A new publication from Paper Monument.
With contributions by: Regine Basha, Chloë Bass, Dena Beard, Zachary Cahill, Ken Chen, Lori Cole, Anne Ellegood, Anthony Elms, Deborah Fisher, Zanna Gilbert, Namita Gupta Wiggers, Larissa Harris, Pablo Helguera, Megan Heuer, Kemi Ilesanmi, Mary Jane Jacob, Alhena Katsof, Kristan Kennedy, Alex Klein, Jordan Martins, Amanda Parmer, Risa Puleo, Laura Raicovich, Sara Reisman, Chris Reitz, Nicolás Rodríguez Melo, Stephen Squibb, Elizabeth Thomas, Gilbert Vicario, and Anuradha Vikram
Polly Apfelabum’s exhibition Waiting for the UFOs (a space set between a landscape and a bunch of flowers) took place at Ikon 19 September - 18 November 2018 in Birmingham, UK. It was curated by Jonathan Watkins and accompanied by a catalogue including essays by curator/writers Glenn Adamson and Alhena Katsof.
The book is available here and Katsof’s essay Colour Defiance is available upon request.
Alhena Katsof's essay about the legendary exhibition Times Square Show (1980) organized by Colaborative Projects Inc., is included alongside texts by Alexander Alberro, Monica Amor and Carlos Basualdo, Biljana Ciric, Ekaterina Degot, Elena Filipovic, Claire Grace, Anthony Huberman, Dean Inkster, William Krieger, Elisabeth Lebovici, Ana Longoni, James Meyer, Isabelle Moffat, Nina Möntmann, Natalie Musteata, Sandra Skurvida, Dirk Snauwaert, Lucy Steeds, Monika Szewczyk, and Kaelen Wilson-Goldie. Afterword by Hans Ulrich Obrist.
The book is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations.
It discusses twenty-two exhibitions by the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broodthaers; Hank Bull, Shen Fan, Zhou Tiehai, Shi Yong, and Ding Yi; John Cage; Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer; Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Goshka Macuga; Lucy McKenzie and Paulina Ołowska; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; Avdey Ter-Oganyan; Philippe Thomas; and Andy Warhol.
Edited by Joan Rettallack and published by Litmus Press in 2018.
The book is available here.
Katsof's essay The Arched Bow of the Institution of Display, is included in the volume, How Institutions Think, which brings together an international and multidisciplinary group of writers to address such questions as whether institution building is still possible, feasible, or desirable; if there are emergent institutional models for progressive art and curatorial research practices; and how we can establish ethical principles and build our institutions accordingly. The first part, “Thinking via Institution,” moves from the particular to the general; the second part, “Thinking about Institution,” considers broader questions about the nature of institutional frameworks.
Contributors include: Nataša Petrešin Bachelez, Dave Beech, Mélanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Pip Day, Clémentine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguières, Patrick D. Flores, Marina Gržinić, Stefano Harney, Alhena Katsof, Emily Pethick, Sarah Pierce, Zahia Rahmani, Moses Serubiri, Simon Sheikh, Mick Wilson
Solution 263: Double Agent is co-authored by Alhena Katsof and Dana Yahalomi, Director of Public Movement. The publication includes contributions by Karen Archey and Janto Schwitters, and Jill Magid.
The performative relationship between the state and its cultural institutions was perhaps best exemplified when the declaration of the State of Israel was staged at the Tel Aviv Museum of Art in 1948. Solution 263: Double Agent presents a methodology and manual containing the necessary tools to activate Debriefing Session performances and explore this phenomenal relationship, which has been at the heart of Public Movement’s research.
November 3, 2015: Kunsthalle Basel, Basel
October 28, 2015: Rongwrong, Amsterdam
September 19, 2015 as part of The Classroom organized by David Senior at New York Art Book Fair, New York
This publication for Andrea Geyer 's exhibition Travels on a Slender Thread , which took place at The New Foundation in Seattle (2015), includes contributions by Susana Vargas Cervantes, Saisha M. Grayson, Alhena Katsof, Kristan Kennedy, Fred Moten and Yoko Ott.
Image credit: Andrea Geyer, Time Tenderness, performance at the Whitney Museum of American Art. May 13-18, 2015.
The Reader for 67,3% performative research seminar was a compilation of key texts that Malin Arnell has written, performed and/or published as part of her artistic research. It was made through the collaborative effort of Malin Arnell and Alhena Katsof, with the help of Clara López Menéndez. Graphic design by Sara Kaaman. As a part of 67,3% performative research seminar,
67,3% performative research seminar Malin Arnell
May 10-12, 2014
Weld in Stockholm
Over the course of three days, artist Malin Arnell enacted a performative research seminar at Weld in Stockholm. The seminar encompassed a number of public actions, screenings and discussions that directly engaged her ongoing artistic research, which was generated through the live events. Specifically, the title 67,3% performative research seminar points to the moment that this seminar occupied within the arc of her research, which currently takes place within the framework of a PhD in Choreography at University of Dance and Circus / Stockholm University of the Arts.
Arnell understood 67,3% performative research seminar as a methodology of entanglements in which each participant comes to exist within the research, and in which the movement across reenactments, presentations and conversations generates the choreographic.
Invited participants were: Katherine Brewer Ball, Camilla Damkjaer, Ulrika Gomm, Hanna Hallgren, Lena Hammergren, Anna Koch, Efva Lilja, Clara López Menéndez, Teresa Maria Diaz Nerio and Stefanie Seibold.
Image: Malin Arnell, 2015