Comradeship Reading Group

Comradeship Reading Group
Tuesday, February 19, 2019

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

Throughout 2019 ICI will be reading and thinking through Comradeship: Curating, Art, and Politics in Post-Socialist Europe. This selection of texts by Zdenka Badinovac, 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.

Tuesday, February 19, 2019 | 6:30 – 8:30 PM
Introductory Text: Zdenka Badovinac in Conversation with J. Myers-Szupinska.
Pages 11-34

Tuesday, March 19, 2019 | 6:30 – 8:30 PM
Exhibitions; History: Body and the East
Pages 41-66

Tuesday, April 23, 2019 | 6:30 – 8:30 PM
Exhibitions; History: Form-Specific Art
Pages 67-88

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

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

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 the forward-thinking Slovenian curator, museum director, and scholar Zdenka 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 Shehab Awad, Margot Bouman, Kate Fowle, Yin Ho, Ladi’Sasha Jones, Carlos Kong, Lynn Maliszewski, Amanda Parmer, Clemens Poole, 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. 

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

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.

February 19, 2019

401 Broadway Suite 1620
New York, NY 10013


Shehab Awad

Shehab Awad is an independent curator and writer from Cairo, Egypt based in New York City. He/she is Founding Director of Executive Care, an all-encompassing agency at the service of artists. Her/his writing appears in the Brooklyn Rail, and ArtAsiaPacific Magazine. Awad has held curatorial positions at Townhouse, Cairo;  Institute of Arab and Islamic Art, NY; and most recently Participant Inc, NY. He/she holds an MA from the Center for Curatorial Studies, Bard College.

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.

Kate Fowle

Kate Fowle is Director of MoMA PS1 in New York. From 2013-2019 she was the inaugural Chief Curator at Garage Museum of Contemporary Art in Moscow and director-at-large at Independent Curators International (ICI) in New York, where she was the Executive Director from 2009-13. Prior to this she was the international curator at the Ullens Center for Contemporary Art in Beijing (2007-08). In 2002 she co-founded the Master’s Program in Curatorial Practice for California College of the Arts in San Francisco, for which she was the Chair until 2007. Before moving to the United States, Fowle was co-director of Smith + Fowle in London from 1996-2002. From 1994-96 she was curator at the Towner Art Gallery and Museum in Eastbourne, East Sussex.

Yin Ho

Yin Ho is an artist and writer interested in systems of knowledge and belief. A graduate of the ITP program at NYU Tisch School of the Arts and the London School of Economics, she is a part of An/other New York, a collective of Asian American art workers, and a former member of TSA NY, a group of artist-run, non-profit galleries. Her critical writing has appeared in Rhizome and Artforum, among others.

Ladi’Sasha Jones

Ladi’Sasha Jones is a writer and curator based in Harlem, NY. She has written for Aperture, Avery Review, Arts.Black, Houston Center for Photography, Art X Lagos, Temporary Art Review, ArtAgenda, The Art Momentum, and Recess among others. Her project, Black Interior Space / Spatial Thought was commissioned by THE SHED (NYC) as a part of Open Call 2021 and was the recipient of a 2021 Research and Development award from the Graham Foundation for Advanced Studies in the Fine Arts. Currently, Jones is the Artist Engagement Manager for The Laundromat Project. She held prior appointments at the Norton Museum of Art, the New Museum’s IdeasCity platform, and the Schomburg Center for Research in Black Culture. She holds a B.A. in African American Studies from Temple University and a M.A. in Arts Politics from NYU, Tisch School of the Arts.

Carlos Kong

Carlos Kong is a writer, art historian, and curator. He is a correspondent for Flash Art, and has contributed to various art publications and curatorial programs in Europe and the US. He is pursuing a PhD at Princeton, where he researches across contemporary art and film from Europe through the Middle East. He received a Fulbright Scholarship for his dissertation on queer performances of migration between Germany and Turkey.

Lynn Maliszewski

Lynn Maliszewski is based in Brooklyn, New York. Maliszewski has written for publications including ARTnews, The Brooklyn Rail,, Whitewall, and OSMOS, among others. Between 2015 and 2017, she attended the Center for Curatorial Studies (CCS), Bard College, to research the history of printed matter and samizdat arts publishing in Czechoslovakia during the Cold War. Since 2012, her research and archival interests have led her to the Museum of Modern Art; MoMA PS1; Printed Matter; e-flux; Primary Information; and CUE Art Foundation. She has curated exhibitions of new work by Huma Bhabha, Jeremy Olson, Max Razdow, and Jesse Bransford. She is currently a director at Callicoon Fine Arts in Manhattan. Maliszewski continues to pursue research related to artists’ books, generating dialogue between publishing as artistic practice and the ways in which information is circulated via visual arts.

Amanda Parmer

Amanda Parmer is the Director of Programs at Independent Curators International. She previously worked as the Curator of the Vera List Center for Art and Politics and is a 2009-10 Whitney Independent Study Program Helena Rubenstein Curatorial Fellow. She has organized diverse exhibitions, programs and events with artists, collectives, curators and thinkers at Abrons Art Center, Brooklyn Academy of Music‬, Cleopatra’s Brooklyn and Berlin, The Cooper Union, e-flux, High Line‬, The Kitchen, New Museum, The New School, The New York Armory and Volta Shows and Sunview Luncheonette. She was a co-organizer of the LEGACY and PERSONA New Museum Seminars: (Temporary) Collection of Ideas and has taught at Eugene Lang College of Liberal Arts at The New School and Rhode Island School of Design. In 2014 she initiated Parmer, a curatorial platform for exhibiting, programming and writing based in New York that focuses on queer and feminist strategies and post-colonial analysis.

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.

Maria D. Rapicavoli

Maria D. Rapicavoli was born in Catania (Italy) and lives and works in New York.

Rapicavoli was a fellow in the Whitney Independent Study Program in 2012 and received her MFA from Goldsmiths University of London (2005) and a BA from the Academy of Fine Arts in Catania (2001).

She has exhibited in several group shows including at Socrates Sculpture Park, New York; Whitechapel Gallery, London; Yerba Buena Center For The Arts, San Francisco; Museo di Villa Croce, Genoa; Fondazione Sandretto Re Rebaudengo, Turin; Magazzino Italian Art, Cold Spring, NY; Museo di Villa Croce, Genova (Italy); Palazzo Reale, Milan; Guest Projects, London; Riso, Museum for Contemporary Art, Palermo, Italy; Strozzina, Fondazione Palazzo Strozzi, Florence; Sala Rekalde Bilbao; Italian Cultural Institute London and New York.

She is the recipient of many awards and grants including the Italian Council VI edition Award (2019); the nctm e l’arte award (2013); DE.MO/Movin’UP grant, Italy (2011); the Renaissance Prize Award at the Italian Cultural Institute, London (2008); and a Postgraduate award in Arts and Humanities by AHRB, London (2004).

She has participated in the AIRspace Residency Program at the Abrons Arts Center in New York (2015); International Study and Curatorial Program in Brooklyn (2014); and the Lower Manhattan Cultural Council Swing Space Residency Program in NY (2013).

Currently she is Artist Member at the Elizabeth Foundation for the Arts in New York.

Birgit Rathsmann

Birgit Rathsmann grew up in Germany and Indonesia. She is a filmmaker, animator and artist. She has made a documentary film about women martial arts heroes and directors in films from Hong Kong and created an exhibition in 2012 from 22 artist responses to the 1977 jail death of the Baader Meinhof Group. She has created animations in collaboration with a number of comedians including Lorelei Ramirez, Mary Houlihan, Tim Platt and Ikechukwu Ufomado. “Malpaso”, an exhibition she created with Alenjandro Almaza Pereda and Rick Karr investigates a submerged church in Chiapas, Mexico and is at The Clemente on New York’s Lower East Side from March 8 to April 13, 2019.

Cory Tamler

Cory Tamler ( is a writer, translator, and interdisciplinary artist whose practice is rooted in theatre, performance as research, and community organizing. She has created and participated in research-based performance projects in the U.S., Germany, and Serbia, and is a core artist with civic arts organization Open Waters in Maine. Cory was a Fulbright Scholar (Berlin), has held fellowships at the James Gallery and the New Museum, and her academic and critical writing and translations have been published in The Mercurian, Studies in Musical Theatre, Asymptote, Culturebot, The Offing, Extended Play, Howlround, and SCENA. As a Ph.D. student in Theatre and Performance at The Graduate Center, CUNY, she studies open-ended artistic work from social practice to community-based theatre in the Balkans, Germany, and the US. She teaches in the Department of Theater at Brooklyn College and is a member of Commitment Experiment, an experimental performance collective.

Mike Tan

Mike Tan is a Malaysian gallerist who runs the Contemporary Art gallery, RUBBER FACTORY in the Lower East Side of New York. His degree at Gallatin NYU was the Intersection between Fact and Fiction in the Post Colonial British Archive.

Jovana Stokic

Jovana Stokic is a Belgrade-born, New York-based art historian and curator. She holds a PhD from the Institute of Fine Arts, New York University. Her dissertation, The Body Beautiful: Feminine Self-Representations 1970–2007, analyzes works of Marina Abramovic, Martha Rosler, Joan Jonas particularly focusing on the notion of self-representation. Stokic was a fellow at the New Museum of Contemporary Art, New York; a researcher at the Whitney Museum of American Art, New York; the curator of the Kimmel Center Galleries, New York University; and the performance curator at Location One, New York. She is currently on the faculty of the MFA Art Practice, SVA and NYU Steinhardt Department of Art and Art Professions.

event updates

Comradeship: Reading Zdenka Badovinac in New York

Carlos Kong, a core participant of the Comradeship Reading Group, reflects on the program and the publication, Comradeship: Curating, Art, and Politics in Post-Socialist Europe.

Read more »

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