Six new exhibitions opening in March
March 27 – April 17, 2011
Sunday, March 27, 1:00 – 4:00 p.m.www.bard.edu/ccs
Exhibitions and Projects in the first group are:
Break My Body, Hold My Bones
Artists: Malcolm Lomax and Daniel Wickerham (DUOX)
Curated by Nathan Lee
Combining the digital and the analogue, performance and collage, this newly commissioned installation examines the forms, affects, and capacities of the queer body in a “post-AIDS” culture.
The action of things
Artists: Rubén Grilo, João Maria Gusmão & Pedro Paiva, Cristóbal Lehyt, Trevor Paglen, and Jorge Satorre
Curated by Manuela Moscoso
The action of things is a group exhibition presenting work—that investigates inanimate things—more specifically, stones and stars-while challenging the passivity commonly attributed to such objects.
Taking Pleasure for a Ride
Artists: Glen Fogel, Terence Koh, Laurel Nakadate, Jennifer Reeder, and Conrad Ventur
Curated by Dylan Burritt Peet
Taking Pleasure for a Ride presents five video works that use various camp strategies to create irresolvable crises of judgment, complicating notions of taste, desire, representation, and resistance.
We Have The Technology
Participants: Marysia Lewandowska, Konst & Teknik, and Laurel Ptak
Curated by Laurel Ptak in collaboration with Stockholm-based design office Konst & Teknik.
A sustained platform for dispersed communication, research, and knowledge production online, wehavethetechnology.org invites artist Marysia Lewandowska as its inaugural resident to explore the intersection of intellectual property and art.
Harboring Tone and Place
Artists: Dennis McNulty, Angela Detanico and Rafael Lain
Curated by Clark Solack
“Harboring Tone and Place” presents Approaching Breezewood by Dennis McNulty, and The 25 Brightest Stars by Angela Detanico and Rafael Lain. Both works translate typologies and geographies by creating durational atmospheres through specific engagements with sound and the projected image.
Student-curated 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 Board of Governors of the Center for Curatorial Studies; and by the Center’s Patrons, Supporters, and Friends. Additional support is provided by the Monique Beudert Award Fund.
The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Wednesday through Sunday from 1:00 to 5:00 p.m. All CCS Bard exhibitions and programs are free and open to the public. Limited free seating is available on a chartered bus that leaves from New York City for the March 27 opening. The bus returns to New York City after the opening. Reservations are required; call 845.758.7598 or email firstname.lastname@example.org.
Please see our website, www.bard.edu/ccs for all related programming.
Also on view:
Hessel Museum of Art
March 7- May 22
Opening Reception: Sunday, March 27, 1 – 4 p.m.
CLAP is a curatorial collaboration between CCS Bard graduate students Nova Benway, Michelle Hyun, Nathan Lee, Dylan Peet, and CCS Bard Executive Director Tom Eccles. Featuring works from the Marieluise Hessel Collection—greatly expanded since the inauguration of the Hessel Museum of Art in 2006—the exhibition includes many recent acquisitions on view for the first time, as well as a new commission by Tony Oursler. The title takes its inspiration from minimalist composer Steve Reich’s Clapping Music (1972), an early example of “phasing” in which repetitive patterns or phrases of music fall in and out of unison with each other based on the subtle shift of one note. Rather than seeking to draw out the inner psychological life of artworks, CLAP asks what we can discern from their outsides—and what they can find in each other. Looking to gestures instead of identities, connections rather than histories, encounters versus explanations, CLAP is less about applause; rather it brings things together, making noise.
Carolee Schneemann will orchestrate a “language activation” at 3 pm during the opening reception.
Courtesy of Altman Siegel, San Francisco, and Galerie Thomas Zander, Cologne.