Featuring the work of Seth Cluett, Juan Cortés, Iain Forsyth and Jane Pollard, Bani Haykal, Yuko Mohri, Marina Rosenfeld, Aura Satz, and Samson Young, the exhibition foregrounds artistic practices that deconstruct, rebuild, manipulate, and visualize audio experience through digital and analog means.
How can a score be a call and tool for decolonization? Curated by Candice Hopkins (Tlingit) and Dylan Robinson (Stó:lō), Soundings: An Exhibition in Five Parts features newly commissioned scores and sounds for decolonization by Indigenous artists who attempt to answer this question.
Never Spoken Again reflects on the birth of modern collections, the art institutions that sustain them and their contingent origin stories. Curated by Colombian curator David Ayala-Alfonso, an alumnus of ICI’s Curatorial Intensive, the exhibition is part of ICI’s new series of programs supporting emergent voices in the curatorial field.
Axis Mundo: Queer Networks in Chicano L.A. is a traveling exhibition that explores the work of over fifty queer and Chicanx artists working in Los Angeles between the late 1960s and early 90s.
Publishing Against the Grain highlights the current state of publishing and art criticism as it exists in small journals, experimental publications, websites, and radio, as well as other innovative platforms around the world.
This unique solo exhibition presents a survey of rarely-seen experimental short films and installations by Apichatpong Weerasethakul, alongside archival documents, photographs, drawings and sketches that explore threads of socio-political commentary in the artist’s practice from early in his career to the present.
do it is the longest-running and most far-reaching exhibition to ever happen, giving new meaning to the concept of the "Exhibition in Progress." do it takes written instructions by artists as a point of departure, which can be interpreted anew each time they are enacted.
Over 40 years later, Documenta 5, the exhibition that was criticized in 1972 as being “bizarre…vulgar…sadistic” by art critic and essayist Hilton Kramer and “monstrous… overtly deranged” by art historian and art critic Barbara Rose, resonates today as one of the most important exhibitions in history.
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