Interference - CCS Bard

Interference

April 2 – May 29, 2022

→ Hessel Museum of Art

Exhibition Collection

2022 Thesis Exhibitions

Exhibition Category

Collected exhibitions

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Interference presents fourteen graduate exhibitions curated by the M.A. candidates of the Class of 2022 at the Center for Curatorial Studies, Bard College (CCS Bard). For their entire first semester, in the fall of 2020, the class met under an open-air rental tent on the Center’s front lawn—some attended in person, seated six feet apart around long tables, and others were remote, projected in a grid on a standing screen. Collective conversation took place over wind and reverb. Under these hybrid conditions, change and adaptation became central to this cohort’s experience of curatorial studies and to the development of these exhibitions. Interference probes approaches to histories, archives, notions of embodiment, artistic production, and the gallery space itself. These inquiries unfold across exhibitions that build upon interdisciplinary collaborations within the evolving field of curatorial practice.

Interference will also present a selection of works by luminary artist, curator, and esteemed CCS Bard alum Jenni Crain (1991-2021) in the Lobby Atrium.

CCS Bard Class of 2022 Isabella Achenbach, Eduardo Andres Alfonso, Angelica Arbelaez, Eugenia Braniff, Junni Chen, Sofia D’Amico, Laura Hakel, Hana Halilaj, Min Sun Jeon, May Makki, Claire Sammut, Danni Shen, Dominika Tylcz, Guy Weltchek

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 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. With support from the OSUN Center for Human Rights & the Arts at Bard for select exhibitions.

Included exhibitions

Operational Excellence

Curated by Isabella Achenbach

In a moment when cryptocurrency has swiftly become a global phenomenon, Operational Excellence brings together the work of Eddie Rodolfo Aparicio, Ignacio Gatica, and Gabriella Torres-Ferrer to consider the ways in which dematerialized currency and the ostensible abstraction of value have fundamentally changed infrastructure, ecology, and culture.

Frame (traced)

Curated by Eduardo Andres Alfonso

A series of material, curatorial, and social interventions by artist Alan Ruiz that subliminally and physically alter boundary conditions within the museum.

Entre fotos y cuadernos, entre cosas y recuerdos

Curated by Angelica Arbelaez

Entre fotos y cuadernos, entre cosas y recuerdos features photo-based works by contemporary Latinx artists who use memorabilia—mainly vernacular photographs and personal objects—to reflect on the relationship between their identities and cultural histories.

Emaús

Curated by Eugenia Braniff

Emaús explores how a group of monks and the workshops they participated in during the 1960s influenced the development of abstract art and modern architecture in Mexico.

Lustrous like plastic

Curated by Junni Chen

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Fueled by a speculative global economy that values land primarily as a financial asset, the rate of urban redevelopment in dense urban cities has only increased over the past ten years. This group exhibition brings together works by four artists to offer a meditation on how the ever-changing nature of cityscapes affect how we form collective cultural memories, anxieties, and desires.

Up River Studies: Carcerality and the American Sublime

Curated by Sofia D'Amico

Bringing together prison records from the New York State Archives, oil sketches by Hudson River School painter Frederic Edwin Church, and new landscape paintings by artist and farmer Zoe Scruggs, Up River Studies seeks to complicate the American sublime by gesturing toward what it leaves out: the violent state prison system, whose convict labor projects were foundational to the cultural development of Upstate New York. Following an “up river” movement of two systems historically central to the Hudson Valley’s development––its cultural and carceral institutions––the exhibition juxtaposes various landscape studies, visualizes the carceral state through artistic interventions, and gestures to this system’s all-pervasive nature.

Archives of the Tympanum

Curated by Laura Hakel

1. Rita Ponce de León. Our us [Nuestros nosotros], 2015. Ink on paper, 9,8 x 9,8 inches. Courtesy Rita Ponce de León.jpg

As an intergenerational conversation about distance, migration, and artistic practice, this exhibition presents a mural of drawings by Rita Ponce de León alongside paintings and an oral recording by Raquel Rabinovich.

Informator

Curated by Hana Halilaj

Informator is a research-based initiative structured around the previously inaccessible archives of the National Gallery of Kosovo, established in 1979. Addressing gaps in art historical writing on Kosovo, as well as Eastern Europe more broadly, the exhibition urges a reconfiguration of current canonical narratives. In addition to commissioning new works, Informator invites artists and art historians from Eastern Europe to discuss what has been omitted from selected publications on art from this region and to explore the central role of archives in conceiving and supporting historicization processes.

Theresa Hak Kyung Cha: audience distant relative

Curated by Min Sun Jeon

Theresa Hak Kyung Cha: audience distant relative presents works by Theresa Hak Kyung Cha (1951–1982), an artist and writer whose multifaceted conceptual practice has left an important legacy that has yet to be fully recognized. Presenting a range of Cha’s works—spanning mail art, video and audio works, unfinished films, a multichannel installation, performance documentation, and works on paper—from the late 1970s to the early 1980s, audience distant relative highlights the ways in which Cha invokes personal and collective reminiscing that transcends time, space, and identity.

Friends of Elliptical Orbits

Curated by May Makki

Friends of Elliptical Orbits is an expanded presentation of Kayfa ta and Radio Alhara, two ongoing projects that offer new models for artistic production and building community. Kayfa ta, an Arabic publishing initiative using the form of the “how-to” manual, and Radio Alhara, an online community radio platform started in Palestine, are low-budget projects that prioritize agency and accessibility. Unfolding across sites including the Hessel Museum, a Bard College shuttle stop, and radioalhara.net, Friends of Elliptical Orbits explores how each project’s design and structure embody its values.

DISTRESS TOLERANCE

Curated by Claire Sammut

DISTRESS TOLERANCE features works by seven contemporary artists who reflect the psychological and embodied effects of stress.

Beast, Chimera, Kin

Curated by Danni Shen

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Beast, Chimera, Kin explores animality as a framework for the formation of human subjectivity. Contending with logics of dehumanization and otherness that include nonhuman beings, works by artists Anne Chu, Jia Sung, Yi Xin Tong, and Frank WANG Yefeng refigure the category of “the animal” into an expansive locus of possibility. Building upon cross-species worldviews, each artist rethinks questions around what it means to be human in relation with others.

whereabouts

Curated by Dominika Tylcz

whereabouts presents recent sculptures by Cudelice Brazelton IV, K.R.M Mooney, and Bat-Ami Rivlin. The exhibition investigates spatial and material strategies of signification in contemporary art that resist the production of subject matter. The exhibiting artists instead use the potentials of found materials to implicate the works’ environment as part of the sculptures themselves, redistributing their content to their direct surroundings.

Back to Back

Curated by Guy Weltchek

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Back to Back is a group exhibition of artists working between the fields of DJing and contemporary art production. Each artist was commissioned to create new work responding to the physical, formal, and discursive spaces of Jersey club and footwork music. An accompanying printed zine contains interviews with Jersey club and footwork producers in which they discuss the history of these forms, focusing in particular on the evolution of the drum-programming techniques that define each genre’s signature style.

Access Information for Hessel Museum of Art and CCS Bard Galleries

CCS Bard and the Hessel Museum are located in a single-level facility on the Bard College campus in Annandale-on-Hudson, NY. Parking is available outside of the building in an ADA-compliant parking lot which has four accessible parking spaces at the end of the paved entrance way. If you have questions or requests about access, please write to Casey Robertson, Community Outreach Coordinator, at ccs@bard.edu or phone 845-758-7598 at least two weeks before your visit or the event you plan to attend and we will make every effort to assist 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. Please don’t hesitate to contact Casey Robertson at ccs@bard.edu with feedback about your visit. For more information on accessibility, please visit this page.

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