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February 15, 2019
CCS Bard Presents the 2019 Spring Exhibitions and Projects
Press Contact:
Mark Primoff
CCS Bard Contact:
Ramona Rosenberg

ANNANDALE-ON-HUDSON, NY, February 2019– The Center for Curatorial Studies, Bard College (CCS Bard) presents fourteen exhibitions with more than forty artists, offering a wide-ranging museum presentation organized by the graduating class of the master of arts 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.

The exhibitions will open on Sunday, April 7, with a reception from 1:00 to 4:00 p.m., and are on view through Sunday, May 26. Artists included in the exhibitions are: Chul Hyun Ahn (b. 1971), Tauba Auerbach (b. 1981), Auseklis Baušķenieks (1910 - 2007), BRUD (Aditya Mandayam) (b. 1983), Liu Chuang (b. 1979), Martin Soto Climént (b. 1977), Danilo Correale (b. 1982), Pêdra Costa (b. 1978), Edith Dekyndt (b. 1960), Antje Ehmann (b. 1968), Harun Farocki (1944 - 2014), Peter Fend (b. 1950), Fong Fo (Zhu Jianlin, Fong Waiking, Ce Zhenhao, Liu Jiawen, Ou Feihong)(founded 2013), Sabrina Gschwandtner (b. 1977), Susan Hiller (1940 - 2019), Li Jinghu (b. 1972), Joan Jonas (b. 1936), Vytautas Jurevicius (b. 1981), Tobias Kaspar (b. 1984), Sylvia Katende (b. 1961), Autumn Knight (b. 1980) with Chelsea Knight (b.1976), Kapulani Landgraf (b. 1966), Babirye Leilah (b. 1985), Ilya Lipkin (b. 1982), Alison O’Daniel (b. 1979), Josiah McElheny (b. 1966), Jota Mombaça (b. 1991), Margaret Nagawa (b. 1971), Chen Pai’an (b. 1988), Victor Pasmore (b. 1908-1998), Hija de Perra (1980 - 2014), Piliāmoʻo (Mark Hamasaki (b. 1955), Adrian Piper (b. 1948), Alexander Provan (b. 1983), Ian Rosen (b. 1977), Rafaël Rozendaal (b. 1980), Collier Schorr (b. 1963), Sikhamani (b. 1957)Lorna Simpson (b. 1960), Krista Belle Stewart (b. 1979), Cory Kamehanaokalā Taum (b. 1990), Rirkrit Tiravanija (b. 1961), John Vea (b. 1985), Andrea Zittel (b. 1965), among others.

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.

The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Thursday through Sunday from 11:00a.m. to 5:00 p.m. 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

About the Center for Curatorial Studies, Bard College The Center for Curatorial Studies at Bard College (CCS Bard) was founded in 1990 as an exhibition and research center for the study of late twentieth-century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world. Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world’s most forward thinking teaching and learning environments for the research and practice of contemporary art and curatorship. Broadly interdisciplinary, CCS Bard encourages students, faculty and researchers to question the critical and political dimension of art, its mediation and its social significance. CCS Bard cultivates innovative thinking, radical research and new ways to challenge our understanding of the social and civic values of the visual arts. CCS Bard provides an intensive educational program alongside its public events, exhibitions, and publications, which collectively explore the critical potential of the institutions and practices of exhibition-making. It is uniquely positioned within the larger Center’s tripartite resources, which include the internationally renowned CCS Bard Library and Archives and the Hessel Museum of Art, with its rich permanent collection.

General information on the Center for Curatorial Studies at Bard College can be found on its website at:


like drawing a line in the sand at the ocean’s edge
Artists: Piliāmoʻo (Mark Hamasaki (b. 1955) and Kapulani Landgraf (b. 1966)), John Vea (b. 1985), Cory Kamehanaokalā Taum (b. 1990)
Curated by Drew Kahuʻāina Broderick

like drawing a line in the sand at the ocean’s edge stages a dialogue between four island-based practitioners. Photographs by Piliāmoʻo (Mark Hamasaki and Kapulani Landgraf) provide historical counter-evidence to official stories and statements issued by spokespersons for the State of Hawaiʻi about a U.S. federal infrastructure project, Interstate H-3; digital video and sound by John Vea meditate on working conditions and embodied processes of (re)building; and, a new commission comprised of spray painted concrete blocks by Cory Kamehanaokalā Taum presents tiled floor ornamentation influenced by Polynesian genealogical approaches to tattooing, in which patterns are inscribed on bodies as marks of resilience and descent.”

Moving at the Tempo of a Broken Song
Artists: Danilo Correale, Alison O’Daniel, Alexander Provan
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.”

Artist: Adriana Ramić
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
Participating Artists: Fong Fo (Zhu Jianlin, Fong Waiking, Ce Zhenhao, Liu Jiawen, Ou Feihong), Chen Pai’an, and others
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.”

Motion 1: Missing Hue of the Rainbow
Artists: Edith Dekyndt, Adrian Piper, Lorna Simpson, Sikhamani, and Rirkrit Tiravanija
Curated by Srinivas Aditya Mopidevi

Motion 1: 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
Artists: Babirye Leilah, Sylvia Katende, and Margaret Nagawa
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
Artists: Tauba Auerbach, Sabrina Gschwandtner, Joan Jonas, Josiah McElheny, Victor Pasmore, and Andrea Zittel
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.”

Participating artists and art works by: Auseklis Baušķenieks, BRUD (Aditya Mandayam), Peter Fend, Vytautas Jurevicius, Tobias Kaspar, Ilya Lipkin, Ian Rosen, and Collier Schorr
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.”

Living in Foul
Artists: Artists: Hija de Perra, Pêdra Costa, and Jota Mombaça
Curated by Julia Eilers Smith

Living in Foul focuses on the works of late Chilean radical drag performer, essayist and activist Hija de Perra in dialogue with artists Pêdra Costa and Jota Mombaça, drawing attention to transnational critiques of queer theory and practices of sexual dissidence from South America.”

a semblance of the indefinite
Artists: Chul Hyun Ahn and Rafaël Rozendaal
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.”

Artists: Autumn Knight with Chelsea Knight
Curated by Thea Spittle

Ping presents the video and sound 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.”

In the Shadow of an Invisible Thread
Artist: Martin Soto Climént
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.”

this is the no thing that we are
Artists: Susan Hiller and Krista Belle Stewart
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), a language of the Interior Salish Nation.”

In this world, we
Artists: Antje Ehmann and Harun Farocki, Li Jinghu, and Liu Chuang
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.”