From its course into channels
April 7 – May 26, 2019
→ Hessel Museum of Art, CCS Bard Galleries
Exhibition Category
Collected exhibitions
Opening Reception: Sunday, April 7, 1pm-4pm
The Center for Curatorial Studies, Bard College presents From its course into channels, fourteen exhibitions with more than forty artists, offering a wide-ranging museum presentation organized by the graduating class of the master of arts program in curatorial studies. The individual exhibitions were conceived over the past fifteen months, presenting diverse display methodologies, research interests, and exhibition formats - from focused solo shows to new commissions and thematic exhibitions. Research for the exhibitions often relied on CCS Bard’s extensive Library and Archives, and several shows include work from the Marieluise Hessel Collection.
Graduate 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.
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 7th opening. Reservations are required; call +1 845-758-7598 or email ccs@bard.edu.
Included exhibitions
In the Shadow of an Invisible Thread
Curated by Giorgia von Albertini
In the Shadow of an Invisible Thread is the first institutional solo exhibition in the United States of work by Martin Soto Climént (b. 1977), a conceptual artist from Mexico City best known for his transformative arrangements of everyday objects. Presenting a newly commissioned installation that fills a large gallery at the Hessel Museum of Art, the exhibition explores how the notion of “intimate revolt”, a term articulated by theorist Julia Kristeva, is fundamental to Soto Climént’s practice.
like drawing a line in the sand at the ocean’s edge
Curated by Drew Kahuʻāina Broderick
like drawing a line in the sand at the ocean’s edge stages an intergenerational dialogue between four island-based practitioners working throughout the Pacific: Piliāmoʻo [Mark Hamasaki and Kapulani Landgraf], John Vea, and Cory Kamehanaokalā Taum. The exhibition brings together existing artworks and a new commission.
Moving at the Tempo of a Broken Song
Curated by Eugenia Delfini
Moving at the Tempo of a Broken Song explores processes of listening by examining ways in which sound is mediated by various apparatuses, whether technological or body-related. Bringing together a new commission by Danilo Correale titled Bird Song. Active Noise Cancelling (2019), two excerpts of Alison O’Daniel’s feature-length film The Tuba Thieves (2018), and a new version of Alexander Provan’s audio work Measuring Device with Organs (2018), the exhibition invites the audience to reconsider sound as a primary factor in the production of time, place, and social behavior.
NOVI
Curated by Susannah Faber
NOVI presents a newly commissioned installation by Adriana Ramić (b.1989). Drawing from personal photographs, interviews, and ephemera collected by the artist, the exhibition considers the power of images, formations of memory, and the influence systems of encoding and reconfiguration can have on these. New computational transcriptions and translations reflect the difficulties and slippages within processes of translation and transmission of meaning. NOVI investigates ideas of place and processes of memory, translation, and encoding.
Fong Fo: Extra
Curated by Zhenting Feng
Fong Fo: Extra presents newly commissioned works by Fong Fo, a Guangzhou-based art collective. Fong Fo functions as a collective, a monthly magazine, and a network of people. The exhibition reflects on the collective’s projects—deriving from and informed by their publishing practices — in order to reimagine how the magazine serves as an artistic platform for community building.
Missing Hue of the Rainbow
Curated by Srinivas Aditya Mopidevi
Missing Hue of the Rainbow is an exhibition that takes up the histories of color’s ambivalent relationship to identity, by bringing together works in photography, video, artist’s books, literature and poetry. Along with a film screening, bibliography and library presentation on dissent, the exhibition forms part of the first motion within Tonalities of Dissent, a long-term curatorial project by Srinivas Aditya Mopidevi.
Flight: A Collective History
Curated by Serubiri Moses
Flight: A Collective History focuses on the largely forgotten history and legacy of a women artists’ collective in Kampala, specifically the trajectory of the collective’s 1995 exhibition, Women Artists on the Move.
Limit Cycles: Materials, Torques, Intervals
Curated by Dain Oh
Limit Cycles: Materials, Torques, Intervals proposes a reading of artworks via the dynamic concept of limit cycles: involuntary and voluntary systems of regulation that are inherent within materials and the human body.
Balticana
Curated by Zane Onckule
Balticana is a poetic exploration of obscure but illuminating connections between the historic, cultural and sociopolitical context of the Baltic region, particularly those common references to the mood across art, society and behavior. Working in dialogue with artists, art works and ephemera, and departing from the atmosphere of fog, the exhibition’s curator collects and weaves together national, literary and cultural metaphors of the three Baltic states, to produce Balticana as an allegory and imaginary fourth state.”
a semblance of the indefinite
Curated by Suzie Smith
a semblance of the indefinite presents recent work by Chul Hyun Ahn and Rafaël Rozendaal. While utilizing different scales of space – the volume of a sculpture, the interior space of a gallery – each artist uses light and space as primary materials to create illusionistic representations of seemingly infinite space.
Living in Foul
Curated by Julia Eilers Smith
Living in Foul focuses on work by the late Chilean radical drag performer, essayist and activist Hija de Perra, set in dialogue with artists Jota Mombaça and Pêdra Costa. By bringing these artists’ voices together, the exhibition draws attention to transnational critiques of queer theory and practices of sexual dissidence from South America.
Ping
Curated by Thea Spittle
Ping presents the video work of interdisciplinary artist Autumn Knight produced between 2013 and 2019, including a newly commissioned video installation. The exhibition creates a context for examining the conceptual and visual parameters of Knight’s practice.
this is the no thing that we are
Curated by Mathilde Walker-Billaud
this is the no thing that we are engages the work of Susan Hiller and Krista Belle Stewart, artists who both investigate recording technologies and acts of transcription, to challenge the way we document, interpret and remember human experiences. The exhibition includes a newly commissioned, site specific installation by Stewart, centered on a century-old recording of her great-grandmother, Terese Kaimetko, speaking and singing in Syilx (Okanagan).
In this world, we
Curated by Jinglun Zhu
In this world, we explores forms of visual representation of Chinese migrant workers who are largely excluded from political and cultural domains. Counter to a dominant tendency to portray them as a generic mass of former peasants and interchangeable “others,” this exhibition seeks to draw attention to fragments and traces of their everyday individual lives. In this world, we presents copies of archival images from Liu Chuang’s Love Story (2006-2015), the video installation Waterfall (2016) by Li Jinghu, and selected videos from Labour in a Single Shot (Hangzhou) (2014), part of a video documentation project initiated by Antje Ehmann and Harun Farocki. The exhibition also includes investigative materials from non-governmental organization China Labor Watch.