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Comradeship Reading Group: Form-Specific Art


Daniel Buren, Comme dans un miroir: Division–Multiplication– Addition–Subtraction [As in a Mirror: Division–Multiplication–Addition–Subtraction]. Installation view, Form Specific: Arteast exhibition, presented in the then-unrenovated premises of the Muzej sodobne umetnosti Metelkova (+MSUM),Ljubljana, 2003

Comradeship Reading Group: Form-Specific Art
Tuesday, April 23, 2019
6:30 – 8 PM

ICI 401 Broadway Suite 1620
New York, NY 10013
FREE and open to the public

Throughout 2019 ICI is reading and thinking through Comradeship: Curating, Art, and Politics in Post-Socialist Europe. This selection of texts by Zdenka Badovinac, edited by J. Myers-Szupinska, gathers twenty years of writings from disparate and hard-to-find sources alongside new texts from the forward-thinking Slovenian curator, museum director, and scholar Zdenka Badovinac.

On April 23 we are reading the second chapter “Form-Specific Art,” translated by Borut Cajnko and previously published by the Moderna galerija, Ljubljana in 2003. The conversation will be co-led with writer Margot Bouman and artist and filmmaker Clemens Poole.

ICI’s 2019 Comradeship Reading Group will be co-led by a group of Core Participants, selected by application, in a series of monthly sessions. In this group we will bring together artists, curators, musicians, writers and other cultural producers to consider the twenty years of writing by Badovinac collected in her publication Comradeship: Curating, Art, and Politics in Post-Socialist Europe, published by ICI in 2019.

The Comradeship Reading Group discussions be open to the public and will be co-lead by 13-15 Core Participants that commit to attending a majority of the meetings over the course of 2019 and currently includes Kate Fowle, Amanda Parmer, Shehab Awad, Jess Barbagallo, Margot Bouman, Yin Ho, Ladi’Sasha Jones, Carlos Kong, Lynn Maliszewski, Maria D. Rapicavoli, Birgit Rathsmann, Cory Tamler, Mike Tan and Jovana Stokic. We ask that all Core Participants commit to attending three of the five meetings scheduled thus far, listed above, and nine of the fourteen that will be scheduled in total over the year. We will also ask that those selected to participate in this core group lead two of the discussions and contribute regularly to the conversation. Group members will be selected on the basis of their interests and ability to commit to the majority of meetings. Those who may have difficulty with meeting these requirements should join the public sessions that suit your schedule instead. In recognition of the time commitment and intellectual contributions of each member ICI offers an honorarium of $300. The conversations will be open to the public.

In this reading group we will be considering how the breadth of material Badovinac covers in her collected writing intersects with our contemporary and respective work in the context of New York in 2019. Topics Badovinac addresses in her writing include questions of alterity, decolonization, Freudian and Lacanian psychoanalytic models, instating institutions, parallel and subordinate histories, Laibach, punk and alternative music scenes, code switching, multiculturalism, duration and performance, standardization, the body as a medium for games of power and control, self-determination and self-management, IRWIN, hybridity, critiques of the modernist understanding of quality, quantification of everyday life, allegory, memory and sustainability. These are only a handful of the many incisive connections that Badovinac’s writing elicits, which we look forward to drawing out and thinking through in conversation with you.

Order Comradeship: Curating, Art, and Politics in Post-Socialist Europe by Zdenka Badovinac, published by ICI. Available here.

Subsequent Comradeship Reading Group dates include:

Tuesday, May 21, 2019 | 6:30 – 8PM
Exhibitions; History: Interrupted Histories
Pages 89-102

Tuesday, June 25, 2019 | 6:30 – 8PM
Contemporaneity; Repetition: The Museum of Contemporary Art
Pages 103-120


This event is free and open to the public. To attend, please RSVP to .(JavaScript must be enabled to view this email address) with READING GROUP in the subject line. A PDF of the chapter that will be discussed event will be emailed upon RSVP.

This event is accessible to people with mobility disabilities. Please contact ICI for additional accessibility needs.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

April 23, 2019

ICI 401 Broadway Suite 1620
New York, NY 10013

presenter

Margot Bouman

Margot Bouman is an Assistant Professor of Visual Culture at The New School. She holds an M.A. and a Ph.D. in Visual and Cultural Studies from the University of Rochester. Recent awards and fellowships include a GIDEST research fellowship, and a nomination for a Distinguished University Teaching Award (both 2017/18), as well as a 2016/17 Art Writing Workshop recipient (The Creative Capital/Andy Warhol Foundation Arts Writers Grant Program). She is at work on a manuscript about avant-garde television, from the 1940s to the 1980s. A recently completed essay that offers a new theorization of memes will appear in an upcoming Wiley-Blackwell reader in visual culture. She has a book under contract with Bloomsbury Publishing on sampling as a site-specific practice. A chapter in this book thinks through Dana Schutz’s painting, Open Casket (2016) to the longer representational history of Emmett Till, which Bouman anchors in contemporary art, the civil rights movement, Jim Crow and white shame. In addition to memes, sampling, avant-garde television and contemporary art, her research interests include the long, oppositional interrelationship between cultural and economic capital, and the work of the feminist/analytic philosopher Elizabeth Anderson on freedom and equality.


Clemens Poole

Clemens Poole is an artist and filmmaker based in New York City. His projects and exhibitions have been presented in Kyiv, New York, and Berlin. Since 2014 his practice has been linked closely to the events of the Ukrainian crisis. In collaboration with the internally displaced Ukrainian art foundation IZOLYATSIA he has curated and produced exhibitions including Zahoplennya, a series of public installations in Kyiv and Architecture Ukraine: Beyond the Front, an exhibition at the 2016 Venice Biennial. Recurring themes in his work include questions surrounding the experience of post-Soviet state formation and international recognition. He is currently engaged in the long form video project Starobilsk Portrait, depicting life in Eastern Ukraine in proximity to the de facto border with the separatist territories. He holds a BFA from the Cooper Union and an MA/MSc in international history from Columbia University and the London School of Economics.


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