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iCI is heading into its 35th year of operation with a new director and a refreshed vision. Over the last few months we have been assessing what our role is in relation to the curators and venues that we work with. We know that you and your colleagues have extensive expertise, that you know your audiences better than anyone else possibly could, and that you know best what your programming needs are. Our new initiatives aim, as always, to access crucial developments in the field of contemporary art, but they are now being conceived to involve you more, and to be as affordable as we can make them. We are moving towards more integral collaboration with curators at host institutions, encouraging you to modify and expand the exhibitions to suit your specific situations. We are working with a range of accomplished contemporary art curators to create new programming and flexible projects that are available from January 2010 onward. Amidst the major shifts that have taken place in the art world in recent years, we recognize that curatorial practice has changed and expanded, but that venues are striving, as always, to generate the most engaging and vital programming possible. At the same time funding is increasingly hard to find. We are reflecting on all these factors as we develop our exhibitions program for 2010 and beyond.
Please have a look at the descriptions below. Contact Curatorial Associate, Fran Wu Giarratano at 212-254-8200 ext. 29, wu@ici-exhibitions.org regarding any projects you would like to discuss further.
NEW INITIATIVES, AVAILABLE JANUARY 2010 ONWARD Project 35
To celebrate iCI's 35th anniversary in 2010, thirty-five leading curators from all over the world have been invited to select one artist's video each, which they think is important, and should be seen by audiences across the globe now. Project 35 will be compiled onto a series of four DVDs with eight to nine works apiece, and distributed every three months, to provide you with new and engaging programming throughout the year. The series will offer a time capsule of historic and contemporary works that curators perceive as relevant to today. Project 35 will show a diversity of approaches to making video, as well as the interests artists are addressing in their practice. Taking advantage of the medium's versatility, Project 35 can be viewed in an auditorium, foyer, or in a gallery space. The DVD can be projected or viewed on a monitor, depending on host venue needs and interests. It may be a key program component in a project space for a year; presented in weekly, monthly or quarterly screenings; or running in the cafe or education room every afternoon. Curators for this program include Mai Abu ElDahab (Egypt/Belgium); Ruth Auerbach (Venezuela); Zoe Butt (Australia/Vietnam); Constance Lewallen (U.S.); Lu Jie (China); Raimundas Malasauskas (Lithuania/France); Hans-Ulrich Obrist (Switzerland/England); Bisi Silva (Nigeria); Kathryn Smith (South Africa); and more. Project 35 recalls the founding initiatives of iCI. As a fledgling organization, iCI was an early proponent of video as an art form—the first iCI show in 1975 was organized for the São Paulo Bienal, presenting a survey of video works that included Vito Acconci, Bruce Nauman, Nam June Paik, Keith Sonnier, Steina Vasulka, Bill Viola, and others; artists who were pioneers working in a medium that was just beginning to gain traction in the field of contemporary art. For this significant anniversary, iCI is inviting curators from its past and present exhibitions as well as other leading professionals in the field today, aiming again for a comprehensive grasp of a medium that remains viable for experimentation. Each DVD will be accompanied by a pdf with details of each video and a short introduction to each work by the selecting curator. Standard presentation fee for Project 35: $3,600 per venue, $900 per quarter Fee may be negotiated on a sliding scale, indexed to institution's annual operating budget, ranging from $400 per venue for those with minimal funds, up to $3,600.
Exhibitions in a Box iCI's newest series of shows celebrate the fact that interesting projects can come in small parcels, and take their lead from initiatives such as Marcel Duchamp's Boîte-en-valise and George Maciunas' Fluxkits. Collectively titled Exhibitions in a Box, and charged with a do-it-yourself imperative, each box provides source material from which venues can generate high-content, low-cost exhibitions, adapting and adding to the materials provided according to the space and facilities available. An evolving series developed by artists, curators and historians, the content of the boxes variously includes small-scale artworks, videos, sound works, instruction works, ephemera and archive materials. These projects are suitable for all scales of institution, from libraries and artist-run spaces, to art centers, university galleries, museum project spaces, or education centers. Each box will arrive with materials ready to install, requiring little or no equipment for presentation. The projects are conceived to stimulate discussions and events, to be organized by the host venue. Virtually any configuration is possible: for example, the box contents may be added to, with contributions from the host venue's collections and archives, or can be the starting point for an exhibition that presents local artists' practices in relation to a broader art issue or event. Three categories of Exhibitions in a Box are in development: key historic precedents that influence art practice and exhibition making now; artist-initiated boxes; and a project series, focusing on one period or range of works from contemporary artists.
Raymond Pettibon: Black Flag
The first of the project series, Raymond Pettibon: Black Flag, taps into the steady stream of this California artist's early graphic arts production, before he appeared on the contemporary art stage. It includes over 200 examples of Pettibon's powerful designs made between 1978 and 1986, when he was immersed in the Los Angeles punk rock scene, doing the graphic design for Black Flag and other punk bands. While Pettibon remains a cult figure among underground music devotees for these early designs, over the past twenty years, he has acquired an international reputation as one of the foremost contemporary American artists working with drawing, text, and artist's books. Crossing back and forth between music and the visual arts, this project shows Pettibon's raw imagery, heavily shadowed technique, and characteristic visual punch in formation, and includes 44 zines, 120 fliers, 5 offset prints, a selection of album covers, and t-shirts. Most of the designs were done for SST Records, founded by his brother Greg Ginn, who was also guitarist for Black Flag. In addition to the two and three-dimensional contents in the box, CDs of SST bands including Hüsker Dü, Sonic Youth, and the Subhumans, as well as a Grammy award-winning monologue by Black Flag vocalist, Henry Rollins, enrich the context and show Pettibon in his original milieu. To adapt the project to their own communities and bring in new audiences, institutions presenting this project might wish to consider inviting innovative local designers to present their own graphics alongside these, or host performances by local bands, for instance. Raymond Pettibon: Black Flag has been assembled by David Platzker, Director of Specific Object in New York City.
Harald Szeemann: Documenta 5
The first historic Exhibition in a Box is titled Harald Szeemann: Documenta 5. Documenta is a major international contemporary art presentation that takes place every five years in Kassel, Germany. This specific 1972 Documenta, chiefly curated by the influential Swiss curator, Harald Szeemann, was a pioneering, and radically different presentation that was conceived as a 100-day event, with performances and happenings, outsider art, even non-art, as well as repeated Joseph Beuys lectures, and an installation of Claes Oldenburg's Mouse Museum, among many other atypical inclusions. The show widely promoted awareness of a contract conceived by Seth Siegelaub and drafted by Robert Projansky, known as The Artist's Reserved Rights Transfer and Sale Agreement, which protects artists? ongoing intellectual and financial rights with regard to their production. This Exhibition in a Box includes the exhibition catalogue, ephemera, artists' publications and editions produced in conjunction with the exhibition, as well as published reviews and critical responses. The assembled materials provide a rich jumping-off point for art history students, artists, and general audiences to plunge into the international contemporary art scene of 1972, to see what this particularly fertile cultural moment produced. Venues might like to host an evening of local artists' talks about contracts and rights, building from discussion of The Artist's Reserved Rights Transfer and Sale Agreement, or could work with community groups to generate their own 100-day series of events. This project has been assembled by David Platzker, Director of Specific Object in New York City.
In Development: Rirkrit Tiravanija Presents will be the first artist-initiated box, made in collaboration with this Thai-American artist best known as the leading proponent of the recent art movement dubbed “Relational Aesthetics” by French curator Nicolas Bourriaud. The exact contents of Tiravanija's boxes are yet to be devised, and will be put together by Susan Hapgood, Director of Exhibitions at iCI. Presentation fee for each Exhibition in a Box: $500 per week, $1,500 for a four-week presentation, $3,000 for a ten-week presentation.
iCI EXHIBITION TOURS WITH CURRENT AND FUTURE FAX People's
Biennial The Storyteller Mixed Signals:
Artists Consider Masculinity in Sports Experimental Geography iCI's website will soon be updated to include all of the programming strands in development; check back to see what is in the works, and what events and exhibitions may be coming your way.
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