INDEPENDENT CURATORS INTERNATIONAL
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2019 Curatorial Intensive in Auckland: Public Symposium


2019 Curatorial Intensive in Auckland Public Symposium
Sunday, August 4, 2019
10am–2pm

Artspace Aotearoa
300 Karangahape Rd
Auckland, New Zealand 1145
FREE and open to the public


This public symposium concludes Independent Curators International (ICI)’s 2019 Curatorial Intensive in Auckland. This is ICI’s first Curatorial Intensive in Tāmaki Makaurau Auckland, Aotearoa New Zealand. This Intensive draws upon the diverse cultural environment from Auckland and the greater te Moana Nui-a-Kiwa Pacific Ocean region. This Intensive anticipates Artspace Aotearoa’s new programme ‘The Drift,’ which will examine and respond to alternative approaches to artistic education.

The Curatorial Intensive Sessions provide a platform for each of the participants to present the project they have been developing over the course of the program, a weeklong professional development program which brings together emerging curators for the opportunity to exchange ideas, develop their curatorial practice, and learn from their colleagues.  These small group presentations reflect the intimacy of the Intensive and provide a platform for each group to briefly discuss their work amongst one another.

Participants include: Māia Abraham (Christchurch, New Zealand), Riksa Afiaty (Bandung, Indonesia), Alejandro Alonso Díaz (Barcelona, Spain), Tyson Campbell (Carlton, Australia), Syaheedah Iskandar (London, UK), Drew Kahuʻāina Broderick (Honolulu, Hawaii), Ikram Lakhdhar (Los Angeles, California), Francis McWhannell (Auckland, New Zealand), Milly Mitchell-Anyon (Dunedin, New Zealand) Savanah Pennell (Scottsdale, Arizona), Eleanor Scicchitano (Hectorville, Australia), Joshua Tengan (Honolulu, Hawaii), and Hilary Thurlow (Lutwyche, Australia).


This event is free and open to the public.


The Curatorial Intensive in Auckland is made possible in part by grants from the Andy Warhol Foundation for the Visual Arts, the Ford Foundation, the Hartfield Foundation, and by generous contributions from Artspace Aotearoa, The Chartwell Trust, John and Jo Gow, ST Paul St Gallery Auckland University of Technology, ICI’s Leadership Council, the ICI Board of Trustees, the ICI Gerrit Lansing Education Fund,  and the supporters of ICI’s Access Fund.

August 4, 2019

Artspace Aotearoa
300 Karangahape Rd
Auckland, New Zealand 1145

presenter

Māia Abraham

Māia Abraham (Ngāi the Rangi, Tūhoe) is a curator and artist living currently in Ōtautahi Christchurch. Having moved from Katikati, he completed a BFA majoring in Sculpture from The University of Canterbury in 2017. Within his practice he uses art and curating as a way of exploring kaupapa Māori ways of thinking and working; asking how does manaakitanga exist in the arts? Or perhaps why is whanaungatanga important to the artistic process? Māia is one of 3 kaiwhakahaere of Ōtautahi Kōrerotia, a collective producing events and exhibitions for and by local Christchurch artists. He was the Toi Māori and Creative New Zealand Māori Art intern at Blue Oyster Art Project Space for 2018, co-curating the exhibition ‘Wā o mua’, September 2018. Other curated exhibitions planned for this year are ‘Whitu’ at Masterworks Gallery, Auckland, June 2019. Blue Oyster Art Project Space, Dunedin, July 2019. Enjoy Public Art Gallery, September, October 2019. Hastings City Art Gallery, November 2019.


Riksa Afiaty

Riksa Afiaty is enabler. Together with Charles Esche and Enin Supriyanto conceived exhibition Power and Other Things: Indonesia & Art (1835–now) and symposia Lupa Lupa IngatImperial Zombies Modern Vampires and Contemporary Ghosts for the 2017 Europalia Art Festival in Belgium. She worked on the curatorial team of Jakarta Biennale 2015 #16, Neither Forward nor Back: Acting in the Present. In 2016, the Foundation for Arts Initiatives awarded her a grant to conduct research on non-Western models for art institutions. She selected as a 2018–19 participant in the Jan Van Eyck Academie.

She is keen to continuously contest curatorial and institutional position, exhibition making along with it derivatives — artistic research, publication, archiving, symposia, etc using decolonial aestheSis model to counter euro-centric view in redefining art by addressing power structures responsible for oppression and heteronormative approach. She also believes in agency working in hyphenated-position is reasonable and relevant to unfolding optional practices and ultimately set a tools to understand the fragmented perspectives, which leading to question does it matter if it doesn’t perform as art?


Alejandro Alonso Díaz

Alejandro Alonso Díaz is a writer, curator and researcher with a background in art history and philosophy. His practice is concerned with epistemologies around notions of environmentalism, materiality, the post-human condition and interspecies communality, often grounded in an enquiry into other forms of existence, and rehearsing radical ways of otherness.

In 2016 he founded fluent, a para–institution for artistic research presenting cycles of consecutive exhibition modules, texts and live events, structured through long-term axes and presenting the work of artists such as Tamara Henderson, Mariana Silva, Paul Maheke, Louisa Martin, Tim Ivison & Julia Tcharfas and Laida Lertxundi, among others. Alejandro has also curated and participated in projects for The Whitechapel Gallery, London; Chisenhale; 18thSt Arts Centre, Los Ángeles; INLAND; P/////AKT, Amsterdam and the Athens Performance Biennale, among many others. He contributes regularly to international art publications such as frieze, Mousse, Terremoto and Contemporãnea. In 2014 and 2015, Alejandro was a curatorial fellowship from Fundación Botín.


Tyson Campbell

Tyson Campbell is of mixed Māori (Te Rarawa/ Ngāti Maniapoto) and pākeha (white-fella) ancestries. He is a Birrarang-a/ Melbourne based multi-disciplinary curator and artist whose work is engaged with the relationships between the Indigenous and the settler-state imaginaries. Tyson is currently researching non-performativity as a way to naturalise and elevate QTPOC spiritualities.

Tyson has recently exhibited with “Ngāti Kangaru” at IMA (AUS), 2019.  “Anti-time” at Seventh Gallery (AUS), 2019.  “Why Should We Listen to Animals” with Liquid Architecture, (AUS), 2018 and “The River Remains: Ake Tonu Atu” (NZ), 2018.


Syaheedah Iskandar

Syaheedah Iskandar is currently undertaking her MA in History of Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London and was previously Curatorial Assistant at NTU Centre for Contemporary Art Singapore (2014 – 2018). She is presently researching and writing on visual theory within the paradigm of Southeast Asia. She is the inaugural Emerging Writers’ Fellow for the academic journal Southeast of Now: Directions in Contemporary and Modern Art in Asia, working on a paper about ghaib (unseen) within the vernacular Malay world.


Drew Kahuʻāina Broderick

Drew Kahuʻāina Broderick is the incoming director of Koa Gallery at Kapiʻolani Community College on Oʻahu. From 2012 to 2016 he operated SPF Projects, an artist-run initiative dedicated to building capacity for the production, display, and review of contemporary art in Honolulu. He was a contributing member of Hawaiʻi-based collective PARADISE COVE (2015-2018) and co-founded CONTACT, an annual thematic group exhibition, in 2013. Recent and forthcoming projects include the inaugural Honolulu Biennial 2017: Middle of Now | Here, curated by Fumio Nanjo and Ngahiraka Mason; Transits and Returns (2019) co-developed by Sarah Biscarra Dilley, Freja Carmichael, Léuli Lunaʻi Eshraghi, Tarah Hogue, Lana Lopesi for the Vancouver Art Gallery; and Revisiting Kealakekua Bay, Reworking the Captain Cook Monument (2020), a speculative group endeavor presenting unrealized interventionist proposals. Drew holds an MA from the Center for Curatorial Studies at Bard College, New York and a BA in Biology and Studio Art from Wesleyan University, Connecticut.


Ikram Lakhdhar

Ikram Lakhdhar is an independent Tunisian Curator and Scholar. Her research-based exhibitions examine issues of race, gender, and the politics of colonial and oriental representation. Including her most recent exhibition at George Washington University and Corcoran School of the Arts & Design, Gallery 102, “Water/ماء: Trespassing Liquid Highways”, which investigated the subject of water as a transnational grounding to uncover colonialist and orientalist between the Caribbean and the Mediterranean seas.

Lakhdhar holds an M.A. in Arts Politics from NYU Tisch School of the Arts and a B.A. in Art History and International Relations from Connecticut College. She is the Founding Editor of DIRT, a platform for inclusive arts discourse, and the Communications and Network Membership Manager at Common Field.

Lakhdhar presented research at NYU, the Jerusalem Fund, Parking Gallery in South Africa, GWU, and others. Her writing has been published in journals including Arts.Black, BmoreArt, and Common Field’s Field Perspectives. She received international awards for her curatorial praxis most recently from Valetta 2018 Culture Capital, the Getty Foundation, CIMAM, and CISLA.


Francis McWhannell

Francis McWhannell is a freelance writer and curator from Aotearoa New Zealand currently based in Tāmaki Makaurau Auckland. He holds a Bachelor of Arts (Honours) in Museums and Cultural Heritage from the University of Auckland, where he is currently completing a Master of Arts in Art History. He has written for various arts and culture magazines and websites, including Art New Zealand, Art News New Zealand, and The Spinoff. He contributes regularly to The Pantograph Punch, where he was Visual Arts Editor from 2016 to 2017.

Francis has contributed essays for exhibitions at public and commercial galleries, including Painting: a transitive space (ST PAUL St Gallery Three, 2016) and Denys Watkins: Dynamo Hum (Gus Fisher Gallery, 2017). He is co-author of two books on historical photography, Bitter Fruit: Australian photographs to 1963 (Michael Graham-Stewart, 2017) and Early West African photography (forthcoming). His exhibitions include Postcards from Papatoetoe (Old Papatoetoe mall, 2016), Fluid structures: Watercolour group show (Parlour Projects, 2017), and Projects 2019: Whanaungatanga (Auckland Art Fair, 2019).


Milly Mitchell-Anyon

Milly Mitchell-Anyon is an art historian and curator from Whanganui, Aotearoa. She is currently the Creative New Zealand Curatorial Intern at Dunedin Public Art Gallery, after just completing the Blumhardt Creative New Zealand Curatorial Internship at the Dowse Art Museum in Te Awakairangi/Lower Hutt. The culmination of the Blumhardt CNZ internship was the exhibition ‘Making Conversation,’ which considered craft practices from the 1970s and 1980s alongside those of contemporary practitioners. Her thesis considered the curatorial and archivist impulses in Patrick Pound’s ‘The Great Exhibition,’ his retrospective held at Melbourne’s National Gallery of Victoria in 2017. She holds a Master of Arts in Art History (Distinction) from Victoria University of Wellington and a Postgraduate Diploma in Museum Studies from Massey University. She has previously worked at Puke Ariki Museum, Whanganui Regional Museum and Aratoi Wairarapa Museum of Art and History. Milly hopes to start a non-profit gallery in Whanganui in the near future, to create a collaborative space for critical conversations to take place through curation, publication and programming.


Savanah Pennell

Savanah Pennell is an artist, activist, and curator from Gilbert, Arizona. She is currently based in New York City and is working on a series of projects revolving around borders, identity, and memory. Savanah received her BA in Art History from Arizona State University in December of 2016, and her MA in Arts Politics from New York University’s Tisch School of the Arts in 2019. She has recently shown artwork at the Fringe Art Bath Festival in Bath, UK, and has showcased her co-created video installation and conversation based event From Palestine to Mexico: Fronteras, Hudud, Borders at the Bowery Poetry Club. In 2019 Savanah was awarded the Tisch Initiative for Creative Research Grant to attend the Sharjah Biennial 14 and to investigate the role of socially engaged art in the biennial setting. She has also recently launched her co-curated online collection of artists Insert Woman Here. This collection is an ongoing database of female artists who work within the theme of unseen labor. Savanah has worked in various capacities for such institutions as the ASU Art Museum, the Museum of Walking, and Scottsdale Public Art. She has also been an art educator, working as an afterschool art instructor for Boys and Girls Clubs of Greater Scottsdale. As an activist, Savanah has worked with such organizations as Amnesty International USA as an organizer of student chapters and coordinator of events revolving around campaigns to end human rights abuses.


Eleanor Scicchitano

Eleanor is an Adelaide-based independent curator and writer. From 2013 – 2019 she was the Visual Arts Program Curator at Country Arts SA, and before that the Visual Arts Coordinator at Tandanya – National Aboriginal Cultural Institute from 2011 – 2013. She has previously held volunteer roles including co-director of FELTspace ARI. She graduated with a Masters in Curatorial and Museum Studies from the University of Adelaide in 2012, and is the current Chair of the Art History and Curatorship Alumni Network, which supports graduates with networking and professional development opportunities. From 2014-2016 she sat on the Board of Directors of the Australian Experimental Art Foundation, and from 2017-2019 on the Board of ACE Open. In 2015 Eleanor travelled to Venice where she was a Team Leader at the Australian Pavilion at the Venice Biennale, as part of the Australia Council’s Professional Development program. In 2018 she received a Darling Travel Grant, which saw her travel to the UK and Italy to research community engagement strategies in contemporary art spaces.

Scicchitano’s curatorial practice commonly involves working with artists to explore identity and the body, and the way in which the body is used as a vehicle in contemporary art to challenge and explore who they are. In 2017 she presented I’m a feminist but… at Praxis Artspace, Adelaide, as part of FRAN Fest 2017. It was re-presented in the Walkway Gallery, Bordertown in 2018. She has previously curated exhibitions at the Contemporary Art Centre of South Australia, the Australian Experimental Art Foundation, Canberra Contemporary Art Space, FELTspace ARI and Artbank, Sydney.


Joshua Tengan

Joshua Tengan is a Honolulu-based contemporary art curator. He was the assistant curator of the second Honolulu Biennial 2019, To Make Wrong / Right / Now. Since 2015, he has worked with Native Hawaiian and Hawaiʻi-based artists and cultural practitioners, through the arts non-profit Puʻuhonua Society, to deliver Hawaiʻi’s largest annual thematic contemporary art exhibition, CONTACT, which offers a critical and comprehensive survey of local contemporary visual culture. In 2019, he curated CONTACT, Acts of Faith, presented at the Hawaiian Mission Houses Historic Site and Archive, which explored the role of religion in the colonization of Hawaiʻi through artistic interventions in the historic collections and an artist book library. He holds a Curatorial Studies M.A. with Distinction from Newcastle University (UK) and a B.A. in Fine Art from Westmont College.


Hilary Thurlow

Hilary Thurlow is an emerging arts writer and worker from Brisbane, Australia. She is a Co-Director of Boxcopy, an artist-led project space in Brisbane. In 2018, she completed her Honours in Art History at the University of Queensland, Brisbane with First Class. Hilary’s research interests are focussed on historiography and performative practice. In late 2019, Hilary will participate in the Australia Council’s Venice Biennale Professional Development Program and in 2018, she participated in the Goldsmiths Curatorial Summer School ‘Curating the Contemporary’ at the British School in Rome. Hilary has worked across a variety of art institutions and most recently at the UQ Art Museum, Brisbane.


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