The exhibition presents a mapping of the entire collection in an attempt to open up, to an interested audience, the idea of the collection as a system with variable entrances. The works will be displayed in a rotating system according to weekly requests. The exhibition also focuses on two sub-collections: the artists' books (including works by Marcel Broodthaers, Joseph Kosuth, Robert Smithson, Stephen Shore, Matt Mullican, and Rosangela Renno') and the time-based media works (film, video, or audio works by artists such as Joan Jonas, Nancy Holt, and Christian Marclay).
Beginning this February, the Center for Curatorial Studies at Bard College (CCS Bard) presents Living Under the Same Roof: The Marieluise Hessel Collection and the Center for Curatorial Studies. This exhibition is the public part of a process of looking into the Marieluise Hessel Collection with the students of CCS Bard. During the opening on February 20, from 3 to 5 p.m., there will be a one-day conference taking place with the participation of Jan Debbaut, Marysia Lewandowska, and Cecilia Widenheim.
Living Under the Same Roof: The Marieluise Hessel Collection and the Center for Curatorial
Studies is the result of an intensive research and teaching program organized by Ana Paula
Cohen during her time as curator-in-residence at CCS Bard. Each year the Center invites an outside curator to work with our graduate students to investigate the Marieluise Hessel Collection and consider how to create an exhibition within the galleries of the Hessel Museum of Art. Cohen has proposed less an exhibition and more a process through which the scope of the collection is brought out into the open for the public to examine; in turn, this process grants the public direct access to the works themselves. Over a series of months, the museum will in effect become a laboratory in which anyone may participate. It is a simple, yet radical, move that upends the often closed systems within which the public encounters art within the context of the museum. In essence, Cohen has brought the more than 2,000 artworks, artist books, videos, and films out of storage, providing a platform to explore how we can “activate” the collection.
The exhibition presents a mapping of the entire collection – developed in collaboration with Paris-based Brazilian artists Angela Detanico and Rafael Lain – in an attempt to open up, to an interested audience, the idea of the collection as a system with variable entrances. The public is invited to select works from storage to be seen in a viewing room in the museum space. The works will be displayed in a rotating system according to weekly requests. The exhibition also focuses on two sub-collections: the artists’ books (including works by Marcel Broodthaers, Joseph Kosuth, Robert Smithson, Stephen Shore, Matt Mullican, and Rosangela Rennó) and the time-based media works (film, video, or audio works by artists such as Joan Jonas, Nancy Holt, and Christian Marclay). The intention is to understand the specificities of these other areas of the collection and to emphasize their importance within the Hessel Museum structure. The display of Living Under the Same Roof functions as an apparatus to articulate the dynamics of each part of the exhibition and its relation to the audience. The structures were developed in collaboration with Bogotá-based artist Gabriel Sierra, in order to accommodate both the artworks and the public, according to the specific use of each space. A series of talks by artists with works in the Hessel Collection is a vital component of this exhibition, including presentations by Nicole Eisenman, Robert Longo, Matt Mullican, Judy Pfaff, Martha Rosler, and Stephen Shore.
About Particularities: How to Collect and Display Artistic Practices in Contemporary Art Museums?
February 20, 3 – 5 p.m.
The conference will expand upon the ideas addressed in the exhibition through comparisons with practices at the other contemporary art museums, such as the Van Abbemuseum in Eindhoven, the Tate Modern in London, and the The Pontus Hultén Study Gallery at the Moderna Museet, Stockholm. What does it mean to classify and physically organize a collection of contemporary art? How to create an acquisition policy that reflects the current program of the museum? How do contemporary artists engage with this issue, and how are new platforms created to organize and present practices that result in production beyond the discrete object?
Center for Curatorial Studies and Hessel Museum of Art
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.
Inside The White Cube
THE INTIMATE FOREST
February 20 - March 28
Curated by CCS Bard graduate student Karin Campbell
The Intimate Forest will bring together works - by artists such as David Bunn, Jitka Hanzlová, Ana Mendieta, Gabriel Orozco, David Shrigley, Kiki Smith, and Rosemarie Trockel - that activate our collective consciousness by considering from new perspectives the materiality and fragility of the body, as well as the inevitable passage of time that helps to define our lived experiences as human beings. In The Poetics of Space, Gaston Bachelard suggests that poetry "helps us to discover within ourselves such joy in looking that sometimes, in the presence of a perfectly familiar object, we experience an extension of our intimate space." This same phenomenon - the opportunity to see the world in the quotidian objects and actions that constitute our environments - is also possible when interacting with contemporary art.
WORKS IN THE EXHIBITION: Tracey Baran, Warm Heart, Cold Hands, 2002, c-print - Manuel Alvarez Bravo, Manos en Casa de Leo, unknown, printed ca. 1974, black and white photograph - David Bunn, Love On A Branch Line, 1994, ink on paper and catalogue cards - Jitka Hanzlová, Untitled (Man and his shower), 1991, c-print - Mona Hatoum, You are still here, 1994, engraved mirror - William Kentridge, Sleeping on Glass: Terminal Hurt/Terminal Longing, 1999, etching and pastel on printed text book page; Sleeping on Glass: This is How the Tree Breaks, 1999, etching and pastel on printed text book page - Robert Mapplethorpe, Alice Neel, 1984, gelatin silver print - Ana Mendieta, Untitled (from the Silueta Series), 1976, c-prints - Gabriel Orozco, Obituarios, 1998, collage, graphite, paint and ink; Paris-New York 30 January 1997, 1997, graphite and gouache on Air France boarding pass; Untitled, 1998, paint and ink on Five Peso note - David Shrigley, Untitled (Magnification reveals nature to be boring), 1999, ink on paper - Kiki Smith, Yolk, 1999, solid worked glass - Rosemarie Trockel, With Mirror, 2001, acrylic on paper
DO_RABBLE SPACES AND PFUN- 'NETIK TIME*
February 20 - May 23
Curated by CCS Bard graduate student Clark Solack - *on view at the Time-Based Media Collection rooms
VIDEO WORKS: John Baldessari, Teaching a Plant the Alphabet, 1972, video, 18' 40" - Paul Chan, Now Let Us Praise American Leftists, 2000, video, 3' 36" - Paul Chan, Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry, 2006, video, 17' 30" - Nancy Holt, Swamp, 1971, 16mm transferred to dvd, 6' - Joan Jonas, Wind, 1968, 16mm transferred to dvd, 5' 37" - Tala Madani, Chit Chat, 2007, animated video, 2' 35" - Christian Marclay, Telephones, 1995, video, 7' 30" - Julia Oschatz, Populated Solitudes, 2005, video, 2' 12" - Seth Price, Digital Video Effect: "Editions", 2006, video, 12'
AUDIO RECORDINGS: Audio Arts Magazine, 1990, volume 9 no. 4, sound, 56' - Audio Arts Magazine, 1992, volume 12 numbers 2 & 3, sound, 114' - Georg Baselitz, The Painters' Equipment, 1988, 28' - John Cage, Reading Mesostic IV, 1990, sound, 140' - John Cage, Questions and Answers, 1990, sound, 122'
TIME-BASED MEDIA COLLECTION
The time-based media collection contains approximately 50 video works and twenty audio works and audio recordings by artists such as John Baldessari, Paul Chan, Nancy Holt, Joan Jonas, On Kawara, Bruce Nauman, and Seth Price.
Presenting durational works in the museum space poses particular challenges, requiring a consideration of light, sound, and projection. Concentrating on this group of art works, it becomes possible to consider visual and audio elements as rhythmic structures that occupy continuous time. As substance, they move throughout the space in ways that make it difficult to discern between beginnings and endings. The work literally unfolds through the space across time, organizing a relational contact with the visitor's body.
With these questions in mind, the exhibition curated from this area of the Hessel Collection concerns itself with communication and its limits. Christian Marclay's video Telephones (1995) is a montage of clips from classic and recent Hollywood movies. In this work, the ringing telephone assumes the role of a sound instrument that overrides a conventional association with the visual. The work repetitively shows the gesture of answering a phone and saying hello, yet the absent responder is rarely heard. This editing strategy opens up questions of what can be communicated, the significance of truncated conversations and misinterpretations, and the ways in which information travels. Four audio recordings will be presented close to Marclay's work - documents of lectures and interviews from major art exhibitions, including a talk by John cage and conversations with Richard Deacon, Nam June Paik, and Gerhard Richter from Audio Arts Magazine. By presenting this material in the exhibition, the voices and concerns of the artists are introduced into the space of the museum.
Video works such as Tala Madani's Chit Chat (2007), Julia Oschatz's Populated Solitudes (2005), and Seth price's Digital Video Effect: "Editions" (2006) confront issues of disrupted communication and a chafing of reality against the artwork's internal logic. Through a phonetics of editing, superimposition, disembodied voiceover, and multiple animation techniques, these works become otherworldly. We are left to ask: Are we merely receiving information or is something else being communicated?
Clark Solack, first year CCS Bard graduate student
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 February 20 opening. The bus returns to New York City after the opening. Reservations are required; call 845-758-7598 or e-mail firstname.lastname@example.org.
mage: Angela Detanico and Rafael Lain from http://www.detanicolain.com
Mark Primoff - Director of Communications Bard College tel 845-758-7598 e-mail email@example.com
Opening on saturday February 20, from 1 to 5 p.m
CCS Bard Center for Curatorial Studies
11 Annandale-on-Hudson - New York USA
open Wednesday through Sunday from 1 to 5p.m.
Admission free and open to the public