Panel: Extending Infrastructures Part I: Platforms and Networks
The last decade has seen the evolution of new models for institutions that enable the development of new networks and collaborations between artists, curators, and organizations regionally and internationally. These models have established platforms from which to generate programming and accumulate research that goes beyond the national or localized mandates of the traditional contemporary art museum, and instead encourages the accumulation of knowledge and projects through shared concerns based on experience and practice. This has led to new ways of thinking about collecting, recording histories, and producing discourse, as well as extending exhibition models and the involvement of artists in the creation of institutional structures. What are the key issues and practices that have generated these new frameworks?
Panelists include: Zdenka Badinovac, Maria Lind, and Lu Jie. Chaired by Kate Fowle.
Zdenka Badovinac is a curator and art critic who has served as Director to the Moderna Galerija (Museum of Modern Art) in Ljubljana since 1993. In her work, she highlights the difficult processes of redefining history alongside different avant-garde traditions within contemporary art. Badovinac’s first exhibition to address these issues was Bodu and the East—From the 1960s to the Present(1998). She also initiated the first Eastern European art collection, Arteast Collection 2000+.
Maria Lind is Director of the Tensta Konsthall and an independent curator and writer interested in exploring the formats and methodologies connected with the contemporary art institution. She was the director of the graduate program at the Center for Curatorial Studies, Bard College from 2008–10. Before that, she was director of lASPIS in Stockholm (2005–07) and Director of the Munich Kunstverein (2002–04). Previous to that she was curator at Moderna Museet in Stockholm (from 1997–2001) and in 1998 was co-curator of Manifesta 2, Europe’s nomadic biennial of contemporary art. Lind was the 2009 recipient of the Walter Hopps Award for Curatorial Achievement. A compendium of her essays to date, Selected Maria Lind Writing, was published by Sternberg Press in 2010.
Lu Jie is Director and Chief Curator of Long March Project and Founder of Long March Space in Beijing. Long March Project is a complex, multi-platform, and ongoing research-led art project based in Beijing. Widely exhibited internationally during its nine-year foundation, the latest endeavor of Long March Project was Ho Chi Minh Trail (2008–10), a major project for “Rehearsal,” the 8th Shanghai Biennial. Lu Jie is on the Editorial Board of the Yishu – Journal of Contemporary Chinese Art and advisor to the Asia Art Archive. He has lectured in numerous museums and academic institutions and is an adjunct professor at the China Academy of Art, Hang Zhou.
Kate Fowle is Director of Independent Curators International (ICI) in New York. From 2007–08 she was the inaugural International Curator for the Ullens Center for Contemporary Art in Beijing, and from 2002–07 the Chair of the MA Program in Curatorial Practice at California College of the Arts in San Francisco, a program she established with Ralph Rugoff in 2002. In 2005 she co-founded the backroom, an itinerant research-oriented project that provides access to over seventy international artists’ source materials. Born and trained in England, Fowle was the curator at the Towner Art Gallery in Eastbourne before co-founding smith + fowle in 1996, a curatorial partnership based in London that developed exhibitions and commissions with over fifty international artists across the U.K.
Panel: Developing Infrastructures for the Future, Part II: Bricks & Mortar
Following up on the day’s earlier panel, how are the tangible, physical manifestations necessary for the development of contemporary art infrastructures conceptualized for a specific region, emphasis, or audience? What is necessary to participate meaningfully in international and local contexts? Panelists will discuss the development of contemporary art infrastructures today including the birth of new museums, the relevance of the model, the future of patronage, and challenges.
Panelists include: Richard Armstrong, Gabi Ngcobo, and Gabriel Perez-Barreiro. Chaired by Eungie Joo.
Richard Armstrong is the Director of the Solomon R. Guggenheim Foundation. While managing this foundation, he oversees the Guggenheim Museum in New York as well as their worldwide affiliations, such as the Peggy Guggenheim collection in Venice, the Guggenheim Museum Bilbao, the Deutsche Guggenheim, and the Guggenheim Abu Dhabi Museum, scheduled to open in early 2013. Prior to this position, Armstrong was the Henry J. Heinz II director of the Carnegie Museum of Art in Pittsburgh, where he had also served as Chief Curator and Curator of Contemporary Art.
Gabi Ngcobo is a curator and artist based in Johannesburg, South Africa. She has worked as assistant curator at the South African National Gallery in Cape Town and as Head of Research for Cape Africa Platform. She was a founding member of the Visual Arts Network of South Africa (VANSA). In 2010 she co-curated “rope-a-dope: to win a losing war”at Cabinet in New York. Ngcobo is the head of the “Incubator for a pan-African Biennale task-force,”a yearlongproject arranged to facilitate the articulation of critical positions regarding the notion of a Pan-African Biennial. In 2010 she founded the Center for Historical Reenactments in Johannesburg.
Gabriel Pérez-Barreiro is an international curator, interested in the relation of art within the Americas. He is Director of the Colleción Patricia Phelps de Cisneros in New York and Caracas. He has been Curator of Latin American art at the Blanton Museum of Art, the University of Texas at Austin; Director of Visual Arts at The Americas Society in New York; and founding curator of the University of Essex Collection of Latin American Art in England. He was also chief curator of the 6th Mercosur Biennial in Porto Alegre, Brazil.
Eungie Joo is is Keith Haring Director and Curator of Education and Public Programs at the New Museum in New York,where she spearheads the Museum as Hub initiative. Before joining the New Museum, Joo was the founding director and curator of the Gallery at REDCAT in Los Angeles (2003–07). Joo was the Commissioner for the Korean Pavilion at the 53rd International Venice Biennale in 2009 and is organizing the forthcoming 2012 New Museum Triennial. Joo was a recipient of the Walter Hopps Award for Curatorial Achievement in 2006.
What does the museum stand for now?
Responses to the conference by Katy Siegel and Dominic Willsdon.
Katy Siegel is a contemporary art critic and writer. She is an Assistant Professor of art history at Hunter College, CUNY, and a contributing editor to Artforum. She is co-author of Money, forthcoming from Thames & Hudson, as well as an edited volume of the critic Sidney Tillim’s writings, forthcoming from Routledge. Siegel is the author of numerous articles and catalogue essays on contemporary art, most recently on Bernard Frize, Jean-Marc Bustamante, and the Public Art Fund in New York.
Dominic Willsdon is the Curator of Education and Public Programs at the San Francisco Museum of Modern Art. Until 2005 he was curator of public events at Tate Modern, London, senior tutor in critical theory for the graduate program in curating contemporary art at the Royal College of Art in London, and a member of the core faculty of the London Consortium. Willsdon has been a researcher in philosophy at the Universities of Essex and Paris. He is the author of essays on art, philosophy, photography, and music, as well asa contributing editor to the forthcoming The Life and Death of Images: Ethics and Aesthetics and an editor of the Journal of Visual Culture.
Saturday, March 12, 2011 | 12:00 PM