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Spillover
April 6 – May 26, 2024
→ Hessel Museum of Art
Exhibition Collection
2024 Thesis Exhibitions
Exhibition Category
Collected exhibitions

Opening Reception, Saturday, April 6, 1pm - 4pm
Limited free seating is available on a roundtrip chartered bus from New York City for the April 6th opening. Reservations are required and can be made on this by calling +1 845-758-7598 or emailing alaracuente@bard.edu.

Spillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.

A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.

Bigger than Sound and A song within a song within a song explore the communities that form around musical genres, attuned not simply to sound but how that sound is listened to. In A Subtle Remainder, Carboniferous Love, and Glot, artists seek barely perceptible traces left by atmospheric cycles, geological formation, and speech, respectively.

The intertwined operations of memory and displacement are considered in GAST, Weight of Mind, and I’m not alien, I’m discontent. Here, shared and personal memories settle in the natural landscape, act upon the human form, or coalesce in domestic spaces.

Your Presence Is a Present, NARNIA IS A LIE, and Biomes center intimate and open-ended collaborations between artist and curator, in which authorship is inescapably multiple and through which new artistic methods emerge.

The collected exhibitions skirt around contemporary or historical conditions and yet are deeply saturated with them. Rather than coalescing around a common theme, these unique curatorial projects connect through their leaking points.

Exhibitions organized by the graduate students of the Class of 2024: Josefina Barcia, Daré Dada, Lucas Ondak, Clara Prat-Gay, Sophie Rose, Aïda Sidhoum, Thalia Stefaniuk, Pallavi Surana, Lili Rebeka Toth, Clara von Turkovich, and Luke Whittaker. In memory of Elisabeth Vollert.

The graduate 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 Lonti Ebers; Robert Soros and the Enterprise Foundation; the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Robert Mapplethorpe Foundation; The Wortham Foundation; the Board of Governors of the Center for Curatorial Studies; and by the Center’s Patrons, Supporters, and Friends.

Included exhibitions
Bigger than Sound
Curated by Josefina Barcia
Bigger than Sound gathers the work of three contemporary artists from Argentina who tackle overlapping histories of classical and experimental music to trouble hegemonic discourses such as colonialism and nationalism. The art practices of Lolo y Lauti (b. 1980 and b. 1986, Buenos Aires) in collaboration with Rodrigo Moraes (Montevideo, 1985), Florencia Werchowsky (b. 1978, Neuquén), and Zulu Souvenir (b. 1974, Buenos Aires) derive from crossovers between classical music, performance, installation art, opera, sound art, experimental music, and video.
Your Presence Is a Present
Curated by Daré Dada
Your Presence Is a Present is a two-person exhibition featuring Olu Ogunnaike and Constantin Thun. Both use sculpture and installation to envision contemporary culture as a mode of consciousness rather than as a series of static objects.
GAST
Curated by Lucas Ondak
The darkness through the trees, the fog on the plain, even in the stillness something is with you: an invisible presence, a shadow of a shadow. Is it a ghost? A memory? A monster? GAST features work by Ashley Michelle Hannah, Colton Rothwell, Hannah Rose Stewart, and vvxxii that consider relationships between memory, personal and collective hauntings, concealed histories, and physical landscapes.
A Subtle Remainder
Curated by Clara Prat-Gay
Building on materials that are often conceived as nothingness—air, pressure, speed —A Subtle Remainder operates at the threshold of perception. Featuring a series of shadowgrams by Lucy Raven (b. 1977), a broken frame by Nina Canell (b. 1979), a sculpture by Olga Balema (b. 1984), and a video by Miguel Ángel Ríos (b. 1943), the works animate the limits of the invisible and the unresolved. In each one, the remainder is posed as a warning—the trace of uncontainable phenomena striving to materialize unreadable threats.
NARNIA IS A LIE
Curated by Lili Rebeka Toth
NARNIA IS A LIE is the first institutional presentation in the US by Lőrinc Borsos—a Hungarian duo whose work has gained considerable influence in Central Europe since their inception fifteen years ago. A labyrinthine, atmospheric installation of multimedia sculptures overlaid with sound, kinetic, and light elements, NARNIA IS A LIE presents recent work that builds on the duo’s complex, private mythology—a mythology in dialogue with digital media, electronic music culture, video game aesthetics, and Christian iconography and eschatology.
Glot
Curated by Sophie Rose
In a moment when verbal communication saturates our digital platforms, public forums, and many workplaces, Glot explores the politics of the voice beyond intelligible or self-possessed speech. The exhibition features the work of JJJJJerome Ellis, Nour Mobarak, and Anri Sala, with a significant new commission from Shahrzad Changalvaee
A song within a song within a song
Curated by Aïda Sidhoum
A song within a song within a song maps francophone popular music genres such as zouk, coupé-décalé, raï, French hip-hop, and R&B, tracing their layered contexts from the 1990s up to today. Through art, music, and written materials, the exhibition brings forward the dispersed geographies and social histories residing within the resonances of francophone popular songs.
Weight of Mind
Curated by Thalia Stefaniuk
Featuring sculpture and photography, Weight of Mind presents the works of three artists—Kaari Upson, Jes Fan, and Lucas Blalock—that explore how memory is given form. Through diverse modes of translation and varied processes, the artists provide space to examine past experiences and sensations that otherwise would be fleeting as they intervene upon the impressions memory leaves behind. In an accompanying public program, an artist-curated short film festival at Upstate Films in Rhinebeck, NY, further explores how translations across mediums and context influence an artist’s engagement with their practice.
I’m not alien, I’m discontent
Curated by Pallavi Surana
In a moment where the mass movement of people—both forced and voluntary—has become a notable constant, I’m not alien, I’m discontent brings together works by Utsa Hazarika, Leonardo Madriz, and Guanyu Xu that explore domestic spaces to complicate notions of home and belonging. The works employ fragmentation and layering to show the composite ways in which the idea of home is articulated, even through multiple dislocations.
Biomes
Curated by Luke Whittaker
Biomes explores the complex dynamics between artists, the economy of art, and the work they no longer own. The exhibition emerged from conversations between the artists and curator, examining how artistic practices are sustained and how artists advocate for their work without institutional support, including the complications of selling work outside the traditional gallery system. Biomes considers the variety of iterations, availability, and affordability of art and how works, now outside the artist’s domain, converse with the domestic sphere, from furniture to wallpaper and kitchen countertops to toilets. How does art, residing in a domestic space, allude to larger narratives of artistic practice, production, and visibility?
Carboniferous Love
Curated by Clara von Turkovich
Named for the rich coal stores produced over 300 million years ago, when Earth was covered with swamp forests, Carboniferous Love presents artworks that recalibrate perceptions of time and space. Gathering the works of Julian Charrière, Mira Dayal, Víctor Grippo, Nancy Holt and Robert Smithson, and Katie Paterson, the exhibition engages the physicality of sculpture and time-based media, seeking to tie the present to the material history of our planet.