Opening reception on Sunday, March 29, 2015, 1 -4pm
Free chartered bus to and from New York City for the opening. For reservations, call 845.758.7598, or write firstname.lastname@example.org
Moves & Countermoves: CCS Bard Graduate Thesis Exhibitions and selected works from the Marieluise Hessel Collection
Curated by the class of 2015 M.A. candidates at the Center for Curatorial Studies, Bard College: Xavier Acarin, Kathleen Ditzig, Amber Esseiva, Roxana Fabius, Lee Foley, Wang Jing, Elizabeth Larison, Robin Lynch, Park Myers, and Natalia Zuluaga.
Moves & Countermoves explores exhibition-making as a game of both establishing and breaking its own rules of engagement. Focusing on the relations between viewer, artwork, display, and institution, contemporary curatorial practice is interpreted here as a ‘slight of hand’ tactic serving to play out, and to confound competing values within the art world.
Works from the Marieluise Hessel Collection are shuffled and reshuffled as curators and artists impose various selection criteria upon them. Moves & Countermoves draws from the collection to highlight a gameplay of exhibition–making strategies. Inside the museum and beyond its walls, artworks from divergent histories are placed in casual opposition to each other over a constructed platform, evoking a game board, populated with idiosyncratic pieces. Moves & Countermoves demonstrates how display affects visibility and cultural dissemination, altering the implicit rules determining what is seen and unseen within the Marieluise Hessel Collection.
The CCS Bard Class of 2015 thesis exhibitions parallel these explorations. Utilizing different selection criteria and display methods, the ten thesis exhibitions obliquely demonstrate curatorial gameplay and how it inherently shifts values within cultural economies. Enacting strategies of exhibition-making, some curatorial practices play by established rules, while others reinvent them.
In Moves & Countermoves, the exhibitions investigate what it means to operate in a field that thrives upon the making and breaking of its own rules. Game, set, and match.
The thesis exhibitions are as follows:
Point of Contact
Artists: Gordon Hall, Martin Roth, Naama Tsabar, and Pedro Wirz
Curated by Xavi Acarin
Point of Contact is a test site that revisits the status of the art object in its capacity to generate events. By situating the visitors in a performative field, the objects propose a process of intimacy and sensorial connectivity.
On Sweat, Paper, and Porcelain
Artists: Heman Chong, Ho Rui An, The Propeller Group and Superflex, Andrew Norman Wilson and Akhil C, and Yee I-Lann
Sourced by Kathleen Ditzig
On Sweat, Paper, and Porcelain presents works by Heman Chong, Ho Rui An, The Propeller Group and Superflex, Andrew Norman Wilson and Akhil C, and Yee I-Lann that leverage global infrastructures of offshoring to demystify globalism and instead, present worlds intimately framed by exchanges carried in sweat, paper and porcelain.
Romancing The Fragment
Artists: Cayetano Ferrer and Avery K. Singer presented with works from the Marieluise Hessel Collection
Curated by Amber J. Esseiva
Romancing The Fragment presents works that are invested in materialist histories, reconstructing our vernacular visual languages in various forms, freezing its fragments and revealing our contemporary culture in ruin. The artists take as their medium the debris of mass culture to address the urgent question: what are we to do with reconstruction in a time where history and all its material ephemera have been subjected to extreme fragmentation?
I’ll be your interface.*
Artists: Dexter Sinister
Organized by Roxana Fabius
I’ll be your interface.* is a two-phase project conducted in conjunction with Dexter Sinister. Through a design commission and an exhibition it questions the neutrality of computer interfaces as depoliticized spaces by asserting that software demands and generates its own ideologies, politics, and behaviors.
Artists: Liam Gillick, George Inness, Marina Pinsky, and Rachel Rose
Curated by Lee Foley
Cloud Cover investigates how media shapes the way we comprehend our physical surroundings. The artists advocate for the space to critically apprehend complex relationships between inside and outside, normative states and disaster, destruction and construction, human and non-human.
Signal from Noise
Artists: Sophia Brueckner, Lev Manovich / Software Studies Initiative, Nyeema Morgan, and Evan Roth
Curated by Elizabeth Larison
Signal from Noise relays both hopes and anxieties inspired by the increased access of Web 2.0: where crowd-sourcing, aggregation, and filtering appear to stand in for more traditional processes of social participation and representation. Gesturing towards the political f/utility of this public forum, the exhibition features artworks derived from interfaces between user and screen.
Artists: The Bernadette Corporation, Maja Cule, Auto Italia (Kate Cooper, Marianne Forrest, Marleen Boschen, Andrew Kerton and Jess Wiesner), Mika Tajima, New Humans, and Artie Vierkant
Curated by Robin Lynch
Incorporate Me examines the double-edged status of self-representation, image, and the body within communications technology, where the effects of being continually connected become both a binding and freeing mechanism.
Artists: Andreas Greiner, Armin Keplinger, Jacob Kirkegaard , and Markus Hoffmann
Curated by Park Myers
CCK-4 presents a set of contexts in which the visitor’s attention is directed towards the psychological and physiological processes that form the subjective perception of a given space and time. Works in the exhibition explore the inherent elasticity of human perception by heightening the viewer’s awareness of external spatial and temporal aspects of the exhibition, and attunes us to the internal perceptive processes that organize our sense of time and space. In the exhibition’s entirety, CCK-4 curatorially considers how emotion, mental states, and sensorial stimulus form the complex ensemble of one’s extended experience of the present moment.
Stemming from original research on the artist-driven space CANTONBON, Guangzhou, China, Twelve o’clock dislocates and re-contextualizes “cantonbon”(as an institution and an concept) to the galleries of CCS bard. This project strategically tests the limits of its curator’s network, by translating an art institute into a new institutional setting to reveal the tensions and obfuscations of a specific cultural locality and its position within an increasingly globalized art world.
Artists: José León Cerrillo, Harun Farocki, and Daniel Keller with Ella Plevin
Curated by Natalia Zuluaga
Adaptive Permanence explores a contemporary condition in which idea-images such as virtual, designed, technical and constructed images create the conditions for a world where a programmatic relationship between code and body has unfolded.
Student-curated exhibitions at CCS Bard are made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Robert Mapplethorpe Foundation; the Board of Governors of the Center for Curatorial Studies; the CCS Bard Arts Council; and by the Center’s Patrons, Supporters, and Friends.