Joao Maria Gusmao
Konst & Teknik
Dylan Burritt Peet
CCS Bard master's degree candidates curate series of 13 exhibitions and projects with work by more than 25 internationally known contemporary artists. The first of two series of exhibitions and projects presents 6 exhibitions: Break My Body, Hold My Bones, curated by Nathan Lee; The action of things, curated by Manuela Moscoso; Taking Pleasure for a Ride, curated by Dylan Burritt Peet; We Have The Technology, curated by Laurel Ptak; and Harboring Tone and Place, curated by Clark Solack.
CCS Bard master's degree candidates curate series of 13 exhibitions and projects—opening March 27 and May 1— with work by more than 25 internationally known contemporary artists
Beginning in March, the Center for Curatorial Studies at Bard College (CCS Bard) will present 13 exhibitions and projects, including work by more than 25 leading and emerging contemporary artists at the CCS Bard Galleries and curated by second-year students. Presented in two groups, these projects focus on diverse concepts and themes and represent an international body of artists working in a variety of media. These exhibitions are the culmination of the students' work for the master's degree.
The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Wednesday through Sunday from 1:00 to 5:00 p.m. All CCS Bard exhibitions and public programs are free and open to the public. Limited free seating is available on a chartered bus that leaves from New York City for the March 27 and May 1 openings. The bus returns to New York City after the openings. Reservations are required; call 845-758-7598 or email email@example.com.
The first of two series of exhibitions and projects opens on Sunday, March 27, with a reception from 1:00 to 4:00 p.m., and is on view through Sunday, April 17. The exhibitions are: Break My Body, Hold My Bones, curated by Nathan Lee; The action of things, curated by Manuela Moscoso; Taking Pleasure for a Ride, curated by Dylan Burritt Peet; We Have The Technology, curated by Laurel Ptak; and Harboring Tone and Place, curated by Clark Solack.
The second series of exhibitions and projects opens on Sunday, May 1, with a reception from 1:00–4:00 p.m., and is on view through Sunday, May 22. The exhibitions are: The Object of Society Is, curated by Nova Benway; Thinking About Flying, curated by Karin Campbell; Not Necessarily in that Order: Curatorial questions about The Barnes Foundation's move to Philadelphia, a publication edited by Orit Gat; Dear Pratella, what do you hear?, curated by Michelle Y. Hyun; Counter-relief (CCS Bard) 2011, curated by Kelly Kivland; Double Session, curated by Natasha Llorens; (Re)Move/(Re)Frame, curated by Courtney Malick; What's Past is Prologue, curated by Julia Paoli.
Student-curated exhibitions and projects 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 Board of Governors of the Center for Curatorial Studies; and by the Center's Patrons, Supporters, and Friends. Additional support provided by the Monique Beudert Award Fund.
The Center for Curatorial Studies at Bard College (CCS Bard) is an exhibition, education, and research center dedicated to the study of art and curatorial practices from the 1960s to the present day. In addition to the CCS Bard Galleries and Hessel Museum of Art, the Center houses the Marieluise Hessel Collection, as well as an extensive library and curatorial archives that are accessible to the public. The Center's two-year M.A. program in curatorial studies is specifically designed to deepen students' understanding of the intellectual and practical tasks of curating contemporary art. Exhibitions are presented year-round in the CCS Bard Galleries and Hessel Museum of Art, providing students with the opportunity to work with world-renowned artists and curators. The exhibition program and the Hessel Collection also serve as the basis for a wide range of public programs and activities exploring art and its role in contemporary society.
CCS Bard Upcoming Thesis Exhibitions, Group One
March 27 – April 17, 2011
Break My Body, Hold My Bones
Artists: Malcolm Lomax and Daniel Wickerham (DUOX)
Curator: Nathan Lee
Questions of queer embodiment in a "post-AIDS" culture are posed in a multimedia installation by the Baltimore-based collaboration DUOX (Malcolm Lomax and Daniel Wickerham). What are the forms, affects, capacities, and connections of the queer body? How does it respond to the legacy of AIDS — no longer experienced as an overt crisis in the gay community, but no less constitutive of its practices? How does queerness inhabit the landscape of online avatars, social networking, viral video, and multiple forms of digital being? Merging digital and analog technologies through a practice informed by performance and appropriation, DUOX presents an environment that reflects on and embodies an emergent sensibility: the becoming-viral of the digital queer.
The action of things
Artists: Rubén Grilo, João Maria Gusmão & Pedro Paiva, Cristóbal Lehyt, Trevor Paglen, and Jorge Satorre
Curator: Manuela Moscoso
"Things" are often understood as objects that neither carry agency nor affect the world. The action of things is a group exhibition focusing on work that investigates things and more specifically, stones and stars—aspects of matter that are so omnipresent that they can be considered global. The artists in this exhibition, Rubén Grilo, João Maria Gusmão & Pedro Paiva, Cristóbal Lehyt, Trevor Paglen, and Jorge Satorre, all look at inanimate materials and challenge their supposed passivity. This approach rejects the division between a world of the inert things, on the one hand, and a world of animate beings, on the other. Thus, it grants us the possibility of re-experiencing the world, as populated by things with potential agency. The exhibition considers temporary networks of relations between human and non-human actors. It investigates the ways that things mediate, construct, or sustain assemblies and, as a result, have agency similar—or at least comparable—to that of human beings. Their viewers are propelled into an uncertain universe that undoes taken-for-granted perceptions of nature.
Taking Pleasure for a Ride
Artists: Glen Fogel, Terence Koh, Laurel Nakadate, Jennifer Reeder, and Conrad Ventur
Curator: Dylan Burritt Peet
Taking Pleasure for a Ride is an exhibition of video works by Glen Fogel, Terence Koh, Laurel Nakadate, Jennifer Reeder, and Conrad Ventur that use camp strategies to create irresolvable tensions between good taste and bad, complicity and resistance, anger and love. Counter to the perception of camp as merely ridiculous, artificial, and indulgent, the exhibition takes as its starting point the following definition: camp is taking pleasure in purposely acting out a disaccord with heterosexist norms. In other words, camp is a set of strategies for performing difference, for enacting resistance. Variously sly, sexy, aggressive, and uncomfortable, the works in Taking Pleasure for a Ride challenge the possibility of stable notions of taste, desire, and identity.
We Have The Technology
Participants: Marysia Lewandowska, Konst & Teknik, Laurel Ptak
Curators: Laurel Ptak in collaboration with Stockholm-based design office Konst & Teknik
We Have The Technology is an internet platform in support of critical cultural production. Arriving online in a moment of post-technological fetishism and post-digital alienation, WHTT works with artists, designers, theorists, programmers, curators, academics, and other cultural producers to attend vigorously to the digital and networked potentialities for production, circulation, and distribution of art and culture in and beyond the browser. For this project, WHTT invites artist Marysia Lewandowska as inaugural resident to explore the intersection of intellectual property and art. Working collaboratively with CCS graduate student Laurel Ptak and Stockholm-based design office Konst & Teknik, Lewandowska will engage WHTT as a sustained platform for dispersed communication, research, and knowledge production online.
Harboring Tone and Place
Artists: Dennis McNulty, Angela Detanico and Rafael Lain
Curator: Clark Solack
The works in this exhibition approach the context of time through its durational potentialities. Both present differing models of sensory perceptions by engaging with spoken narratives and a grammatical explication of words that enumerate striking visual structures. The works on display demonstrate ways that presumed comprehensibility might be deemed inadequate by suggesting unusual strategies for encountering language, sound, and the visual. Dublin-based artist Dennis McNulty works with various media including performance, sculpture, sound, and video, with a particular interest in architecture and urban spaces. Approaching Breezewood is a sound work that explores the relations between visual experience and words, and how sound can rearticulate a visual association with what we don't see. Paris-based artists and graphic designers Angela Detanico and Raphael Lain work with digital formats as a way to translate typographies into new, differently understandable configurations. Their work The 25 Brightest Stars is a superimposition of sine waves, one for each letter of the alphabet. This new typology is used to write the names of the twenty-five brightest stars. These words appear as floating orbs, articulating a new form of visual narration.
For additional information, call 845-758-7598, email firstname.lastname@example.org, or visit www.bard.edu/ccs.
Center for Curatorial Studies and Hessel Museum of Art
Press Contact: Mark Primoff
CCS Bard Contact: Ramona Rosenberg
Image: Trevor Paglen, "Parcae Constellation near Cygnus (Naval Ocean Surveillance System; USA 173)," 2008.
Opening Sunday, March 27, with a reception from 1-4p.m
CCS Bard Center for Curatorial Studies
11 Annandale-on-Hudson New York USA