2025 Annual Exhibition @ The Campus, Hudson, NY - A platform for expansive thought and free-ranging artistic expression

2025 Annual Exhibition

The Campus, Hudson, NY

Through October 26, 2025

The Campus presents its second annual exhibition, on view through October 26, 2025. Organized by Timo Kappeller, this exhibition stretches over 35 rooms and the surrounding grounds of the former Ockawamick School in Claverack, NY, newly revived as a dynamic venue for contemporary art. As in the 2024 edition, The Campus seeks to build community and foster dialogue in upstate New York, and many of the included artists have ties to the region. Performances and programming are scheduled throughout the run of the exhibition.

A diverse group of artists has been invited to respond to the spatial rhythm of the site and layer new meaning atop existing associations and touchstones. Thirty solo and duo full-room installations anchor the show alongside focused group presentations of painting, photography and ceramics. These site-responsive activations, recently created artworks, and historical reevaluations were developed through a yearlong process-led and artist-driven curatorial strategy. Rather than situating these works within a thematic framework, The Campus functions as a platform for expansive thought and free-ranging artistic expression.

Selected highlights:

Recent large-scale paintings by Rita Ackermann take earlier work as a starting point to reexamine a scene from multiple angles. Relationships between bodies of work, camera and picture plane, and abstraction and figuration are layered in a state of continual flux.

Corydon Cowansage’s murals and paintings suffuse a former classroom with hypnotic color and sensual shapes, straddling the space between biological and botanical imagery.

Rarely seen sculptures by Ming Fay explore the symbolic resonance, shape, color, and texture of fruits, seeds, seashells, and other nature-inspired hybrid forms—enlarged to invite both encounter with and appreciation of the natural world.

Katharina Grosse, known for large-scale site interventions, has conceived two adjoining silk-draped rooms in visual dialogue with mirrored works by Daniel Buren and improvisational sculptures by Arlene Shechet.

Exploring the unknowability of his own body, Naotaka Hiro presents a bronze sculpture along with a pair of new paintings—maps of a body’s workings as it grapples with the painting’s surface from above and below.

Char Jeré’s layered installation draws on Afro-fractalist theory, her own autobiography, and a background in data analytics to examine the ways in which the built networks of our world enact a complicated relationship between race and technology.

A group of vibrant soft sculptures by Marta Minujín epitomize her ongoing pursuit of a radically dynamic and temporal art, implicating the body of the artist, the viewer, and the body politic.

Drawing sessions hosted by Oscar Murillo Studio took place throughout the opening weekend (end of June), and visitors of all ages were invited to draw freely on canvases in a celebration of collective spirit. The canvases will go on to become part of a collaborative artwork for the 36th São Paulo Biennial.

Naudline Pierre debuts new paintings and works on paper in a large former classroom, inviting viewers to step into her immersive and otherworldly landscapes that situate personal mythology and transcendent intimacy alongside canonical narratives of devotion.

Dana Schutz and Ryan Johnson—partners in life and studio—present an exchange between their practices, combining Schutz’s paintings with Johnson’s sculptural forms in a spirited interplay.

Kiki Smith’s dreamlike photographs, sculptures, and textile works illustrate a multifaceted reflection on how the literal and symbolic meanings of light and sight affect the human condition.

A compelling group of sculptural wooden wall works by Richard Tuttle, recently made in New Mexico and on view for the first time, offer insight into the artist’s ongoing investigation of material and form.

An immersive, museological display by Francis Upritchard features sculpture and works on paper that tread the line between realism and fantasy, fusing her idiosyncratic blend of references from literature, ancient sculptures, burial grounds, science fiction, folklore, miniatures, and frescoes.

Participating artists include: Rita Ackermann, Lisa Alvarado, Jean Arp, Tauba Auerbach, Trisha Baga, Ranti Bam, Ernie Barnes, Huma Bhabha, Blinn & Lambert, Katherine Bradford, Daniel Buren, William Copley, Corydon Cowansage, Sarah Crowner, Carmen D’Apollonio, Michael Dean, Mark Dion, Hadi Falapishi, Monir Shahroudy Farmanfarmaian, Ming Fay, Jason Fox, Magdalena Suarez Frimkess, Vanessa German, Ann Gillen, Jan Groover, Katharina Grosse, Nicolás Guagnini, Daniel Guzmán, Maren Hassinger, Cynthia Hawkins, Paula Hayes, Lena Henke, Naotaka Hiro, Marcus Jahmal, Xylor Jane, Ann Veronica Janssens, Char Jeré, Ryan Johnson, Allison Katz, Byron Kim, Zak Kitnick, Andrew Kuo, Alicja Kwade, Dr. Lakra, Jim Lambie, Liz Larner, Margaret Lee, Fernand Leger, Richard Long, Liz Magor, Sylvia Mangold, Marta Minujín, Oscar Murillo, Aliza Nisenbaum, Mary Obering, Virginia Overton, Paul Pfeiffer, Naudline Pierre, Charles E. Porter, Nancy Rubins, Dana Schutz, Nancy Shaver with Wolf, Arlene Shechet, Dana Sherwood, Elias Sime, Skuja Braden, Kiki Smith, Monika Sosnowska, Vivian Suter, Toshiko Takaezu, Cynthia Talmadge, Richard Tuttle, Francis Upritchard, Nari Ward, Lawrence Weiner, Jordan Wolfson, Stanley Wolukau-Wanambwa, Molly Zuckerman-Hartung.

The Campus is owned and operated by a consortium of six galleries: Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto. 

The exhibition is curated by Timo Kappeller, Artistic Director of The Campus. Curatorial team: Jesse Willenbring and Shira Schwarz. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for cultural exchange.

THE CAMPUS 

341-217 Hudson, NY

www.thecampusupstate.com

2025 Annual Exhibition @ The Campus, Hudson, NY, June 28 - October 26, 2025

PinchukArtCentre Prize 2025 Exhibition @ PinchukArtCentre, Kyiv

PinchukArtCentre Prize 2025 Exhibition

PinchukArtCentre, Kyiv

Opening February 28, 2025

On February 28, the PinchukArtCentre will present the 8th exhibition of 20 shortlisted artists for the PinchukArtCentre Prize 2025, a nationwide prize in contemporary art for young Ukrainian artists aged 35 or younger. The participants will create new works or showcase their recent projects, weaving together personal stories, reflections on collective memory and identity. The exhibition captures the clash of contrasts in Ukrainian society's experience, where tragedy and loss intertwine with resilience and hope for the future.

The shortlist of the PinchukArtCentre Prize 2025 includes: Mykhailo Alekseenko (34, Kyiv), Kateryna Aliinyk (25, Kyiv/Luhansk), Yuriy Bolsa (27, Chervonohrad), Vasyl Dmytryk (32, Ivano-Frankivsk/Odesa), Maksym Khodak (23, Vienna/Kyiv/Bila Tserkva), Yevhen Korshunov (35, Brovary/Kyiv), Kateryna Lysovenko (34, Kyiv/Vienna), Krystyna Melnyk (30, Kyiv/Melitopol), Daria Molokoiedova (22, Kramatorsk/Kyiv), Vladislav Plisetskiy (25, Kyiv), Andrii Rachynskyi (34, Kharkiv), Anton Saenko (34, Sumy/Kyiv), Anton Shebetko (34, Kyiv/Amsterdam), Zhenia Stepanenko (28, Kyiv/Berlin), Vasyl Tkachenko (Lyakh) (29, Mariupol), Illia Todurkin (23, Mariupol/Kyiv), Tamara Turliun (29, Dnipro/Kyiv), Lesia Vasylchenko (34, Kyiv/Oslo), Yuri Yefanov (34, Gurzuf) and collective Variable Name / Назва змінна (Valerie Karpan (Kyiv) and Maryna Marynychenko (Kyiv/Zaporizhzhia)).

This year, a special recognition outside the competition will honour the memory of Veronika Kozhushko — an artist from Kharkiv who applied for the PinchukArtCentre Prize but tragically died on August 30 as a result of a Russian missile strike on the city's civilian infrastructure.

The show of the PinchukArtCentre Prize 2025 curated by Oleksandra Pogrebnyak, curator of the PinchukArtCentre. Assistant curators: Oksana Chornobrova, Kateryna Kostenko.

The shortlisted artists will be invited to create works for the exhibition at the PinchukArtCentre in 2025. The winners of the Prize will be announced at the award ceremony in the second quarter of 2025. The Main Prize of UAH 400 000 and two Special Prizes equal to UAH 100 000 each will be awarded by the international jury. The winners will also receive financial support for internships, further education, residences or new production. A Public Choice winner will be determined by votes of the visitors attending the exhibition of the shortlisted artists and will be awarded UAH 40 000.

The winner of the Main Prize will be automatically included in the shortlist of the Future Generation Art Prize 2026, an international art prize for young artists.

PinchukArtCentre

1/3-2 Velyka Vasylkivska / Baseyna str., Kyiv, Ukraine, 02000

pinchukartcentre.org

L.A. Louver Gallery, Venice, California: 50th Anniversary Exhibition

L.A. Louver celebrates 50th years

L.A. Louver, Venice, California

15 February - 14 June 2025

L.A. Louver’s historic façade

at 55 North Venice Boulevard, 1975-1976

Photo Courtesy L.A. Louver, Venice, California

Gallery directors Peter Goulds & Kimberly Davis,

pictured at at 55 North Venice Boulevard, 1991

Photo Courtesy L.A. Louver, Venice, California

L.A. Louver façade at 45 North Venice Boulevard

Photo Courtesy L.A. Louver, Venice, California

L.A. Louver celebrates its 50th anniversary with an exhibition surveying the gallery’s history, from its formation in 1975 to now. One of the longest-established contemporary art galleries on the West Coast, L.A. Louver has presented more than 660 exhibitions over the course of what has been the most significant period of creative growth in Southern Californian history. L.A. Louver commemorates this achievement with a presentation in all spaces of the gallery, which remains on the same block as its original 1970s location.

L.A. Louver was founded with a singular mission: to contextualize Los Angeles and global artists in a distinguished exhibition program. L.A. Louver Celebrates 50 Years honors this initial ambition and the pivotal role the gallery has played in establishing L.A. as a global art center. Comprised of work by over 50 artists, the exhibition includes those from the early days of the gallery (Max Cole, George Herms, Edward and Nancy Reddin Kienholz, Don Suggs), international figures (David Hockney, Sui Jianguo, Per Kirkeby, Leon Kossoff), stalwarts of the city’s creative landscape (Tony Berlant, John McCracken, Ed Moses, Ken Price), and those living and working in Los Angeles today (Rebecca Campbell, Gajin Fujita, Heather Gwen Martin, Alison Saar).

The exhibition is a portrait of L.A. Louver, enriched and informed by history as much as the landscape of today. Though harkening back to key moments from the past, the presentation offers points of nonlinear connection that elucidate the complex truth of an identity shaped by time, place, and people. Furthermore, it is a tribute to the forces and memories that have shaped the gallery – the Bohemian art haven that was 1970s Venice Beach; the artists, staff, and community that have kept the program vibrant and dynamic; the bespoke building designed by Frederick Fisher & Partners that has held hundreds of exhibitions and events; and the artworks that have traveled the world.

54 ARTISTS: Terry Allen, Georg Baselitz, Tony Berlant, Wallace Berman, Tony Bevan, Domenico Bianchi, William Brice, Deborah Butterfield, John Cage, Rebecca Campbell, Nick Cave, Dale Chihuly, Max Cole, Richard Deacon, Edgard de Souza, Mark di Suvero, Richard Diebenkorn, Marcel Duchamp, Jimmie Durham, Toshikatsu Endo, Gajin Fujita, Charles Garabedian, Joe Goode, Frederick Hammersley, George Herms, David Hockney, Edward Kienholz, Nancy Reddin Kienholz, Per Kirkeby, Leon Kossoff, Ben Jackel, Lili Lakich, Richard Long, Nathan Mabry, Heather Gwen Martin, Jason Martin, Enrique Martínez Celaya, Thom Mayne, John McCracken, Michael C. McMillen, Ed Moses, Ken Price, Sandra Mendelsohn Rubin, Alison Saar, Eduardo Sarabia, Peter Shelton, Kate Steinitz, Don Suggs, teamLab, Sui Jianguo, Juan Uslé, Matt Wedel, William Wiley, Tom Wudl

L.A. LOUVER

45 North Venice Boulevard, Venice CA 90291

lalouver.com

Colours in a Square @ Museum Ritter, Waldenbuch - Works from the Marli Hoppe-Ritter Collection

Colours in a Square

Works from the Marli Hoppe-Ritter Collection 

Museum Ritter, Waldenbuch 

14 May - 17 September 2023 

This exhibition focuses on the topic of colour and the associated ways in which colours and elementary forms interact. On display are around 60 geometric abstract paintings, visual objects, and sculptures from the 1960s to the present day. They have been made by artists from 10 different European countries.

With works by Yaacov Agam, Kirstin Arndt, Werner Bauer, Max Bill, Bob Bonies, Hellmut Bruch, Geneviève Claisse, Daniel de Spirt, Rita Ernst, Hans Jörg Glattfelder, Ingo Glass, Camille Graeser, Gottfried Honegger, Imi Knoebel, Matti Kujasalo, Jim Lambie, Camill Leberer, Thomas Lenk, Richard Paul Lohse, Dóra Maurer, Vera Molnar, François Morellet, Aurélie Nemours, Miriam Prantl, Nelly Rudin, Diet Sayler, Reiner Seliger, Anton Stankowski, Klaus Staudt, Günther Uecker, Grazia Varisco, Peter Weber, Martin Willing, Shizuko Yoshikawa, Beat Zoderer.

Colour is one of the foremost means of artistic expression. And as is clearly demonstrated by the works presented here from the collection, this is especially true of non-representational art, in which colour is usually free of any symbolic value and stands entirely for itself.

But does the colour concept behind constructive-concrete works strictly obey its own intrinsic logic, as might be expected from art of this kind? Or are colours also sometimes employed in the broad field of geometric abstraction in a spontaneous, intuitive manner that ignores predefined rules?

The exhibition shows that both are possible. In addition to works in which colours and forms interact on a rational basis, others are on view that playfully break with the strict ideals of concrete systems of order, and that combine a grammar of geometric forms with idiosyncratic colour experiments. Some paintings above all impress the beholder by strong colour contrasts that create a visual sense of vibration in the picture surface. Others are radically monochrome - without any hint of monotony. And last but not least, the exhibits also include works made in part from glass or acrylic glass, which first unfold the true radiance of their colours in and through the ambient light.

A variant of the exhibition Colours in a Square has been on view at the Fondazione Marcello Morandini in Varese (IT) until 16 April 2023.

MUSEUM RITTER

Sammlung Marli Hoppe-Ritter

Alfred Ritter Strasse 27, 71111 Waldenbuch

www.museum-ritter.de

Labyrinth of Forms: Women and Abstraction, 1930–1950 @ Whitney Museum of American Art, New York

Labyrinth of Forms: Women and Abstraction, 1930–1950

Whitney Museum of American Art, New York

Through March 2022

Charmion von Wiegand (1896-1983) 

Untitled, c. 1942

Collaged paper, opaque watercolor and pen and ink on paper, 

8 1/2 × 8 1/16 in. (21.6 × 20.5 cm) 

Whitney Museum of American Art, New York; 

gift of Alice and Leo Yamin 91.84.5. 

© Estate of Charmion von Wiegand; 

Courtesy of Michael Rosenfeld Gallery LLC, New York, NY

Dorothy Dehner (1901-1994) 

Nocturne, 1954

Engraving: sheet,

 9 9/16 × 12 9/16 in. (24.3 × 31.9 cm); 

plate, 4 7/8 × 7 7/8 in. (12.4 × 20 cm). 

Whitney Museum of American Art, New York; 

gift of Judith Bettelheim in memory of Mildred Constantine 

and Dorothy Dehner 2010.109. 

© Dorothy Dehner Foundation Museum of American Art

The Whitney Museum of American Art presents Labyrinth of Forms: Women and Abstraction, 1930–1950, an exhibition of works drawn primarily from the Museum’s collection that celebrates the innovative abstract art made by women in the first half of the twentieth century. The exhibition features over thirty works by twenty-seven artists. Labyrinth of Forms seeks to highlight the achievements of these groundbreaking artists and explores how works on paper, in particular, were important sites for experimentation and innovation. The exhibition is curated by Sarah Humphreville, Senior Curatorial Assistant.

Labyrinth of Forms, a title drawn from an Alice Trumbull Mason work in the exhibition, alludes to the sense of discovery that drove these artists to establish a visual language reflecting the advances of the twentieth century. Women played important roles in propelling the formal, technical, and conceptual evolution of abstract art in the United States. While a few of these artists, including Lee Krasner and Louise Nevelson, have been duly recognized, most remain overlooked despite their prominence within this burgeoning movement.

“Labyrinth of Forms is an exciting opportunity to reevaluate the history of abstraction in the United States. The exhibition sheds light on the vital impact artists of the 1930s and 1940s had on the evolution and reception of abstract art in this country, the integral role of drawings and prints in its development, and, of course, the essential contributions that women made. It also gives the Whitney’s audiences the chance to see works from the collection that have rarely, if ever, been exhibited before,” said Sarah Humphreville.

Abstraction flourished in the U.S. during this period in part because of increased exposure to European avant-garde art through modern art courses and new exhibition venues. Nevertheless, abstract artists were vastly outnumbered by realist practitioners, maligned by critics, and largely ignored by museums and galleries. In the face of these obstacles, American abstractionists forged a network of overlapping communities, organizations, and creative spaces, which allowed them to support one another, exchange ideas, and exhibit their work. Women were key figures in these groups and often took on leadership and organizational roles, wrote and gave lectures, and advanced methods of making, particularly in print media.

Labyrinth of Forms reveals the striking variety of interests, styles, and media that these artists embraced. The exhibition includes drawings, woodcuts, intaglios, lithographs, and collages. In a number of cases, artists combined approaches, as Katherine Dreier did in her Variation #4, from 40 Variations (1934). In this joyful, geometric work inspired by sailing and Beethoven’s music, Dreier applied bright watercolor hues over a lithograph base. Charmion von Wiegand similarly applied brilliant tones and collaged passages to her drawing Untitled (1942). The work originated as an automatic drawing, a technique introduced by the European Surrealists. Lee Krasner is represented in Labyrinth of Forms with Still Life (1938), an oil-on-paper drawing that uses ordinary, real-world objects as a springboard for an abstract composition. Krasner studied with Hans Hofmann from 1937-38; this drawing is informed by his lessons on the importance of negative space but is decidedly more radically abstract than the work her teacher created at the time. Like Krasner, the other women in this exhibition were innovators. In showcasing their works and reinvigorating their histories, Labyrinth of Forms challenges the dominant narrative of abstraction and brings to light the contributions of these previously excluded voices.

EXHIBITED ARTISTS 

Rosalind Bengelsdorf (1916; New York, NY - 1979; New York, NY)

Dorr Bothwell (1902; San Francisco, CA - 2000; Fort Bragg, CA)

Minna Citron (1896; Newark, NJ - 1991; New York, NY)

Teresa D’Amico Fourpome (1914; São Paulo, Brazil - 1965; São Paulo, Brazil)

Elaine de Kooning (1918; Brooklyn, NY - 1989; Southampton, NY)

Dorothy Dehner (1901; Cleveland, OH - 1994; New York, NY)

Katherine Dreier (1877; Brooklyn, NY - 1952; Brooklyn, NY)

Elise (1902; Philadelphia, PA - 1963; Los Angeles, CA)

Perle Fine (1905; Boston, MA - 1988; East Hampton, NY)

Sue Fuller (1914; Pittsburgh, PA - 2006; Southampton, NY)

Gertrude Greene (1904; Brooklyn, NY - 1956; New York, NY)

Terry Haass (1923; Český Těšín, Czech Republic - 2016; Paris, France)

Ray Kaiser (1912; Sacramento, CA - 1988; Los Angeles, CA)

Marie Kennedy (Active 1930s - 1940s)

Lee Krasner (1908; Brooklyn, NY - 1984; New York, NY)

Blanche Lazzell (1878; Maidsville, WV 1956; Morgantown, WV)

Agnes Lyall (1908; Summit, NJ - 2013; Lake Hill, NY)

Alice Trumbull Mason (1904; Litchfield, CT - 1971; New York, NY)

Norma Morgan (1928; New Haven, CT - 2017; New Britain, CT)

Louise Nevelson (1899; Kiev, Ukraine - 1988; New York, NY)

Barbara Olmsted (1915; Spirit Lake, IA - 2013; Silverton, OR)

Irene Rice Pereira (1902; Chelsea, MA - 1971; Marbella, Spain)

Anne Ryan (1889; Hoboken, NJ - 1954; Morristown, NJ)

Esphyr Slobodkina (1908; Chelyabinsk, Russia - 2002; Glen Head, NY)

Hedda Sterne (1910; Bucharest, Romania - 2011; New York, NY)

June Wayne (1918; Chicago, IL - 2011; Los Angeles, CA)

Charmion von Wiegand (1896; Chicago, IL - 1983; New York, NY)

WHITNEY MUSEUM OF AMERICAN ART

99 Gansevoort Street, New York City

whitney.org

Small is Beautiful @ Flowers Gallery, London + Online - 39th Edition

Small is Beautiful: 39th Edition

Flowers Gallery, London + Online

24 November, 2021 - 8 January, 2022

Julie Cockburn 

There’s the Green Parrot, 2021 

Hand embroidery and ink on a found postcard 

© Julie Cockburn, Courtesy of Flowers Gallery

Flowers Gallery presents the 39th edition of the annual Small is Beautiful exhibition, which takes place at the Cork Street gallery in London and online.

Small is Beautiful was first established at Flowers Gallery in 1974, inviting selected contemporary artists working in any media to present works with a fixed economy of scale, each piece measuring no more than 7 x 9 inches. Continuing in the same spirit to the present day, Small is Beautiful XXXIX presents a rare opportunity to purchase smaller pieces by internationally recognised names and discover new talents.

Exhibiting for the first time in Small is Beautiful are two newly represented artists, Australian painter Aida Tomescu, and Scottish painter Victoria Crowe. Taking part for the 39th time, having exhibited in every edition since 1974, is John Loker who credits the exhibition with often opening up new directions in his work. He says, “I would normally work on a much larger scale, but I have always regarded this show as a way of standing back from familiar methods. An interesting move to come directly from Small is Beautiful is the use of the glass layering. It would not have happened on a larger scale and yet these 7x9 inch pieces have become as important to me as my canvases of 7x9 feet.”

Also having participated since the inaugural exhibition are artist duo Boyd & Evans, who recall: “Making a painting about space on a tiny canvas makes you apply paint in a different way. Stepping aside from our other work is a breath of fresh air and has often suggested future routes for what we might do next.”

PARTICIPATING ARTISTS INCLUDE:

Aida Tomescu

Aleah Chapin

Amanda Faulkner

Andrew Logan

Anthony Frost

Ashley Cluer

Ayumi Matsuba

Belinda Cadbury

Boyd & Evans

Calum McClure

Carl Randall

Carol Robertson

Carole Hodgson

Charlotte Colbert

Christopher Gee

Claerwen James

Claire Oxley

Daphné Mandel

David Hepher

Elger Esser

Emily Mayer

Emma Turpin

Francesca Simon

Freya Payne

George Blacklock

Geraldine Swayne

Gerri Davis

Gill Rocca

Hannah Tilson

Henry Kondracki

Humphrey Ocean

Ian Dawson

Jane Ackroyd

Janelle Lynch

Jennifer McRae

Jiro Osuga

Jo Dennis

Jo Hummel

John Carter

John Gibbons

John Loker

Joseph Dupré

Julie Cockburn

Kate Giles

Kate MccGwire

Katie Pratt

Katie Trick

Ken Currie

Kristian Evju

Kristin Man

Lynn Dennison

Mark Entwisle

Michael Mulcahy

Miwa Ogasawara

Mona Lee

Nathan Cohen

Nicola Hicks

Nigel Hall

Miranda Forrester

Peter Schmersal

Peter Wylie

Polly Penrose

Rachel Heller

Renny Tait

Rob Wyn Yates

Robin Mason

Sadie Hennessy

Samantha Cary

Sarah Genn

Sharon Hall

Sinéad Rice

Steve Ibbitson

Stuart Pearson Wright

Tabitha Soren

Tai Shan Schierenberg

Tim Fawcett

Tim Lewis

Tom Lovelace

Tomono Matsukawa

Trevor Sutton

Unskilled Worker

Vanessa Garwood

Victoria Cantons

Victoria Crowe

Virginia Verran

FLOWERS GALLERY

21 Cork Street, London W1S 3LZ

www.flowersgallery.com

The Faculty of Sensing. Thinking With, Through, and by Anton Wilhelm Amo @ Kunstverein Braunschweig

THE FACULTY OF SENSING
Thinking With, Through, and by Anton Wilhelm Amo
Kunstverein Braunschweig
Through August 2, 2020

With THE FACULTY OF SENSING – Thinking With, Through, and by Anton Wilhelm Amo, Kunstverein Braunschweig has worked in close cooperation with Bonaventure Soh Bejeng Ndikung to develop a project in honor of Anton Wilhelm Amo, an outstanding philosopher of the 18th century. On the basis of Amo’s writings and their reception, highly topical issues of referentiality, erasure, and canonization will be discussed.

In a 2013 essay The Enlightenment's 'Race' Problem, and Ours for the New York Times' philosophy page The Stone, Justin E. H. Smith wonders how and why philosophers like Immanuel Kant or David Hume could afford to be so explicitly racist, at a period when a contemporary of theirs Anton Wilhelm Amo was excelling as a philosopher. The explanation for this can be found in processes of erasure in relation to what Michel-Rolph Trouillot has called 'Silencing the Past'.

Anton Wilhelm Amo (* around 1700 — † after 1753) is considered to be the first Black academic and philosopher in Germany. His work was largely pushed to the margins and rendered obscure. Amo studied philosophy and law in Halle and positioned himself with his dissertations on the mind-body problem (1734) at the University of Wittenberg and Treatise on the Art of Philosophising Soberly and Accurately (1738) as an early thinker of the Enlightenment.

Anton Wilhelm Amo was abducted from the territory of present-day Ghana as an infant, enslaved, and taken via Amsterdam to Wolfenbüttel at the court of Duke Anton Ulrich. It was here that he began his academic career.

As part of the extensive research and exhibition project, 16 international artists and groups were invited to respond to the philosophical thought of Anton Wilhelm Amo in largely newly produced works. Curatorially, the project develops around questions of Amo’s understanding of the thing-in-itself, the discourse of body and soul, the legal status and recognition of Black people in the 18th century and the present time, transcendental homelessness, the politics of naming, and the narrative and history of the Enlightenment.

Artists: Akinbode Akinbiyi (born 1946 in Oxford, UK), Bernard Akoi-Jackson (born 1979 in Accra, GHA), andcompany&Co. (founded 2003 in Frankfurt am Main, GER), Anna Dasović (born 1982 in Amsterdam, NLD), Jean-Ulrick Désert (Port-au-Prince, HTI), Theo Eshetu (born 1958 in London, UK), Adama Delphine Fawundu (born 1971 in New York, USA), Lungiswa Gqunta (born 1990 in Port Elizabeth, ZAF), Olivier Guesselé-Garai (born 1976 in Paris, FRA), Patricia Kaersenhout (born 1966 in Den Helder, NLD), Kitso Lynn Lelliott (born 1984 in Molepolole, BWA), Antje Majewski (born 1968 in Marl, GER), Claudia Martínez Garay (born 1983 in Ayacucho, PER), Adjani Okpu-Egbe (born 1979 in Kumba, CMR), RESOLVE Collective (founded 2016 in London, UK), Konrad Wolf (born 1985 in Neubrandenburg, GER)

Via questions on the environment Anton Wilhelm Amo grew up in and spaces that we still share with him today, Akinbode Akinbiyi embarked on a journey through the region to conduct a photographic search for vestigial remains. Adama Delphine Fawundu shares this interest in trans-historical connections, working with water as the connecting element that flows through a spatial installation composed of photographs, videos, and an artists’ book. Following Anton Wilhelm Amo’s theory that it is only the living organic body that can feel and that the soul cannot, Kitso Lynn Lelliott has created a videographic portrait of environments from Amo’s life journey in Ghana and Germany. A second chapter tackles the shortcomings of re-enacting from a position of absence. Starting with targeted interrogations that flank the exhibition’s spatial course, Anna Dasović focuses on the empty spaces and deliberate omissions that have shaped Amo’s biography and perception of his work, questioning thereby the prevailing criteria of canonization.

In another form, RESOLVE Collective too have tackled the aporias, gaps, and contradictions that shaped Amo’s life, philosophical oeuvre, and reception of his work. The resulting project Programming Im/Passivity (2020) attempts to translate Amo’s theoretical positions into sensory and artistic processes, with the observers becoming involved as active participants in a workshop-library environment. A newly developed performance by Bernard Akoi-Jackson runs throughout the exhibition in several stages, with visitors again being invited to relate personally to Amo’s work.

With a room plan made of barbed tape and treated fabrics, Benisiya Ndawoni II (2020) by Lungiswa Gqunta addresses structural violence, migration, and the forced movement of Black people. Questions of exclusion and everyday discrimination are likewise the starting point for the Olivier Guesselé-Garais poem Their Eyes Were Watching Cop, (2015/2020), here reinterpreted in the form of an installation. Claudia Martínez Garay assembles drawings, prints, and paintings into a visual narrative that links back to heritage, displacement, and racism while also referring back to one-sided definitions of modernity and the problematic relationship of Black and Brown bodies to (cultural) institutions. These are issues that have also motivated Patricia Kaersenhout in her artistic and activist practice for many years. As part of the exhibition, Kaersenhout is showing the series While we were Kings and Queens (2020), in which she examines the trauma of a colonial oppression that stands in flagrant contradiction to the proclaimed ideals of the Enlightenment.

In his multimedia installation Decolonizing Knowledge (2020), Adjani Okpu-Egbe bridges the gap between Amo’s work, person, and a proposed alternative canon developed in collaboration with renowned thinkers, academics, and artists.

Direct connections to Anton Wilhelm Amo’s philosophical writings are also found in new works from Antje Majewski and Theo Eshetu. Majewski’s Die Apatheia der menschlichen Seele (2020) takes individual imaginations of the soul and translates them into painting via Amo’s ideas; Amo himself is able to “speak” via quotations in a video work by Eshetu. That Anton Wilhelm Amo’s history is a special but by no means an isolated case is made clear in the 2009 cyanotype series Good Morning Prussia series by Jean-Ulrick Désert, which recalls the fate of one of Amo’s contemporaries.

On the initiative of architect Konrad Wolf, Kunstverein Braunschweig will itself become the Anton Wilhelm Amo Center (2020) for the duration of the FACULTY OF SENSING – Thinking With, Through, and by Anton Wilhelm Amo exhibition, reflecting during this time on processes of strategic renaming over the course of accompanying workshops with Braunschweig Postkolonial and Tahir Della (Initiative Schwarze Menschen in Deutschland e.V.).

And finally, the performance collective andcompany&Co. will on April 25 show a collaboration created in cooperation with Staatstheater Braunschweig. Black Bismarck revisited (again) takes the Africa Conference as a starting point for tracing the consequences of colonialism.

Curators: Bonaventure Soh Bejeng Ndikung, Jule Hillgärtner, Nele Kaczmarek

Assistant curators: Franz Hempel, Raoul Klooker

Until further notice, the exhibition THE FACULTY OF SENSING is only accessible online at www.kunstvereinbraunschweig.de. Kunstverein Braunschweig sharing images, texts, moving image works and video portraits on the museum website.

KUNSTVEREIN BRAUNSCWEIG
Lessingplatz 12, 38100 Braunschweig
kunstvereinbraunschweig.de

THE FACULTY OF SENSING, March 28 – Aug 2, 2020

_________________________________

Biennial Made in LA 2020 @ Hammer Museum, Los Angeles & The Huntington, San Marino

Biennial Made in L.A. 2020: a version
The Hammer Museum, Los Angeles
The Huntington Library, Art Museum, San Marino
June 7 - August 30, 2020

The Hammer Museum and The Huntington Library, Art Museum, and Botanical Gardens have announced the 30 artists participating in Made in L.A. 2020: a version, the fifth iteration of the Hammer’s biennial exhibition highlighting the practices of artists working throughout the greater Los Angeles area. Cocurated by Paris-based curator Myriam Ben Salah and L.A.–based curator Lauren Mackler with the Hammer’s Ikechukwu Onyewuenyi as assistant curator of performance, Made in L.A. 2020: a version is presented at both the Hammer and The Huntington from June 7 through August 30, 2020. 

The biennial’s two venues create a cross-town conversation from west to east. Taking advantage of the city’s sprawling geography, the curators chose to stage the exhibition in two mirrored parts, presenting works by all the artists in both museums in addition to select locales in between.

“I continue to marvel at how different and eye-opening each iteration of Made in L.A. can be,” said Hammer Museum director Ann Philbin. “Through nearly 300 hundred studio visits, Myriam, Lauren, and Ike have assembled a group of artists who delve into fascinating and often overlooked histories, subcultures, and communities of L.A. Once again, the exhibition has illustrated the strength and vision of the here and now of contemporary art in our city.”

“With every artist represented at both The Huntington and the Hammer, visitors will have two unique experiences that comprise one whole biennial,” Huntington president Karen R. Lawrence said. “I’m particularly excited to see the ways in which the artists’ work will activate our galleries and highlight the collaborative energy that characterizes our Centennial Celebration.”

Made in L.A. 2020 will feature long-standing research projects alongside newly commissioned works and commingles a mix of practitioners—artists, writers, filmmakers, and performers. Subtitled “a version,” the exhibition will highlight conceptual threads that connect the artists’ works: entertainment both as a subject and a material; the genre and aesthetic of horror in contemporary practices; and the film and theater convention of the fourth wall, a device through which fiction is built and dismantled.

Made in L.A. 2020 Artists

● Mario Ayala (b. 1991, Los Angeles, CA)

● Aria Dean (b. 1993, Los Angeles, CA)

● Hedi El Kholti (b. 1967, Rabat, Morocco)

● Buck Ellison (b. 1987, San Francisco, CA)

● Niloufar Emamifar

● Christina Forrer (b. 1978, Zürich, Switzerland)

● Harmony Holiday (b. 1982)

● Patrick Jackson (b. 1978, Los Angeles, CA)

● Larry Johnson (b. 1959, Lakewood, CA)

● Kahlil Joseph (b. 1981, Seattle, WA)

● Ann Greene Kelly (b. 1988, New York, NY)

● Jacqueline Kiyomi Gordon (b. 1982, Long Beach, CA)

● Nicola L. (b. 1937, Mazagan, Morocco; d. 2018, Los Angeles, CA)

● Brandon D. Landers (b. 1985, Los Angeles, CA)

● SON. (Justen LeRoy) (founded 2016)

● Ligia Lewis (b. 1983, Santo Domingo, Dominican Republic)

● Monica Majoli (b. 1963, Los Angeles, CA)

● Jill Mulleady (b. 1980, Montevideo, Uruguay)

● Diane Severin Nguyen (b. 1990, Carson, CA)

● Alexandra Noel (b. 1989, Columbus, OH)

● Mathias Poledna (b. 1965, Vienna, Austria)

● Umar Rashid (b. 1976, Chicago, IL)

● Reynaldo Rivera (b. 1963, Mexicali, Mexico)

● Katja Seib (b. 1989, Dusseldorf, Germany)

● Ser Serpas (b. 1995, Los Angeles, CA)

● Sonya Sombreuil / COME TEES (b. 1986, Santa Cruz, CA)

● Jeffrey Stuker (b. 1979, Fort Collins, CO)

● Beyond Baroque by Sabrina Tarasoff (b. 1991, Jyväskylä, Finland)

● Fulton Leroy Washington (aka MR. WASH) (b. 1954, Compton, CA)

● Kandis Williams (b. 1985, Baltimore, MD)

Some artists will create new site-specific works for Made in L.A. 2020.

● Jacqueline Kiyomi Gordon will construct a series of rooms inhabited by loudspeakers and live performers presenting a durational performance at the Hammer for the length of the exhibition. In concert with one another, the devices and the vocalists will reconsider public speech through an assemblage of voices and sound. The creation of this work is made possible by a generous contribution from VIA Art Fund.

● For both the Hammer and The Huntington, Ser Serpas will display ephemeral sculptures sourced directly from the surroundings of each exhibition venue and placed in the space through an intimate performance, an index of the artist’s movements.

Performances will be staged by artists at both venues, concentrated around three weekends during the exhibition run: June 12–14, July 17–19, and August 14–16.

● Dancer and choreographer Ligia Lewis will present a recurring performance of dancers “dying” continually and competitively in the galleries to consider the larger notion of the “deadpan” in performance and beyond.

● Artist, archivist, filmmaker, and dancer Harmony Holiday will write and direct a one-man play entitled God’s Suicide, about the five rarely acknowledged suicide attempts by writer and thinker James Baldwin.

● Artist and writer Aria Dean will build an ambitious sculptural installation of two-way mirrors within the galleries as a set for a play, which will unfurl in three episodes during the course of the summer. Each episode will be recorded and broadcast on screens in the installation when it is not activated by the performance.

Several of the artists in Made in L.A. 2020: a version reanimate archival materials in their presentations.

● Through a series of paintings presented at the Hammer and an archival installation conceived specifically for The Huntington, Mario Ayala explores the legacy of the cult publication Teen Angels, which documented Cholo culture in the 1980s and 1990s and featured the artworks, poems, dedications, photographs, and essays of Chicanos, particularly those who were gangaffiliated or in prison.

● Writer and curator Sabrina Tarasoff—whose recent research project has been focused on the work of the 1980s “poetry-gang” that gathered at Beyond Baroque literary center for Dennis Cooper and Amy Gertsler’s Wednesday night poetry series—will revitalize this living archive through a haunted house installation, as well as a series of programs and performances.

● Painter Monica Majoli will present a series of large-scale watercolor woodcut paintings whose imagery is pulled from the pages of Blueboy magazine. Focusing on the early years of the periodical, Monica Majoli lusciously presents a vibrant era of the magazine and gay life right before the devastation of the AIDS epidemic. At The Huntington, Monica Majoli will present an installation of archival materials from the magazine alongside studies for her paintings.

Additionally, several projects will happen off site.

● After spending four decades investigating the inherent contradictions between the glossy surfaces and underlying cynicism of American culture, especially in Los Angeles, Larry Johnson will show new works on five commercial billboards throughout the neighborhood of MacArthur Park. The presentation is coproduced with The Billboard Creative.

● Kahlil Joseph will present the most ambitious installation to date of BLKNWS, a conceptual news program taking the form of a two-channel installation connected to a newscast that blurs the lines between art, reporting, entrepreneurship, and cultural critique. BLKNWS will be broadcast at sites across Los Angeles, with a focus on South Los Angeles and black-owned businesses. This iteration of BLKNWS aims to bring the work to its largest audience yet, reaching people in their everyday environments. Sites will be announced ahead of the exhibition opening. The presentation is coproduced with LAND (Los Angeles Nomadic Division).

● SON., a platform founded in 2016 by Justen LeRoy, will create a podcast series for Made in L.A. visitors to listen to during the drive from one museum to the other. Recorded from SON.’s headquarters at the South Central barbershop Touched by An Angel, the episodes will feature conversations, cultural commentary, music, and special guests. 

Catalogue and companion publication

Made in LA 2020 Catalogue

The exhibition catalogue will draw inspiration from historical artist magazines and will become an additional venue for the show, showcasing newly commissioned interventions made by artists specifically for the pages. Furthermore, there will be a companion publication published after Made in L.A. 2020 to include programs, conversations, and other records of the work comprising the biennial. Both publications are designed by Studio Ella and distributed worldwide by DelMonico Books•Prestel.

The presenting sponsor for the exhibition is Bank of America.

THE HAMMER MUSEUM
10899 Wilshire Blvd., Los Angeles, CA 90024
hammer.ucla.edu

THE HUNTINGTON LIBRARY, ART MUSEUM, AND BOTANICAL GARDENS
1151 Oxford Road, San Marino, CA 91108
huntington.org

Architecture: RIBA London Awards 2019 Winners

RIBA London Awards 2019 Winners

Coal Drops Yard, London, by Heatherwick Studio

Photo © Hufton + Crow, Courtesy RIBA London

Each year, RIBA Regional Award-winning buildings set the standard for skilful, accomplished architecture across the UK. All winning buildings are now in the running for highly coveted RIBA National Awards, which will be announced on 27 June 2019.

47 London buildings have been awarded 2019 Royal Institute of British Architects (RIBA) Regional Awards

The 2019 RIBA London Award-winning buildings are: 
NOTE: Click on the links to see photographs of each building 

- 168 Upper Street by Groupwork

- 1A Earl's Court Square by Sophie Hicks Architects

- 4 Pancras Square by Eric Parry Architects

- Alexandra Palace by Feilden Clegg Bradley Studios

- Alleyn's School Lower School by Tim Ronalds Architects

- Alwyne Place by Mitzman Architects

- Battersea Arts Centre by Haworth Tompkins

- Bethnal Green Mission Church by Gatti Routh Rhodes Architects

- Blue Mountain School by 6a architects

- Boutique Office in Paddington by Edward Williams Architects

- Brentford Lock West Phase 2 by Mae and White Ink Architects

- Buckingham Green Fletcher by Priest Architects

- Coal Drops Yard by Heatherwick Studio

- Crossfield Street House by Jonathan Pile Architect

- Eleanor Palmer Science Lab by AY Architects

- Great Arthur House by John Robertson Architects

- Hackney Wick Station by Landot and Brown

- Here East by Hawkins\Brown

- Highgate Bowl by HASA Architects

- House in a Garden by Gianni Botsford Architects Ltd

- Kenwood Lee House by Cousins & Cousins Architects

- Lambeth Civic Centre and Town Hall by Cartwright Pickard

- LAMDA London by Niall McLaughlin Architects

- Lomax Studio by CAN

- London Bridge Station by Grimshaw

- London Wall Place by Make Architects

- Mapleton Crescent by Metropolitan Workshop

- Max Fordham House by bere:architects

- Merano by Rogers Stirk Harbour + Partners and EPR

- Moray Mews by Peter Barber Architects

- Music School, King's College School Wimbledon by Hopkins Architects

- Ordnance Road by Peter Barber Architects

- Pitzhanger Manor and Gallery by Jestico + Whiles and Julian Harrap Architects

- Pocket House by Tikari Works

- Royal Opera House Open Up by Stanton Williams

- Selfridges Duke Street by David Chipperfield Architects

- Signal Townhouses by Allford Hall Monaghan Morris

- South London Gallery Fire Station by 6a architects

- Southbank Centre by Feilden Clegg Bradley Studios

- Television Centre by AHMM with MacCreanor Lavington, Morris+Company, dRMM, Mikhails Riches, Piercy&Co, Haptic, Archer Humphryes, Coffey Architects

- The Bower by Allford Hall Monaghan Morris

- The Colville Estate by Karakusevic Carson Architects

- The Ned, City of London by EPR Architects, Soho House & Co and Sydell Group LLC

- The Painted Hall by Hugh Broughton Architects

- The Queen’s Diamond Jubilee Galleries by MUMA LLP

- Torriano Primary School STEM Lab by Hayhurst and Co.

- Westminster Abbey Triforium Project by Ptolemy Dean Architects Ltd

Further Special Awards have been awarded to:

- Alexandra Palace by Feilden Clegg Bradley Studios and The Painted Hall by Hugh Broughton Architects – RIBA London Conservation Award

- Battersea Arts Centre by Haworth Tompkins – RIBA London Client of the Year Award

- London Bridge Station by Grimshaw – RIBA London Building of the Year Award

- Max Fordham House by bere:architects – RIBA London Sustainability Award, sponsored by Michelmersh

- Richard Tubb of EPR Architects for The Ned – RIBA London Project Architect of the Year Award, sponsored by Taylor Maxwell

- Torriano Primary School STEM Lab by Hayhurst and Co. – RIBA London Small Project Award

RIBA London Director, Dian Small, said: 

“Each year RIBA London Awards celebrate a diverse and eclectic range of project types and scales and celebrate the very best new buildings across the Capital. 2019 winning projects range from a one-bedroom private house which spans the length of two private garages to one of the busiest train stations in the country. They also include several significant public sector housing projects, beautifully-designed school extensions, state of the art office buildings and exquisite conservation projects, which breathe new life into some of London’s greatest treasures. Once again, all winning buildings demonstrate the extremely high standard of design quality in London and the breadth of its architectural output.”

The Royal Institute of British Architects (RIBA) is a global professional membership body that serves its members and society in order to deliver better buildings and places, stronger communities and a sustainable environment. 

RIBA - ROYAL INSTITUTE OF BRITISH ARCHITECTS
www.architecture.com

Art Dubai Projects 2014 Artists

ART DUBAI PROJECTS 2014 

Organized for the eighth edition of Art Dubai, March 19-22, 2014, Art Dubai Projects 2014 is a curated, not-for-profit programme of new commissions. Selected artists are invited to create works that engage audiences and interact with and comment on the fair and its environment.

This dynamic programme includes established and upcoming artists and artists’ collectives from across the Middle East, North Africa and Asia. Artists selected for Art Dubai Projects 2014 include Nadia Ayari, Youmna Chlala, Clark House Initiative, Sunoj D, Maitha Demithan, Sara Al Haddad, Shuruq Harb, Amina Menia, Maryam Al Qassimi, Mounira Al Solh, and Hajra Waheed.

The programme includes site-specific installations, performances, video and research projects developed and organised with this year’s Projects Curator, Fawz Kabra. 

Fawz Kabra 

Photograph by Daniel Terna, 2013

Over the past seven years, Art Dubai Projects has become recognised as an ‘incubator’ for the most exciting artists and curators coming out of the Middle East and Asia, and is instrumental in fostering talent from the region.

The commissions will be presented throughout the fair-grounds of Art Dubai, and intervene in the catalogue and related digital platforms. For the first time, artists and collectives will engage with Art Dubai Modern—the newly launched gallery hall dedicated to 20th century art from the Arab world, Iran and South Asia as well as Art Dubai’s contemporary gallery halls; Marker: Central Asia and the Caucasus; and the Global Art Forum.

Art Dubai Projects is held in parallel to A.i.R Dubai —the residency programme run by the Dubai Culture and Arts Authority, Tashkeel, Delfina Foundation and Art Dubai. The selected artists participating in A.i.R 2014 —Nadia Ayari, Sunoj D, Maitha Demithan, Sara Al Haddad and Maryam Al Qassimi—will be resident in Al Fahidi Historical Neighbourhood between January-March and will create works for the Open Studios Exhibition in Sikka, as well as their projects at Art Dubai.

Art Dubai Projects marks the fair’s commitment to sustaining a dialogue with its immediate environment and working in partnership with institutions and artists. 

The collaborative approach of Art Dubai Projects reflects the fair’s spirit, as a place to meet, reflect and exchange knowledge and ideas. “Art Dubai Projects produces a dynamic mix of works, installations, performances, and draws on content as diverse as that of the fair,” says Antonia Carver, Fair Director. “The programme offers an alternative and experimental way to activate, challenge and respond to the more formal structures of the fairs”.

Artworks from previous Art Dubai Projects :

Sophia Al Maria 

SciFi Wahabi Take a tour from the future at Art Dubai 2012, 2010 

Art Dubai Projects 2010

Courtesy Sophia Al Maria and Art Dubai 

Setu Legi 

Pseudopodia, 2012 

Art Dubai Projects 2012

Courtesy Setu Legi and Art Dubai 

Basim Magdy 

Investigating the Color Spectrum of a Post-Apocalyptic Future Landscape II, 2013 

Art Dubai Projects 2013

Courtesy Basim Magdy and Art Dubai 

Mohammed Kazem 

Window 2012 - 2013, 2013 

Transfer on paper, 25 x 25 cm 

Art Dubai Projects 2013

Courtesy Mohammed Kazem and Art Dubai 

Artists Selected for Art Dubai Projects 2014

- Nadia Ayari moved from Tunisia to the United States in 2000 where she earned her MFA in Painting from the Rhode Island School of Design. Focusing on political landscapes, her explorations in fresco add a third sculptural dimension to her richly dense paintings.

- Youmna Chlala is an artist and a writer who lives and works in New York. Her work investigates the relationship between fate and architecture through drawing, video, prose and performance. Her recent solo shows include Days of Being Wild, at Art In General, New York (2013), and I Am Who You Say I Say Who You Are at the Cultuurcentrum, Belgium (2013).

- Sunoj D lives and works in Bangalore. His work explores our multi-faceted relationship with nature, drawing on his move from a rural environment to urban dwellings, and subtly revealing the fissures between these two living conditions. He has participated in Spell of Spill Utopia of Ecology, Palette Art Gallery, New Delhi (2013), and When you watch them grow… at National Museum of Natural History, New Delhi (2012).

- Emirati artist Maitha Demithan chooses her subjects from the family and friends close to her. She uses scanography to document intense moments of encounter in her various series of installation, video, and transfers on cloth. She has exhibited her work at the UAE Pavilion, Shanghai Expo (2010), and Manarat Al Saadiyat, Abu Dhabi (2011).

- Sara Al Haddad lives and works in Dubai. She activates interior architectures, and visualises affect through the knitting of life-size sculptural forms and the weaving of text. She has shown her work at The Pavilion, Dubai (2013), and SIKKA Art Fair, Dubai (2013).

- Shuruq Harb is a visual artist and writer based in Ramallah. She co-founded a number of independent initiatives: ArtTerritories, an online publishing platform, and 'The River has Two Banks' an ongoing initiative connecting artists across Jordan and Palestine. She has shown her work at the 9th Gwangju Biennale (2012), and Columbia University GSAPP, New York (2013).

- Clark House Initiative is a curatorial collaborative established in 2010 by Zasha Colah and Sumesh Sharma in Bombay. Their experiments in re-reading of histories, and concerns of representation and visibility, are ways to imagine alternative economies and freedom.

- Amina Menia lives and works in Algiers. Her spatial and architectural interventions are subtle arrangements that interact with viewers and the spaces they occupy. She has shown her work at the 11th Sharjah Biennale, and in 2012 undertook a residency in Marseille, working on the displacement of an “extracted” element of Algiers.

- Mounira Al Solh works between Amsterdam and Beirut. Using sociology and anthropology, Al Solh’s work operates according to Ginzburg’s notion of microhistory, aspiring to ask large questions in small places. Her work was shown at the first Lebanese Pavilion at the Venice Biennale (2007), and at the New Museum, New York (2012).

- Maryam Al Qassimi is a visual artist living and working in Sharjah. Her work uses found imagery and material to explore the vernacular of the UAE and how its merging of languages has shaped local pop-culture.

- Hajra Waheed is a Montreal-based artist whose mixed media practice explores issues related to political history, popular imagination and the broad impact of colonial power. Her exhibitions include (In) the First Circle at Tapies Foundation, Barcelona (2012), and Sea Change at Experimenter, Kolkata (2013).

A Different Kind of Order: The ICP Triennial 2013, International Center of Photography, NYC

A Different Kind of Order: The ICP Triennial 2013, International Center of Photography, New York, USA
Through September 8, 2013

A Different Kind of Order: The ICP Triennial 2013, a global survey of contemporary photography and video, is on view at the International Center of Photography (1133 Avenue of the Americas at 43rd Street, NYC) since May 17 through September 8, 2013. Filling ICP’s entire gallery space as well as its exterior windows, the exhibition features 28 emerging and established artists from 14 countries whose works speak to and illuminate the new visual and social territory in which image making operates today. Artists include Nayland Blake, A.K. Burns, Thomas Hirschhorn, Elliott Hundley, Gideon Mendel, Wangechi Mutu, Sohei Nishino, Lisa Oppenheim, and Nica Ross. A complete list is below.

Mikhael Subotzky and Patrick Waterhouse 

Windows, Ponte City 212.857.0045 (detail), 2008-2010. 

Photo © Mikhael Subotzky and Patrick Waterhouse

Courtesy Goodman Gallery, Johannesburg.

Starting from the premise that most photography is now produced, processed, and distributed in digital form, A Different Kind of Order explores the sometimes unanticipated consequences of this shift as revealed in the work of a wide range of international artists. For the younger artists in the Triennial, the digital revolution is something that happened during their childhood, and dealing with its ramifications has occupied most of their creative lives. For artists of this generation (such as Sam Falls, Andrea Longacre-White, and Oliver Laric), mixing the new idioms of digital imagemaking with the existing visual language of painting, sculpture, and collage is almost second nature. Other Triennial artists, wary of the advent of “screen culture,” emphasize the handmade qualities of their work, yet even they recognize that their efforts are situated within the space of a fully digitized, networked world.

“The ICP Triennial, the only recurring exhibition in the U.S. to focus on international contemporary photography and video, provides an unparalleled opportunity for visitors to encounter new works by established artists and to discover emerging artists,” said Mark Robbins, Executive Director of ICP. “A Different Kind of Order reflects our present moment of a new kind of order shaped by social, political, and technological changes.”

The exhibition sketches the contours of the new visual and social territory in which photography finds itself today. A number of key themes serve as guidelines that link the works in the exhibition:

• Artist as aggregator identifies one of the main aesthetic offshoots of the digital image environment: the present-day descendants of the “image scavengers” of the 1980s who are now busy plundering and reorganizing found, online photographs into highly personal, web-based archives.

• The resurgence of collage is evident in works that combine photographic fragments, digital images, paint, three-dimensional objects, and audio and video material to blast open and reconfigure the space of the photograph in unprecedented ways.

• At a time when all manner of power structures are being called into question, mapping has become a renewed subject of artistic inquiry—part of a wider fascination with the power of ordering systems that has emerged in response to the dematerialized disorder of the Internet’s environment.

• The Internet’s dissolution of geographic distance has spurred the development of new forms of community, allowing artists to explore new forms of connection, collaboration, and multiple authorship that do not depend on physical proximity.

• In cooperation with ICP Associate Librarian Matthew Carson, the exhibition will also include an installation of approximately 100 recent photo books, which testifies to the extraordinary boom in selfpublished and small-press photo books now occurring around the world.

A Different Kind of Order: The ICP Triennial was organized by ICP curators Kristen Lubben, Christopher Phillips, Carol Squiers, and Joanna Lehan. See below for curator biographies.

ICP TRIENNIAL 2013 EXHIBITION ARTISTS

Roy Arden b. 1957, Vancouver; lives and works in Vancouver

Huma Bhabha b. 1962, Karachi, Pakistan; lives and works in Poughkeepsie, New York

Nayland Blake b. 1960, New York City; lives and works in New York City

A.K. Burns b. 1975, Capitola, California; lives and works in New York City

Aleksandra Domanovic b. 1981, Novi Sad, former Yugoslavia; lives and works in Berlin

Nir Evron b. 1974, Herzliya, Israel; lives and works in Tel Aviv

Sam Falls b. 1984, San Diego; lives and works in Los Angeles

Lucas Foglia b. 1983, New York City; lives and works in San Francisco

Jim Goldberg b. 1953, New Haven; lives and works in San Francisco

Mishka Henner b. 1976, Brussels; lives and works in Manchester, England

Thomas Hirschhorn b. 1957, Bern, Switzerland; lives and works in Paris

Elliott Hundley b. 1975, Greensboro, North Carolina; lives and works in Los Angeles

Oliver Laric b. 1981, Innsbruck, Austria; lives and works in Berlin

Andrea Longacre-White b. 1980, Radnor, Pennsylvania; lives and works in Los Angeles

Rafael Lozano-Hemmer b. 1967, Mexico City; lives and works in Montreal

Gideon Mendel b. 1959, Johannesburg; lives and works in London

Luis Molina-Pantin b. 1969, Geneva, Switzerland; lives and works in Caracas, Venezuela

Rabih Mroué b. 1967, Beirut; lives and works in Beirut

Wangechi Mutu b. 1972, Nairobi, Kenya; lives and works in New York City

Sohei Nishino b. 1982, Hyogo, Japan; lives and works in Tokyo

Lisa Oppenheim b. 1975, New York City; lives and works in New York City and Berlin

Trevor Paglen b. 1974, Camp Springs, Maryland; lives and works in New York City

Walid Raad b. 1967, Beirut; lives and works in New York City

Nica Ross b. 1983, Tempe, Arizona; lives and works in New York City

Michael Schmelling b. 1973, Pittsburgh; lives and works in New York City

Hito Steyerl b. 1966, Munich; lives and works in Berlin

Mikhael Subotzky / Patrick Waterhouse b. 1981, Cape Town, South Africa; lives and works in Johannesburg / b. 1981 Bath, England; lives and works in Italy, England, and South Africa

Shimpei Takeda b. 1982, Sukagawa, Fukushima, Japan; lives and works in New York City

ICP TRIENNIAL 2013 EXHIBITION CURATORS

Kristen Lubben, Curator and Associate Director of Exhibitions at ICP, has been a member of the curatorial staff since 1998. She has organized many exhibitions focusing on documentary practice, gender, and politics, including Susan Meiselas: In History, Magnum Contacts, Gerda Taro, Amelia Earhart: Image and Icon, and El Salvador: Work of Thirty Photographers. Kristen Lubben is the author and editor of several publications, including Magnum Contact Sheets (Thames & Hudson) and the catalogue for the exhibition In History.

Christopher Phillips, ICP Curator, organizes exhibitions of historic and contemporary photography. In 2004, he and Wu Hung of the University of Chicago organized the first major U.S. exhibition of Chinese contemporary photography, Between Past and Future: New Photography and Video from China. He has curated exhibitions including Atta Kim: On-Air (2006), Heavy Light: Recent Photography and Video from Japan (2008), and Wang Qingsong: When Worlds Collide (2011). He is an adjunct faculty member at New York University and Barnard College, where he teaches classes in the history and criticism of photography.

Carol Squiers, ICP Curator, has organized exhibitions on a range of subjects, includ¬ing contemporary art, fashion photography, and the intersection of science, technology, and photography. She has published extensively in periodicals, books, and catalogues, and is the editor of the collections Over Exposed: Essays on Contemporary Photography (2000) and The Critical Image (1990), co-author with Vince Aletti of Avedon Fashion: 1944–2000 (2009), and author of The Body at Risk: Photography of Disorder, Illness, and Healing (2005).

Joanna Lehan, Assistant Curator at ICP, co-organized Strangers: the First ICP Triennial of Photography and Video in 2003 and the second Triennial, Ecotopia, in 2006. As a book editor for Aperture Foundation, she organized monographs by artists Thomas Ruff, Susan Meiselas, Zwelethu Mthethwa, and Hank Willis Thomas, among others. She has contributed essays to several photographic monographs, has served as a consultant to The Walther Collection, a private photographic collection and museum in Germany and New York, and has worked as a photo editor, researcher, and columnist.

ICP TRIENNIAL 2013 CATALOGUE

A fully illustrated catalogue, produced by ICP in partnership with DelMonico Books • Prestel, accompanies the exhibition. It includes sections dedicated to individual artists and contributions by ICP curators.

A Different Kind of Order: The ICP Triennial, ICP/DelMonico Books • Prestel 2013, 8 x 10 inches, Hardcover; US $49.95