Alejandra Labastida and Gürsoy Doğtaş, recipients of the 2013 ICI/SAHA Research Award, explore the feeling of melancholy in Zeki Müren’s arabesk music through interviews and texts.
The following entry is a travel account from our 2014 CPPC Fellow, María Elena Ortiz, about her research trip to Martinique.
The following is a travel account from our 2014 CPPC Fellow, María Elena Ortiz, during a research trip to Aruba.
The following is a transcript from Curator’s Perspective: Glenn Phillips at The Kitchen on November 9, 2010.
The following comments by Tara McDowell introduced the panel discussion, “Recurating When Exhibitions Become Reified,” with Rebecca Coates and Terry Smith, at Motto Melbourne in December 2013.
The following are five journal entries from the 2013 CPPC Fellow, Remco de Blaaij, during his research travels to Guatemala, Jamaica, Nicaragua, and Suriname.
“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.
“One of the greatest needs to nurture the arts is to promote deeper awareness among individuals and organizations throughout Afghanistan, and in effect tie the community into a more cohesive, collaborative group.”
“In this installment, I will focus my inquiry on the work of Wilson, and specifically his project ScanOps (2012).”
“Glitches are seen as having productive and generative potentialities for art-making, while they prompt us to reconsider our relationship to the systems that have come to dominate and shape our everyday life.”
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.
Proyecto Coyote: Rethinking the Local Through the Model of the Biennial, From Tijuana to Medellín to Tijuana
“Re-performance is a pertinent subject that warrants further discussion; artists, institutions, curators and media are..debating about how to address this issue, especially how to re-create work without wounding the essence of the masterpiece.”
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