No More Years - CCS Bard

No More Years

2020 Spring Exhibitions and Projects

August 20 – September 20, 2020

→ Hessel Museum of Art, CCS Bard Galleries

Exhibition Category

Collected exhibitions

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The Center for Curatorial Studies, Bard College presents No More Years, thirteen exhibitions organized by the graduate class of 2020. The exhibitions were developed over the past fifteen months and present an array of research interests, display methods, and exhibition formats.

No More Years offers alternatives to current media projections of imminent collapse through a range of focused visual and cultural insights. The exhibitions present diverse accounts of temporality, technique, and production, showcasing the ambiguity and nuance possible in exhibition-making in a climate that embraces polarizing positions.

All CCS Bard exhibitions and public programs are free and open to the public.

The student-curated exhibitions and projects at CCS Bard are part of the requirements for the master of arts degree, and are made possible with the 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.

Included exhibitions

Awaaz / Essential Interference

Curated by Sukanya Baskar

Revolving around the concept of awaaz—the word in Hindi and Urdu for “clamor”, “sound”, and “voice”—the works in this exhibition, by artists Pallavi Paul, Vishal Kumaraswamy and the Bass Foundation Roots, embrace the fluidity of these terms in the context of politics engagement.

The Soil Speaks

Curated by María Camila Montalvo

The Soil Speaks (La Tierra Habla, ja rwach’ulef ntz’ijoni) explores Guatemalan Mayan-Tzutujil cosmology and practices. The exhibition highlights Indigenous modes of thinking, particularly in relation to Western paradigms in contemporary art, in order to evidence their decolonial strategies.

No End in Sight

Curated by Muheb Esmat

No End in Sight is an exhibition of works by the interdisciplinary artist Aziz Hazara (b. 1992, Wardak, Afghanistan). By presenting Hazara’s works that investigate the hidden structures of military planning and surveillance, the exhibition explores the unbreakable ties between personal and collective histories and the hidden truths that continue to haunt the people of Afghanistan.

Horizons are not infinite

Curated by Marisa Espe

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Horizons are not infinite examines the use of axonometric projection by Roger Brown (1941–1997), Agnes Denes (b. 1931), and Fred Sandback (1943–2003) and speculates on the significance of this technique during the 1970s and 1980s. By reflecting on the cultural conditions of these decades and how they resonate with the present, the exhibition gathers paintings and prints whose axonometric visions of the world create ways to imagine the future.

Long Live Modern Movement

Curated by Julia Gardener

Long Live Modern Movement examines how Siah Armajani, Iman Issa, Justine Kurland, Barry Le Va, Yuri Pattison, Raha Raissnia, Gerard Richter, Martha Rosler, and Rachel Whiteread approach the concept of “site” as itinerant—that is, as both specific and on the move.

Tensile Specimens

Curated by Bergen Hendrickson

Tensile Specimens considers how collective imaginations are encoded in both folk and industrial practices of fiber production. It reacts to minute moments in the interrelated histories of fiber and digital technologies by engaging in speculative, almost fantastical, visions for different possible fiber futures.

Invention of Hysteria

Curated by Ciena Leshley

An artist-project featuring newly commissioned works by Heather Benjamin. Invention of Hysteria explores femininity and cosmic power amidst patriarchal violence through Benjamin’s delicate, illustrative avatars.

Abra a Jaula!

Curated by Ana Lopes

Abra a Jaula! is the first institutional presentation of the video works of the experimental Brazilian theater company Teatro Oficina (1957–). The exhibition aims to contextualize this important but often overlooked facet of the group’s practice.

hackers, un·re·mastered

Curated by Liz Lorenz

hackers, un·re·mastered presents recent works spanning sculpture, collage, and video by A.K. Burns, Cassils, Doreen Garner, Andrea Geyer, and Narcissister that deconstruct representations of idealized gendered bodies within traditional trajectories of Western art history. The artists activate and manipulate the works’ elemental, material properties to ultimately transcend the physical—moving beyond mainstream canons and fixed definitions of the body and the self to promote multiple, malleable narratives and identities.

Somatic’s Grocery

Curated by Brooke Nicholas

Somatic’s Grocery is a group exhibition that expands the idiom, “you are what you eat.” This is explored through the conceptual framework of somatics, or emphasis on attention to bodily responses to external stimuli. The exhibition takes its organizational structure from the corner store, pointing to the bodily experience inside of an architectural space where food is collected, considered, purchased, and occasionally consumed. Included artworks frame eating, cooking, and food as expressive of the body’s ability to process and store emotion and experience.

Inbetweener

Curated by Elizaveta Shneyderman

Inbetweener explores modeling as a frame to understand how artists, technicians, and animators engage in the construction of virtual bodies and volumes. Through a combination of artworks and non-art objects, such as animatronics and glassware, the exhibition poses a gestural and open field of inquiry to think through representations of corporality in contemporary visual culture.

A faint hum

Curated by Rachel Vera Steinberg

The group exhibition A faint hum uses a science-fiction narrative structure to explore how information can be gained from encounters with unfamiliar technological processes. Bringing together the work of four contemporary artists, the exhibition forms a speculative environment in which multiple narratives can germinate, offering the possibility of accessing the experience of a different type of intelligence without decoding it.

No Look Pass

Curated by Michelle Weiqiu Song

No Look Pass presents a newly commissioned exhibition by Dubai-based artist Lantian Xie.

Accessibility:

CCS Bard Hessel Museum of Art is a single-level facility, its parking lot meets current ADA standards for wheelchair access, and one courtesy wheelchair is available. If you have specific questions about access, please write to ccs@bard.edu at least three days before the event and we will make every effort to accommodate you. During your visit, you may seek the assistance of Security and Visitor Service staff members who are present at the CCS Bard reception desk and throughout the exhibitions. All restrooms are open to anyone regardless of gender identity or expression.

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