INDEPENDENT CURATORS INTERNATIONAL
events

Seminario Fundación Cisneros


Friday, November 9, 2012
8:30am - 12 noon

ICI Curatorial Hub
401 Broadway, Suite 1620
New York, NY 10013

The Betrayal of the Contemporary: Activations, Suspensions, and Projections of the Contemporary in Art

Join ICI at the Curatorial Hub this Friday as we livestream the 2nd Edition of the Seminario Fundación Cisneros: The Betrayal of the Contemporary, a seminar organized in Caracas, Venezuela. From 8:30am to noon, we will follow presentations by Nato Thompson, Sofia Hernández Chong Cuy, Maria Lind and more! Click here for more information about the seminar.

ICI is part of the international network for the seminar alongside Lugar a Dudas (Cali, Colombia), TEOR/éTica (San José, Costa Rica), SOMA (Mexico City, Mexico), CAPACETE (Río de Janerio, Brazil), and Tráfico Visual (Caracas, Venezuela). The seminar will have an active online component featuring a series of virtual interventions from ICI and the aforementioned international participants. We will connect to the seminar in Venezuela via Google Hangout to comment on the lectures.


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 Cisneros Livestream in the subject field.
For more information about this event, contact Misa Jeffereis, Public Programs & Research Coordinator at .(JavaScript must be enabled to view this email address).

November 9, 2012

presenter

Nato Thompson

Nato Thompson joined Creative Time in January 2007. Since then, Thompson, who is Chief Curator, has organized such major Creative Time projects as The Creative Time Summit (2009–2013), Kara Walker’s A Subtlety… (2014), Suzanne Lacy’s Between the Door and the Street (2013), Nick Cave’s HEARD•NY (2013), Trevor Paglen’s The Last Pictures (2012), Living as Form (2011), Paul Ramirez Jonas’s Key to the City (2010), Jeremy Deller’s It is What it is (2009, with New Museum curators Laura Hoptman and Amy Mackie), Democracy in America: The National Campaign (2008), and Paul Chan’s Waiting for Godot in New Orleans (2007), among others. Previously, he worked as Curator at MASS MoCA, where he completed numerous large-scale exhibitions, including The Interventionists: Art in the Social Sphere (2004), with a catalogue distributed by MIT Press. His writings have appeared in numerous publications, BookForum, Frieze, Art Forum, Parkett, Cabinet, and The Journal of Aesthetics and Protest among them. In 2005, he received the Art Journal Award for distinguished writing. For Independent Curators International (ICI), Thompson curated the exhibition Experimental Geography, with a book available from Melville House Publishing. His book Seeing Power: Socially Engaged Art in the Age of Cultural Production is forthcoming from Melville House in 2013.


Sofia Hernandez Chong Cuy

Sofía Hernández Chong Cuy is Curator of the Colección Patricia Phelps de Cisneros in New York. Previously, she was the Director of the Museo Tamayo in Mexico City since 2009 and was Curator and Programs Manager at Art in General from 2003-2008, where she developed a New Commissions Program. Originally from Mexico, she graduated from the Center for Curatorial Studies at Bard College in 2000. In the past decade, she has worked at Art in General, Americas Society and CCS Bard; curated exhibitions for Kadist Art Foundation in Paris, the Museum of Latin American Art of Buenos Aires (MALBA), and the Center for Contemporary Art in Vilnius, Lithuania; and worked closely on projects with a number of artists, including Allora & Calzadilla, Alejandro Cesarco, Mario García Torres, Andrea Geyer, Sharon Hayes, and Judi Werthein. She lectures regularly on contemporary art, and publishes frequently in exhibition catalogs, art magazines and in her blog Sideshows.org. She is a board member of Kunstverein, Amsterdam, and an agent of the upcoming Documenta 13.


Claire Bishop

Claire Bishop is a Professor of Art History at the CUNY Graduate Center. Bishop is an internationally acknowledged scholar of contemporary art. Her dissertation was published as Installation Art: A Critical History and quickly became an indispensable resource for anyone interested in the subject. Her edited volume, Participation (MIT Press, 2006), is also highly regarded in the field. She is the author of two influential essays—“Antagonism and Relational Aesthetics” (October, 2004) and “The Social Turn: Collaboration and its Discontents” (Artforum, 2006). Both have been translated and reprinted a number of times. Bishop curated the exhibition Double Agent (2008) at the London ICA, and is working on a book about socially-engaged art and spectatorship.
She holds a Ph.D. from the University of Essex.


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