily Florido, Barbara Fosco, Hugh Freund, Scott Friedman, Lisson Gallery, Lisa Garrison, Marnie Gelfman, Charles Gepp, Anthony Ressler & Jami Gertz, Frances Wu Giarratano, Photios Giovanis, Abigail Goodman, Dunja Gottweis, Hunter Gray, Jan & Ronald Greenberg, Laird Grant & John Groody, Regina & Peter Gross, Paul Ha, Lynn & Martin Halbfinger, Laura & Bernard Hamilton, Anne & Matt Hamilton, Andria Hickey, Irena Hochman, Anne Huntington, Mary Jane Jacobs, Meg & Howard Jacobs, Priscilla Kanady, Tony Karman, Margie & Donald Karp, Tulsi Karpio, Susi Kenna, Wynn Kramarsky, Bryn Larsen, Elizabeth Leach, Raymond Learsy, Elizabeth Willis Leatherman, Jeffrey Levin, Dominique Levy, Glenn Ligon, Scott Lorinsky, Isaac Lustgarten, Ellen Chesler & Matthew Mallow, Margaret Malloy, Iris Marden, Marjorie Mayrock, Annbel McCall, Meredith McRoberts, Bee & Gregor Medinger, Lisa Melandri, Jonathan Miller, Dennis Miller, Marsy Mittleman, Luis Morais, Karen Moss, Liz Mulholland, Shulamit Nazarian, Benjamin Ogilvy, Steven Oxman, Will Palley, Kim & John Palmer, Gabriela Palmieri, Vivian Pollock, Matthew Powers, Michael Ringier, Sheila Robbins, Mark Rosenthal, Scott Rothkopf, Alexander Rower, Rosina F. Rue, Rahul Sabhnani, Lynne Sable, Jane Sadaka, Barbara Salmanson, Jeff & Laura Schaffer, Lynne Jacobs & Avery Scheiner, Patricia & Charles Selden, Carole Server, Yayoi Shionoiri, Adam Shopkorn, Joyce Siegel, Peter Soriano, Patricia Specter, Craig F Starr, Sarah Stengel, Rob & Ros Storr, Tavares Strachan, John & Eleanor Sullivan, Jr., Peter Svrcek, Ann Temkin, Thomas Tisch, Elena Kyriakides & Guillermo Ulke, Julie & Hans Utsch, Pilar Vahey, Joan Van der Grift, Mariana Velasquez, Helen Warwick.

TRUSTS, FOUNDATIONS, AND GOVERNMENT AGENCIES A G Foundation, Albuquerque Community Foundation, The Andy Warhol Foundation for the Visual Arts, Emily Hall Tremaine Foundation, Elizabeth Firestone Graham Foundation, Evelyn Toll Family Foundation, FADA Foundation, Foundation To-Life, Ford Foundation, The French Institute, Graham Foundation for Advanced Studies in the Fine Arts, Hartfield Foundation, James H.W. Thompson Foundation, James Howell Foundation, The Joyce Foundation, Keller Family Foundation, kurimanzutto, Lambent Foundation Fund of Tides Foundation, New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts with

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the support of Governor Andrew M. Cuomo and the New York State Legislature, Rockefeller Brothers Fund, SAHA, Taipei Cultural Center in New York, The Toby Lewis Foundation, Trust for Mutual Understanding LEADERSHIP COUNCIL Sarina Tang, Chair Sarah Arison, Josh Brooks and Jung Lee, Lee Broughton, Eric Bunnag Booth, MAIIAM Contemporary Art Museum, William Bush, Adriana Cisneros and Nicholas Griffin, Paula Crown, Dimitris Daskalopoulos, Faruk and Fusun Eczacibasi, Kathy Fuld, Jane Glassman, Fine Art Dealers Association, Marian Goodman, Peter and Laurie Grauer, Agnes Gund, Marlene Hess, LaVon Kellner, Toby Devan Lewis, Dorothy Lichtenstein, Jeanne and Dennis Masel, Julie Mehretu and Jessica Rankin, Patricia Phelps de Cisneros, Emily Pulitzer, Hanna Schouwink, Jack Shear, Jerry Speyer, Svetlana Uspenskaya and Alexey Kousmichoff, Mercedes Vilardell, Lawrence and Alice Weiner.

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

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

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ABOUT ICI

STAFF

ICI supports the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement.

Curators are arts community leaders and organizers who champion artistic practice; build essential infrastructures and institutions; and generate public engagement with art. Our collaborative programs connect curators across generations, and across social, political and cultural borders. They form an international framework for sharing knowledge and resources — promoting cultural exchange, access to art, and public awareness for the curator’s role.

Renaud Proch Executive Director Manuela Paz Director of Development & Strategic Planning Jenn Hyland Development Manager Becky Nahom Exhibitions Manager Madeline Yee Administration & Communications Manager Francisco Correa Cordero Executive Coordinator Monica Terrero Programs Events Coordinator Ehm West Programs Research Coordinator

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

Designer: Scott Ponik Printing: G & P Printing, New York Cover: Ayesha Green, Māmā Vereara, 2017, Acrylic on board, 47.25 x 31.5 inches. Courtesy of the artist. ©2019 Independent Curators International (ICI) and the authors.

Reproduction rights: You are free to copy, display, and distribute the contents of this publication under the following conditions: You must attribute the work or any portion of the work reproduced to the author and ICI, giving the article and publication title and date.

If you alter, transform, or build upon this work, you may distribute the resulting work only under a license identical to this one, and only if it is stated that the work has been altered and in what way. For any reuse or distribution you must make clear to others the license terms of this work. You must inform the copyright holder and editor of any reproduction, display, or distribution of any part of this publication.

To receive a downloadable PDF version of this application, or additional copies by mail, contact madeline@curatorsintl.org