Easily get essays for sale online at the best prices for any subject

INDEPENDENT CURATORS INTERNATIONAL
collaborator

Mom, am I barbarian?

Posted on October 1, 2013

The curator of the 13th Istanbul Biennial recounts to Domus her position in between the institution, the artists and the public after Gezi Park occupation.

Freee, Protest is Beautiful: Tottehnam, 2007/2013. Photo: Ben Fitton/courtesy: Freee art collective.

by Gabi Scardi

The 13th Istanbul Biennial is one of the most important on the international art scene and opened on 12 September. Over the years, the Istanbul Biennial has appointed curators with an urban focus and an interest in the links between art and social change. This year’s case is an even stronger example than usual as, for years, Fulya Erdemci was director of SKOR, Foundation Art and Public Space, Amsterdam, and has always formulated the concept of an art that is not happy to merely portray but demands an active role, aspiring to shape the present world and that of the future – except that, this year, the reality has trumped if not art but certainly the Biennial.

The eruption of protests that began in Gezi Park shook Turkey at a time when the Biennial project had already been finalised. The marches, occupations, major demonstrations and various forms of resistance have eclipsed many artistic interventions in the field. In such a suddenly and radically changed scenario, the Biennial has been hit by controversy and had to defend itself. Many of the works express a sense of hope, courage, radicalism and critical thought but explaining these issues quickly and forcefully is an ongoing challenge for the Biennial. Certainly, with its troubled process and the hullaballoo generated, this Biennial not only reflects the complexity of the moment but has also helped highlight the stereotypes and superficiality of the debate on art and its meaning.

Gabi Scardi: Is Istanbul situation affecting your work for the Biennial? If yes, in what sense? What is your position?

Fulya Erdemci: Actually, the conceptual framework of the 13th Istanbul biennial articulates three axis: a theoretical one based on the notion of public domain as a probable political public forum, and a practical axis that takes the urban public spaces and the violent urban transformation as the praxis sites. As you know, the title of the biennial “Mom, am I barbarian?” is a quotation from a Turkish poet Lale Muldur that forms the artistic axis of the exhibition in terms of the unknown or yet to be invented languages as well as art’s and social movements’ relation with poetry. Certainly, before Gezi, we have planned to realize many projects that intervene with the urban public spaces of Istanbul including Gezi Park and Taksim square as well.

Read the full article here.

Posted to

Miuccia Prada and Germano Celant, great team! They are the ones…” by Exibart.com

Posted on

WABF, install

Photo: Attilio Maranzano, Courtesy: Fondazione Prada

Miuccia Prada and Germano Celant, great team! They are the ones to win the Leo and Agnes Gund Curatorial Award, awarded by ICI in New York

‘ICI will present with the two awards to honor the work of a team of curators. Miuccia Prada and Germano Celant receive such recognition for their contributions to the world of contemporary art, for the activity international level of the Prada Foundation and for the exhibition “When Attitudes Become Form: Bern 1969/Venice 2013,” which focused on the history of art exhibitions and the figure of the independent curator. ” This was announced by the board of the Independent Curators International (ICI) in New York, on 19 November next insignirà Prada Leo Award and Celant dell’Agnes Gund Curatorial Award, offered by the co-directors of ICI, Ann Cook, Belinda Kielland, and Noreen Ahmad in tandem to recognize the work of a formidable team, with which this exhibition has been shown to overcome itself. The Leo Award is named, of course, by the great Leo Castelli, and wants to honor the most innovative figures in contemporary art, as well as Gund was created in memory of Agnes Gund, in recognition of his long involvement with ICI.

To read the rest of the article, click here

Talking About: Thinking Contemporary Exhibitions

Posted on

Mousse Magazine, Issue #40 October 2013

Talking About: Thinking Contemporary Exhibitions

by Terry Smith and Jens Hoffmann

In a conversation with Jens Hoffmann, Terry Smith analyzes the way various art specialists have dictated the rules of curating over the decades.

Curating Beyond Exhibition-Making on ARTonAIR

Posted on

Roundtable Discussion: “Curating Beyond Exhibition-Making” on ARTonAIR.org. Originally aired on September 16, 2013.

Moderated by Kate Fowle, this roundtable discussion will include what “non-exhibitionary” practice constitutes, how new institutional models are developed around this approach to curating, and how this recent interest in pedagogy—the “educational turn” in art—has impacted ways artists and curators collaborate.

ICI brings together four of the international faculty of the Fall 2012 Curatorial Intensive, Curating Beyond Exhibition-Making: Anthony Huberman (Wattis Institute of Contemporary Art, San Francisco), Chus Martínez (El Museo del Barrio, New York), Sally Tallant (Liverpool Biennial, Liverpool, UK), and Dominic Willsdon (SFMoMA, San Francisco).

These programs are produced in partnership with the radio station of the Clocktower Gallery, operating at ARTonAIR.org.

Posted to

KCUR Radio on Performance Now

Posted on

KCUR Radio arts reporter Laura Spencer produces a concise audio recording featuring the show Performance Now, currently on view in the Kansas City gallery through October 12, 2013, and includes interviews with exhibition curator RosaLee Goldberg and H&R Artspace director and curator Raechell Smith. Listen to the full audio and read Spencer’s text on the exhibit with highlights of video works by Marina Abramovic, Christian Jankowski, Allora & Calzadilla, and other artists by following this link.

Posted to

“Miuccia Prada and Germano Celant rewarded with ICI Awards” by FashionMag

Posted on October 2, 2013

Miuccia Prada, President of the Fondazione Prada and Germano Celant, director of the Prada Foundation, will receive respectively The Leo Award and The Agnes Gund Curatorial Award, awards promoted by the Independent Curators International (ICI) in New York, November 19, at Annual Live & Silent Auction.

“ICI will present with the two awards to honor the work of a team of curators. Miuccia Prada and Germano Celant receive such recognition for their contributions to the world of contemporary art, for the international activities of the Fondazione Prada and for the exhibition ’ When Attitudes Become Form: Bern 1969/Venice 2013 ‘which focused on the history of art exhibitions and the figure of the independent curator, “This is the motivation widespread ICI. ‘When Attitudes Become Form: Bern 1969/Venice 2013’ , curated by Germano Celant in dialogue with Thomas Demand and Rem Koolhaas, is open until November 3 at Ca ‘Corner della Regina, the Fondazione Prada in Venice, and once again, in an amazing architectural and artistic reconstruction, the legendary show’ Live in Your Head. When Attitudes Become Form ‘, curated by Harald Szeemann at the Kunsthalle in Bern in 1969.

To read the original article, click here

“Miuccia Prada and Germano Celant rewarded by ICI in New York” by ArtsLife

Posted on

PRADA PRESS 2

By Editorial Staff

Miuccia Prada, Presidente della Fondazione Prada, e Germano Celant, Direttore della Fondazione Prada, riceveranno rispettivamente The Leo Award e The Agnes Gund Curatorial Award, i premi promossi dall’Independent Curators International (ICI) di New York, martedì 19 novembre 2013, in occasione dell’Annual Live & Silent Auction.

“ICI presenterà insieme i due premi per onorare il lavoro di un team curatoriale. Miuccia Prada e Germano Celant riceveranno tali riconoscimenti per i loro contributi al mondo dell’arte contemporanea, per l’attività a livello internazionale della Fondazione Prada e per la mostra ‘When Attitudes Become Form: Bern 1969/Venice 2013’ che si è concentrata sulla storia delle mostre d’arte e sulla figura del curatore indipendente”, questa la motivazione diffusa dall’ICI.

To read the rest of the article, click here

“THE INDEPENDENT CURATORS INTERNATIONAL, NEW YORK REWARDS MIUCCIA PRADA AND GERMANO CELANT” by Mime

Posted on

CURATE

By Rossella Alfani

On the occasion of the ’ Annual Live & Silent Auction , Miuccia Prada and Germano Celant are the recipients of two awards of the ‘Independent Curators Internationa l (ICI) in New York.

On 19 November 2013, the President of the Fondazione Prada will be awarded the “Leo Award”, while Celant, director of the Prada Foundation, will receive the award “The Agnes Gund Curatorial Award.”

Here’s why the double recognition: “ICI present together the two awards to honor the work of a team of curators . Miuccia Prada and Germano Celant receive such recognition for their contributions to the world of contemporary art , for the activities at the international level of the Prada Foundation and for the exhibition ‘When Attitudes Become Form: Bern 1969/Venice 2013’ which focused on history of art exhibitions and the figure of the independent curator.”

To read the rest of the article, click here

Michigan Avenue Magazine on State of Mind

Posted on

Thomas Connors previewed State of Mind in Michigan Avenue Magazine on October 1, 2013. “When Damien Hirst’s net worth and the art-buying power of newly minted billionaires grab as much attention as what artists are actually up to, it’s tonic to consider a time when doing, not selling, was paramount. Now on view at the Smart Museum of Art, “State of Mind: New California Art Circa 1970” is a sharp examination of Conceptual art in the Golden State, where its practitioners (many of whom came from elsewhere) pursued its aims with a relish peculiar to that Pacific-kissed world.”

Read more at the link.

Interview with Nato Thompson and Frey Chou on Living as Form

Posted on October 3, 2013

LAF Interview, Artco Magazine From the September Issue of Artco Magazine, an interview with Nato Thompson and Freya Chou on the exhibition, Living as Form, originally published in Chinese. Read the Original Article here. LAF the Cube Read the english translation here.

Interview with Nato Thompson and Freya Chou on Living as Form

Posted on

LAF Interview, Artco Magazine

From the September Issue of Artco Magazine, an interview with Nato Thompson and Freya Chou on the exhibition, Living as Form, originally published in Chinese.

Read the Original Article here.

LAF the Cube Read the english translation here.

Posted to

Thai Art Archives on Art Info

Posted on October 12, 2013

Thai Art Archives

Recording and cataloging “historically important ephemera of Thailand’s modern and contemporary masters” is the Thai Art Archive’s main aim.
by Max Crosbie-Jones

BANGKOK — Old buildings don’t have it easy in Bangkok, a city seemingly too preoccupied with erecting sleek new towers to bother much with cultural heritage preservation. Given this lay of the land it would appear that the Thai Art Archives (TAA), a privately funded organisation that has taken on the task of saving something even more delicate — ephemera relating to the work of major Thai artists — has its work cut out. – Read the Full Article here.

Photos from the event: 2013 Fall Curatorial Intensive Symposium

Posted on October 16, 2013

“The Prada Foundation’s Miuccia Prada and Germano Celant Receive This Year’s ICI Awards” by ArtInfo

Posted on October 17, 2013

The Prada Foundation’s Miuccia Prada and Germano Celant Receive This Year’s ICI Awards

by Ashton Cooper Prada ArtInfo English

Independent Curators International has announced that Fondazione Prada president Miuccia Prada and director Germano Celant are the recipients of this year’s Leo Award and Agnes Gund Curatorial Award, respectively, marking the first time the awards have been given as a pair.

The Leo Award recognizes “pioneering contributions to the field of contemporary art” and the “Aggie” Award, named for Agnes Gund, “honors a curator who has made an outstanding contribution to the presentation and discourse of contemporary art.” They are being awarded to Prada and Celant for the Prada Foundation’s international art sponsorship, in particular the exhibition “When Attitudes Become Form: Bern 1969/Venice 2013,” which is currently on view at the Ca’ Corner della Regina, the revamped former palazzo that became the Prada Foundation’s Venice exhibition space in 2011.

To read the rest of this article, click here.

Photos from the event: Juan A. Gaitán

“Performance Arts, Present and Future” from Hyperallergic

Posted on October 22, 2013

PerformanceArt, Present and Future

Guy Ben-Ner, still from “Stealing Beauty” (2007) (image via postmastersart.com)

KANSAS CITY, Missouri — There’s an amazing show about contemporary performance art, and it may be coming to an art venue near you. Having just left the H&R Block Artspace at the Kansas City Art Institute, curator RoseLee Goldberg’s exhibition Performance Now is like a touring indie rock band, minus the live performers. Through video and documentation, it stars the likes of Marina Abramović, Guy Ben-Ner, Kalup Linzy, William Kentridge, Laurie Simmons, and Ryan Trecartin. It’s imperative to catch this show now — before the work therein becomes performance art history.

Performance Now offers a stellar line-up of some of the most important performance artists working today, although getting all of them together in one space isn’t always easy or successful. I didn’t have a chance to watch every piece, for instance — curating approximately 20 video works sprawled out over three rooms isn’t exactly conducive to full attention spans.

To read the rest of this article, click here

Posted to

Photos from the event: Book Launch: The Second World Congress of Free Artists

Posted on October 23, 2013

Firing Up, Fading Out

Posted on

Reflections on the 13th Istanbul Biennial

By Özge Ersoy

Former warehouse at Salipazari harbor on the Bosporus. Used as a main venue in several editions of the Istanbul Biennial. © Photo: Haupt & Binder

“The streets have never been this ready for contemporary art before,” a colleague told me in a conversation in July. This was the time when the 13th Istanbul Biennial team was discussing whether or not they should stop pursuing projects outdoors. In the end, it was after the violent and deadly crackdown of the Gezi protests that reclaimed a public park in Istanbul, and the curator Fulya Erdemci was asking from the beginning how it would be possible to have multiple publics come and act together, as the conceptual framework mused on the idea of “publicness.”

The biennial eventually withdrew from the streets and went indoors, occupying five venues, including the Antrepo, the waterfront warehouse that has been the mainstay venue for the biennial for a number of years; the Galata Greek Primary School; the nonprofits ARTER and SALT Beyoglu; as well as 5533, an artist-run space in the city. Erdemci stated that she did not want to legitimize the authorities that have been responsible for the police aggression during the protests. In press interviews, she insisted that it is the people’s own voices that should be heard on the street. But this argument has not been convincing for many, to say the least.

There has been a number of criticisms that targeted the biennial for expanding into the two privately owned exhibition spaces, SALT and ARTER, because of their connections to the strongest business conglomerates in the country. But mostly it was the decision of going indoors that has been fiercely talked about—allegedly resulting in losing connection with the “outside.” This approach is precisely what suggests that the apprehension of “publicness” remains on a formalist level.

Who is still convinced that art and publicness only come together in an urban, architectural space? Is this combination possible only when passersby run into artworks on the street, or could it possibly entice the viewer to think what “public” might actually be, regardless of its location? I have a rather naïve understanding of what public is, which is all about engaging, embracing and “owning.” And I continue to question whether criticizing and protesting an artwork or an institution means to “own” them. That’s why it’s relevant to think about what has been different with the protests against the biennial this year.

Read the full article here.

Posted to

“Each season will bring a revolution” from Liberation

Posted on October 29, 2013

By Sylvain Bourmeau (Venice)

INTERVIEW Initiator of the exhibition, Miuccia Prada is a scathing look at the current contemporary art:

PhD in Political Science and Communist activist and feminist, Miuccia Prada took over and relaunched in 1978 the company founded by his grandfather in Milan sixty-five years earlier. Besides Prada, become one of the empires of fashion, she has developed a taste for contemporary art, including through a foundation that places open to Milan in the summer of 2015.

How did the idea of ​​“re-do” the legendary exhibition Szeemann was held in Bern in 1969?
It’s me who got the idea. I read the newspaper Szeemann when I tried what the next exhibition at Ca ‘Corner della Regina. The Prada Foundation is a very personal approach. And when I have an idea, I like to test it with a few people. By working in fashion learns to be very open, always submit ideas for discussion. I met artists who are also intellectuals, Germano Celant, the artistic director of the foundation, the architect Rem Koolhaas and the artist Thomas Demand for them to share. All were enthusiastic. I always asked questions: was it not too nostalgic? It is this fear that has convinced me that the real idea was not to show again the works and artists, now well known, but again this exhibition.

Besides nostalgia, do not you afraid very practical problems that could lead?
It is immediately apparent: many things were simply impossible to reproduce, for reasons of safety, standards, distance between the works and the public, between the works themselves, the fact that some of the value gained . And others had disappeared, how to replace them, we should accept copies. A set of questions arose. One of the more radical solutions was found by Rem Koolhaas when he realized that the Venetian palace was larger than the Kunsthalle and could therefore restore showrooms. It was a great idea, it allowed to immediately give the public a sense of time and space.

To read the rest of the interview, click here

“Venice, court re-creation,” from Liberation

Posted on

By Sylvain Bourmeau Special Envoy to Venice

CRITICALThe Prada Foundation reproduced almost identically the cult exhibition “When Attitudes Become Form” rise in Bern in 1969.

On 19 November, the Italian art critic Germano Celant and fashion designer Miuccia Prada (see cons below) will be set in New York, the prestigious Leo and Agnes Gund presented annually by the Association of Independent Curators (ICI). The novelty this time is that this is not strictly speaking an exhibition that will be rewarded, but what might be called a recapitulation.

Opened in June and ending in a few days, “When Attitudes Become Form: Bern 1969/Venice 2013” looks like the remake, the Prada Foundation in Venice, an exhibition held in Bern in 1969. But not just any one that many critics consider to be the true birth of contemporary art. A cult show, in fact, seen at the time by very few people and closed ahead of schedule because of it provoked fierce debate in the Swiss capital.

To read the rest of this article, click here