The show brings together artworks that engage the illusions of science and spirit. Susan Hiller's "Magic Lantern" juxtaposes white light and white noise with slide projections of additive color experiments. Zoe Beloff uses stereoscopic film and Jennifer Bornstein documents UFOs, eclipses, meteor showers and other extraordinary phenomena.
Thesis Exhibitions. Series One
curated by Ryan Doherty
Now You See It brings together artworks that engage the illusions of science and spirit. Susan Hiller's *Magic Lantern* juxtaposes "white light" and "white noise" with slide projections of additive color experiments and spirit recordings of Electronic Voice Phenomena. Zoe Beloff uses stereoscopic film to reenact ten séances held by an early 20th-century French medium in *The Ideoplastic Materializations of Eva C*. Jennifer Bornstein's *What It Was *and *Celestial Spectacular* use 16-millimeter film to document UFOs, eclipses, meteor showers and other extraordinary phenomena playfully constructed from everyday household objects. Together, these works employ old technologies to conjure our desire for the supernatural.
This spring CCS Bard presents a series of twelve exhibitions at the CCS Galleries, curated by second-year students in its graduate program in curatorial studies. The exhibitions are the culmination of the students' work for the master's degree. The CCS Bard Galleries are open Wednesdays through Sundays, from 1:00 to 5:00 p.m., on the Bard College campus. All the exhibitions and related programs are free and open to the public. Transportation to and from New York City for the exhibition openings—March 11, April 15, and May 13—is available, without charge, via a chartered bus.
The first group of four exhibitions is on view *from Sunday, **March 11, through Sunday, March 25*. *Now You See It*, curated by Ryan Doherty, features three artists, Susan Hiller, Zoe Beloff, and Jennifer Bornstein, who employ obsolete technologies to conjure up our desire for the supernatural. *Affinities: Painting in Abstraction*, curated by Kate Meehan McNamara, highlights recent works by eight painters who are expanding the practices of abstraction. *We Love Cinema*, curated by Özkan Cangüven, explores how artists from different parts of the world appropriate cinema to create new video work. *Temporarily Disconnected*, curated by Ruba Katrib, features video works by artists who enter into or fabricate situations brimming with social anxieties and cultural tensions. The opening reception takes place on Sunday, March 11, from 1:00 to 4:00 p.m.
The second group of three exhibitions is on view from *Sunday, April 15, through Sunday, April 29*. *In Someone Else's Skin*, curated by Rebeca Noriega-Costas, examines how artists disclose the ways social and political violence manipulate and transform individuals in unexpected ways. *Facts on the Ground, *curated by Amy Owen, presents four projects by* *Bernard Khoury, Sarah Oppenheimer, Sean Snyder, and the Spatial Information Design Lab, that retool social, political, and historical information systems of the city. *Stutter and Twitch*, curated by Chen Tamir, uses video and photographic works that revel in the suspension of time. The opening reception takes place on Sunday, April 15, from 1:00 to 4:00 p.m.
The third and final group of five exhibitions is on view from *Sunday, May 13, through Sunday, May 27*. Curated by Emily Zimmeran, *from rest to rest*presents four artists who work with digital media to call attention to our mobile presence in space. *Novel Readings*, curated by Florencia Malbrán, includes works by Glenn Ligon, Jorge Macchi, and Ernesto Neto, which are presented in association with novels and literary criticism, to raise questions about cultural contexts. *Repeat Performances: Roni Horn and Ragnar Kjartansson*, curated by Markús Thór Andrésson, includes a series of portraits and an incessant performance, each questioning identity and difference. *Mirror Mirror on the Wall: Intersubjectivity in Parallax*, curated by Max Hernández Calvo, presents work by five artists who are close friends—José Miyashiro, Enrique La Cruz, Diego Lama, María Elena Alvarado, and Lara Alcántara—that expresses the obsessions of the artists' own intersubjective relations. *Come On Pilgrim: A 110-mile Exhibition*, curated by Laura Mott, is a map and audio companion that leads visitors to six commissioned projects between New York City and CCS Bard.
The graduate program at CCS Bard is the preeminent program of its kind in the United States, dedicated to training curators and critics of contemporary art. The curriculum is specifically designed to deepen students' understanding of the intellectual and practical tasks of curating exhibitions of contemporary art, particularly in the complex social and cultural situations of present-day urban arts institutions. With state-of-the-art galleries, an extensive library and curatorial archive, and access to the remarkable Marieluise Hessel Collection of more than 1,700 works, CCS students have a unique opportunity to gain both intellectual grounding and actual experience within a museum.
Limited free seating is available on a chartered bus that leaves from SoHo in New York City for each exhibition opening. The bus returns to New York City after the opening. Reservations must be made in advance by calling CCS at 845-758-7598. Bus transportation is provided through the generosity of Audrey Irmas. These exhibitions were made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; Audrey and Sydney Irmas Charitable Foundation; patrons, supporters, and friends of the Center for Curatorial Studies; and by the Center's annual benefit for student scholarships and exhibitions. Additional support for the spring exhibitions has been provided by the Monique Beudert Fund and the Mondriaan Foundation.
Image: Zoe Beloff
Opening reception Sunday, March 11, 1 – 4 p.m
Wednesdays through Sundays, from 1 to 5 p.m.