Center for Curatorial Studies Bard College

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Invisible Adversaries
edited by Lauren Cornell

‘Invisible Adversaries’ was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.

With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.

This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.

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Curatorial Conundrum: What to Study? What to Research? What to Practice?
Paul O'Neill, Lucy Steeds, Mick Wilson (Eds.)


Today curators are sometimes more famous than the artists whose work they curate, and curatorship involves more than choosing objects for an exhibition. The expansion of the curatorial field in recent decades has raised questions about exhibition-making itself and the politics of production, display, and distribution. The Curatorial Conundrum looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future of curatorial and artistic practice; and the institutions that will make these other futures possible. The contributors examine the proliferation of graduate programs in curatorial studies over the last twenty years, and consider what can be taught without giving up what is precisely curatorial, within the ever-expanding parameters of curatorial practice in recent times. They discuss curating as collaborative research, asking what happens when exhibition operates as a mode of research in its own right. They explore curatorial practice as an exercise in questioning the world around us; and they speculate about what it will take to build new, innovative, and progressive curatorial research institutions.

Contributors: Nancy Adajania, Melanie Bouteloup, Nikita Yingqian Cai, Luis Camnitzer, Eddie Chambers, Zasha Cerizza Colah, Galit Eilat, Liam Gillick, Koyo Kouoh, Miguel A. Lopez, Hans Ulrich Obrist, Paul O’Neill, Tobias Ostrander, Joao Ribas, Sarah Rifky, Sumesh Sharma, Simon Sheikh, Lucy Steeds, Jeannine Tang, David The, Jelena Vesic & Vladimir Jeric Vlidi, What, How & for Whom/WHW, Mick Wilson, Vivian Ziherl

Copublished with the Center for Curatorial Studies Bard College/Luma Foundation

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Realism Materialism Art
Christoph Cox, Jenny Jaskey, Suhail Malik (Eds.)

 
With a collection of images curated by Jenny Jaskey and Alicia Ritson
Contributions by Armen Avanessian, Elie Ayache, Amanda Beech, Ray Brassier, Mikko Canini, Diana Coole, Christoph Cox, Manuel DeLanda, Diedrich Diederichsen, Tristan Garcia, Iain Hamilton Grant, Elizabeth Grosz, Boris Groys, Graham Harman, Terry Horgan, Jenny Jaskey, Katerina Kolozova, James Ladyman, François Laruelle, Nathan Lee, Suhail Malik, Quentin Meillassoux, Reza Negarestani, John Ó Maoilearca, Trevor Paglen, Luciana Parisi, Matthew Poole, Matjaž Potrč, João Ribas, Matthew Ritchie, Alicia Ritson, Susan Schuppli, Steven Shaviro, Nick Srnicek, Achim Szepanski, Eugene Thacker, McKenzie Wark, Andy Weir

Realism Materialism Art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMAserves as a primer on “speculative realism,” considering its conceptual innovations as spurs to artistic thinking and practice and beyond. Despite their differences, these philosophical positions propose that thought can and does think outside itself, and that reality can be known without its being shaped by and for human comprehension. Today’s realisms and materialisms explicitly challenge many of the dominant assumptions of cultural practice and theoretical inquiry, opening up new domains of research and artistic inquiry.

Cutting across diverse thematic interests and modes of investigation, the thirty-five essays in RMA offer a snapshot of the emerging and rapidly changing set of ideas and practices proposed by contemporary realisms and materialisms. The book demonstrates the broad challenge of realist and materialist approaches to received disciplinary categories and forms of practice, capturing their nascent reworking of art, philosophy, culture, theory, and science, among other fields. As such, RMAexpands beyond the primarily philosophical context in which realism and materialism have developed.

Copublished with the Center for Curatorial Studies, Bard College
Design by Zak Group

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