Black Cube, A Nomadic Art Museum
Curated by Cortney L. Stell
French artist Marguerite Humeau’s Orisons is an unprecedented, large-scale, newly commissioned earthwork situatd in rural Colorado. Measuring up to 10 acres in diameter, the earthwork is reminiscent of a gigantic crop circle and is visible from land or sky. The work itself consists of a repurposed center-pivot irrigation system that mechanically spins, collecting and distributing rainwater in a circular pattern to stimulate the growth of native, medicinal plants. Planted according to the changing seasons, Orisons visually transforms over time, inviting visitors to experience colorful blossoms in the Spring and withering shades of brown in the Winter.
Through a hypothetical and resonant narrative, Humeau’s earthwork surfaces a vital question—what happens when our aquifers dry up? In this work, the irrigation system is akin to an otherworldly being on a cosmic quest to produce rainfall, healing the soil and reviving vegetation, before becoming extinct. Using partially harvested rainwater as a sustainable water source, the center-pivot irrigation system is programmed to disperse water at an environmentally safe pressure rate on a plot of land that contains planted seeds. In this way, the earthwork explores the relationship between land and sky. Orisons connects a constellation of subjects, including innovative regenerative farming practices, ancient plant medicine and contemporary mythologies, which altogether highlight the interconnections between humankind and the environment.
New Museum, NYC
October 26, 2021 – January 23, 2022
Curated by Margot Norton and Jamillah James
The title of the 2021 Triennial, “Soft Water Hard Stone” is taken from a Brazilian proverb: Água mole em pedra dura, tanto bate até que fura (soft water on hard stone hits until it bores a hole). The proverb can be said to have two meanings: that if one persists long enough, the desired effect can eventually be achieved; and that time can destroy even the most perceptibly solid materials. The title speaks to ideas of resilience and perseverance, as it evokes the impact that an insistent yet discrete gesture can have in time. It also provides a metaphor for resistance, as water—a transparent, fluid, and often underestimated material comprising most of our bodies and the planet itself—is capable of eventually dissolving stone—an inflexible substance associated with monumentality, yet also composed of tiny particles that can collapse under pressure. In this moment of profound change, where structures that we once thought to be stable are revealed to be precarious, not working, or on the verge of collapse, the 2021 Triennial acknowledges artists and collectives reimagining traditional models, materials, and techniques beyond established paradigms. Their works exalt states of transformation, calling attention to the malleability of structures, permeable walls, porous and unstable surfaces, and the fluid and adaptable potential of both technological and organic media. The works included in the exhibition recall a sensibility that is simultaneously prehistoric and post-apocalyptic, looking back toward overlooked artistic traditions and technological building blocks, while at the same time looking forward toward the immaterial and the transitory, and creative modes not yet imagined.
French-Tunisian artist Alex Ayed will present a new body of sculptural works made specifically for the 2021 New Museum Triennial. Inspired by the exhibition’s title and theme, Ayed will present works that respond to the architecture of the New Museum, and experiment with material capabilities as their form changes throughout the duration of the show. The materials Ayed commonly uses, which range from found objects that he sources along his journeys, to sand, to Tunisian olive oil soap, are those that each come with rich histories, yet are not commonly used in a traditional art context, and point toward possibilities beyond those typically housed within the walls of the institution. As borders have been shut and travel has been limited due to the global pandemic this year, Ayed has turned much of his attention to researching modes of sea travel. The works Ayed will present in the 2021 Triennial will draw from this research, and the winds that make nautical travel unpredictable, yet cause boats to move faster in order to reach their destination. For Ayed, this metaphor of the wind speaks to our current moment of instability, which may cause chaos yet pushes us to realize necessary change.
The work of the French-Haitian artist Gaëlle Choisne addresses many of the disorders that plague our society: from the climate crisis and the exploitation of natural resources, to the structural remains of colonialism. For the 2021 New Museum Triennial, Choisne will develop a new video and sculptural installation responding to the exhibition’s title and theme. As she often draws from Caribbean and European literary sources, her new work is inspired by Roland Barthes’ 1977 text “A Lover’s Discourse,” as well as Choisne’s ongoing research on systemic racism, violence, and surveillance. The installation incorporates found objects, some of which have been gathered by the artist for many years, as well as materials such as Plexiglas sheets often used for hygienic or safety purposes, and metallic objects made by the artist in a facility that manufactures weapons in the South of France. Choisne’s project will also incorporate architectural elements using mycelium and draws connections between a fungus-like bacteria that can grow in the stomach of dogs and elicit violent behavior in the animal, and propagating police brutality. In this work, Choisne expands from Roland Barthes’ quote “I am the one who waits”, to add: “I am the one who waits, for a new life, equal for everybody.”
Artpace San Antonio
July 15-September 15, 2021
Curated by Pilar Tompkins Rivas
Born in Bogotá, D.C., Colombia in 1983, Argote graduated from École Nationale Supérieure des Beaux-Arts de Paris in 2009 and has remained living and working in Paris since. His work explores the relationship between history, politics, and the construction of our own subjectivities. His films, sculptures, collages, and public space installations attempt to generate questions about how we relate to others, to the state, to heritage, and traditions. His works are critiques, sometimes anti-establishment, and deal with the idea of bringing affects to politics, and politics to affects with a strong and tender tone. Argote makes political and sociological critiques and proposals using affection, emotions, and humor as subversive tools, with which he tries to generate spaces of dialogue away from polarization and confrontational rhetoric.
Argote’s artistic career has gained significant momentum over the last several years, yet he still has a limited exhibition history in the United States. In a time when the United States is grappling with its own identity, history, and role in the global community, highlighted in an unprecedented insurrection of the US Capital, it is a pertinent time for Argote to explore the themes of his practice within the context and physical location of the United States, especially in the South where these political and societal tensions often most clearly emerge.
During his stay, Argote will be provided with a studio space and he will have the support and resources he needs to fully focus on his work at hand, respond to his environment, and actualize his work in whichever form he sees most fit. Once the work is produced, his installation will stay on display at Artpace for two months, and it will be admission-free for the public to see seven days a week. Additionally, the exhibition will be accessible virtually through high-quality 3D scans that produce dynamic 3D tours of the space.
Los Angeles Contemporary Archive
End of 2021 – April 2022
Curated by Hailey Loman
The project will take the form of a solo exhibition and onsite research by French artist Clémence de Montgolfier at Los Angeles Contemporary Archive, a non-profit organization based in Los Angeles, an art archive, library, and exhibition platform that collects underexposed artistic modes of expression happening in our current moment, challenging the notion of archive and art space. De Montgolfier, whose work investigates the politics of public speaking, representation, and the mediations of speech, also a Dr. in Media Studies from the Sorbonne University in Paris, has started working on this artistic research in 2020. Her project entitled Les Médiation impossibles (Impossible Mediations), originally supported by the Artists’ Foundation (Paris, FR), has resulted in the production of a series of artworks examining conflict resolution, the government of the self and others (in the sense of Michel Foucault’s eponymous book) and the concepts of the production of “truth” and “reconciliation”. In this project the artist has chosen to investigate, almost as one would a case study, “Truth and Reconciliation Commissions”, a model of transitional justice commissions that have been organized in countries in democratic transition since the 1980s. Their aim is to publicly acknowledge and uncover human rights violations committed by authoritarian groups or regimes and to propose forms of reparation.
This multifaceted project is based on research, meetings and filmed interviews conducted with former commissioners and staff who have served on truth and reconciliation commissions (TRCs) around the world, and also with experts who have testified in these commissions or studied them. The artist will particularly look at the history of the South African Commission, the more recent case of the Canadian Truth commission on residential schools (2010-2015), and the current ongoing independent commission on sexual abuse in the Catholic Church (2018-2021, Paris, France).
California Institute of the Arts – Wattis Institute
Curated by Anthony Huberman
Other Repercussions proposes “the percussive” as an aesthetic and political concept. While percussive instruments have remained at the center of most musical traditions around the world for thousands of years, this exhibition moves beyond the framework of music and outlines a broader “percussive field” as a model for art and politics.
Central to the exhibition will be works by French artists or artists living in France, each of which speaks to the exhibition’s central themes in powerful ways. Tarek Atoui, who has a long-standing practice related to sound’s physical impact on bodies and surfaces, conceives a new piece for the exhibition. Shot with indigenous people in the Colombian Amazon, Paris-based artist Marcos Avila Forero’s Atratro (2014) captures bodies in a river, communicating with each other, and with the river itself, by slapping the water in coordinated rhythms. Paris-based artist Angelica Mesiti’s film The Calling (2013-2014) explores different rural communities whose inhabitants communicate via whistling. Laure Provost’s early single channel video works don’t depict anything percussive or musical but turn sounds, images, and words into a percussive sequence of quick edits and sudden stop-and-starts. Cyprien Gaillard’s early apocalyptic video Desniansky Raion (2008) combines the clash between two groups of hooligans and the demolition of an apartment tower block to create forceful violence of different types.
With these and other works, Other Repercussions asks what the percussive can do: what does its abstraction mobilize and what does it threaten? What is a percussive gesture, a percussive shape, a percussive image, a percussive story? What is a percussive form of being together? Artists and writers have long used a musical vocabulary to talk about art and politics, and, borrowing from the writer and poet Fred Moten, the exhibition asks whether the percussive can be a way to ensemble—to become a political model where diverging perspectives don’t agree, disagree, or even work towards a consensus but where they gather, co-exist, listen to each other, make something with each other, and mutually adapt to a context as it evolves, like an ensemble.
Louisiana Museum Foundation – New Orleans Jazz Museum
October 2021 (Prospekt New Orleans Triennial)
Curated by Amy Mackie
Artists Maxime Berthou (France) and Mark Požlep (Slovenia) embarked on a practice-based research journey on the Mississippi River from September 2 to October 20, 2019. Their means of transportation was a hand-built 20-foot (6-meter) steam-powered paddle boat named Thumpa. Their goal was to research and experience contemporary American life along this mythical river. Following the methodology and chronology of a research-action project, “Southwind” is an investigation into personal experience, transcription, and disproportion through the production mechanisms of an artistic project. Endurance related to traveling on this specific vessel allowed the artists to interact with a diversity of social environments and realities along the 2,320-mile (3,730 km) long river. Though their role was primarily to document daily life along this infamous stretch of America, their personal interactions positioned them as active co-creators. The project was documented in the form of video, writing, photographs, sound recordings, and drawings. The artistic outputs are a film that includes interviews and portraits of the people and locals they encountered along the river, an artist book in the format of a journal, and an installation that includes drawings, photographs, and other ephemera. They continue to engage in educational workshops and presentations about the project in Europe and will conduct a similar educational initiative in the U.S.
The New Orleans Jazz Museum will present an outdoor screening of the film Southwind in October 2021 during the international triennial, P.5 (Prospect New Orleans). The film will be presented in the form of a “Cinema Concert.” Live narration and voiceovers for the film will be performed by performance artist David Freeman, followed by live music by New Orleans jazz musicians. Screenings will include two nights of live performances. Several installations that include evidence and further documentation of this project will be presented inside the museum and will be on view throughout the triennial. The film will additionally be available online. Amy Mackie is the curator of the presentation of “Southwind” at the New Orleans Jazz Museum and PARSE NOLA, her nonprofit residency and art program based in New Orleans is serving as a collaborator and producer of this project.
September 14 – December 12, 2021
Curated by Benjamin Chaffee
The Language in Common, a group exhibition planned for September 14 – December 12, 2021 in the Ezra and Cecile Zilkha Gallery, Center for the Arts will feature the work of five artists working at the intersection of visual art, poetry, and performance, including Julien Creuzet (b.1986, France), Cecilia Vicuña (b.1948, Chile), Tanya Lukin Linklater (b.1976, Alutiiq), Jasper Marsalis (b.1995, US), and Alice Notley (b.1945, US). Creuzet’s newly commissioned installation works are envisioned as a central element of this exhibition.
The Language in Common presents artistic practices that move in the space between poetry, visual art, and performance. Through an exhibition, public programming, and a chapbook publication series, the project aims towards what the poet Alice Notley calls, “the language that holds all being together.” There is language that precedes us. Poetry that precedes us. Art that precedes us. Moving beyond the spectacle of their origination this project seeks to allow memory as a creative act in the process of making experience common, of making space for a new imaginary.
Julien Creuzet’s work will create, with Cecilia Vicuña’s, a dynamic comparison sharing a focus on the injustices of Neoliberalism. The exhibition will include Creuzet’s poetry, sculpture, wall-based photographic murals and video, as counterpoints to Vicuña’s exploration of the Andean quipu. While engaging similar ideas of resistance to hegemonic political narratives, Creuzet and Vicuña work from very different diasporic positions, and Creuzet digs deeper in the nature of those very positions with this conceptualization of “geolocalization,” and the different impact of Neoliberalism on individuals depending on social position, geography, history, race, gender… He raises the idea that we are global subjects, though hyperlocal in expression, with the influence of Edouard Glissant’s “Le Tout Monde” (Whole World, or One World).
May 6, 2022 – August 15, 2022
Curated by Amara Antilla and Clelia Coussonnet
Breaking Water is a group exhibition bringing together works in installation, video, photography, painting, sculpture, and performance that offer a range of approaches to the subject of water, liquidity, and feminism. The exhibition will debut four new commissions by Paul Maheke, Josèfa Ntjam, Claudia Peña Salinas,and a collaborative work by Calista Lyon and Carmen Winant alongside new and existing work by an international group of artists whose work explores themes of fluidity, connectivity, and resistance, and addresses timely concerns including water rights, climate change, and the effects of natural disasters. Co-curated by CAC Senior Curator Amara Antilla and independent curator and writer Clelia Coussonnet, Breaking Water will be on view at the CAC from May 6 through August 15, 2022. The exhibition will be accompanied by a parallel film screening program that extends the exhibition’s central themes and a hybrid catalogue.
Full artist list:
Mishkin Gallery (Baruch College, CUNY), NYC
Curated by Alaina Claire Feldman and David Gruber
Whale songs are like canaries in a coalmine. They are barometers of the health of our oceans. As we approach a crucial moment concerning the condition of our planet, listening to their vocalizations can bring us closer to understanding and encouraging action towards stewardship of the oceans. Engaging contemporary artworks, cultural artifacts, historical ephemera, and speculative futures, Who Speaks for the Oceans? will consider humanity’s desire to experience and communicate with the non- terrestrial, specifically focusing on an epistemological and historical analysis of what we think we know about life in the ocean. Many of these ideas have been informed by colonial, racialized, gendered, and terra-centric conventions alongside the production of nature, which will be exposed and critiqued through the multiple perspectives of an international group of artists.
The history of oceanography has a deep connection to French culture, as the country has over 4,500km of coastline. As early as the 1880s, France hosted its first public exhibition exclusively dedicated to the previously unknown wonders under the ocean, titled L’Exposition Sous-Marine du Travailleur et du Talisman and held at National Museum of Natural History in Paris. The exhibition was extremely popular and kickstarted the underwater craze which has since been a strong French tradition. The show aligns itself with this history and tradition by inviting a group of international artists, including four French artists: Marguerite Humeau, Josèfa Ntjam, Jacques Cousteau, Chris Marker, to questions what we think we know about life under the sea and contemporary human-animal relationships.
Using the so called “whale song” as a primary example of the West’s oceanic desires to externalize, taxonomize and dominate nature and other species, artwork and materials in this exhibition will also consider how technology, assumed to be indexical and scientific, has informed imaginary and fantastical perspectives of non-terrestrial worlds. In order to understand and appreciate an entanglement with animals and the oceanic environment, we need to listen to their calls outside of patterns of consumption in order to develop meaningful relationships with them.
Who Speaks for the Ocean? will take place at Mishkin Gallery at Baruch College, City University of New York and is curated by David Gruber, professor, marine biologist, and National Geographic Explorer and Alaina Claire Feldman, professor and Director/Curator of the Mishkin Gallery. The gallery is located in central Manhattan and is dedicated to interdisciplinary education and the advancement of art appreciation through new lenses. New commissions will be displayed alongside existing works and historical objects. A series of student-initiated public programs including workshops, listening sessions and artist talks will be developed in parallel to the exhibition. Who Speaks for the Oceans? engagement with local and international artists and a drive to engage students will create affective empathy for the fragility of our environment and the creative ways in which listening to one another can lead to productive solutions.
Guggenheim Museum, NYC
October 2021 – January 2022
Curated by Katherine Brinson
Opening October 22, 2021 and running through January 10, 2022, the Solomon R. Guggenheim Museum will present a solo show dedicated to the works of Etel Adnan, famous Lebanese painter based in France (title to be announced). Etel Adnan will run alongside an exhibition dedicated to the works of Wassily Kandinsky. Operating much in the same way as the landmark R.H. Quaytman: + x, Chapter 34 and Hilma af Klint: Paintings for the Future exhibitions, Adnan and Kandinsky’s work will mirror each other across the decades in these dual presentations, encouraging audiences to draw connections between these revolutionary, modernist artists.
Etel Adnan’s show will occupy the first three ramps of the Guggenheim’s iconic rotunda with approximately 90 works of art, followed by the Kandinsky exhibition above. Adnan’s work will be the first of three contemporary artists to be presented alongside the Kandinsky exhibition, which will run until August 2022.
This focused exhibition will survey Adnan’s influential practice over the course of seven decades, encompassing paintings, tapestries, films, and her “leporellos”: accordion-fold paper books that straddle her linguistic and pictorial registers. The first solo presentation of an Arab American artist to be staged in the Guggenheim Museum’s rotunda, the exhibition will elucidate the artist’s longstanding fascination with the work of Vasily Kandinsky and the architecture of Frank Lloyd Wright. This exhibition is organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art, and Lauren Hinkson, Associate Curator, Collections.
Born almost a century ago in Lebanon, Etel Adnan (b. 1925, Beirut) has forged a creative language of singular power and lyricism. Her expansive career spans the mid-century to the present day and across multiple languages, continents, and disciplines. While Adnan’s poetry, fiction, and journalism has offered searing political responses to events such as the Vietnam War (1961-75) and Lebanese Civil War (1975- 90), her visual art is intensely engaged with the transcendent themes of nature and memory. Characteristically modest in size, her paintings are created in a single sitting, their intense colors applied in decisive strokes with a palette knife. Obsessively iterating on recurring themes such as a mountain landscape, the rising and setting sun, and the ocean, they distill a sense of both the fleeting moment and the eternal.
In collaboration with French curator Marion Vasseur Raluy, American artist Alexandra Grant and acclaimed writer Hélène Cixous, independent curator and current University of Southern California doctoral student Ana Iwataki will undertake on-site research for a project titled Telepathies. Following a year of remote collaboration, research and preparatory work with contacts and partner institutions in France and the US, the four will meet in Paris to conduct research in Hélène Cixous’s archives at the Bibliothèque Nationale de France.
Telepathies is a project emerging from a long history of recurring dialogic, transnational and translational collaborations between the contributors, who will also use the month in Paris to record their conversations and conduct studio visits with other artists working in relational modes. The work will be a testament to Iwataki’s extensive and ongoing exploration of translation, fluidity, the porosity of boundaries and the potential of mutual influence. It will be grounded in Cixous’s writing and will bring other artists into dialogue with Grant’s art. The vision for Telephathies is a work grounded in archetypes, centered on two objects—a tarot deck and a book—that will embody a cosmology of deep listening and relation to the other, enabling live performance and participatory elements on both sides of the Atlantic. At the crossroad of various kinds of knowledge, Telepathies will forge connections and collapse the space separating the academy, art institutions and activist spaces. The team plan to partner with institutions in both Paris and Los Angeles to act as hosts for workshops, readings, collective translation sessions, listening sessions, performances and book launches.
A curator, translator and activist, Iwataki often investigates the material and metaphorical properties of water, as well as processes of ingestion, digestion and deconstruction. Her work reflects a commitment to reimagining creative and ethical ways of being with and for others, and her current role as a doctoral student at USC will allow Telepathies to be presented within the academy and in conferences, research clusters and other sites of exchange.
Chronos, with ISCP (International Studio & Curatorial Program), New York
CHRONOS is a three-phase, international project culminating in a residency with ISCP and exhibitions in New York and London. During the three-month residency in New York, artistic duo Ittah Yoda will conduct research with writers and researchers in AI, develop texts and publication material, host talks and exhibitions, research and produce new glass sculptures with UrbanGlass, and present a solo exhibition with Foreign & Domestic.
Ittah Yoda is a duo formed in 2016 by Japanese-Swedish artist Kai Yoda and French artist Virgile Ittah. Hailing from diverse backgrounds, the two have developed their artistic identity through digitally-enabled cross-cultural creative collaborations. Focusing on the unconscious, insecurity and anxiety, they seek to unlock new understandings of the self through re-enactment of trauma and repeated behavior. Real and virtual forms are created in an effort to connect with a shared human heritage and a universal unconscious. By encouraging the active participation of the public, Ittah Yoda highlight the performative dimension of their installations. The duo attempts to create a new reality under a rhizomic network of connections between the work and the viewer, bridging virtual and physical realities, forming new landscapes and shaping the world of tomorrow.
At the dawn of a new era, a post-anthropocentric society where human nature must be reset, the CHRONOS project questions the separation of object and subject as well as the very split between culture and nature with regard to our interdependence with other beings. An immersive installation will link the real and virtual worlds. Physical and VR sculptures will assume a hybrid form, juxtaposing digital forms and 3D reconstruction from underwater flora and fauna. Artificial intelligence will allow user-viewers to download the installation or watch it online from various places. With this project, Ittah Yoda seek to open up new possibilities for experimentation and communication by encompassing an ever larger and more diverse audience—an audience ever more involved in the act of (co-) creation.
Artist space 202202 Delirious New York, with MoMA PS1, New York
October 2021 – January 2022
During this four-month residency, Marseille-born artist Marie Angeletti will conduct research in four parts: research into past alternative spaces; recorded interviews; photography (ongoing slide work); and research into forms of alternative arts education. She intends these four different modes of research to proceed apace: to research archivally at PS1 and MOMA library, in the hope of uncovering alternative models that thrived in the city’s past; to engage with local communities via interviews; to research the city photographically, and to explore new ways of an alternative arts education.
She will be researching on a daily basis at the PS1 Library Archives in consultation with the support of Ruba Katrib, curator at MoMA PS1. Her aim is to excavate specific histories of public spaces in New York. Decentralization has been the goal of many artists and groups hoping to revitalize the art world and reach a broader audience, and each generation learns something from the last. These objectives are all too relevant as we face an unprecedented need for intelligent and effective art communities and education in 2021 and beyond. As part of her research, she will list and visit private and corporate collections, alternative exhibition spaces, and art clubs to see what exists, how art is shown, structured, and financed. She’s planning to visit the Ford Foundation, the DIA foundation, the Foundation for contemporary Arts, all the university art collections (NYU, Columbia, Hunter, Cooper, CUNY and some others), the Thomas Johnson Hill Collection, the National Arts Club, Issue Project Room, Blank Forms, the Poetry Project, the Wooster Group, a few hotels in the city which own large art collections like the Gramercy Hotel, where the Armory show began, the Chelsea hotel, and the Hotel 17 (a really important landmark for downtown history). She’s also planning on visiting alternatives spaces, where art is present but not acknowledged, for example, the Tompkins Square Park public library, the Woodhull hospital in Brooklyn that has some Keith Haring murals on view, St John the Divine Cathedral and the Judson Church as well as the Port Authority bus terminals.
She would like to interview artists, writers, and musicians who have been involved or are still presently involved in these alternative scenarios. She will start to interview the previous generation of artists, like the filmmaker Jeff Preiss, or the artist Karin Schneider who were part of the artists run space Orchard; the artists Julie Ault, Martin Beck, Douglas Ashford, who founded Group Material; current existing art spaces like the members of Artists Space, Reena Spaulings or Blankforms. She also intends to observe the city, documenting the everyday, using photography as a social and research practice. She will continue to work on a preexisting artwork, for which she already has two locations in mind (the windows of one of the NYU buildings around Washington Square, and the Whitney Museum windows on the Hudson River).
Beyond Circuits with The Computer Music Center at Columbia University
June 1st – September 1st 2021
The focus of this project is the Columbia Computer Music Center (CMC) and its history of homemade electronic art objects.
Ezra J. Teboul (born in Paris, 1991) is an artist and researcher focusing on the medium of electronic components and systems. In conjunction with sound and visualizations of voltages and other signals, the circuit, analog or digital, is used as a looking glass through which the public can obtain a close look at the systems which have allowed our lives to become so connected and electrifying. These circuits also propose alternative visions of utilizations for these components, asking: what would happen if we focused on the qualities of collective poetic experiences, rather than on the acceleration of exchanges?
His research will result in four “augmented sculptures” which bring attention to a selection of objects from the Computer Music Center’s history making their history and functionality accessible to an everyday audience. These sculptures will combine systems of electronic components, computer programs meant to be embedded alongside the circuitry, and augmented reality (AR) designs. While the physical aspects of the work offer an interactive experience highlighting the technological and musical developments of the center, the virtual elements provide information regarding the CMC’s musical, historical and visual heritage.
In an era where the robustness of our communication infrastructure has come under scrutiny, as millions telecommute to work amidst a global pandemic, the relationship between the technical underpinnings of art and of our everyday, and of real access to research on that relationship appears as a crucial point of examination for the theorist, the practitioner, and the public widely construed. If possible, these objects will be introduced via an educational and interactive media workshop.
Noguchi Museum, NYC
September 22, 2021 to February 13, 2022
Curated by Dakin Hart
Spaces of the Mind is an artistic exhibition that explores the role of small spaces as portals to larger universes – a symbol of the expansive space inside an artist’s mind. It presents this dualism of artwork as both self-contained and representative of a greater world through four small spaces, each of which serves as a unique portal. These microcosmic projects are created by practitioners from around the world — Pierre Charpin, Paula Hayes, Takeshiro Matsuura, and Laurie Spiegel — and represent different fields of expertise. They will be installed near a permanent installation of Noguchi’s large stone sculptures.
A central element of the exhibition will be Walls of Pierre Charpin’s Studio, by Pierre Charpin (b. 1962), a French designer and visual artist based in Paris. In one of the museum’s galleries, he will install a version of his studio walls, as well as meaningful objects that he has kept for decades, new items that inspire him, and personal sketches and projects. Walls of Pierre Charpin’s Studio will function as a site-specific installation that represents a simulation of Charpin’s rich thought process, giving visitors a chance to enter his studio and, by extension, his brain.
Museum of Art and Design, NYC
February/March to September 2022
Curated by Alexandra Schwartz
This exhibition chronicles contemporary art’s engagement with costume and how visual artists use garments to examine issues of identity, sexuality, and the body. This phenomenon may be identified by the term garmenting, or creating art for installations in the form of garments.
Garmenting examines work by thirty international artists, who engage with costume yet fit into the category of visual artists. Among them are 5 French artists – both established names and emerging voices. The show will be organized around five interrelated themes. The first explores how gender and sexuality are exhibited through dress, beginning with artists from the 1960s who introduced garmenting into their visual arts practices, and continuing with artists who were influenced by second- and third-wave feminism. The second theme focuses on activism, examining how artists have used garments as agitprop and symbols of political violence’s effects on individual bodies. The third centers on works that explore the relationship between costume and cultural identities, particularly within the context of post-colonial and transnational discourses. Next, the fourth deals with issues of functionality, showcasing works that blur the line between art and fashion and question traditional divisions between disciplines. Finally, the fifth features artwork that doubles as costumes in live and videotaped performances and will include a fully integrated series of live events at MAD. Garmenting as a formal trope has various significations, and its current ubiquity testifies to many contemporary artists’ desire not only to upend distinctions between the “fine” and “applied” arts, but also to root their practices in a fundamental aspect of human life: the physical body and the clothing that adorns and protects it.
Aurora Picture Show, Houston
Curated by Mary Magsamen
The Aurora Picture Show will present a one-night screening with the Congolese-French artist Michèle Magema. The screening, which will include 8 to 10 short video works, will focus on Magema’s unique perspective as an African female artist with a cultural heritage from both the Democratic Republic of the Congo and France.
Following the screening, a discussion will be led by Raymond Gnanwo Hounfodji, a PhD in Francophone and African Literature and a Lecturer of French at the University of Houston who specializes in African and post/colonial literature and theater, as well as oral literature.
Blaffer Art Museum, Houston
June 5 – November 13, 2021
Curated by Steven Matijcio
Young French artist Caroline Mesquita has recently met remarkable international success: She has had solo exhibitions at the Galeria Municipal do Porto, the Kunsthalle Lissabon, and the Centre Pompidou and was awarded the prestigious 19th Fondation d’entreprise Ricard Prize in 2017.
Caroline Mesquita is a sculptor and video artist who mainly works with metal. She creates radically imaginative sculptures of airplanes, spaceships and motorcycles, with raw material inspiring her to engage with notions of science fiction, religion, embodiment, transformation, sensuality, and sociability. Mesquita’s works are darkened, patinated, and roughly textured through an oxidation process. With this technique, Mesquita manipulates metal as if she were painting. These material transformations are the medium through which she tells stories about the human experience and action and exchange in relationships. She also creates videos, sonic environments and performative films, in which she herself appears, either around or using her metallic creations.
During a formative road trip across the southwestern United States, Mesquita observed the effect of copper mining and how the coveted material is extracted from the earth. Seeing the “surreal red mountains” these mines produced created a searing ambivalence for her as she reached her ultimate destination: Marfa, Texas. To continue exploring the relationship between majesty and monstrosity, natural and manmade, she will produce a newly commissioned, site-specific installation in 2021, at the Blaffer Art Museum in Texas.
Caroline Mesquita (b. 1989, Brest) lives and works in Marseille.
Beall Center for Art and Technology – University of California, Irvine
Curated by David Familian
This exhibition will examine Molnar’s art, ranging from her non-computational work to her early computer-generated drawings to more recent work that makes use of other media.
Vera Molnar, born in 1924 in Hungary, is a pioneer in the field of computational and algorithmic arts. As early as 1959, she began iterating combinatorial images, and, in 1968, she began working with computers, through which she created algorithmic paintings based on simple geometric shapes and geometrical themes.
The non-computational works include Molnar’s earliest experiments with chance operations, such as Interruption – Continuation (1961) and a series started after her visit to the Honeywell Bull Lab called Machine Imaginaire [Imaginary], which includes the work Trame De 81 Quadrilatères À La Machine Imaginaire [Quadrilateral 81 Frames In The Imaginary Machine] (1967).
The exhibition will also include multiple iterations of Molnar’s hand-made collages, paintings, installations, limited edition books and multiples.
Hammer Museum, Los Angeles
September – December 2021
Curated by Connie Butler
The exhibition will showcase the work of 15 midcareer artists working in a range of disciplines (sculpture, installation, painting, video, and performance), including the French-Moroccan artist Bouchra Khalili.
Witch Hunt will offer a strong feminist perspective— spanning race, class, religion, ethnicity, and geography—and encourage dialogue about some of today’s most urgent issues, ranging from violence against women and transgender people to the right to free speech and protest in a democratic society.
Bouchra Khalili will present The Magic Lantern Project, a new installation that takes the lost and forgotten work of the radical, feminist Swiss filmmaker Carole Roussopoulos (b. 1945) as its starting point, including her internationalist videos on Jordan, the Black Panther party, and Algiers. Stemming from Khalili’s ongoing research in Roussopoulos’ archive, her project will reactivate and resuscitate the ghosts still haunting those lost tapes. The installation will feature a rich mix of 26 silk screen prints juxtaposed with edited archival footage of Roussopoulos’ films projected onto a large-scale magic lantern sculpture (one of the first pieces of projecting equipment). Together, these elements will convey a meditation on media as a nomadic and dissident form of witnessing, as well as a poignant history of migrations throughout time.
The exhibition will powerfully convey how feminist ideologies in art can meaningfully contribute to debates and reinforce the role that artists play in rendering the challenges we face as a society more visible. In our pivotal cultural and political moment, Witch Hunt—along with the accompanying catalogue and public programs—will provide an unprecedented forum for audiences to engage with female artists who are using their practice to explore questions of inequality and the erasure of feminist histories.
Group show with: Mathieu Kleyebe Abonnenc, Julie Bessard, Hervé Beuze, Jean-François Boclé, Alex Burke, Vladimir Cybil Charlier, Gaëlle Choisne, Ronald Cyrille, Jean-Ulrick Désert, Kenny Dunkan, Edouard Duval-Carrié, Adler Guerrier, Jean-Marc Hunt, Fabiola Jean-Louis, Nathalie Leroy-Fiévée, Audry, Liseron-Monfils, Louisa Marajo, Ricardo Ozier-Lafontaine, Jérémie Paul, Marielle Plaisir, Tabita Rezaire, Yoan Sorin, Raphael Barontini, Sylvia Berté, Vickie Pierre, Michelle Lisa Polissant, and Kira Tippenhauer.
Hunter East Harlem Gallery
516 Arts, Albuquerque
Loyola Marymount University, Los Angeles
Touring from June 2020 to December 2020
Curated by Arden Sherman
Initially presented at the East Harlem Hunter College from Nov 2018 to March 2019, the touring show Dust Specks on the Sea focuses on sculptural works by over twenty contemporary artists from Guadeloupe, Martinique, French Guiana, and Haiti and addresses the various postcolonial conditions of the Caribbean region. The exhibition’s title—Dust Specks on the Sea—is derived from a 1964 quote by former French President Charles de Gaulle, in which he expressed his outlook on the French Caribbean islands while on an airplane. His statement speaks to the otherworldly, mysterious quality of an aerial view of the Caribbean archipelago, while also calling into question a deep-seated hierarchical perspective that stems from France’s history as a powerful colonizing force in the Caribbean. In 1902, the eruption of the volcano Mount Pelée on the island of Martinique destroyed the town of Saint-Pierre, killing approximately 30,000 people in a matter of minutes. Poignant photographic images of the “worst volcanic disaster of the early 20th century” show the volcano’s dusty smoke looming above the sparkling waters of the Caribbean; these visual documents allude to the complex and loaded sentiments of de Gaulle’s quote—the duality of perspective. The French Caribbean can neither be defined solely by its beauty nor its historical trauma. This exhibition aims to contribute to a contemporary, multi-layered understanding of this region. The title is used as a tool to challenge the perception that this region and its artwork are mere specks of dust on the world stage. The landscape of Dust Specks on the Sea transcends “Caribbean” categorization and showcases artists’ subjectivities as complex and rich, expanding beyond preconceived ideas of what art from this region looks like and what subjects it can address.
Presented in spring 2020 in Miami at the Little Haiti Cultural Complex’s gallery in the neighborhood of Little Haiti, a town known for welcoming many Caribbean immigrants and historically acting as a home to displaced peoples, the show will tour in New Mexico and California in 2020 in galleries linked to universities.
MIT List Visual Arts Center, Cambridge
What does it mean to preserve and present so-called “born digital” artworks, like Net.Art? What are the existing institutional models for access? How is the digital institutionalized? And how do the epistemic and “material” premises of digital artworks rub up against the structures and ideological formations (both implicit and explicit) of the “public collection”? What insight can the close study and interpretation of thematic and conceptual underpinnings and the analysis of the specific medium of Net.Art works reveal about these questions? How might the obsolescence and narrative open-endedness that are posed by the web browser as a medium support the production of clandestine knowledge and alternative epistemologies, particularly in relation to feminist applications of technology?
These are the preliminary inquiries that will guide the research that would be undertaken during the summer and fall of 2020 in the Bourgogne-Franche-Comté region of France, by consulting the remarkable collection of Espace Multimédia Gantner, both a living public collection and an archival repository of digital art.
Visual Arts Center, University of Texas, Austin
The purpose of this research trip is twofold: 1) to work with Frac Bretagne in support of the Art Norac award and develop awareness about the VAC’s residency program in France; 2) to meet with artists and colleagues and visit institutions and residencies in Rennes, Paris, and Marseille.
The FRAC Bretagne – Art Norac Award is a new undertaking created by the FRAC director, Etienne Bernard, in partnership with MacKenzie Stevens. The prize will be presented to an artist living and working in the Brittany region of France. Shortlisted artists will display their work at the FRAC Bretagne from fall 2020 through the winter, and the winner will have a solo exhibition of his/her work at the Visual Arts Center (VAC) at UT Austin in spring 2021. The exhibition will be accompanied by an illustrated exhibition brochure with an essay co-authored by Etienne Bernard and MacKenzie Stevens. The artist will also present his/her work in a public program, in the form of an artist talk, a seminar with students, and/or another type of program that is relevant to his/her practice and the work on view at the Visual Arts Center. The project will be an incredible professionalization opportunity for a French artist, allowing him/her to exhibit work at the flagship campus of the University of Texas, and it will offer students, faculty, and staff at UT Austin an opportunity to engage with the broader contemporary art world.
The Visual Arts Center is the first institution to collaborate with FRAC Bretagne in the United States. This groundbreaking initiative marks an important beginning for further exchange, dialogues, and partnerships between the Visual Arts Center and peer institutions within France, including FRAC Bretagne. UT Austin has a vibrant and rich community of American and international faculty members and students who will benefit from the presence of international artists on campus. The FRAC Bretagne – Art Norac prize winner will be embedded within the campus’ community: She/he will engage with students and faculty during the installation and afterward through the accompanying public programs and will liaise with other curators and artistic professionals residing in greater Austin. UT Austin is home to the France-UT Institute for Interdisciplinary Studies, recognized as one of fourteen interdisciplinary centers at American universities. The VAC will partner with the institute to design programming and opportunities for UT students, faculty, and staff, as well as residents of greater Austin, to engage with the artist and his/her exhibited work.
In addition to working closely with colleagues at FRAC Bretagne on the prize and planning for the exhibition of the Art Norac awardee at the Visual Arts Center, Stevens McKenzie will explore further possibilities for French/American partnerships and will learn more about residency programs for French artists during her research trip. The VAC has a robust exhibition and residency but still wishes to expand these programs to include more international artists. Thus, visits to peer institutions and meetings with colleagues in other countries are of fundamental importance.
This research project pursues ongoing investigation into the archives of Claude Cahun and Marcel Moore’s artwork and ephemera in Nantes, France and the Isle of Jersey and includes an interview the Moroccan-French visual artist Bouchra Khalili in Paris. This work will help Dean Daderko collect material for his exhibition Traces: Art, Politics, and Resistance.
The exhibition considers how artists working across a variety of periods and places have responded to the sociopolitical interests and concerns of their times. From Claude Cahun and Marcel Moore’s brave and valiant anti-fascist efforts undertaken on the Isle of Jersey in the 1940s to Artur Barrio’s criticism of the Fifth Brazilian Republic’s brutal dictatorship, this exhibition will look at how artists across the world have responded to repressive regimes with inventive wit and a subversive spirit. Traces will consider the recent past via Gregg Bordowitz’s art and activism in New York in the face of the 1980s AIDS epidemic. Turning towards the present, it will consider videos and photographic work by Bouchra Khalili that give form to narratives of individuals’ displacement across Africa, the Middle East, and Europe.
Aurora Picture Show, Houston
The FACE Curatorial Fellowship will support Mary Magsamen as she researches and develops a project with the French-Congolese artist Michèle Magema and conducts general film scouting and research at the Light Cone film center and Clermont Film Festival, both based in France.
Magema’s work is complimentary to Magsamen’s research on women who use film and video to share personal stories, placing themselves in vulnerable positions. With the help of the grant, Magsamen will travel to Magema’s studio to learn more about her work. She will also conduct an interview with the artist that will be published and included in the screening as a handout for attendees.
Visiting Light Cone’s Documentation Center will give Magsamen an opportunity to explore its archive and learn about contemporary French and European filmmakers, just as the Clermont Film Festival will give her access to works she would not otherwise be able to see or consider for programming at Aurora Picture Show.
In partnership with Kadist, San Francisco
A project in collaboration with artist Myriam Lefkowitz.
The purpose of Simon Ripoll-Hurier’s residency is to film the movie Targets, which takes place entirely in the San Francisco Bay Area. It will be constructed by and around remote viewing, exploring the poetic and cinematographic potential of this practice, while telling the story of a group of amateur remote viewers who got together after the declassification of the CIA archives at the turn of the century.
In the heart of the Silicon Valley in the 1970s, under the aegis of the CIA, a group of scientists, members of the military, and psychics developed a parapsychological technique that helps people channel their “extrasensory perceptions” to produce descriptions of distant targets — remote viewing.
Alone in a closed room and equipped with paper and a pen, the viewer follows a protocol to organize his mental images, sensations, and impressions. He focuses on a target that has been chosen for him but of which he is not aware. Blindly, he adds up descriptors, bits of text, adjectives, and diagrams, gradually building up an image that is then compared to the chosen target.
These experiments were carried out at SRI International, an emblematic institution that was the birthplace of Arpanet, the mouse, the graphic environment, Siri, and more. If the Silicon Valley is the place that shaped the fantasy of the cloud, through which all information is available everywhere, all the time, then remote viewing is an element of the historical and theoretical background that created these new superpowers.
Built around this underground connection, The Targets hopes to exploit a weird remnant of the Cold War to question today’s technological superpowers.
In other words: What would happen if people used these occult CIA experiments to spy on their hidden heirs and to try to look through the “iron curtain” of the Silicon Valley?
Jean-Charles de Quillacq
In partnership with the Coalesce Center for Biological Art, University at Buffalo, and the Bemis Art Center, Omaha
October 10 to December 10, 2020 and February 01 to March 31, 2021
Thanks to this two-part residency, Jean-Charles de Quillacq will develop his thoughts on corporeal substances and secretions, especially sweat. Happening at a pivotal moment in his artistic trajectory, the residency is an opportunity to imagine surprising new perspectives, to deepen an essential part of his research, and to dare to take a truly transformational, unexpected sidestep.
The second stage of the research will take place in early 2021, at the Bemis Center for Contemporary Arts in Omaha, during a two-month residency consisting of experimentation with various sculpting materials, techniques, and protocols and tests of various installation strategies.
While De Quillacq is interested in all corporeal substances and secretions, he is particularly interested in perspiration because it is concentrated in the body’s most permeable zones, while being secreted within the skin of almost the entire body of all humans, regardless of sex. It is common to all genders, to all identities. It is also the visible manifestation of our reactions to both internal and external factors, highlighting the porosity of our bodies and presenting them as filters, penetrated in two directions. The image of a filter led him to a form akin to those he has been producing for a long time, almost mechanically: Using the simple and repetitive gestures of tubes or organs that constitute conduits, like real pipelines, of fluids of an uncertain nature. Self As Tube: “Human beings are tubes. From a strictly physical point of view, we are dark, humid, coiled tubes with openings at the ends.” Fever, internal injuries, infections, intense emotions or stress, the confined atmosphere of the subway and heatwaves trigger the same processes and reactions in all of our bodies. With global warming, these shared processes and reactions take on an imminently collective, even generalized dimension. Sweating thermoregulates our bodies, lowering their temperature through humidification. Perspiration plays the same role as the cremaster muscle when it relaxes, allowing the testicles to lower and cool down to ensure the production of sperm. Matthew Barney titled his films, The Cremaster Cycle, after this muscle. Some sweat-producing glands—those under the armpits, around the anus and nipples, for example—are activated at the onset of puberty by the hormonal system. They are therefore part of our sexual attributes. It has been said that deep human attraction is often triggered by our scents. Thus, bacteria is intimately linked to our sexuality because it gives perspiration its scent, our smell. A human and non-human aroma since our bodies contain many more bacterial cells than human ones. Sweat is mainly made up of water and salt but also contains plasma, lactic acid, urine, toxins—including lead and mercury—and plastic. These elements bring De Quillacq back to the material of his work, the evocation of toxicological poems that de-hierarchize realms and genres. He believes that the phenomenon of perspiration and the substances of sweat manifest themselves to our senses and consciousness in many places today, both physically and psychologically. Sweating, as one of the signs of our times, is to become the subject of his study: he will explore its realities, processes, and materials during his residency in two phases.
At the Coalesce Center for Biological Art in Buffalo, New York: Focusing on different dimensions of sweat (chemical, physiological, and legal), he will work to develop and fabricate artificial liquids that synthesize his own perspiration, growing bacteria associated with certain odors and/or designing fermentation systems for these bacteria. One of the objectives of his first research phase is to find a way to develop and maintain synthetic sweat, a perfume or watery liquid, and to test its interactions with different materials under variable conditions. By extension, he will also research the deodorant industry and the substances and materials developed to manage sweat, as well as breathable fabric and textiles technologically designed to keep the body dry and odorless.
At the Bemis Center for Contemporary Arts in Omaha, Nebraska: This two-month residency will give De Quillacq the opportunity to experiment with various sculpting materials, techniques, and protocols and to test out various installation strategies.
In partnership with the SculptureCenter, NYC
30 April – 30 June 2021
The Legal Loopholes Society is a research project focused on the legal hindrances standing between France and the United States of America. Since 2017, different paths involving the impact of law upon the production of artwork in France, also with regard to the American context, have been explored. From the legal hindrances and dissociations of the two nations’ contexts, The Legal Loopholes Society hopes to pursue fieldwork across the American territory to initiate the conception of a “Society”, an autonomous system that stands “in-between” French and American legal rules. The ambiguous meaning carried by the term “legal loophole”, a term which is highly neglected by attorneys, is a strategical starting point for the research. In that respect, various components that affect the functional principles of The Legal Loopholes Society are meant to be treated: its intellectual property issues, taxes and economic limitations, customs regulations, selling conditions, and philanthropist advantage. Therefore, the output of the research will be multifaceted. Although lacking human beings, the self-sufficient “Society” will gather material elements, such as series of objects conceived for that framework and projected beyond traditional contractual forms, and impose new economic conditions and copyright legislation. Works created out of this research could then be distanced from the common ways of collecting in the art market, reconsidering the greater notions of property and ownership. Hence, the outputs will not necessarily be produced for the context of an institution, the classic frame of an exhibition. Instead, their access and visibility will be questioned and they will be dedicated to the margins of the institution, its threshold, or put “in transit”, in constant transportation between two borders. Created out of legal flaws, The Legal Loopholes Society will stand outside the two legal systems (FR and US). It will be constitutive of a porous territory, implying new rules, regulations, and conditions of existence for the artworks that tackle their financial systems, their modes of appearance, and their value systems.
The base for this research comes from another context — the social conditions of artists in France, particularly the artist’s rights and claims. The artist has no status in France and is deprived of unemployment insurance. In short, the artist is not considered a worker. Faced with the lack of specific laws and governmental issues, the collective La Buse (that Barto initiated in France in 2018) works to elaborate an alternative system that proposes a special status for artistic workers and highlights the power issues of the art world. La Buse, among other collectives, initiated the movement Art in Strike, which is currently converging with the national general strike. This important social struggle is inspired by the action of the American collective WAGE (Working Artist and The Greater Economy), which Barto hopes to visit during her residency. The need to be active in formulating alternative conditions and working towards new laws and rights for artistic workers is certainly The Legal Loopholes Society’s point of departure for this research.
Field experience and theoretical research will feed the overall process of The Legal Loopholes Society. In order to build a solid working base, in addition to active library research, a lawyer specializing in intellectual property will support the two month residency. The fieldwork for this research will consist of visiting legal institutions and offices, including the Services of American Customs and areas that claim their own regulations, such as a series of Tax-Free Zones in New York. These spaces are areas where emblematical elements (aesthetics of control, languages of power, judicial terminologies, etc.), can be recorded, used and distorted to help jumpstart the project. Finally, since Barto’s practice always emerges from the study of a specific context, SculptureCenter will provide a strong framework to analyze and imagine the diverse forms that the American system can potentially take. There will be various interviews with the board of the institution, studies of the history of the building and a review of its fundraising strategies.
In partnership with Mayeur Projects, Las Vegas, NM
September – November, 2021
Four Corners is a project consisting of photographs, video and installations that tackles the impact of research into atomic energy on the Four Corners area (formed by Utah, Arizona, Colorado and New Mexico) and how the Second World War and the Cold War contributed to the growth of the nuclear industry and its militaristic and scientific expansion.
This project is in a sense a corollary to Learning from New Jersey, in which the geographic area was examined as the proving ground for modernity. This earlier project opened up a documentary approach in Barat’s work that she is now keen to apply as a creative methodology. Four Corners takes an account told during the filming of Pay-Less Monument (the film element of Learning from New Jersey) as its starting point. An army veteran of the U.S.A. evoked a nuclear accident that occurred on a military base in New Jersey. The resulting contaminated soil was stored in an abandoned salt mine in Utah. Barat immediately wanted to know more about this accident. Considering New Jersey a ground of modernity, she wondered if Utah could be its dumping ground. Then, she did some research on the nuclear presence in Utah and realized that this “dumping zone” extended into the three other states of the Four Corners area. Although heavily contaminated, New Mexico presents a historic site connected to the Manhattan program, a nuclear weapons project that began during the Second World War. On the other hand, Utah, Colorado and Arizona seem to bear only the collateral damage. The sequence of events she has uncovered so far seems to offer a particularly promising path.
Travelling to the area will allow Barat to check her theories and to give the project a tangible form. This two month residency with the Mayeur Projects in Las Vegas (New Mexico) will offer her an environment that is exceptionally well-suited to the pursuit of her research. The gallery will then host the end of residency exhibition. Four Corners will also be included in EXTRACTION: Art on the Edge of the Abyss, a program launched by Edwin Dobb and Peter Rutledge Koch that examines artistic responses to the Anthropocene. This ongoing series of works began in 2018 and will be completed in the summer of 2021. During the intervening period, she will submit several articles reflecting the different stages of her project and hold a screening of her film Pay-Less Monument. Lastly, the residency and grant will allow her to complete the preliminary work required for a documentary film that is adjacent to the projects’ photographs, videos, and installations. The whole project is part of the practice-based PhD that she started this year with the RADIAN doctoral program.
FRANCK APERTET, ANNIE VIGIER, TILL ROESKENS, JEAN-MICHEL PANCIN, MYRIAM MIHINDOU, NICOLAS DAUBANES, MATHIEU PERNOT, CATHERINE PONCIN.
Contemporary Arts Center Cincinnati
November 22, 2019 – February 29, 2020
Curated by Valentine Umansky
Confinement is a direct response to Samuel Beckett’s Happy Days (1961), which sees a woman buried up to her neck in the sand. Under the blazing sun, Winnie is anchored in a mound, her belongings gathered in a black bag, which she treasures just as much as she does the daily routine of taking her belongings in and out of the pouch. A tribute to Winnie, this group exhibition highlights the ambiguities of a notion that evokes both the protection of the cocoon and the constriction of the enclosed space. The exhibition, which includes eight French artists, is divided into three sections spiraling around a central, core installation. Its four parts are: The core piece: Géographie. Uterpan. – Precedents – Seeking shelter. Which bodies/which refuge? – Institutional constriction systems. On the (im)possibility of mapping out confinement.
Bemis Center for Contemporary Art
October 2019 – June 2020
Curated by Sylvie Fortin
The New Inflation is a performance in four episodes that combines several layers of narrative systems: through the use of a group of actors, staged sculptures, lecturing, a funny/depressing form of stand-up comedy, and other unimaginable ways, Schulman will try to dress the portrait of a disenchanted economy – one in which singularity is explored as a refugee of the universe – based on the principle of error. Using the idea of crisis as a resource, she follows the very well-known phenomenon of devaluation to explore a mythology: Inflation. She includes aspects of inflation that create new forms of relationships, new interior designs, new wallpapers, new relations to language, and new fantasies, but focuses mainly on inflation as a link between one and the universe. In a frantic form of storytelling, the narrative relies on global mistakes as a form of positivity, forming a system of thought based on the idea of error as opportunity, and allowing signifiers to slide into one another via similitude. Here, a mass of stories converge towards a possible reading of a form of economy that is as global as personal. The universe, and its expansion become a new name to singularity. Liv Schulman received the Prix Ricard Prize in 2018.
The CAC – Contemporary Art Center
New Orleans, LA
March 7, 2020 – June 4, 2020
Curated by : Andrea Andersson
Tree Identification for Beginners is an exhibition of film, sculpture, installation and performance. The film interweaves political and personal history and myth; a construction from archival materials, journals and textiles, it begins with a narration of Barrada’s mother’s participation in 1966 during a US-sponsored trip to the United States for “Young African Leaders”. The film and installation –comprised of textile, image and sculpture- appropriate structures and methodologies from ethnography, natural history and archaeology as well as educational theory, to examine both the systems and mythologies employed to identify and categorize people and objects. With her installation, Barrada will bring her attention and curiosity to the specific history of New Orleans, and its relationship to both France and North Africa. The exhibition will include a night of performance, in which the artist will provide a live soundtrack to her film, using found materials.
Lower Manhattan Cultural Council @ Governors Island art center
New York, NY
September 11 – October 31, 2019
Curated by Omar Berrada
Loosely structured around several abstract motifs that are anchored in specific historic moments, this exhibit will consider the military history of Governors Island, the colonial history of Tanger, Morocco, and the environmental predicament of Tangier, VA in the context of a playful investigation of how humans have dealt, and are dealing, with the possible end of the world. Curated by Omar Berrada, the installation will consist of a heterogeneous and poetic assemblages of sculptures, objects, and moving images. Aesthetic points of reference include native arrowheads, the craft of woodcarving, and the many geometric forms of crab traps. Hand-dyed linen shades will create atmospheric interactions of color and light, interplaying with the 17 light-filled windows that line the gallery space.
MASSINISSA SELMANI, KARIM GHELLOUSTI, DJAMEL TATAH, FAYCAL BAGHRICHE, YAZID OULAB, HAKIMA EL DJOUDI, SARA SADIK, HALIDA BOUGHRIET, DANIA REYMOND, LOUISA BARBARI.
The Wallach Art Gallery
New York, NY
October 26, 2019 – March 15, 2020
Curated by Natasha Marie Llorens
Following the curators’ previous Etant donnés curatorial fellowship in France and Algeria, Waiting for Omar Gatlato is conceived as a broad survey of both established Algerian artists and those from the generation now coming of age in a post-civil war Algeria and in its diaspora. Waiting for Omar Gatlato is –first- the title of a book published in 1979 by the Algerian lawyer, feminist, and film critic Wassyla Tamzali. Waiting for Omar Gatlato responds directly to the specificity of Algeria’s socio-historical context by bringing visibility to artists living and working in France and Algeria. The project’s methodology works against the country’s conflation with its more affluent neighbors, namely Dubai and Abu Dhabi in the Gulf, and against its marginalization by the international art world more broadly. The exhibition also responds to an aporia with regard to Algeria and its French diaspora specific to New York’s art world and academic departmental categories, which has a tendency to see North Africa together with the Middle East.
Commission for a solo project
Savannah College of Art and Design (SCAD)
October 2019 – February 2020
Curated by: Storme Janse van Rensburg
After visiting Savannah, Georgia to research the site – as well as the collections of the museum and the African-American art and artifact collection of Dr. Walter O.Evans – the artist will develop a proposal for a site and theme-specific project. SCAD museum of Art annually commissions new works that consider and respond, among other things, to place and history –of our building, the city of Savannah, the South, and the United States- from nuanced local and international perspectives. Barontini’s practice consists largerly of layered textile-based installations with richly embellished surfaces, including new images constructed by the artist from existing sources. He draws from colonial and African art historical references, which he transforms through a process of collage to create new visual vocabularies. Installations also reference and present flags and objects associated with pageantry, ship sails and tent-like enclosures. Barontini also considers sound and performance to be integral to this commission. He will create a series of flags and epaulettes to accompany a local high school marching band which will perform at the exhibition’s opening night.
Solo show – Performance
New York, NY
November 20 – November 24, 2019
Curated by Charles Aubin
Co-commissioned by Performa and Lafayette Anticipations in Paris, and based on his book of the same title, AS DEEP AS I COULD REMEMBER, AS FAR AS I COULD SEE is Tarik Kiswanson’s most ambitious work to date. Conceived of as a large-scale installation and performance, for its premiere in Paris in May 2018, Kiswanson cast a cohort of eleven-year old children to perform poetical texts combining fragments of childhood sensations and adult reflections that contemplate the turbulent world in which we live. For Performa 19, Kiswanson will expand the work into a new iteration produced specifically for New York. The work will bring together a group of 11 young NYC residents of various backgrounds and origins. Presented at a moment of great uncertainty and instability for immigrants, especially for those of Arab descent, the cosmopolitan thinking and pluralist values in the work aim to foster greater understanding and intercultural dialogue among participants and audiences alike.
The Drawing Center
New York, NY
May 22, 2020 – September 13, 2020
Curated by Claire Gilman
Embracing the instrinsic sexuality of the human body in her early canvases, Caland briefly came to international prominence in the 1970’s; yet, it is the explicit manner in which she expresses sensuality through drawing that has precipitated her recent resurfacing. Caland’s pencil and color pencil drawings from the 1970’s and 1980’s, for instance, at first appear empty or abstract, but closer observation of the artist’s decisively drawn lines reveals tender images of caressing lovers and whimsical portraits of smiling women. Often, Caland uses a single line to convey a body part or intimate gesture, and incorporates the white of the page as an integral part of the drawing process. Extending her drawing practice to fashion in the early 1970’s, Caland created a series of one hundred kaftans and embroidered many of these with schematic images of breasts and female genitalia. The tension between the nakedness of the human body and the fabrics that conceal It once again became a central theme in Caland’s drawing practice beginning in the early 1990’s, both in the artist’s delicately cross-hatched ink drawings that resemble woven textiles and in her series of nude mannequins that are embellished with these same designs.
LILI REYNAUD DEWAR, VALERIE CHARTRAIN, DOROTHEE DUPUIS, CAROLINE MESQUITA, MARIE ANGELETTI, EMILIE PITOISET
The Third Rail
September 28 & 29,2019.
Curated by Sandra Teitge / Petunia
This project includes a weekend symposium of performances, screenings, readings and discussions over the last weekend of September 2019 at company projects/The Third Rail in Minneapolis and in various locations in downtown Minneapolis, including the city’s iconic skyway system, in which the Goethe Pop Up is situated.
New York, NY
March 2020 – May 2020
Curated by Jamie Stevens
Pierre Guyotat’s project is one of the acute dissolution of language. Railing against conventional form, he has created a style that is both fragmented and syntactically complex. Guyotat’s writing is imbued with questions of sexuality and violence, and challenges normative bourgeois notions of morality through a provocative representation of libidinal desire. This exhibition will showcase archival materials, texts, and visual works produced by Guyotat over the course his lifetime, providing a broad and multifaceted examination of his important legacy.
Artistic director, curator.
Beall Center for Art + Technology
Project title: Research on the work of Vera Molnar for an exhibition at the Beall Center for Art + Technology, UC Irvine.
The purpose of this trip will be focus on the breadth of Vera Molnar’s artistic practice in preparation for a comprehensive survey exhibition at the Beall Center for Art+Technology. David Familian’s interest in Molnar’s work derives from his initial research into computational art and music from 1950-1970’s that investigated both the aesthetic aspects of the work but also the computational techniques to create this art.
Senior curator, managing director of exhibitions
The Massachusetts Museum of Contemporary Arts (MoCA)
North Adams, MA
Project title: Laurent Grasso Research
The purpose of this trip is to prepare for Laurent Grasso’s new exhibition at the Mass MOCA.
Merging of the miraculous and the scientific is emblematic of Laurent Grasso’s work, which bends time, space and the immensity of the universe to create a vertiginous sense of history. In his series Studies into the Past, Grasso creates seemingly historic paintings, with the help of conservators, that transport us to the time of Flemish and Italian painters of the 15th and 16th centuries – Brueghel, Piero Della Francesca, Fra Angelico, Boticelli. Grasso confounds the narrative here- a man on horseback looks skyward, but rather than the sun or other predictably celestial phenomenon, hovering above him is a large spiked ball. Grasso suggests that there can be parallel realities and that we still feel the ghosts of history.
SYLVAIN COUZINET JACQUES
Residency in collaboration with The Black Mountain College Museum + Arts Center. Asheville, NC
The artists will explore the history and specificity of the Black Mountain College and the elasticity of time through images of its past and utopian desires. The Black Mountain is a video project set on the historic place of the Black Mountain College in North Carolina, USA. The video will be based on stories, happenings and events which happened during the period of its activities (1933-1957). Reenacting moments fixed on photographs during its years of activity and designed as a tribute, the film will be looking for visual expression and freedom, frozen in time. Crossing boundaries between performance, documentary approaches and free form, the project is a collaboration with the BMC Art Museum in Asheville, North Carolina.
The story of Black Mountain College begins in 1933. It is a fascinating chapter in the history of education and the arts. Conceived by John A. Rice, Black Mountain College was born out of a desire to create a new type of college based on John Dewey’s principles of progressive education.. It was owned and operated by the faculty and was committed to democratic governance and to the idea that the arts are central to the experience of learning. Twenty minutes east of Asheville in North Carolina, the secluded environment fostered a strong sense of individuality and creative intensity. Life in community, self-management and the desire to be part of a rural reality partly define the project as it is conceived in its early days during the economic crisis. Legendary even in its own time, Black Mountain College attracted and created maverick spirits, some of whom went on to become well-known and extremely influential individuals in the latter half of the 20th century. BMC has been the major laboratory of the most recent initiatives in the United States, on the artistic, educational and political fronts, and the center of a true revolution of minds. . Materials such as the photographic archives, the BMC Review, letters of correspondence or anecdotes reported a posteriori by the authors or students, are the subject of the project The Black Mountain. More than a reference in history of art, the BMC contains the philosophy of community and experimental daily life colored by prospective ideas which is also part of my Eden project. The artist will explore the elasticity of time through images of its past and utopian desires.
“There (in Back Mountain College), I would recreate “historical” moments, living sculptures which would be filmed and represented like tributes and ghostly appearances of our contemporary time mixed together”.
This Residency is made possible with the support of the Institut Français – Paris
Residency in collaboration with Yucca Valley Material Lab and FLAX LA
Yucca Valley, CA
Laure Vigna is a sculptor. Taking an interest on the history of materials, their interrelation and their modification through time and human’s work, Laure Vigna will train and experiment the technique of fused glass. Laure Vigna builds narratives in which matter is a subject. Glass holds a special place in this set and body of work, from its materiality, being invisible and transparent, and its malleability.
During this residency that will unfold in two phases, the artists will explore the myths of body transformation, and existing (or potential) relationships between the living and the non-living, which can be applied to the principles of metamorphosis that are implemented in her sculptural work.
Within the work time at YVML and FLAX, the Mojave Desert and the practice of glass will be a full-fledged context for studying myths of transformation through the representation of bodies in Native American and contemporary legends related to the territory of South California. The desert, at first an empty space in constant motion, is simultaneously a surface charged with a single, tiny and dispersed material penetrating everything: dust (sand, earth) forming a thick crust serving as a backdrop on which are woven mythologies and vernacular beliefs.
The Mojave Desert is a land particularly rich in stories. It was originally occupied by several nations tribes that have almost all disappeared: Cahuilla, Serrano, Chemehuevi and Mojave; all oh which are intimately related to the region of Joshua Tree National Park by the abundance of its natural resources. In the nineteenth century, the Mojave Desert became a mining and oil exploitation territory and it natural ecology became endangered. At the same time, remoteness and isolation made it an ideal area for military and aeronautical tests, with fantasies of space conquest and interstellar travels towards new dimensions and other non-human worlds. But the desert is also a place of contemplation and meditation where the physical vastness has attracted as many utopian colonies, ufologists, artists and other people retreating from the world for mystical exoduses in spiritual quests; Consequently loading this territory of urban legends closely connected to its geography (as the telluric energies vortices) or experimental practices, as in architecture (organic, googie, etc.).
How did the ancestral myths anchor a territory and nourish contemporary narratives? How have these diverse communities evolved, coexisted and reinvented themselves in this environment?
The metamorphosis, space shifting or skin-walkers in Native American culture, illustrates the world inhabited by various species of human or non-human subjects thinking and living in the same continuity, and not in a nature – culture opposition as it is the case in our Western society.
This Residency is made possible with the support of the Institut Français – Paris
Residency at Residency Unlimited
New York, NY
Teo Bétin is a sculptor. Though this project, he will explore the special relationship between Maputo in Mozambique and Brooklyn: A history of colonization, waves of migration, that of identities to reinvent. Mostly using fragments of furniture and objects that he collects on the streets and in people’s homes, he builds new spaces. He also photographs buildings that he integrates into his assemblies. He also will paint and then burn his buildings. His sculptures are a way to question how spaces and their architectures influence the behavior of city dwellers and vice versa. They are also a way to question how people transform cities and their buildings and divert their uses – Where are the «temples» and what are the rituals?
He will also organize a symposium within one of his sculptures to host a think-tank on spaces of the city and the possibility of a future already present, with Professor Mamadou Diouf (from Columbia University) and Senegalese artist Cheikh Ndiaye (based in New York) who have worked together on African cities. This sculpture will be a place to welcome rituals, individualities and their memories.
“I saw an image of Paul Auster’s book Sunset Park – in which, the story of these young people back in New York, who find themselves in a squat in Brooklyn, during the financial crisis of 2008 – leads me to the ruin down the building I used to live in Mozambique, a former store half destroyed in a fire, occupied by a group of young men who came from the province to work. I found the painting Untitled-Car crash of Basquiat, related to his car accident in front of his family’s home in Brooklyn. This strange relationship between the car and the anatomy came with this wave of suicide in Maputo: young people are killing themselves by swallowing large quantities of car battery fluid. A mixture of sulphuric acid and demineralized water. Which relationship could you have with your car to imagine killing yourself with the element that is precisely essential for starting it? What relation to Transhumanism to think of death in such a technical, chemical way?”
This Residency is made possible with the support of the Institut Français – Paris
Residency at Praz Delavallade Los Angeles Gallery
Los Angeles, CA
Sergio Verastegui is a sculptor. His project is aimed at preparing a new series of sculptures, one of which will be exhibited at the show “The Sound of Silence’ taking place in at Praz-Delavallade Los Angeles gallery, then at the project space Solo Show at Unit 5 Space.
The artist will focus on the imaginary of the city in relation to cinema and Hollywood, which marks the unconscious of its inhabitants. He looks forward to finding the ghostly presence of spectacle and the ideology behind it.
The new pieces will also focus on the poetical relation between materials and objects, in order to create out of these fragmented narrative. The notion of “morphing” will be used as a modus operandi. Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Morphing is often used as part of a fantasy or surreal sequence.
“The idea of morphing could be extensive to any image, but usually is very used on human faces (celebrity’s faces for instance). Morphing is also linked to the notion of “face recognition” which is related to neuro-cognitive research. There is a neurological problem that happens when somebody’s facial recognition brain zone is damaged. This trouble is called “Prosopagnosia”, and people who suffer from it cannot recognize any faces, including their own.”
He will explore his idea of “morphing” with a bigger set of pieces that will amplify the initial ideas, causing collisions between faces, objects, volume and space.
These pieces will result in sculptures and videos.
This Residency is made possible with the support of the CPGA – Comité Professionnel des Galeries d’Art.
GRANTS TO ARTISTIC PROJECTS
Eli and Edythe Broad Art Museum at Michigan State University
East Lansing, MI
Project title: Tatiana Trouvé
April 27 – October 27, 2019
Curated by Marc-Olivier Wahler and Carla Acevedo-Yates
The Eli and Edythe Broad Art Museum at Michigan State University (MSU Broad) will present the first-ever major exhibition of the work of Tatiana Trouvé in the United States, from April 27 to October 27, 2019. This project is designed to survey recent works that has been created over the past decade and will recontextualize several important bodies of work from the artist’s career, including drawings, sculptures and installations, in order to highlight the different facets of her practice dealing with architecture, notion of time and space, and systems of categorization and perception. While Trouvé, a previous Prix Marcel Duchamp winner in 2007, has participated in gallery exhibitions in the US, she has yet to have a major museum exhibition, or significant institutional exposure. The exhibition will be accompanied by a fully illustrated catalogue.
Museum of Contemporary Art – MOCA Cleveland, for the FRONT Triennial
Project title: Nightlife
July 14 – September 30, 2018
Curated by Michelle Grabner in collaboration with Andria Hickey (MOCA)
As part of Cleveland’s new Triennial for Contemporary Art, MOCA Cleveland will present a major work by Cyprien Gaillard from July 14 to September 30, 2018: Nightlife (2015) is a cinema-scaled 3D film installation immersing viewers in a surreal experience that weaves together narratives, individuals, movements, violence, and place. Nightlife, which was shot at night over two years in Cleveland, Berlin, and Los Angeles, transforms both film and sound into sculptural forms. MOCA’s collaboration with Gaillard marks the first time that this French artist will be shown in the region, and is significant considering the representation of Cleveland in Gaillard’s work.
Cyprien Gaillard was born in Paris in 1980, and currently lives in Berlin and New York, where his broader artistic project centers on an exploration of the built environment. His work reflects upon meanings and memories of monuments and landscapes that have been erased and replaced by the effects of time and social and cultural transformation. Gaillard’s practice spans many media – including photography, installation, etching, painting, sculpture, performance, and public interventions – and is almost always made outside the walls of a studio. Cyprien Gaillard was awarded the Prix Marcel Duchamp in 2011 and this work was presented for the Lyon Biennale in 2015.
MIT List Visual Arts Center
Project title: Kapwani Kiwanga
February 7- April 14, 2019
Curated by Yuri Stone
The MIT List Visual Arts Center will present a solo exhibition of Kapwani Kiwanga (born in 1978, Hamilton, Ontario) in the Spring of 2019. Kapwani is a Paris-based artist who traces historical narratives, excavating and considering the global impact of colonialism and how it permeates contemporary culture. Her work is research-driven, instigated by marginalized or forgotten histories, and articulated across a range of materials and mediums including sculpture, installation, photography, video, and performance. For her presentation at the List Center, she will continue her exploration of architectural histories and their physical and psychological influence: her new work will respond to MIT’s architectural histories and “desired paths”: footpaths of individuals throughout public spaces in Cambridge and Boston in the particular context of the colonial history of Boston. The show will be accompanied by a robust public programs series. Kapwani Kiwanga won the Frieze Artist Award in 2018.
SUPPORTS / SURFACES
Collective exhibition with: André-Pierre Arnal, Pierre Burgalio, Louis Cane, Daniel Dezeuze, Noël Dolla, Jean-Michel Meurice, Bernard Pagès, Jean-Pierre Pincemin, Patrick Saytour, Claude Viallat
Museum of Contemporary Art Detroit (MOCAD)
Project title: Supports/Surfaces
February 1 – April 14, 2019
Curated by Elysia Borowy-Reeder and Wallace Whitney
The MOCAD will present the first comprehensive exhibition in the Midwest of the under-known French art movement Supports/Surfaces. In the 1960’s, Supports/Surfaces was a confederation of about 13 artists mostly from the south of France (Nimes, Nice, St. Etienne, etc.) who made work marked by an interest in materiality, an expansive and fluid idea of what a painting could be and a bright lyrical use of color. There was no manifesto, but the writings of and ideas of Freud, Marx, Clement Greenberg and Chairman Mao were tossed together with a deep interest in American minimalism and Matisse, another artist associated with the south of France. This group was interested in making art without slick fabrication, organized on loose permeable grid structure: which implied a stretched canvas and often utilized repeated forms and/or patterning that seemed to offer a humane possibility for both art making and a metaphorical proposal for just society, using everyday items as art materials. The show will be completed by a large panel discussion involving these historical artists, and a site specific piece would be created on the banks of the Detroit River by Noël Dolla to spark a dialogue with the community outside the walls of the museum.
ULLA VON BRANDENBURG
Contemporary Arts Center
New Orleans, LA
Project title: Ulla von Brandenburg’s Two Times Seven
March 14 – June 13, 2019
Curated by Andrea Andersson
In Spring 2019, the Contemporary Arts Center (CAC) in New Orleans will present Two Times Seven, an exhibition by Ulla von Brandenburg, as part of the building-wise presentation, Hinge Picture, Memory Images. Hinge Picture, Memory Images is a building-wide presentation, comprised of eight individual exhibitions that collectively confront the patrimony of European modernism– with a body of work that evolves from the flat plane of the wall to immersive sculptural environments. The show takes its name from the writings of Marcel Duchamp in The Green Box, a companion piece to his masterwork La Mariée mise à nu par ses célibataires même. In the first floor gallery, Ulla von Brandenburg will produce a large installation of fourteen hanging curtains, suspended found and constructed objects, two-dimensional paintings, and the film “C,U,I,T,H,E,A,KO,G,N,B,D,F,R,MP,L” (2017): this show will literalize the structure of Duchamp’s “pendu femelle”, but in the place of suspended brides, she will hang suspended found and made objects sourced from France and New Orleans. The installation will foreground a history of patriarchy and the structures of power invested in shape, color and adornment. A full color publication, co-published by Siglio Press and CAC will be released on March 2019: this catalogue will serve as a permanent extension of the exhibition.
Moody Center for the Arts, William Marsh Rice University
Project title: Michel Blazy at Night of Philosophy and Ideas Exhibition
January 25 – May 30, 2019
Curated by Alison Weaver and Kimberly Davenport
Together with the Cultural Services of the French Embassy in the United States, the Moody Center for the Arts at Rice University is hosting A Night of Philosophy and Ideas in January 2019. To enhance the platform for discussion, the Moody has invited the French artist Michel Blazy (b. 1966) to create an original, site-specific installation in the Moody’s central gallery. Blazy’s work has never been exhibited in the United States outside of New York, Los Angeles and San Francisco. The Moody is honored to have the opportunity to introduce his original vision to new audiences, thereby promoting the cultural dialogue between France and the United States. The commission will remain on view until May 30, 2019.
Throughout his 20 years of career, Michel Blazy has pursued ideas and questions relating to organic matter and life cycles, considering his work as a collaboration with nature and living matter. His work, characterized by a sense of whimsy was presented in the 2015 Lyon Biennale then in the 2017 Venice Biennale. During the show, university classes involving earth science, art history, anthropology and the environment will engage with his work to further their studies and the Moody will host public events that continue the conversation around art and environment.
The Bass Museum of Art
Miami Beach, FL
Project title: Sheila Hicks
April – September 2019
Curated by Silvia Karman Cubiñá
The Bass Museum will present Sheila Hicks’s first solo exhibition in South Florida, and the most comprehensive exhibition of the artist in the United States to date. Organized by The Bass Museum this exhibition will open in April 2019 through September 2019. Comprising over 50 works of art installed in the museum’s main gallery, this exhibition will include newly commissioned site specific installations, sculptures, as well as her smaller tapestry studies, all produced in the last 10 years. Mainly working in large scale textiles and tapestries, the work in this exhibition continues the artist’s exploration of textiles as she challenges the medium in scale, materials, and form.
GUILLAUME LEBLON & THOMAS BOUTOUX
FRONT International: Cleveland Triennial for Contemporary Art
Project title: Busy Time
July 14 – September 30, 2018
Curated by Michelle Grabner
Commissioned by Front Exhibition Company for FRONT International: Cleveland Triennial for Contemporary Art, Busy Time is an experimental one-act play project written for the stage by artist Guillaume Leblon and curator and art historian Thomas Boutoux, that will demonstrate the artists’ dual engagement with time based media (the play) and public sculpture (the house/setting). Key topics are manifold, including happiness, dignity, aging, farginen, memory loss, consensus, what art can be and say and do, dispersal and discrepancy, being a witness, talking about one’s life and how body moves.
Busy Time will be staged in a carefully selected Cleveland site, an emptied residential house, which visitors will be able to access in between the different representations of the play. The house will comprise new sculptures, created by Leblon for the décor of, and the viewer’s seating for, the performance. Leblon’s stage design and furnishings for the house occupy a dual role as stage prop and public sculpture, depending on how the house is used. It will be a project activated, alternatively, by the artists, during installation, by the actors, during performances, and by the public, who are invited to tour the house when the theater is dark. In Leblon’s conception, the house assumes the role as a protagonist in the play, as well as in the space of the art going public.
2018 / CURATORIAL FELLOWSHIPS
Artistic Director and Curator of Visual Art, PICA. Professor, Portland State University
Portland State University for Contemporary Art
Project title: Nil Yalter, Solo exhibition Research / Planning
Curator Kristan Kennedy will travel 10 days in France (Feb/March 2019) in order to conceive and develop a new project of exhibition for PICA in 2019 or 2020 involving the artist Nil Yalter. She will examine Yalter’s work and its connections with technology, the digital and immateriality, and compare them with contemporary practices of French artists in FRAC Lorraine (Metz) where a survey of the artist was recently presented and her works are collected; The curator will investigate how Yalter’s work is related or situated alongside the next generation of artists associated with floating populations in Europe and the US by meeting with the Organisation Internationale pour les Migrations in Paris. Her travel will include studio visit with Yalter and her gallery, and tours at the FRAC Lorraine. During her research, she will also look for parallels or an evolution of her radical ideas in emerging French artists work, both in the realm of transdisciplinary fashion centering upon displacement and diaspora, and in the field of performance and technology with representative artists such as Alex Cecchetti, Karl Larsson, and Isabelle Cornaro.
The Mistake Room
Los Angeles, CA
Project title: Histories of a Vanishing Present
Kristine Kuramitsu is seeking to conduct curatorial research in France in September 2018 and April 2019 that will inform The Mistake Room’s 2019-2021 programming cycle. She plans two one-week trips, in order to work closely with emerging, France-based cultural practitioners to produce significant projects for the upcoming exhibition program in the Los Angeles space. In 2019-2021, The Mistake Room will produce a cycle of programs titled Histories of a Vanishing Present (HOVP). This constellation of projects considers post memory as a way to understand our relationship to inherited, often traumatic histories that we have not experienced personally. This project will create a set of discursive and exhibitionary tools to mediate the practices of the generation of artists born after 1975, attempting personal, cultural and literal reconstruction in the wake of a geo-political collapse. This cycle will unfold through a series of solo commissions articulating specific subjectivities within the dynamic of postmemory, and group exhibitions around memory, history and selfhood. She would meet French artists who negotiate the post-memorial in their work: Thu Van Tran, Gaelle Choisne, Chloe Quenum, Hicham Berrada, Daiga Grantina, Massinissa Selmani, Mohammed Bourouissa. In addition, she will visit galleries Untilthen, Joseph Tang, Anne-Sarah Bénichou, Kamel Mennour, and have conversations with curators such as Yoann Gourmel (Palais de Tokyo), Sandra Adam-Couralet (PDT), Yung Ma (Centre Pompidou), and Myriam Ben Salah whil pursing the project.
NATASHA MARIE LLORENS
Doctoral Candidate, Independent Curator
Columbia University, New York
New York, NY
Project title: Waiting for Omar Gatlato: A Survey of Algerian Contemporary Art
Natasha Marie Llorens is conducting initial research for an exhibition project focused on artists and filmmakers working in the Algerian diaspora in France. She defines these artists as those who claim a diasporic identity, or by self-identification. This project is conceived as a broad survey exhibition, both of established French artists and filmmakers of Algerian backgrounds, such as Kader Attia, Mohammed Bourouissa, Yazid Oulab, Katia Kameli and Fayçal Baghriche, and of those from the generation now coming of age in a post-civil war Algeria and in its diaspora, including Hassan Ferhani, Carole Doulliard, Samir Ramdani, Oussama Tabti, Dania Reymond, and Neïl Beloufa.
She will do a research in the Cnap collection, studio visits or interviews with artists, curators, and critics working with the Algerian Diaspora in France, an archival research in the Bibliothèque Nationale and the Archives Nationale on artists held by the Cnap, and interviews with curators and writers associated with the Algerian scene in Paris, including Caroline Hancock, Fanny Gillet-Ouhenia, Morad Montazami, and Zahia Rahmani. Her travel in France will take place in October-December 2018, and the show will be on view at the Wallach Art Gallery from October 25, 2019 to March 15-2020. An extensive catalogue is planned for the exhibition, as well as a film and performance program.
2018 / ETANT DONNES RESIDENCIES
Residency in collaboration with The Emily Harvey Foundation
New York, NY
Project title: Perfumes from New York
Last October, Pierre Paulin presented his first significant personal exhibition at LePlateau/ Frac Ile-de-France, in Paris. For this show, he wrote eleven essays, most of them translated into English, and published 3 books that were edited and designed to be read out loud. Just like how sculptures activate the space within museums and galleries, the texts, when read out loud, diffuse the textual and poetic ambiance in the daily life. A four-month residency in NYC will allow Pierre Paulin to continue this body of work: there he would compose and edit two new books, written in collaboration with the New York based poet Tan Lin, an old partner of his. The two books will focus on the notion of perfume: its history and social, cognitive and memorial virtues. “Perfurmes of NYC 1&2” : the first book will sample perfumes worn by the people whom Paulin and Lin frequent during the residency time in NY, constructing a layout of a collection of perfumes that replays their encounters in NYC. For the second book, they will work on the notion of hygiene – the use of perfumes to mask odors and its use in public space. They will document a street in NYC, in relation to its smell and their potential messages, through a textual description of their natures and effects. These books are supposed to be read out loud, by the authors themselves and by others, including curators, gallery directors, docents, etc. In September 2018, these books will be presented at the Emily Harvey Foundation.
Residency in collaboration with Mayeur Projects
Las Vegas, NM
Project title: The New Kid
For his project “The New Kid”, which will take the form of a movie and a solo exhibition in Mayeur Projects gallery, Arnaud Dezoteux draws upon the abundant mythology surrounding Billy the Kid’s life, famous outlaw who lived a large part of his life in New Mexico. The legend says that Billy the Kid was put in jail in the old adobe building which is now the back part of Mayeur Projects gallery. His research project is consistent with his previous videos: where the question of the myth and the idealized image of a personality (in the cultural industries) confronts with the sociocultural realities that influence our perceptions and feed our worship.
Why to choose the life of The Kid? Because it is a symbol of youth and transgression, which keeps on feeding the craziest hypotheses as for the progress of life. Full of holes and untruths, the elements taken from fictionalized books, contradictory biographies, and even sometimes from false or unfounded testimonies are debated for the greater part. Unwillingly, The Kid anticipates in a posthumous way an organized legend such as are the alternative facts today. And as in all the stories that became legends, the real life of The Kid is flooded in the fictional references which define it today. We think obviously of the Wild West and its folk representations, its film clichés. The stake thus is to imagine a project where the past returns in echo with the present, the reality with the fictions that it produces, and the truthfulness of the facts with their fantasized interpretations. What would Billy the Kid have done if he had wanted to be an outlaw today? How would he get weapons? What would be his means of transport and his strategies? How would his confrontation with law enforcement look like? Beyond collecting the testimonies and the expertise of people living on the spot, the project will also adapt the events to our time, filming on green screen and in the public space, to demonstrate an updated version of the life of the Kid. Residency: April-June 2019
Represented by Galerie Les Filles du Calvaires
Residency in collaboration with E.A.R.T.H. Lab, University of Californian in Santa Cruz
Santa Cruz, CA
Project title: Desideration
Through the project «Desideration», SMITH plans to explore the links which unite contemporary humankind with its stellar origin. The neologism «Desidération», forged on the etymology of the word «desire», denotes nostalgia, the painful lack of a celestial object that has disappeared. Designed as an archipelic project, a «hub» between art, philosophy and sciences, «Desidération » will be composed of photographs, videos, sculptures, performances, theoretical work, as well as a VR short film. This project will be carried out in collaboration with several research labs in France and in the United States. The objectives of the residency are at the crossroads between workshop creations, residencies in laboratories and filming within specific territories in the USA (Arizona). During the residency January-March 2019), SMITH will: conduct research in the laboratory EARTH Lab at the University of California/Santa Cruz and work with researchers Donna Harraway, Beth Stevens and Annie Sprinkle; write the “Desiderated Manifesto” a speculative and theoretical text about the link between humankind and cosmos; conceive a performance and give it onsite; shoot a fiction film in VR within the Meteor Crater (Arizona); make a series of photographs and produce a series of 3D sculptures, printed on meteorites.
Residency in collaboration with Show Gallery, Los Angeles
Los Angeles, CA
Project title: Cruising on empty
Boris Chouvellon’s work arises during travel, while driving to the steering wheels of cars. He gleans short videos of moving platforms in the landscape and on various architectural form within it, capturing the archetypes of what will be his next proposals in terms of sculptures, installations or photos. This process goes and comes continuously between the outside, the studio and the space of exhibition.
His project, « Cruising on empty », is closely related to the city of Los Angeles, its periphery, its roads and coastlines. The automobile, one of the heaviest products of advanced modernity and the road, one of the most interventionist infrastructures in nature, will be the central element of his project. He will navigate the hollowed landscapes, and others saturated by signs in spaces constructed for settlement. Stalking vacuity, the vanity of the spaces proposed, stalking entropic ruins, this mechanism, which suspends, and even abolishes time and linearity according to the artist Robert Smithson. He will confront himself to new landscapes new recordings in the infrastructures that provide rest, meals and entertainment such as “motels”, “dinner”, “gas stations” and “amusement park” or also abandoned swimming pools – all these construct an integral whole and often mark the origin of the iconography of Hios sculptures and installations. These are the figures that inhabit our unconsciousness, referring to a certain modernity. The objective of his research is then about checking various movements that may be at work in this typology established from 1960s. Residency : Nov & Dec 2018 ; Jan & Feb 2019.
2017 / GRANTS TO ARTISTIC PROJECTS
CONTEMPORARY ARTS CENTER
June 8 – September 9, 2018
Curated by Steven Matijcio
The Contemporary Arts Center in Cincinatti will present a special exhibition of works of art by the artist Kader Attia. This show will be the first comprehensive study of Attia’s work across North America and will bring together a number of major works for the first time. For this solo-show created in partnership with The Power Plant Contemporary Art Gallery in Toronto, the artist will develop a new context-specific work around the notion of “repair” – as a physical and symbolic act – in a particularly North American context.
Drawing associations between methods of repair across cultures and the forms of resistance throughout history, his works often reactivate ethnographic objects in a heightened political context. Scars and stitches are gestures of healing and reconciliation in his work. Repair is seen here as a methodology that offers the potential for colonized or oppressed peoples to reinstate their freedom.
A publication will be jointly produced.
Born in 1970 in France, Kader Attia is of Algerian heritage and currently lives between Berlin and Paris. He is arguably one of the greatest French artists of our moment. He won the renowned Marcel Duchamp Award in 2016. A year ago, he opened a new hybrid space in Paris called “La Colonie” with the purpose of offering an independent agora. Half bar/restaurant – half meeting-room/studio, this cultural space is committed to offering new avenues for the expression of critical thought.
MATHIEU KLEYEBE ABONNENC, FAYCAL BAGHRICHE, ISABELLE CORNARO, LATIFA ECHAKHCH, KAPWANI KIWANGA
AS PART OF THE GROUP SHOW STORIES OF ALMOST EVERYONE
January 28-May 6, 2018
Curated by Aram Moshayedi, with Ikechukwu Onyewuenyi, curatorial assistant.
The Hammer Museum in Los Angeles will present the exhibition Stories of Almost Everyone to draw attention to how artists and curators develop stories about artworks, and to invite participants to question these narratives. In recent years, a continued emphasis of an art of ideas inherited from conceptual and post-conceptual art has sought to fortify strategies for communicating the relevance of art-making within social, political and economic histories.
This large-scale exhibition will feature the work of more than 30 international artists – including 5 French or France-based artists – who contribute a range of perspectives on making, presenting, and contextualizing art: Mathieu Kleyebe Abonnenc (b. 1977), Fayçal Baghriche (b. 1972), Isabelle Cornaro (b. 1974) , Latifa Echakhch (b. 1974) , and Kapwani Kiwanga (b. 1978). Collectively, these contributors offer ideas that alternately conform to Western values of the duty of the artist to explain his or her work, and also to contrasting perspectives rooted in local, vernacular practices and histories.
A scholarly catalogue with voices from different disciplines and an experimental audio-guide involving the writer Kanishk Tharoor will provide participants a fresh entry point into the show.
MARC CAMILLE CHAIMOWICZ
MARC CAMILLE CHAIMOWICZ: YOUR PLACE OR MINE…
THE JEWISH MUSEUM
New York March 16 – August 5, 2018
Curated by Kelly Taxter
The Jewish Museum will present the first solo museum exhibition in the United States of the influential contemporary artist Marc Camille Chaimowicz.
Marc Camille Chaimowicz: Your Place or Mine is a large-scale survey featuring the artist’s visionary, cross-disciplinary work from the last five decades, including painting, sculpture, video, performance, textile, wallpaper, and prototypes for everyday objects. Divided into five sections, each gallery will feature site-specific installations that echo public and private spaces through the lens of the artist’s unique perspective, the surrounding neighborhood, and the museum’s building. These sections are: The Bedroom, The House, The Park, The Dollhouse and The Library. A full scope of Chamowicz’s cross disciplinary work will be on display from sculpture-cum-furniture to wallpaper, draperies, ceramics, lightings, paintings, collages and rarely-seen maquettes… As an accompaniment to his own practice, Chaimowicz will include pieces by modern artists selected among the museum’s collection (Anni Albers, Edouard Vuillard, Wiener Werkstätte…).
Marc Camille Chaimowicz (b. post-war Paris) established himself in the 1970s London art scene as an artist who merged performance and installation art in a manner as playful as it was critical and sensual. Based in London and Burgundy, he teaches at the Ecole Nationale des Beaux-Arts de Dijon.
LUCY ORTA, ELSA SAHAL, ANNE-MARIE SCHNEIDER, LAURE TIXIER
AS PART OF THE GROUP SHOW WOMENHOUSE
NATIONAL MUSEUM OF WOMEN IN THE ARTS
March 9 –May 28, 2018
Curated by Camille Morineau
First-time grantee of the FACE Foundation, the National Museum of Women in the Arts will present the exhibition Womenhouse in collaboration with the French institution La Monnaie de Paris and curated by Camille Morineau. La Monnaie’s focus on creativity and liberty echoes NMWA’s mission to bring the accomplishment of women artists to the attention of the public.
This new exhibition forms a sequel to the famous project called Womenhouse developed in 1972 by Judy Chicago and Miriam Schapiro. At that time, the artists and their students at CalArts transformed a Hollywood Mansion with works that disrupted traditional ideas about the home as a feminine realm. This new project will feature 36 global artists who conceive of home as a place for demonstration, exploration, and liberation rather than a space solely for nurturing, comfort, and stability.
Organized across several provocative themes by artists from around the world, Womenhouse emphasizes the plurality of women’s views on the home through different sections—Desperate Housewife, Bodyhouse, Body Double, Fingerprints, Dollhouse, and Mobile Home—and is composed of videos, sculptures, customary architectural frameworks, photographs, draped and stitched works, fabric and wax sculptures, dolls, miniature furniture, tent-like structures, collapsible acrylic panels, felt and wool sheeting.
THE ANTHROPOCENE STYLE: DECORATIVE STYLE IN A NEW AGE OF GLOBAL WARMING
SAN FRANCISCO ART INSTITUTE
Curated by Hesse McGraw
The San Francisco Art Institute will present the first US exhibition of Paris-based Swiss architect Philippe Rahm. Also his first solo exhibition, The Anthropocene Style: Decorative style in a new age of global warming will manifest the artist’s ideas surrounding the urgency of climate change through an architecture and design process that takes meteorology, atmosphere, and physiology as its primary material.
Rahm has developed an innovative approach that promises a rethinking of the field of design within what is known as the Anthropocene era, by a new approach, more sensitive and attentive to the invisible, climate-related aspect of space. It will model a design that integrates materials such as fabrics, lighting, and patterns into interior building design, a contrast to the spare, minimalist “white cube” style of the later twentieth century. In its sparseness, the white cube aesthetic often relies on artificial heating and cooling systems that use precious resources and produce harmful elements, hastening global warming and contributing to an unsustainable future.
Philippe Rahm (b.1976) develops work, for which he has received an international audience, extending the field of architecture from the physiological to the meteorological in the context of sustainability. He started teaching architectural design at the Graduate School of Design in Harvard in 2014.
PERFORMANCES RELATED TO A SOLO EXHIBITION
THEY ARE WAITING FOR YOU
WALKER ART CENTER
October 2017-February 2018
Curated by Philip Bither
Laure Prouvost is a renowned UK-trained French artist who creates rich immersive and interdisciplinary installations in which she conflates reality and fiction, words and images, often reveling in moments of mistranslation opening up new fields of meaning. Prouvost is one the 9 artists commissioned through the Walker’s Interdisciplinary Initiative to create a multi-platform work using both the gallery and the stage and supporting the development of artist’s experimental practice across disciplines.
An exhibition of Prouvost will be on view at the Walker Art Center from October 12, 2017 to February 11, 2018 with a fully realized stage production, commissioned by the museum and the Curtis R. Priem Experimental Media and Performing Arts Center, where 2 performances will take place in February.
The performance supported by FACE, titled They are waiting for you, is an abstract journey from adulthood backwards to a state of pre-consciousness. Using certain thematic elements from her gallery installation, They are waiting for you will play between recorded text and live singing, embodied performance and video projections, and live percussion and electronic sound. The performance draws upon the expertise of Prouvost’s two key collaborators: acclaimed choreographer Pierre Droulers and sound and digital media artist Sam Belinfante.
Laure Prouvost (b.1978) was awarded the Turner Prize in 2013.
PERMANENT INSTALLATION AND PERFORMANCE
A SURVEY IN THREE MOVEMENTS
MARFA SOUNDINGS: 2018
Curated by Ida Soulard and Jennifer Burris Stanton
Through site-specific performances, sound installations, film screenings, and public conversations, Marfa Sounding examines and highlights the influence of experimental music on the development of Minimalism, and in particular music’s relationship with landscape, architecture, and social structures. For this 2018 annual long weekend program, the most significant presentation of work by Atoui in the USA to date, A Survey in Three Movements will showcase the artist’s examination of sound, place, and the social practice of improvisation across the varied landscapes of Marfa, Texas.
Artist and composer Tarek Atoui has been involved in the Festival over the last 3 years and is engaged in inter-disciplinary experimentation, challenging the conventional structure of a survey show while engaging students, local musicians, visitors and residents in the communal experience of embodied listening.
The project will include a context-specific adaptation of 3 performances: Zero Point Nine is a new instrument: this monumental bass synthesizer producing ultra-low frequency electronic sounds was developed during his 2015 residency at the University of California, Berkeley Art Museum, and Pacific Film Archive, and should be accessible to all forms of hearing; “I/E Elefsis” is a sound-proof shipping container that functions as a collective instrument and will function as a site-specific performance as well as an ongoing platform for future events and sonic research; The Reverse Collection initiated within the ethnographical storage of Dahlem Museum is a group of new instrumentals created through a reverse process to improvise from historical instruments. In Marfa, Atoui will work with a group of local musicians from Texas and along the Mexican border to create a new score using these experimental tools for making music. Tarek Atoui (b.1980, Lebanon) is based in France
2017 / CURATORIAL FELLOWSHIPS
Assistant curator, Eli and Edythe Broad Art Museum
Michigan State University
Exhibition Research: Michel Parmentier, Tatiana Trouvé, Loris Greaud
Steven Bridges’ research will culminate in exhibitions of the famous French artists Michel Parmentier (April 28-September 9, 2018), Tatiana Trouvé (October 27, 2018 -March 3, 2019), and Loris Greaud’s new project at the Broad Art Museum of Michigan State University.
The retrospective exhibition of Michel Parmentier will be the first in the US to focus on his early minimalist paintings within the BMTP group (Buren, Mosset, Parmentier, Toroni). Exploring his systematic and symbolic process, along with supporting documents from his archives, the show will set out to trace his path from geometric design and collage to the development of his signature stripes, and will offer visitors significant insight into this particular history of painting in the second half of the XXth century.
Similarly, the solo show of Tatiana Trouvé’s work will be her 1st retrospective in the US. New work will be commissioned especially for the occasion. The exhibition will be accompanied by a fully illustrated catalogue featuring French and American writers.
Loris Greaud has proposed to develop and to produce a new artwork specifically designed for the Planetarium on the Michigan State University campus. This mysterious installation is posed to engage the whole building, as the artist often produces site-specific and invading projects.
Curator of 20th-Century and Contemporary Art
American Folk Art Museum
The Daniel Cordier Collection, from the Perspective of Psychiatric Collections
Valerie Rousseau’s research project contextualizes the museum collections of Les Abattoirs in Toulouse, and more specifically, the self-taught art collection donated by Daniel Cordier in 1989, from the viewpoint of the recognition of psychiatric collections.
In the well-known case of the Heidelberg Clinic, Valerie Rousseau will explore a pivotal history anchored at the hospital of Saint-Alban-Sur-Limagnole (Lozère, France). This site bares the marks of important doctors and psychiatrists such as Lucien Bonnafé and Jean Oury, all associated to the movement of institutional psychotherapy. This hospital, which also sheltered rebels and Jews during the war, became a space for the development of an intellectual resistance and for the fight against the extermination of the mentally ill. The Daniel Cordier Collection offers a rich framework to better understand the nature of the constant links between artistic and psychiatric circles during the first half of the 20th century, and more specifically in the context of the two World Wars.
After a Fashion: Dress, Desire and Contemporary Art
Alexandra Schwartz, a New York-based independent curator and former curator of Contemporary Art at Montclair Art Museum, will conduct research in Paris within the framework of the exhibition she is organizing: “After a Fashion: Dress, Desire and Contemporary Art”. This exhibition will showcase contemporary art’s engagement with costume, and how artists are using “garments” to examine issues of cultural difference, gender and sexuality. Pioneered by artistes including Louise Bourgeois, Lorraine O’Grady and Niki de Saint-Phalle, “garmenting” as an artistic strategy emerged during the 1960s to define all kind of clothes. Because Paris is a historical capital of couture and textile manufacturing, as well as of contemporary art, Schwartz will conduct her research on French artists dealing with these issues and will explore French public collections related to her project.
Curator, Art Historian and Dean of Fine Arts and Acting Chair of the Graduate Program in Curatorial Practice at California College of the Arts
Binding Agents: Toward an Aesthetic of the Postcolonial in Contemporary Exhibition
James Voorhies will conduct research in Paris for a publication titled “Binding Agents: Toward an Aesthetic of the Postcolonial in Contemporary Art”. In this book, Voorhies intends to write about a selection of artists, exhibitions, institutions and publications, in order to articulate and trace situations in art over the past two decades. He seeks to demonstrate through extended research projects that manifest in film, photography, immersive installations and public programming that the postcolonial experience is increasingly aestheticized: from the art presented at major international exhibitions to the work seen at smaller institutions and initiatives. For this research, he will visit artists based in France, such as: Christodoulos Panayiotou whose films, theatrical performances and installations derive, in part, from field studies and anthropological investigations of Cyprus; Aman Mojadidi, who addresses questions of migration, identity and belonging, and Etel Adnan, a Lebanese-American visual artist and poet based in Paris, whose practice has consistently engaged important questions of violence and war.
Executive Director, LAXART
LAXART’s Executive Director Hamza Walker’s research for “Sperm Cult” aims to prepare a collaborative exhibition between Elijah Burgher and French Artist Ghédalia Tazartès. The collaboration between the 2 artists will be a follow up on Burgher’s earlier collaborations “House of Shame” with A.A.Bronson and “Sperm Cult” with Richard Hawkins, who are seminal artists dealing with the freeing of desire against the norms of social constraint.
For Elijah Burgher, sexuality and artistic creation are twin pillars of spirituality. His paintings are created on the ground through a series of ritual exercises akin to yoga. It is in the work of Ghedalia Tazartès that Burgher finds his aural corollary. Both are fluent in esoteric styles, obsessed with developing a highly personal language and committed to a practice grounded in shamanistic ritual.
2017 / ETANT DONNES RESIDENCIES
Represented by Galerie Binôme
Residency in collaboration with Aperture Foundation
March – June 2018
Thibault Brunet is a young photographer, mostly interested in technically questioning the action of shooting: understanding the ways in which virtual imagery meets reality in our society that is becoming more and more digitalized. After studying and graduating from the Ecole des Beaux-Arts de Nîmes, he started working on virtual worlds, looking for pictures. In 2014, he took part in a collective project attempting to catalog the French territory architecture on Google Earth; his work was presented at the Lyon Biennale in 2015 and will soon be displayed at the Bibliothèque Nationale de France in Paris. He is now mostly working on digitalizing the real world, using a LIDAR. He was recently exhibited at the Centre Pompidou as part of the “Imprimer le Monde/Print the World” show. He was also one of the five finalists for Aperture Foundation Award.
Soleil Noir (Black Sun) is a new photographic research project inspired by historical public commissions such as heliographic mission, the DATAR or the ESF. This project aims to observe and analyze the specific terrain of the United States, with its endless lands and distant horizons. Brunet is interested in the territory as itself and its occupation. He programs a topographical exploration inspired by science fiction and a questioning of photographical objectivity as a reflection on virtuality.
The main partner of Thibault Brunet’s residency will be the Aperture Foundation. Brunet is proposing a new frame of reference based on a “machine of vision”, which echoes the first shots in the room: the device is heavy, while exposure to the camera angle is long and reveals the narrative potential of the image by showing the passage of time.
2016 / GRANTS TO ARTISTIC PROJECTS
BARNES FOUNDATION, PHILADELPHIA
June 30 – October 2, 2017
Curated by Sylvie Patry
The Barnes Foundation will present a special exhibition of works of art by the artist Mohamed Bourouissa. This comprehensive examination of Bourouissa’s works is inspired by his 2013 residency in Philadelphia and is the first ever extensive solo exhibition devoted to the artist by a museum in the United States.
The exhibition at the Barnes Foundation will bring together the various works inspired by this project: drawings (20), photographs (10), videos (2), riders’ costumes (8) and sculptures (Hoods, 15), as well as posters, flyers, and wallpaper. Initiated in 2015, Hoods is a series of sculptures made of discarded car parts, printed with photographs or images from Horseday, and mixed with harnesses, curb bits, and other elements of riding gear. Invested with documentary and makeshift attributes in continuity with the experience carried out in Philadelphia, these pieces also echo the recent history of sculpture, revisiting John Chamberlain’s art, for instance, through the lens of a strong social commitment. The exhibition will also feature an opening live performance with a horse rider. The accompanying catalogue will be the first publication on this project, and the first on the artist produced by an American institution.
Horse Day, 2014 – 2015
Video (color, sound)
© Mohamed Bourouissa
LOGAN CENTER EXHIBITIONS AT THE UNIVERSITY OF CHICAGO
January 20 through March 12, 2017
Curated by Yesomi Umolu
Paris-based artist Kapwani Kiwanga’s first US solo exhibition.This project will expose a new audience of artists, students, scholars, and community members across Chicago to Kiwanga’s work, which is rarely shown in the United States, in particular within the context of a major solo presentation. Kiwanga produces works across installation, performance, and video that marry her training in anthropology and comparative religions with an interest in colonial histories, collective memory, and belief systems. Informed by French ethnographic traditions and popular culture, Kiwanga intentionally confuses truth and fiction in her work in order to unsettle hegemonic narratives and create spaces in which marginal and fantastical discourse can flourish.
Featuring sculpture, video and installation, Kiwanga’s exhibition at the Logan Center Gallery will pair existing and newly commissioned work within a specially designed gallery display inspired by cosmogonies from around the world. In a new work specifically produced for this occasion, Kiwanga will explore the relationship between language, space and translation in representations of the American Landscape from the birth of the nation to today.
Flowers for Africa: Nigeria, 2014
Galerie Jérôme Poggi, Paris
Photo : Aurélie Mole
THE ARTIST’S MUSEUM, THE INSTITUTE OF CONTEMPORARY ART/BOSTON (ICA)
November 16, 2016 to March 26, 2017
Dan Byers, Mannion Family Senior Curator, with Jeffrey De Blois, Curatorial Assistant.
With Pierre Leguillon and La Grande Evasion (The Great Escape) installation
The exhibition represents the first time that Leguillon’s work La grande évasion (The great escape), 2012, a collection of artworks and photographs of dancers with a lightshow and soundtrack by Amy Winehouse will be presented in the United States, to an audience of nearly 35,000 Boston residents and visitors.
The desire to collect objects and images of personal significance, and to make connections between them, is a nearly universal human experience. Since the beginning of the twentieth century, artists’ collections of artworks and artifacts have served as inspiration for their work, helping to create highly individualized models of their worlds. The Artist’s Museum departs from the impulse to collect and connect, bringing together photography, film, video, installation, sculpture, and sound works that use artworks, images, and history as material. The twelve artists in this exhibition address a constellation of issues such as gender, sexuality, technology, and digital culture, charting forms and themes across cultures and through time. La grande évasion by Pierre Leguillon will be on view throughout the run of the exhibition, with Leguillon visiting Boston in November to guide the installation of the piece. In addition, the ICA has also invited Leguillon to participate in a series of related public programs in March 2017. On the evening of March 2, free and open to the public, the ICA will host an iteration of its series The Artist’s Voice with Leguillon and other invited exhibition artists.
Artists in the show: Anna Craycroft, Rosa Barba, Christian Marclay, Carol Bove, Rachel Harrison, Mark Leckey, Pierre Leguillon.
Photo: Pierre Leguillon, La grande évasion (The Great Escape), 2012
Installation view, Pierre Leguillon: The Museum of Mistakes: Contemporary Art and Class Struggle, WIELS, Brussels, 2015. Courtesy WIELS Contemporary Art Centre, Brussels.
Photo: Sven Laurent
“LANGUAGE”: THE MANUSCRIPTS OF PIERRE GUYOTAT
ARTISTS SPACE BOOKS & TALKS – NEW YORK
DATE: TO BE ANNOUNCED
Pierre Guyotat’s project can be said to be one of the acute dissolution of language. Railing against conventional form, he has manufactured a style that is in equal parts fragmented and syntactically complex. His published output is one of the most uncompromising of modern literature, and positions the French writer as an heir to de Sade,Bataille, Artaud and Genet. Philippe Sollers, founder of the journal Tel Quel, identified a direct correlation between Guyotat and de Sade, instantiated by the latter’s 1783 statement that “there is nothing as beautiful as sex and there is no salvation without it.” Guyotat’s writing is imbued with questions of sexuality and violence, and challenges normative bourgeois notions of morality through a provocative representation of libidinal desire. Avoiding any glorification of his subject matter for the sake of sensationalism, for Guyotat, sexuality doubles the role of language itself—again the simultaneous dissolution, and thus rehabilitation, of culture.
Guyotat’s manuscripts—often illuminating, if fraught, contestations between typed and handwritten language—offer significant insight to this process, characterized as they are byrevision, erasure, collapse and ultimately reinvention. This exhibition and program series at Artists Space Books & Talks will emphasize the importance of the manuscript as an exhibition object.
Gouache drawing from the cover of Éden, Éden, Éden (Éd. Gallimard, 1970)
Courtesy Fonds Pierre Guyotat (NAF 28094) de la Bibliothèque nationale de France
CCA WATTIS INSTITUTE FOR CONTEMPORARY ARTS
October 12, 2017 – February 24, 2018
Curated by Anthony Huberman
Mechanisms is a group exhibition that reflects on the way artists alter, disrupt, or invent mechanisms. The exhibition will feature several French artists, including Neïl Beloufa, Jean Luc Moulène, and other internationally-recognized artists.
Mechanisms comes at a critical point in the development of the careers of younger French artists. The Wattis Institute’s strong visibility within the American (and international) contemporary art community will provide a significant introduction of the artists’ work to a new American audience.
To accompany and enhance Mechanisms, the Wattis Institute will produce a wide variety of programs, including lectures, workshops, performances, and panel discussions. The program will also look backwards in time and highlight the perversions that artists have inserted into the work of engineers over the course of the past fifty years. Faculty-led workshops will be based around specific works in the exhibition; and artists will visit local classrooms and seminars for an even more in-depth dialogue. We plan to archive all of these events online with video and audio documentation, photography, and interviews with selected speakers, allowing the program to transmit to an international audience through the website.
Steel, resin, pigment
© Neïl Beloufa
2016 / CURATORIAL FELLOWSHIPS
LEIGH A. ARNOLD
CURATOR AT THE NASHER SCULPTURE CENTER, DALLAS
Sightings: Anne Le Troter
“I was introduced to the work of Anne Le Troter at the 61st annual Salon de Montrouge this past May 2016. As a participant of Institut français’ Visual Arts FOCUS, I was granted access not only to a tour led by the Salon’s artistic director, Ami Barak, but I was also able to meet with several participating artists. I experienced Anne’s work before we formally met. Sitting in her sculpture, which doubles as object, I tuned into the quiet voices emanating from speakers concealed within the work. My French was still rusty, despite having spent several days in Paris, but slowly I began to grasp the narrative that her actors were voicing. The whispering tones, together with the furniture that resembled that which is commonly found in transportation terminals, gave me the sensation that I was invading a personal space with undefined boundaries. In the midst of the somewhat crowded and chaotic installation of the Salon, Anne’s work provided a moment of quiet respite and reflection.”
The Nasher has maintained a close relationship to the work of French artists through its involvement in the French Sculpture Census. Leigh A.Arnold seeks to expand her own involvement in French contemporary art. “I believe the collaboration with Anne would be mutually beneficial to both French and U.S. audiences as Anne would have the opportunity to work in a new language and U.S. audiences would be exposed to contemporary French art.”
Anne Le Trotter
L’appétence / The palatability, 2016
Installation view, salon de Montrouge
Grand prize salon de Montrouge 2016
In collaboration with ASMR : Final ASMR, Made in France ASMR, Miel ASMR, Mr Discrait, Sandra relaxation ASMR, The French Whisperer
Supported by ADAGP
2016 / ETANT DONNES RESIDENCIES
American Partner: Long Beach University, CA
Law intensity conflicts
July, 27-September 10, 2017
American partner: Triple Canopy, New York
EXCURSIONS : BECOMING ONESELF
Sedona (AZ), Menlo Park (CA), San Francisco (CA)
American partner: Fraenkel Gallery, San Francisco
California Institute of the Arts (REDCAT), Los Angeles
January 2013 – February 2013
Carnegie Museum of Art, Pittsburgh
Pierre Leguillon’s Participation in the 2013 Carnegie International
October 2013 – November 2013
University Museum of Contemporary Art, Amherst
October 2012 – December 2012
New Orleans Museum of Art, New Orleans
Working Title: Cities of YS, A Global Enterprise, Camille Henrot
Research: November 2012. Filming: March 2013. Exhibition: September 2013.
The Museum of Contemporary Art, Los Angeles
Painting the Void: Art and Destruction with Jean Fautier, Yves Klein, Gérard Deschamps, François Dufrêne, Raymond Hains, Jacques Villeglé and Niki de Saint Phalle.
September 2012 – January 2013
LAXART, Los Angeles
Project by Isabelle Cornaro or Oscar Tuazon
July – August 2013 or October – November 2013
Public Fiction/Human Resources, Los Angeles
An Improbable Place, collaboration with Castillo Corrales
January 2013 – April 2013
The Drawing Center, New York
Assembly Instructions: The Pledge, solo exhibition by Alexander Singh
January 2013 – March 2013
MAK Center for Art and Architecture at the Schindler House, Los Angeles
Dialogues Paris-LA, Art-Architecture with artists and architects Michael Asher, Didier Faustino, Yona Friedman, Claude Parent, Vincent Lamouroux, Berdaguer/Pejus.
December 2012 – March 2013
Los Angeles Contemporary Exhibitions (LACE), Los Angeles
LA Existencial: around Guy de Cointet
January 2013 – March 2013
MASS MoCA, North Adams
Solo exhibition by Guillaume Leblon
May 2013 – April 2014
Curatorial Research Grantee
Institute of Contemporary Art, University of Pennsylvania
Living Document/Naked Reality
Summer – Fall 2012
Americas Society, New York
For Rent, Marc Latamie
May 2012 – Jul 2012
Artists Space, New York
On the Work of Christopher d’Archangelo
With curators Dean Inkster and Sebastien Pluot
Dia Art Foundation, New York
Jean-Luc Moulène, Opus + One
Dec 2011 – Dec 2012
Jaus Art Space / 18th Art Center, Los Angeles
Riding the Frothing Thread with Xavier Antin, Mathis Collins, Chloé Maillet et Louise Hervé, Aurélien Mole
Nov 2011 – Jan 2012
Museum of Modern Art, New York
Five Sisters, performance by Guy de Cointet
Performa, New York
Performa 2011 with Raphael Zarka, Laurent Montaron
Nov 1 – Nov 20, 2011
Portland Institute for Contemporary Art (Time Based Art Festival), Portland
Sep 8, 2011 – Nov 2, 2011
San Francisco Art Institute, San Francisco
Bruno Serralongue, Campfires and Oceans
Dec 1, 2011 – Feb 25, 2012
The Art Institute of Chigaco, Chicago CANCELLED
Pascal Kern, Photoplastique
Jun 2012 – Sep 2012
The Minneapolis Institute of Arts, Minneapolis
More Real ? Art in the Age of Truthiness with Bertrand Lavier
Jun 2012 – Dec 2012
Le Consortium, Dijon
Roe Etheridge, solo show
Nov 18, 2011 – Feb 19, 2012
FRAC Champagne-Ardenne, Reims
May 5, 2012 – Aug 26, 2012
Curatorial Research Grantee
Art in General
International New Commission for emerging French artists
Contemporary Art Museum St. Louis
The Front Room (various emerging artists)
Institute Contemporary Art, Maine College of Art
Sweeney Art Gallery, University of California Riverside
Free Enterprise: The Art of Citizen Space Exploration
Exposition Robert Delpire
postponed to Spring 2012
Dia Art Foundation
Koo Jeong-A, Dia Projects for Fall 2010
November 2010 to June 2011
The Bass Museum (Friends of the Bass Museum, Inc.)
Portait of a Young Man, Laurent Grasso
postponed to November 2011
HB 2012 Roadmarch 01 (For Greed Killing)
postponed to May 2012
Museum of Contemporary Art Detroit
Katinka Bock Residency and Comissionned Work
July 6 to December 30, 2010
Santa Monica Arts Foundation
artist Celeste Boursier-Mougenot
Glow 2010 -2011
SITE Santa Fe
International Biennal: The Dissolve
June 20, 2010 to January 2, 2011
U.S. Biennal, Inc.
Prospect 2 New Orleans
Sophie Calle, Mounir Fatmi
November 5, 2011 – February 3, 2012
Poor Farm Exhibition and Press Incorporated
August 7, 2010 to July 3, 2012
Bétonsalon – Center for Art and Research
Nous ne notons pas les fleurs, dit le géographe (we don’t record flowers, says the geographer)
Ellie Ga, Trevor Paglen, Carson Salter and Triple Canopy
October 12, 2010 to January 16, 2011
Ed Fella, Retrospective
March 10 – April 30, 2011 (Marseille) & May 28-June 25, 2011 (Chaumont)
Frac des Pays de la Loire
24th International Studios of the Frac des Pays de la Loire
Residency: from Sept 13 to November 21, 2010
Exhibition from November 19, 2010 to February 13, 2011
La Salle de Bains
The Each And Everyone Project
Allan Mc Collum
June 5 to July 31, 2010
Le Printemps de Septembre – Toulouse
A Form for Every Kind Of Action
Reverend Acres, Michael Portnoy, Catherine Sullivan, Sumi Ink Club, Martin Kersels
September 24 to October 17, 2010
Musée d’art moderne de la ville de Paris
Kiss The Past, Hello!
October 6, 2010 to January 2, 2011
Carré d’Art Musée d’Art Contemporain , Nîmes
Larry Bell, en perspective
February 25 to May 22, 2011
Dia Art Foundation, NY, USA
Dia at the Hispanic Society of America, Dominique Gonzalez-Foerster
Solo exhibition and publication.
September 22, 2009 – April 18, 2010
Samuel P. Harn Museum of Art at the University of Florida, Gainesville, FL
Project Europa: Imagining the impossible
Group exhibition and publication, with Bruno Serralongue, Yto Barrada, Kader Attia, and François Cusset (Scholar).
February, 9 – May 9, 2010
Bureau for Open Culture at Columbus College of Art & Design, Columbus, OH
Descent to Revolution
Residency and exhibition with Claire Fontaine
Curated by James Voorhies
September 10, 2009 – November 14, 2009
The Aldrich Contemporary Art Museum, Ridgefield, CT
Paying a Visit to Mary: 2008 Hall Curatorial Fellowship exhibition
Group show with Marc Camille Chaimowicz, Guy de Cointet
Curated by Maxine Kopsa
January – June 2010
Yerba Buena Center for the Arts, San Fransisco, CA
Singing the net
Installation with Patrick Bernier et Olive Martin
Curated by Julio Cesar Morales
April 10 – May 15, 2010
Midway Contemporary Art, Minneapolis
Celebrating Ten Years of Castillo/Corrales, Paris 2000-2010
Solo exhibition and publication.
Curated by John Rasmussen
June – December, 2010
International Center of Photography, New York, NY
The third ICP Triennal of Photography and Video
Group Exhibition and publication with Yto Barrada et Valérie Belin
September 18 – January 17, 2010
Harvestworks, Inc, New York, NY New-York
Electronic Art Festival
With Céleste Boursier-Mougenot
Curated by Carol Parkinson
September 21 – October 23, 2009
X Initiative, New York, NY
Fall 2009 and winter 2010
Performa, New York, NY
Performances by Loris Greaud, Cyprien Gaillard, Aurélien Froment, Davide Balula.
Curated by RoseLee Goldberg
November 15, 2009
Le Consortium – Le coin du miroir, Dijon
Solo and travelling exhibition
Curated by Franck Gautherot
June 5, 2010 – August 29, 2010
Betonsalon – Center for art and research, Paris
Collective Action 1: Harrell Fletcher
Dec 1 – Dec 31, 2009
Printemps de Septembre, Toulouse
Là ou je vais n’existe pas
Group exhibition with Amy o’Neill, Tobias Putrih, Jim Shaw
Curated by Christian Bernard
September – October 25, 2009
Palais de Tokyo, Paris
Paul Laffoley retrospective 1965 – 2010
October 15 – Janvier 17, 2010
Curatorial Research Grantees
Ginger Gregg Duggan and Judith Hoos Fox
Ms. Ruba Katrib
Assistant Curator Museum of Contemporary Art, Miami
Mr. Anthony Huberman
Chief Curator Contemporary Art Museum, St.Louis
The Bronx Museum of the Arts, NY, USA
Street Art, Street Life
Group exhibit with Sophie Calle & Jacques de la Villeglé
Curated by Lydia Yee with Sergio Bessa
September 14, 2008 – January 25, 2009
CAPC Musée d’art contemporain Bordeaux, France
Yvonne Rainer: a Film Retrospective
Curated by Berta Sichel
CCA Wattis Institute for Contemporary Arts, San Francisco, CA
Passengers: Aurelien Froment
Curated by Jens Hoffmann
Group exhibit September 2, 2008 – August 1, 2009; Solo exhibit August 4 – September 5, 2009
Contemporary Arts Center New Orleans (CAC), LA, USA
Score and Script: Music in Video
with Christophe Chassol and Caecilia Tripp
Curated by Claire Tancons
July 12 – October 5, 2008
Delta Axis, Memphis, TN, USA
Born Under a Bad Sign
With Marcelline Delbecq, Saâdane Afif, Lili Reynaud Dewar, Laurent Montaron and Ulla Von Brandenburg
Curated by Céline Kopp
Residencies September 1, 2008 – July 31, 2009, Publication for September, 2009
FRAC Champagne-Ardenne, Reims, France
Curated by Marc Bembekoff
June 27– September 21, 2008
Georgia State University Ernest G. Welch School of Art and Design Gallery, Atlanta, GA, USA
New Wave Atltanta: When Urban Intervention Speaks French
with Christophe Berdaguer, Marie Péjus, Didier Fiuza Faustino, HeHe (Helen Evans and Heiko Hansen) Valérie Jouve, Stéphane Magnin, Mathieu Mercier, Hugues Reip and Kristina Solomoukha
Curated by Cathy Byrd
October – November, 2008 and January 8 – February 26, 2009
Madison Museum of Contemporary Art, WI, USA
Return to Function
With Jules de Balincourt, Davide Balula, Ralph Borland, François Curlet, Claire Fontaine (collective), Fabrice Hyber, Antal Lakner, Mathieu Mercier, Lucy Orta, Franck Scurti
Curated by Jane Simon
May 1 – August 22, 2009
MIT List Visual Arts Center, Cambridge, MA, USA
Adel Abdessemed: Street Acts
Curated by Jane Farver
October 8, 2008 – January 4, 2009
Musée d’Application, Rennes, France
Publication Chrsitian Marclay Monographique – Solo
Curated by Valérie Mavridorakis, Elvan Zabunyan, David Perreau and master’s students
New Langton Arts, San Francisco, CA, USA
with Mircea Cantor
Curated by Sandra Percival
Feburary 1 – April 25, 2009
Palais de Tokyo, Paris, France
D’une révolution à une autre
with William Scott
Curated by Jeremy Deller and Marc-Olivier Wahler with William Scott
September 25, 2008 – January 2, 2009
Parc Saint-Léger Centre d’Art Contemporain, Pouges-les-Eaux, France
Los Angeles Confidentiel
with Chris Beas, Walead Beshtx, Liz Craft, Jennifer Boysen, Gustavo Godoy, Amy Granat, Katie Grinnan, Drew Heitzler, Farrah Karapetian, Pentti Monkkonen, Los Super Elegantes, Miguel Nelson, Sterling Ruby, Amy Sarkisian, Eric Wesley and Mario Ybarra Jr.
Curated by Sandra Patron and Allyson Spellacy
June 28, 2008 – September 8, 2008
La Salle de Bains, Lyon, France
L’Eternel Retour1: La Meduse
with Amy Granat
Curated by Marc Bembekoff
November 17, 2008 – December 24, 2008
Santa Barbara Contemporary Arts Forum, CA, USA
Bloom Projects Space
Curated by Miki Garcia
August 30 – September 11, 2008
SITE Santa Fe, NM, USA
Seventh International Biennial “Lucky Number Seven”
With Fabien Giraud, Raphael Siboni
Curated by Lance Fung
June 22 – October 26, 2008
Curatorial Research Grantees
Mr. Dean Daderko
Gina Pane / Contemporary and Recent French Art
Ms. Yasmil Raymond
Walker Art Center Assistant Curator
Mr. James Voorhies
Columbus College of Art and Design, Curator
Of Other Spaces
Aldrich Contemporary Art Museum, CT
Voice and Void
Curated by Thomas Trummer
September 16, 2007 – February 24, 2008
Artists Space, NY
Daniel Dewar and Gregory Gicquel, Kader Attia
Curated by João Ribas
June 15, 2007 – July 28, 2007
CAPC Musée d’art contemporain, FRANCE
If Everybody had an Ocean Brian Wilson: une exposition artistique
(Brian Wilson), Billy Al Bengston, Mel Bochner, John Cage, Brian Calvin, Vija Celmins, Russell Crotty, Joe Goode, Richard Hawkins, Jim Isermann, John McCracken, Kaz Oshiro, Raymond Pettibone, Ken Price, Allen Ruppersberg, Ed Ruscha, Sister Corita Kent, Jennifer West, Pae White
Curated by Alex Farquharson
November 17, 2007 – March 16, 2008
Painting, Photography, Graphic Arts, Group exhibit, Video/New Media, Travelling exhibit, Installation, Sculpture
Domaine de Kerguehennec, FRANCE
book, art publication
October 1, 2007 – December 31, 2007
Domaine de Kerguehennec, FRANCE
Exhibition of Mel Bochner
Curated by Stéphane Treille
June 30, 2007 – September 30, 2007
Solo exhibit, Painting, Graphic arts, Art publication
Institute of Contemporary Art, MA
Momentum 9: Kader Attia
Curated by Nicholas Baume
November 14, 2007 – March 2, 2008
Video, New Media, Residency, Installation, Sculpture
Institute of Contemporary Art, University of Pennsylvania, PA
The Puppet Show
Annette Messager, Pierre Huyghe
Curated by Ingrid Schaffer, Senior Curator and Carin Kuoni, Director Vera List Center
January 19, 2008 – March 30, 2008
Group exhibit, Travelling exhibit
Samon Takahashi: The Parable of Arable Land; and Didier Fiuza Faustino: Untitled
Didier Fiuza Faustino, Samon Takahashi
Curated by Lauri Firstenberg
November 3, 2008 – December 22, 2008
Solo exhibits, Photography, Video-new media, Installation, Sculpture, Design
Le Plateau / FRAC Ile-de-Franc, FRANCE
Nicole Eisenman solo exhibition
Curated by Caroline Bourgeois
June 6, 2007 – August 19, 2007
Musée départemental d’art contemporain de Rochechouart, FRANCE
Anthony McCall: Elements for a Retrospective
Curated by Olivier Michelon
July 4, 2007 – September 30, 2007
Museum of Contemporary Art, AZ
Zones Arides / Arid Zones
Wilfrid Almendra, John Armleder, Clairet & Jugnet, Aurélien Froment, Mathieu Mercier, Morgane Tchiembe, Olivier Mosset
Curated by Patrice Joly
September 27, 2007 – December 9, 2007
Group exhibit, Residency
Proyecto Arte Actual, Inc. (dba The Moore Space), FL
The French Generation (Working Title)
Adel Abdessemed, Boris Achour, Jean-François Moriceau and Petra Mrzyk, Marcelline Delbecq, Vincent Lamouroux, Loris Greaud, Tatiana Trouvé, Mircea Cantor, Saadane Afif, Valerie Mrejen, Bruno Peinado, Rebecca Bournigault, Julien Berthier, Matthieu Laurette
Curated by Silvia Karman Cubina
December 1, 2007 – March 31, 2008
Storefront for Art and Architecture, NY
Didier Fiuza Faustino
December 6, 2007 – January 24, 2008
Solo exhibit, Installation
Villa Arson, FRANCE
Curated by Eric Mangion
November 16, 2007 – February 30, 2008
Solo exhibit, photography
Cneai (Centre National de l’Estampe et de l’Art Imprimé) FR
“Continuous Project” – Wade Guyton, Bettina Funcke, Seth Price, Joseph Logan
Book Launch, September 2006
Fowler Museum at UCLA CA
“Architecture of the Veil: An Installation by Samta Benyahia”
January 28 – September 2, 2007
FRAC Haute Normandie FR
“Bill Jacobson: Interim Thoughts and Others” – Bill Jacobson
March 24, 2007
Solo Exhibit, Photography
Houston Artists Fund TX
“After Art The Work of That’s Painting Productions” – Bernard Brunon and That’s Painting Productions
Book Launch, September 1, 2006
The Institute of Contemporary Art MA
“Super Vision” – Chantal Akerman
September 17, 2006
International Center of Photography NY
“Ecotopia: The Second ICP Triennial of Photography and Video” – Stephane Couturier, Yannick Demmerle, Marine Hugonnier, Sophie Ristelheuber
September 8, 2006
Miami Art Central FL
“Video: An Art and A History” – Chris Marker, Matthieu Laurette, Martial Raysse, Thierry Kuntzel, Jean-Luc Goddard, Pierre Huyghe, Zineb Sedira, Clarisse Hahn
September 15, 2006
Video, New Media
The Museum of Contemporary Art, Los Angeles CA
“WACK! Art and the Feminist Revolution” – Niki de Saint Phalle, Lea Lublin, Annette Messager, Orlan, Gina Pane, Nil Yalter and Elaine Sturtevant
March 4, 2007
Philadelphia Museum of Art PA
“Live Cinema (series)”
Mircea Cantor – October 6, 2006
Marine Hugonnier – March 30, 2007
Video, New Media
San Francisco Art Institute CA
“In Exile” – Sarkis
September 15, 2006
SITE Santa Fe NM
“Sixth International Biennial: Still Points of the Turning World” – Stephen Dean
July 9, 2006
Group Exhibit, Video/New Media
Slought Foundation PA
“Roman Opalka: Testimony of a Life” – Roman Opalka
September 23, 2006
Solomon R. Guggenheim Museum NY
“Theanyspacewhatsoever” – Dominique Gonzalez-Foerster, Pierre Huyghe and Philippe Parreno
October 11, 2007
The Thing, Inc. NY
“Downstream to Lower Manhattan” – Locus Sonus: Jerome Joy, Peter Sinclair, Nicolas Bralet, Esther Salmona, Lydwine Van der Hulst, Cyrille C. de Laleu
August 12, 2006
ACAPACA at the Fondation Vasarely, Aix en Provence, France
May 28 – September 30 , 2005
One-person exhibition by Mark Handforth
Carré d’art Musée d’Art Contemporain, Nimes, France
“John Baldessari: Echoes”
14 October 2005 – 08 January 2006
One-person exhibition by John Baldessari
Chicago Humanities Festival, MCA, Chicago, IL
“Home and Away, French Music Video Lit Project 2005”
12 November, 2005
One-night event with With Eric Alix, VJ Milosh (Milosz Luczynski)
Cooper-Hewitt, National Design Museum, New York, NY
“Solos: Matali Crasset”
1 May 2005 – 9 January 2006
One-person exhibition by Matali Crasset
Dia Art Foundation, New York, NY
“I wish I was born in a Hollywood movie”
October 1, 2005 – indefinitely
One-person exhibition, Web-based artwork by Maja Bajavic
Frac ile-de-France, Le Plateau, Paris, France
June 5 – August 28, 2006
One-person exhibition by Joan Jonas
Museum of Contemporary Art, Chicago, IL
October 22 – January 8, 2006
Group exhibition with Dominique Gonzalez-Foerster
Sextant et Plus, Marseille, France
“Exposition Monographique de Michel Auder”
June 30 – September 30, 2005
One-person exhibition by Michel Auder
Yerba Buena Center for the Arts, San Francisco, CA
“Recent Works by Wang Du”
November 1, 2005 – March 31, 2006
One-person exhibition by Wang Du
18th Streets Arts Center, Los Angeles, CA
“Overman: Denis Brun”
January 20 – February 20, 2006
One-person exhibition by Denis Brun
“The Last Generation” Laurent Montaron, Malachi Farrell
November 30, 2005 – January 6, 2006
Association Musée d’Application France
March 15, 2006 April 22, 2006
Solo Exhibit, Photography, Video/New Media, Installation
California Institute of the Arts CA
April 13, 2006 June 11, 2006
Solo Exhibit, Video/New Media, Residency, Installation, Performance
Domaine de Kerguehennec France
April 15, 2006 June 18, 2006
Haleakala bda Inc. Dba., The Kitchen NY
“A Life Full of Holes – The Strait Project” Yto Barrada
March 30, 2006 May 27, 2006
MIT List Visual Arts Center MA
“Sensorium” François Roche, Mathieu Briand
October 2006 January 2007
Group Exhibit, Art Publication, Video/New Media, Installation
Museum Associates dba Los Angeles County Museum of Art CA
“Contemporary Projects 10: Petra Mrzyk & Jean-François Moriceau and Félicien Rops: You Only Live 25 Times (working title)” Petra Mrzyk and Jean-François Moriceau
March 16, 2006 June 4, 2006
Solo Exhibit, Installation
Museum of Contemporary Art, Cleveland OH
“All Digital” Laurent Mignonneau
January 20, 2006 May 7, 2006
The Museum of Contemporary Art, Los Angeles CA
” Skin and Bones: Parallel Practices in Fashion and Architecture” Azzedine Alaia, Christian Lacroix, Jean Paul Gaultier, Jean Nouvel, Dominique Jakob, Brendan MacFarlane
September 24, 2006 January 28, 2007 Group Exhibit, Design
Public Art Fund and Whitney Museum of Art NY
” A Journey That Wasn’t” Pierre Huyghe
March 2, 2006 May 28, 2006
Swiss Institute – Contemporary Art NY
November 21, 2005 January 14, 2006
Art Institute of Chicago, Chicago, IL
“Focus: Anri Sala” (September 2004-January 2005)
Basekamp Site, Philadelphia, PA
“Translation” (September-October 2004)
Group Exhibtion by Artists collective: Incident.net, (Vadim Bernard, Gregory Chatonsky, Karen Dermineur (KRN), Marika Dermineur, Reynald Drouhin, Maja Korac, Julie Morel & Michael Sellam).
Centre d’art contemporain, la Synagogue de Delme, Delme & La Salle de Bains, Lyon, France
“Pae White, Two Solo Shows”
June 12- September 26, 2004
One-person exhibition by Pae White
Etablissement Public du Parc et de la Grande Halle de La Villette, Paris, France
September, 21 – October 3, 2004
Group exhibition with Paul Johnson, Lynn Hershman, Aziz & Cucher
La Maison Rouge, Fondation Antoine de Galbert, Paris, France
February 17 – May 22, 2004
One-person exhibition by Ann Hamilton
MST Métiers de l’exposition, Université Rennes 2, Rennes, France
“Doubtiful –dans les plis du réel”
May 19 – June 26, 2004
Group exhibition with Amy O’Neil
Triangle France, Marseille, France
May 27 – June 26, 2004
One-person exhibition by Jason Glasser
Villa Arson, Nice, France
October 29, 2004 – January 12, 2005
One-person exhibition by Jason Dodge
Artists Space, New York, NY
“Introduction to Modernity [Model Modernity]”
March 9 – April 21, 2005
Group exhibit with Bojan Sarcevic
Artpace San Antonio, San Antonio, TX
“New Work: 05.1”
January 31 – May 8, 2005
One-person exhibition by Bojan Sarcevic & Residency
Blaffer Gallery, Houston, TX
“Plug-in City: Houston”
April 23 – June 12, 2005
One-person exhibition by Alain Bublex
California Institute of the Arts, Los Angeles, CA
“Image Bank for Everyday Revolutionary Life”
January 26 – March 26, 2006
Group exhibition with Daniel Buren and Anri Sala
Centre National de l’Estampe et de l’Art Imprimé, Chatou, France
November 3 – December 10, 2004
Group exhibition with Allen Ruppersberg, John Giorno, Continuous project and Seth Price
Swiss Institute, New York, NY
“OK / OKAY (Emerging European Artists)”
April 19 – July 16, 2005
Group exhibition with With Olivier Blanckart, Laurent Grasso and Jean-Luc Verna
The Institute of Contemporary Art, Boston, MA
Utopia = One World, One War, One Army, One Dress
September 21, 2005 January 1, 2006
One-person exhibition by Thomas Hirschhorn
The Rose Art Museum of Brandeis University, Waltham
Xavier Veilhan “The Hyperrealist Project”
May 13 – July 19, 2005
One-person exhibition by Xavier Veilhan
Walker Art Center, Minneapolis
Huang Yong Ping: A Retrospective
October 16, 2005 – February 26, 2006
One-person exhibition by Huang Yong Ping
Artists Space New York, NY
“Sign and Surface”
September 6 – October 18, 2003
Group exhibition with Dominique Jakob & Brendan MacFarlane Architecture
Contemporary Arts Center, Cincinnati, OH
“Somewhere Better Than This Place: Alternative Social Experiences in the Spaces for Contemporary Art”
May 30 – November 23, 2003
Group exhibition with Marie-Ange Guilleminot & Gilles Barbier Installation, Video
Domaine de Kerguéhennec, Centre d’Art Contemporain Bignan, Morbihan
June 28 – September 21, 2003
One-Person exhibition, Art publication
DIA Art Foundation New York, NY
September 2003 – June 2004
Mak Center for Art and Architecture,Los Angeles, CA
“Air Architecture / The Weather Station”
January – May 2004
One- person exhibition: François Perrin Installation
M.S.T Métiers de l’Exposition, Université Rennes 2, Rennes, Bretagne
“In Media res. Information / contre-information”
May 14 – June 21, 2003
Group exhibition with Keith Sanborn & Rainer Ganahl
Video, New Technology
Museum of Contemporary Art, North Miami, FL
May 28 – August 31, 2004
One-person exhibition / Traveling exhibition, Installation
New Museum of Contemporary Art New York, NY
“Black President: The Art and Legacy of Fela Anikulapo-Kuti “
July 11 – September 19, 2003
Group exhibition with Bili Bidjocka, Pascale Marthine Tayou, Christophe Nanga-Oly Art publication, Mixed-Media
Carpenter Center, Cambridge, MA
“Huyghe + Le Corbusier: Harvard Project”
September – December 2004
One-person exhibition by Pierre Huyghe
Lycée Français de Chicago, Chicago, IL
“Peripheriques en Chicago: Interactive Transformations”
May 20 – June 9, 2004
Group exhibition with Louis Paillard, Anne-Françoise Jumeau, Emmanuelle Marin and David Trottin
Museum of Contemporary Art (MCA), Chicago, IL
“Skin Tight: The Sensibility of the Flesh”
June 26 – September 5, 2004
Group exhibition with Martin Margiela and Li Edelkoort
The Museum of Contemporary Art (MOCA), Los Angeles, CA
“Ronan and Erwan Bouroullec”
June 20 – October 18, 2004
One-person exhibition by Ronan and Erwan Bouroullec