Bard News & Events

Press Release

The Center for Curatorial Studies at Bard College
(CCS Bard) Presents the 2018 Spring Exhibitions and Projects
 

Mark Primoff
845-758-7412
primoff@bard.edu
03-26-2018
15 Exhibitions Curated by CCS Bard Master’s Degree Candidates
Featuring the work of more than 50 major international and emerging contemporary artists including Frances Barrett, Bernadette Corporation, Youmna Chlala, Susan Cianciolo, Moyra Davey, Electronic Disturbance Theater 2.0/b.a.n.g. lab, Glen Fogel, Hervé Guibert, Leigh Ledare, Park McArthur, and Beatriz Santiago Muñoz

On view April 8 – May 27, 2018
Opening reception on Sunday, April 8, 2018 from 1:00 – 4:00 p.m         

ANNANDALE-ON-HUDSON, NY, March 2018– The Center for Curatorial Studies at Bard College (CCS Bard) presents fifteen exhibitions curated by second-year students in its graduate program, organized as part of the requirements for the master of arts degree.
Conceived and organized over fifteen months, the exhibitions present bold, original arguments, and take the form of focused solo exhibitions, thematic group shows, and even ambitious reconsiderations of earlier movements or artistic tendencies. Research for student exhibitions was often anchored in CCS' unique and extensive Library and Archives, and several shows include work from the Marieluise Hessel Collection.

The exhibitions open on Sunday, April 8, with a reception from 1:00 to 4:00 p.m., and is on view through Sunday, May 27.   The exhibitions are: Born Losers, curated by Laura Brown; Her split body is a crack in our community (Bard), curated by Levi Easterbooks; Not Quite Verbatim, curated by Max Fields; The skin of the sounds, curated by Talia Heiman; So long ago it feels like a memory of someone else, curated by Andrew Hibbard; An unbound knot in the wind, curated by Alison Karasyk; To clear the gound of weeds, curated by Sabrina Maltese; Measures of Authority, curated by Selby Nimrod; Everything is going to be fine, curated by Thomas Patier; I have become direction, curated by Santiago Silva Daza; In and Out of Place, curated by Hannah Spears; Fashion Work, Fashion Workers, curated by Jeppe Ugelvig; L’impudeur, curated by Janique Préjet Vigier; More than mere jelly, curated by Amelia Wallin; and Counting the Waves, curated by Ruiyu Xu.

Student-curated exhibitions and projects 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.

Also on view:
Warhol: Unidentified, presenting 74 Polaroid portraits by Andy Warhol that feature people who remain unknown. The exhibition is part of Warhol x 5, a collaboration of five Hudson Valley university art museums who participated in the Andy Warhol Photographic Legacy Program.



The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Thursday through Sunday from 11:00a.m. to 5:00 p.m. All CCS Bard exhibitions and public programs are free and open to the public. Limited free seating is available on a chartered bus from  New York City for the April 8th opening. Reservations are required; call +1 845-758-7598 or email ccs@bard.edu. Transporation is wheelchair accesible with a limited number of wheelchair spots, so please let us know when making your bus reservation if you will have one.


About the Center for Curatorial Studies
The Center for Curatorial Studies at Bard College (CCS Bard) was founded in 1990 as an exhibition and research center for the study of late twentieth-century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world. Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world’s most forward thinking teaching and learning environments for the research and practice of contemporary art and curatorship. Broadly interdisciplinary, CCS Bard encourages students, faculty and researchers to question the critical and political dimension of art, its mediation and its social significance. CCS Bard cultivates innovative thinking, radical research and new ways to challenge our understanding of the social and civic values of the visual arts. CCS Bard provides an intensive educational program alongside its public events, exhibitions, and publications, which collectively explore the critical potential of the institutions and practices of exhibition-making. It is uniquely positioned within the larger Center’s tripartite resources, which include the internationally renowned CCS Bard Library and Archives and the Hessel Museum of Art, with its rich permanent collection.


General information on the Center for Curatorial Studies at Bard College can be found on its website at: www.bard.edu/ccs.

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BARD COLLEGE CONTACT:
Mark Primoff
Director of Communications
Tel: +1 845.758.7412      
Email: primoff@bard.edu                   

CCS BARD CONTACT:                                     
Ramona Rosenberg                                       
Director of External Affairs                                          
Tel: +1 (845) 758-7574                                   
Email: rrosenberg@bard.edu












CCS BARD GRADUATE STUDENT CURATORIAL STATEMENTS:      

Born Losers
Artist: Darja Bajagić
Curated by Laura Brown
“Darja Bajagić deals in the status of laden images, and one’s familiarity with and bodily responses to looking at them. Born Losers is Bajagić’s first US solo institutional exhibition, presenting a new series of work alongside earlier monochrome studies.”

Her split body is a crack in our community (Bard)
Artists: Amy Lien & Enzo Camacho
Curated by Levi Easterbrooks
“Her split body is a crack in our community (Bard) is a collaborative exhibition by the artist duo Amy Lien & Enzo Camacho. Departing from their 2016 exhibition, Manananggal has appeared in Berlin, the present exhibition will question the interrelation between geo-cultural mobility and art’s languages of critique.”
 
Not Quite Verbatim
Artists: Jay Chung and Q Takeki Maeda, D’Ette Nogle, Amie Siegel, Audra Wolowiec
Curated by Max Fields
Not Quite Verbatim brings together artists who use interviews and related forms of recorded conversation as a medium, motif, site, and apparatus to examine the slippery relationships between utterance, context and subjective interpretation. Through reflection on varied forms of recorded conversation, these artists expose the embedded tropes and conventions that reinforce underlying conditions of performance, socio-historical omission, and authorial limitation.”

The skin of the sound
Artists: Park McArthur, Naama Tsabar, Constantina Zavitsanos
Curated by Talia Heiman
“the skin of the sound is an exhibition that considers the intimate relations and physical boundaries between sounds and bodies. Presenting text-based video and sculpture, the included works negotiate the social conditions through which sound is produced, exchanged, and absorbed.”

So long ago it feels like a memory of someone else
Artists: Robert Blanchon, Glen Fogel, Felix Gonzalez-Torres, Jenny Perlin, Stéphanie Saadé with Charbel-joseph H. Boutros
Curated by Andrew Hibbard
So long ago it feels like a memory of someone else is an exhibition that engages the intimacies inflected and eluded by artworks.”

An unbound knot in the wind
Artists: Anna Betbeze, Louise Bourgeois, Youmna Chlala, Virginia Lee Montgomery, and David Wojnarowicz
Curated by Alison Karasyk
An unbound knot in the wind takes as its starting point the Finnmark Witchcraft Trials of the 17th century and the Steilneset Memorial (2011) in Vardø, Norway, which commemorates the victims. The exhibition brings together artworks that position themselves in dialogue with this history through considerations of gendered and ecological power structures, and questions of memory and materiality.”

To clear the ground of weeds
Artists: Abbas Akhavan, Mona Hatoum, and Beatriz Santiago Muñoz
Curated by Sabrina Maltese
To clear the ground of weeds is a group exhibition that considers the political dimensions of uprootedness by exploring the circulation of seeds and flora specimens, the entanglements of indigenous and introduced plant species, and the ways in which vegetation has been used to claim space.”

Measures of Authority*
Artists: Terence Sellers, Chris Kraus, and Leigh Ledare
Archival materials: Jimmy DeSana Trust; Sylvère Lotringer Papers & Semiotext(e) Archive and Terence Sellers Papers, Fales Library & Special Collections
Curated by Selby Nimrod
Measures of Authority brings together photographs and documents from the archive of the writer and dominatrix Terence Sellers with artworks by Chris Kraus and Leigh Ledare. In their respective artistic and literary practices, these three artists address situations in which the exchange of power is eroticized. Their complications of the divisions between lived experience and artwork result in moments of slippage that become a material of the works themselves.”
*Measures of Authority borrows its title from Terence Sellers’ book The Correct Sadist: The Memoirs of Angel Stern.

Everything is going to be fine
Artists: Camille Blatrix, Electronic Disturbance Theater 2.0/b.a.n.g. lab,
Nam June Paik, Emily Wardill
Curated by Thomas Patier
 “Everything is going to be fine addresses the personification of the technological object as it participates in a transfer of emotion, feeling or sensation.”

I have become direction
Books and works by stanley brouwn
Curated by Santiago Silva Daza
I have become direction reflects on an artist’s evacuation of authorship, and its implications on a curatorial methodology. Drawing artist’s books and archival material together with a rare work in video, the exhibition maps the indeterminate and the potential as sources of the work’s ongoing significance.”

In and Out of Place
Artists: Patricia L. Boyd, Lena Henke, Candice Lin & Patrick Staff, Eileen Quinlan
Curated by Hannah Spears
In and Out of Place considers subjectivity as it is formed through a mutual exchange between bodies and their environments. Traces of bodily encounters with built structures are indications of a conflict or tension between subjects and the power schemas that shape their respective environments.”
Fashion Work, Fashion Workers
Featuring Bernadette Corporation Fashion Line, RUN Collection (Susan Cianciolo), BLESS, DIS
Curated by Jeppe Ugelvig
“Fashion Work, Fashion Workers explores the relationship between art and fashion through the lens of labor. Featuring a series of projects from the 1990s to the present, the exhibition speculates what it means for artists to work in fashion in the ever-changing cultural landscape of consumer society.”

L’impudeur
Artists: Moyra Davey and Hervé Guibert
Curated by Janique Préjet Vigier
“Structured on the eddy of modesty and immodesty, the exhibition stages the erotics and abjection of lived experience as the personal intersects with social and political forces.”


More than mere jelly
Artists: Frances Barrett, Tom Burr, Nina Canell, Alex Martinis Roe, and Rosemarie Trockel
 Curated by Amelia Wallin
“Situated within the working relations between artists, institutions, and curators, More than mere jelly is a group exhibition that marks the points of contact and moments of exchange which, like the invisible labor of care, precede and exceed documentation and remuneration.”

Counting the Waves
Artists: Terence Broad, John Gerrard, Gaëtan Robillard, with text by Wang Wei
Curated by Ruiyu Xu
Counting the Waves attempts to map the overwhelming aspects of reality: that which appears as the inconsumable and inaccessible “sublime.” Through an investigation of digital prostheses, the exhibition provides political and historical grounding for the quantum-physical, metaphysical, cinematic and digital fashioning and re-fashioning of temporality.”



 

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This event was last updated on 03-29-2018