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

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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October 18, 2012

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Kari Conte

Kari Conte is a curator and writer, and has been the the Director of Programs and Exhibitions at the International Studio & Curatorial Program (ISCP) in New York since 2010. At ISCP, she leads residencies, exhibitions, and public programs focused on global contemporary art practices. Additionally, she is Residency Curator for Kai Art Center in Tallinn and Advisor for the 2020 Helsinki Biennale. She has curated more than forty exhibitions; these include recent solo presentations by Sonia Leimer, Chiara Fumai, Hikaru Fujii, Jennifer Tee, Eva Kot’átková and Richard Ibghy & Marilou Lemmens and the group exhibitions Concrete Truth: Art and the Documentary, The Animal Mirror and Aqueous Earth. She has also curated exhibitions and projects for the Aichi Triennale and Performa Biennial. As a writer, she is interested in the intersection of art and politics as well as institutional and exhibition histories. She published Seven Work Ballets, the first monograph on artist Mierle Laderman Ukeles (Sternberg Press, 2016) and has contributed to numerous other books and journals. Before joining ISCP, she was based in London, where she worked at Whitechapel Gallery and received an MA in Curating Contemporary Art from the Royal College of Art.

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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