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23/3/2013

Less like an object more like the weather

CCS Bard Center for Curatorial Studies, New York

The Center for Curatorial Studies presents exhibitions and projects curated by second-year students in its graduate program in curatorial studies and contemporary art. The students have organized these exhibitions and projects as part of the requirements for the master of art’s degree.

For the spring of 2013, the fourteen participating students have elected to present their individual curatorial projects simultaneously in the Hessel Museum of Art. As an unprecedented gesture of institutional engagement through collectivity, all exhibitions and adjacent programming come together under one title.

John Cage characterized his longtime collaboration with Merce Cunningham by stating: “It’s less like an object and more like the weather. Because in an object, you can tell where the boundaries are. But in the weather, it’s impossible to say when something begins or ends.” The ethos of the students’ collaboration reflects Cage’s sentiment and prompts the viewer to experience the venture’s heterogeneity less as an object to be assimilated, and more as a movement towards a climate of engagement.

A student-initiated publication will be designed by Isabelle Vaverka and Lu Liang. It will feature contributions from the curators and participants of the spring curatorial projects and be available for sale at CCS Bard.

The projects are as follows:
CROSS//ROADS

Artists: Willie Birch and Liam Gillick
Curated by Robin Wallis Atkinson

Pairing two seemingly different artistic practices, CROSS//ROADS aims to create a productive confusion that pushes the viewer towards a nuanced reading of both the art objects on display and the multi-layered set of ideas about abstraction, history, and artistic practice they represent.
Don’t blame anyone

Artists: Bruce Nauman, Giovanni Anselmo, Giorgio Griffa, Al Taylor, Nicolás Paris, and Julio Cortázar
Curated by Juana Berrío

Don’t blame anyone includes works by artists whose practices pay particular attention to process as opposed to progress, overemphasizing ways of engaging with ordinary objects and activities.
Flip The Script

The newly commissioned dance, Reverse to Reverence, by Vanessa Anspaugh is a collaboration with performers Aretha Aoki, Lindsay Clark, Lydia Okrent, and Mary Read, with audio by artist/musician JD Samson.
Curated by Olga Dekalo

Interrogating modes of representation and choreography itself, the project foregrounds the process of negotiation and dialogue integral to the creation of dance.

Persona Ficta
Artists: Tania Bruguera & Jota Castro, Kristin Lucas, Dread Scott, and Sergio Muñoz Sarmiento
Curated by Cora Fisher

Four performances occupy formal spaces of law and become vehicles for poetic political action.
Landing Field: Vito Acconci and Yve Laris Cohen

Curated by Sarah Fritchey

Exercises in an architecture that extends to the human body.
Blueprints

Artists: Trisha Brown, Peter Halley, Sean Paul, and Nick Relph
Curated by Stephanie Harris

Blueprints engages the organizational forces of material and dematerialized architectures by considering the physical and psychical distance between the drawn and the built, the architectural representation and its muse.
None the Wiser

Participants: Jessica Baran, Matt Mullican, Carlos Reyes, and John Smith
Curated by Marie Heilich

How to frame reality.
Terms & Conditions of Use

Artists: Owen Mundy, Deborah Stratman, Brad Troemel & Jon Vingiano, and Commodify, Inc.
Curated by Sarah Higgins

Terms & Conditions of Use examines the reciprocal agreements of networked communities, and how they alter artistic methods of resistance. The exhibition presents strategies for technologically embedded and ethically effective structural critiques.
We took the image and put the sound too loud

Contributors: Shumon Basar, Jean Marie Casbarian, An-My Lê, and Michael Rakowitz
Curated by Fawz Kabra

We took the image and put the sound too loud expands the framework of representing politics by bringing together the artist, the document, and the writer to readjust our expectations of each source.
The Very Quick of the Word

Artist: Ken Okiishi
Curated by Annie Godfrey Larmon

Ken Okiishi’s installation inhabits a space of becoming, in which the material limits of externally sourced memory are confronted by gestures of the body. Television, obsessively recorded and collected, but never watched, becomes the support surface for hovering registers of recording brought into porous contact.

Unless Otherwise Noted

Contributors: John Cullinan, Ivana Králíková & Marta Dauliute, Falke Pisano, Reto Pulfer, Arden Sherman, Rebecca Stephany, and Julia Valle.
Curated by Marina Noronha

This project unfolds over the course of an academic year and uses repetition to create a system for curating within CCS Bard. Multiple curatorial strategies disperse authorship across the institution’s administrative process and change the use of selection criteria in curating.
The Ecstasy of the Newness of the Image (or
the Communicability of an Unusual One)

Artists: Trisha Donnelly, Analia Saban, and Gedi Sibony
Curated by Tara Ramadan

Salvaged materials are altered just slightly, reproductions of mundane items are treated with a painterly touch, and drawings are turned quasi-sculptural.
Are You In?

Curated by María Montero Sierra

Are You In? presents a site-specific intervention into the student lounge at CCS Bard by the Spanish architectural collective Zuloark.
Point of Sale

Designer: Studio Manuel Raeder
Curated by Karly Wildenhaus

A functioning museum bookshop with a display structure by Studio Manuel Raeder produced within the spring 2013 CCS Bard thesis exhibitions and projects.
Object Permanence

Artists: Anne Collier, Roe Ethridge, Mona Hatoum, Jenny Holzer, Guerrilla Girls, Wade Guyton, Robert Morris, and Andrea Zittel
Curated by Robin Wallis Atkinson, Cora Fisher, Sarah Fritchey, and Marie Heilich

Object Permanence considers a selection of works from the Marieluise Hessel Collection, through a socio-economic lens that is both theoretical and grounded in current financial realities. Curated by four second-year students who have worked extensively with the collection, the exhibition runs parallel to the curators’ study of current research from the Levy Economics Institute of Bard College.

Student-curated exhibitions at CCS Bard are made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Robert Mapplethorpe Foundation; the Board of Governors of the Center for Curatorial Studies; and by the Center’s Patrons, Supporters, and Friends.

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Monogamy
An exhibition featuring Gerard Byrne and Sarah Pierce
Curated by Tirdad Zolghadr

Monogamy is something you endure. It is neither a rational, nor a natural state of affairs, but a sustained condition. In the best of cases, monogamy highlights the idea of commitment as an institution. It denaturalizes commitment even as it consolidates it.

Although this exhibition presents commonalities between two different oeuvres, it does not mark a collaboration. Nor a classic duo show. Instead, it takes advantage of long-term familiarities that allow for more experimentation than is usually appropriate.
For one, Monogamy builds on the memory of exhibitions past. Half the artworks have previously been installed within the same CCS galleries. For another, the boundaries between the works are comparatively porous. Like any institution, monogamy implies a degree of dedifferentiation. It encourages ideas to bleed into each other over time. Pierce’s Future Exhibitions and Byrne’s In Repertory, for example, are exhibited in “cannibalized” form, with the artworks sourcing each other as material.

The show emphasizes a recurring trope in the work of both artists; the artist’s voice. This is especially plain to see in Byrne’s A Thing is a Hole in a Thing it is Not and Pierce’s The Artist Talks. Both address the complex relationship between artist and work, and both address the artist’s voice, which is expected to sanctify the ties that bind. In one form or another, most artworks in the exhibition invoke the stage. As a charged location and as a privileged position through which the work can be spoken to and answered for.

This project was initiated when the artists Gerard Byrne and Sarah Pierce were invited to teach at CCS Bard, Fall 2011. The two artists are married and have a son, and for them it was a rare opportunity for the family to travel together. For the school, it was a rare opportunity to invite two artists of this caliber in one fell swoop. Monogamy, in other words, refers to working conditions in the arts that are surprisingly hard to address.

* Gerard Byrne, New Sexual Lifestyles (2002)
* Gerard Byrne, In Repertory (2004)
* Sarah Pierce, It’s Time Man. It Feels Imminent. (2008)
* Sarah Pierce, Future Exhibitions (2010-ongoing)
* Gerard Byrne, A Thing is a Hole in a Thing it is Not (2011)
* Sarah Pierce, The Artist Talks (2012)

Press contact:
Mark Primoff Tel 845.758.7412 primoff@bard.edu

Opening Receptions : Sunday, March 24, 2013, 1-4pm and Saturday, April 20, 2013, 1-4pm
1:00 – 4:45pm
Dance performance Reverse to Reverence by Vanessa Anspaugh with performers Lindsay Clark, Lydia Okrent, and Mary Read, with audio intermission by musician/artist JD Samson.

1:30pm
Introduction by Jeannine Tang for less like the an object more like the weather

3:00pm
Reading of Julio Cortázar’s short story, Don’t Blame Anyone (1982).
Performed by Alexander Setzko, student of Theater and Performance at Bard College.

5:30pm
Yve Laris Cohen, opening
The performance will begin at 5:30pm sharp.
There will be no admission to the museum during the performance.
Free chartered bus to and from New York City for the opening.

Bard College
Annandale-on-Hudson NY 12504 -5000
Hours
Thurs - Sun, 11 am—6 pm

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