“My research included field trips to Luanda (Angola) and Maputo (Mozambique), where I assembled documentation about artists, museums, galleries, exhibitions, and players such as collectors and dealers.”
Through the lens of her project Exhibition Without Objects, Sadia Shirazi explored generative and self-reflexive exhibitions. The following is a text by Shirazi, commissioned by ICI, on her exhibition and the legacy of traveling curatorial projects.
In 1996, three years after the inception of do it, curator Robert Fleck interviewed Hans Ulrich Obrist on the impetus for organizing the generative exhibition. Obrist shares his thoughts on the first iterations of the exhibition and the unending potential for future versions.
We speak today of a potent return to the politics within art, but what do we mean in saying this? Does “making political art” imply a direct engagement of the artist within the public sphere with a work? Muriel Enjalran addresses these questions in her Journal.
Doryun Chong, Associate Curator of Painting and Sculpture at MoMA, is the recipient of the first Gerrit Lansing Independent Vision Award. This interview by ICI’s Executive Director Kate Fowle focuses on his practice to date.
This online interview series was developed by five M.A. candidates at NYU during ICI’s Spring 2011 Curatorial Practice course, providing increased engagement with the art and ideas behind Project 35 through interviews with the artists and curators involved in the project.
Syrago Tsiara writes about the 2nd Thessaloniki Biennale of Contemporary Art, and its attempt to record the state of art in “times of uncertainty” by focusing on artists from prominent geopolitical centers and their colleagues from distant and less accessible areas.
The following is a short summary of the most important paradigm Christine Nippe discovered in art related to the urban space Berlin: fascination with forgotten places and empty public space.
In this DISPATCH, Nancy Adajania and Ranjit Hoskote will attempt to address the dilemmas as well as the potentialities of a mode of cultural production that is based on global circulations yet is not merely circulatory; and a mode of life that is based on transnational mobility but is not without anchorage in regional predicaments.