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Exhibitions on Exhibitions


Joëlle Tuerlinckx, Drawing Inventory - Drawing Center New York, 2006: chosen extracts for ‘Retracing Exhibitions’, installation from Retracing Exhibitions, curated by Kari Conte and Florence Ostende, Royal College of Art, London, 2009.

Thursday, October 18, 2012
6:30-8pm

ICI Curatorial Hub

Exhibitions on Exhibitions
Curators Kari Conte and Florence Ostende will take the documentation of the longest “exhibition in progress,” do it, as the starting point for a discussion on exhibition histories and the rise of self-reflexive exhibitions. Started in 1993, do it employs an open curatorial format questioning the traditional definition of an exhibition as an event limited to a specific time and space.

In the early 1990s a growing awareness of a lack of exhibition history gave rise to a wave of publications such as Die Kunst der Austellung (ed. Bernd Klüser, Katharina Hegewisch, 1991), Thinking about Exhibitions (Reesa Greenberg, Bruce W. Ferguson, Sandy Nairne, 1996), and The Power of Display (Mary Anne Staniszewski, 1998). From Staniszewski’s attention to the amnesia of past exhibition forms to Hans Ulrich Obrist’s “protest against forgetting,” this literature on exhibitions pointed to a contradiction between the lack of exhibition archives and the global proliferation of exhibitions.

Along with the increasing development of publications on exhibition history, the overlooked phenomenon of self-reflexive exhibitions has brought a new perspective distinguished from the nostalgic loss of curatorial memory. This event is an attempt to draw a recent constellation of exhibitions that reflect on exhibitions such as Annual Report: A Year in Exhibitions, 7th Gwangju Biennale, Korea, 2008; Voids, Centre Pompidou, Paris, 2009; Retracing Exhibitions, Royal College of Art, London, UK, 2009; and Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art, Brooklyn Museum, 2012; as well as historical examples such as An Exhibit, Hatton Gallery, Newcastle upon Tyne, 1957; and Stations of the Modern Age, Berlinische Galerie, Martin Gropius Bau, Berlin, 1988. These self-reflexive exhibitions often deliver a larger scope of investigation by emphasizing the artists’ role as interventionist and active participant in the “exhibition machine.”

Rather than strictly focusing on isolated historical case studies, shows on the concept of exhibition-making promote active reconstructions and artistic productions galvanizing the field of exhibition history long-rooted in archival absence and the so-called legitimacy of the curatorial position. Through the implementation of re-readings, artist’s works, new commissions and live events, self-reflexive exhibitions “perform exhibition history” by generating an updated methodology of curatorial practice.


This event is free and open to the public, though seating is limited. Please RSVP to .(JavaScript must be enabled to view this email address) with Exhibitions on Exhibitions in the subject field.
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Click here for more information on the exhibition, do it.

October 18, 2012

The Curatorial Hub at ICI
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presenter

Kari Conte

Kari Conte is a curator and writer based in New York, where she is currently Director of Programs and Exhibitions at the International Studio & Curatorial Program (ISCP). She co-curated with Florence Ostende Retracing Exhibitions, Royal College of Art, London, 2009. Previously, she worked at Whitechapel Gallery, London and received an MA in Curating Contemporary Art at the Royal College of Art. She has curated or organized over 30 international exhibitions and has lectured on the history of exhibitions at Bard College and on residencies at the Goethe-Institut and the Sharjah Art Foundation. She is currently working on Brooklyn Commons, a series of artist pairings at ISCP and is editing the first monograph on artist Mierle Laderman Ukeles, which will focus on the artist’s “ballets for large machinery” to be published by Sternberg Press, Berlin and Kunstverein, Amsterdam.


Florence Ostende

Florence Ostende is Adjunct Curator at Dallas Contemporary and is based in Paris. She co-curated with Kari Conte Retracing Exhibitions, Royal College of Art, London, 2009. A curator and art writer, Ostende has researched, lectured, and curated around exhibition histories looking specifically at artists using the language of exhibition-making in their own works. Ostende curated Out The Door And Over The Wall, FRAC PACA Center for Contemporary Art, Marseille, 2010, and organized the event Good Show/Bad Show, Palais de Tokyo, 2011, where she was curator-in-residence. Ostende edited the series Exhibition Memory published by Catalogue, an online publication she co-founded with Coline Milliard. Previously guest curator at the Maison Populaire Center for Contemporary Art in Paris, she has recently organized the Dallas Biennale, 2012 and co-curated The Institute of Savage Archives, Villa Arson, National Center for Contemporary Art, Nice, 2012. Ostende holds MAs in Curating Contemporary Art (Royal College of Art, London), Art History (Université Paris IV Paris-Sorbonne), and English Literature (Université de Provence).


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