International Studio & Curatorial Program (ISCP) | New York
Deadline:
Sat Dec 31, 2016 00:00
Location:
Brooklyn,
New York
United States of America
United States of America
The International Studio & Curatorial Program (ISCP) announces an open call for its residency program. ISCP is a leading nonprofit, residency-based contemporary art institution for emerging to mid-career artists and curators from around the world, including the United States. With 35+ artists and curators in residence at all times, ISCP is a vibrant community of contemporary art practitioners. The program provides residents with the space, time, and support to develop new projects. With additional activities tailored for professional development and public engagement, ISCP serves as a platform for producing, presenting and contextualizing contemporary art through a diverse range of international perspectives. ISCP's public programs encourage dialogue and integrate residents into the cultural landscape of New York City, making ISCP an exciting hub for contemporary art. ISCP is currently accepting applications from visual artists and curators in all disciplines who would like to engage with ISCP's unique and dynamic programming and creative community. The residency program includes 24-hour access to a private furnished studio space, regular studio visits from Visiting Critics; Field Trips to museums, galleries and other cultural venues; and participation in Artist Talks and semi-annual Open Studios (April and November residents). Residents at ISCP are also invited to take part in ISCP's Exhibition Program and Participatory Projects (off-site, public works). A residency at ISCP is typically three to six months, although artists and curators can apply for up to one year.
To apply, please visit www.iscp-nyc.org/apply.html.
To apply, please visit www.iscp-nyc.org/apply.html.
I’M SO SAD, MY GOD
Dates:
Fri Oct 09, 2009 00:00 - Tue Oct 06, 2009
FOR IMMEDIATE RELEASE
iscp | international studio & curatorial program
October 9th - 18th, 2009
I’M SO SAD, MY GOD
Opening reception: October 9th, 2009, 6 to 9 pm
Gallery hours: Fri-Sun, 2-6 pm, through October 18th, 2009
or by appointment at imsosadmygod@gmail.com
Borrowing its title from the famous 19th-century Romantic Polish poem by Juliusz Słowacki, I'm So Sad, My God presents six artists, three French and three American, whose works convey the dichotomy of joy versus sadness, alongside a pinch of melancholy. This exhibition can be seen as a reflection on what French philosopher Gilles Deleuze claims in his Abécédaire. Defining the tension between joy and sadness in terms of power, he opposes the power of creation, where joy is defined by means of "entering the color" for a painter, to sadness that relates power to control.
Curated by Martha Kirszenbaum
Brooklyn-based multifaceted artist Peter Coffin’s work includes playful investigations made of suspended orchestras, trees wearing jeans and colorful UFO’s, similar to what the art critic Gregory Battcock named « idea art ». Not far from his usual childlike imagination, Term Paper Blues is a humorous and slightly ironic poster referring to teenage culture and college fears, as much as to American anti-depressive drug addiction.
Leigh Ledare’s latest project is a complex portrait of his mother and an exploration of their relationship, through photographs, gathered objects, collages. Ribbons and Flowers seems to challenge and reverse the role of an everyday object by presenting an upside-down ribonned hat attached to a fringed lamp. This romantic yet despaired vision echoes Francis Picabia’s statement : « Solitude can be compared to a lamp that fucks » (Un effet facile, 1922).
Berlin-based Aude Pariset’s photographic objects capture the progressive interstice linking up two and three-dimensions, photography and sculpture. Her work refers to experimental photography through optical illusion as in Figure Quelconque. Pariset seems also to operate a nostalgic appropriation of time and space in XIV, where a photograph taken in Berlin’s Neukölln is mentally transferred by the artist to her native Versailles.
Eileen Quinlan’s geometrical abstract photographs, created by double exposure or darkroom manipulation, are kaleidoscopic and shadowy images, challenging our visual and conceptual senses. In Demystification #8, the artist employs an experimental use of layers of smoke and mirrors recalling neo-Cubist construction, whereas Shalimar #6 is an elegant explosion of a fur-like black spot and cuts. Both images contain an illusive vanishing point, a punctum in which one’s eye gets slowly drawn.
In their series of black canvases, evoking urban steel mythical dreams, Florian and Michaël Quistrebert produce a saturated dark flow of paint and incisive geometrical figures and lines. Black as a color and as a state of mind exists here in all its complexity of tones — from matte gray to glossy tar— and moods. Their video Virgins is an appeal to psychedelic culture, conveying magic in space, forms and colors.
Morgane Tschiember’s series Folded, consisting of aluminum models painted in off-white, night blue or pale pink, explores the tension between form and flesh. Her welded sculptures resemble a scarified, stitched up body. Tschiember juxtaposes minimalism and formalism in these softly assembled, yet rectilinear, pieces installed on a reflective surface, as to confuse the perception of space and size.
iscp | international studio & curatorial program
October 9th - 18th, 2009
I’M SO SAD, MY GOD
Opening reception: October 9th, 2009, 6 to 9 pm
Gallery hours: Fri-Sun, 2-6 pm, through October 18th, 2009
or by appointment at imsosadmygod@gmail.com
Borrowing its title from the famous 19th-century Romantic Polish poem by Juliusz Słowacki, I'm So Sad, My God presents six artists, three French and three American, whose works convey the dichotomy of joy versus sadness, alongside a pinch of melancholy. This exhibition can be seen as a reflection on what French philosopher Gilles Deleuze claims in his Abécédaire. Defining the tension between joy and sadness in terms of power, he opposes the power of creation, where joy is defined by means of "entering the color" for a painter, to sadness that relates power to control.
Curated by Martha Kirszenbaum
Brooklyn-based multifaceted artist Peter Coffin’s work includes playful investigations made of suspended orchestras, trees wearing jeans and colorful UFO’s, similar to what the art critic Gregory Battcock named « idea art ». Not far from his usual childlike imagination, Term Paper Blues is a humorous and slightly ironic poster referring to teenage culture and college fears, as much as to American anti-depressive drug addiction.
Leigh Ledare’s latest project is a complex portrait of his mother and an exploration of their relationship, through photographs, gathered objects, collages. Ribbons and Flowers seems to challenge and reverse the role of an everyday object by presenting an upside-down ribonned hat attached to a fringed lamp. This romantic yet despaired vision echoes Francis Picabia’s statement : « Solitude can be compared to a lamp that fucks » (Un effet facile, 1922).
Berlin-based Aude Pariset’s photographic objects capture the progressive interstice linking up two and three-dimensions, photography and sculpture. Her work refers to experimental photography through optical illusion as in Figure Quelconque. Pariset seems also to operate a nostalgic appropriation of time and space in XIV, where a photograph taken in Berlin’s Neukölln is mentally transferred by the artist to her native Versailles.
Eileen Quinlan’s geometrical abstract photographs, created by double exposure or darkroom manipulation, are kaleidoscopic and shadowy images, challenging our visual and conceptual senses. In Demystification #8, the artist employs an experimental use of layers of smoke and mirrors recalling neo-Cubist construction, whereas Shalimar #6 is an elegant explosion of a fur-like black spot and cuts. Both images contain an illusive vanishing point, a punctum in which one’s eye gets slowly drawn.
In their series of black canvases, evoking urban steel mythical dreams, Florian and Michaël Quistrebert produce a saturated dark flow of paint and incisive geometrical figures and lines. Black as a color and as a state of mind exists here in all its complexity of tones — from matte gray to glossy tar— and moods. Their video Virgins is an appeal to psychedelic culture, conveying magic in space, forms and colors.
Morgane Tschiember’s series Folded, consisting of aluminum models painted in off-white, night blue or pale pink, explores the tension between form and flesh. Her welded sculptures resemble a scarified, stitched up body. Tschiember juxtaposes minimalism and formalism in these softly assembled, yet rectilinear, pieces installed on a reflective surface, as to confuse the perception of space and size.
NORTHSIDE FESTIVAL at ISCP 'Hear myself in it': live music & performances
Dates:
Fri Jun 12, 2009 00:00 - Thu Jun 04, 2009
iscp | international studio & curatorial program
FOR IMMEDIATE RELEASE
Friday, June 12, 2009 - 7 to 10PM
NORTHSIDE FESTIVAL at ISCP
'Hear myself in it': live music & performances
ISCP is pleased to announce its participation to the Northside Festival taking place June 11-14, 2009 (full program at www.northsidefestival.com). This watershed event is the first of its kind, exposing all the simmering hotbed of artistic and musical talent that Williamsburg has to offer.
On June 12, as part of the Northside Festival program, ISCP will present ‘Hear Myself In It’, an evening of live music and performances from 7 to 10PM. ‘Hear Myself In It’ explores the many ways in which visual artists incorporate music into their practices.
PARTICIPATING ARTISTS:
Feather and Folly
Two pleasantly cheerful young women singing harmonies and playing guitar, ukulele, glockenspiel, washboard, cans and a drum is the visual experience that is Feather and Folly. Their music and friendship began at art school, through a swift collaborative connection in song writing and performing. Their songs are melodic yet quirky, endearing yet eerie.
www.myspace.com/featherandfolly
Lilibeth Cuenca (ISCP resident)
Sampling is a common practice in contemporary culture. Lilibeth Cuenca questions the originality and authenticity of an art piece, while creating an explicit discourse about referential art. Cuenca uses art history as a point of departure to create new and innovative performances.
www.kirkhoff.dk/art/artists/lilibeth_cuenca
Amelia Saul
Amelia Saul was born and raised in Seattle, Washington. She works in a variety of media, and has exhibited her work and/or performed in New York, Taiwan, Berlin, Lisbon and Hiroshima; she has also published writings with artists John Russell and the duo Elmgreen + Dragset.
www.ameliasaul.net
Amelia Winger-Bearskin
Amelia Winger-Bearskin works primarily in the area of time-based art (sound, video, live performance and digital media). There is an immediacy inherent in live performance and time-based works that she finds compelling. This proximity creates a distinctive reciprocal connection with the viewer.
www.studioamelia.com
Private Time
Private Time is Annie Pearlman's progressive R+B compositions and Brian Belott's sound clowning. Formed in 2006 in Brooklyn, Private Time makes music to expose the private self through physical response, entering from the bottom not the top.
www.myspace.com/privatetimemusic
International Studio & Curatorial Program (ISCP)
1040 Metropolitan Avenue, Brooklyn, NY 11211
T: (718) 387 2900 | F: (718) 387 2966
info@iscp-nyc.org | www.iscp-nyc.org
Subway: Grand St stop on the L train
FOR IMMEDIATE RELEASE
Friday, June 12, 2009 - 7 to 10PM
NORTHSIDE FESTIVAL at ISCP
'Hear myself in it': live music & performances
ISCP is pleased to announce its participation to the Northside Festival taking place June 11-14, 2009 (full program at www.northsidefestival.com). This watershed event is the first of its kind, exposing all the simmering hotbed of artistic and musical talent that Williamsburg has to offer.
On June 12, as part of the Northside Festival program, ISCP will present ‘Hear Myself In It’, an evening of live music and performances from 7 to 10PM. ‘Hear Myself In It’ explores the many ways in which visual artists incorporate music into their practices.
PARTICIPATING ARTISTS:
Feather and Folly
Two pleasantly cheerful young women singing harmonies and playing guitar, ukulele, glockenspiel, washboard, cans and a drum is the visual experience that is Feather and Folly. Their music and friendship began at art school, through a swift collaborative connection in song writing and performing. Their songs are melodic yet quirky, endearing yet eerie.
www.myspace.com/featherandfolly
Lilibeth Cuenca (ISCP resident)
Sampling is a common practice in contemporary culture. Lilibeth Cuenca questions the originality and authenticity of an art piece, while creating an explicit discourse about referential art. Cuenca uses art history as a point of departure to create new and innovative performances.
www.kirkhoff.dk/art/artists/lilibeth_cuenca
Amelia Saul
Amelia Saul was born and raised in Seattle, Washington. She works in a variety of media, and has exhibited her work and/or performed in New York, Taiwan, Berlin, Lisbon and Hiroshima; she has also published writings with artists John Russell and the duo Elmgreen + Dragset.
www.ameliasaul.net
Amelia Winger-Bearskin
Amelia Winger-Bearskin works primarily in the area of time-based art (sound, video, live performance and digital media). There is an immediacy inherent in live performance and time-based works that she finds compelling. This proximity creates a distinctive reciprocal connection with the viewer.
www.studioamelia.com
Private Time
Private Time is Annie Pearlman's progressive R+B compositions and Brian Belott's sound clowning. Formed in 2006 in Brooklyn, Private Time makes music to expose the private self through physical response, entering from the bottom not the top.
www.myspace.com/privatetimemusic
International Studio & Curatorial Program (ISCP)
1040 Metropolitan Avenue, Brooklyn, NY 11211
T: (718) 387 2900 | F: (718) 387 2966
info@iscp-nyc.org | www.iscp-nyc.org
Subway: Grand St stop on the L train
ON THE TECTONICS OF HISTORY - May 29 - June 28, 2009
Dates:
Thu May 28, 2009 00:00 - Mon May 04, 2009
iscp international studio & curatorial program
FOR IMMEDIATE RELEASE
ON THE TECTONICS OF HISTORY
May 29 - June 28, 2009
Curated by Andrea Domesle and Martin Krenn
Opening Reception: Thursday, May 28, 2009, 6 - 9pm
Opening Hours: Saturday - Sunday, 2 - 6pm
Talk with the Curators + Video presentation by Maciej Toporowicz: Saturday, May 30, 2009 - 4pm
A wall installation with reprints of art works from: David Adam, Pat Binder, Klaus vom Bruch, Lutz Dammbeck, Jochen Gerz, Hans Haacke, Rafal Jakubowicz, Klub Zwei, Grzegorz Klaman, Zdena Kolečková, Anna Konik, Anna Kowalska, Martin Krenn, Monument für die Niederlage, Susanne Kriemann, Robert Kuśmirowski, Pia Lanzinger, Boris Lurie, Gustav Metzger, Lisl Ponger, Rafani, Anja Salomonowitz, Naomi Tereza Salmon, Joachim Seinfeld, Esther Shalev-Gerz, Tim Sharp, Michaela Thelenová, Maciej Toporowicz, Arye Wachsmuth, Peter Weibel, Artur Żmijewski.
How and where can the influence of history be made tangible? Which intentions or political aims underlie the images that establish our interpretation of the past?
On the Tectonics of History exposes the historical traces of the Nazi era in the 1930s and 1940s. The show investigates the way in which imagery continues to shape our understanding of this regime, and subsequently reflects on how present day society deals with this time-period.
On the Tectonics of History presents contemporary works of art in the fields of photography, film and video. Often oscillating between conceptual and factual representation, the works enable us to produce meaning and, in turn, to formulate images of history that are not yet consistent within our society. According to Aleida and Jan Assmann, Professors of Archeology, documentary photography and film act as an image storage-bank for our collective memory. Since the 1930s, technological achievements have permitted a much broader use of these two media while allowing a steady increase of distribution.
On the Tectonics of History is a travelling exhibition that makes its last stop at ISCP. The exhibition gathers a selection from the four touring stations of the show selected by the curatorial team Domesle/Krenn. Following ISCP’s format - a residency program for artists and curators - the final presentation at ISCP Gallery reflects the curatorial concept of On the Tectonics of History and should be considered a conclusion and reflection of the touring experience. Reproductions of artworks shown during the exhibition’s tour are juxtaposed with printed works by Boris Lurie, one of the founders of the NO!art movement during the 1960s in New York. Additionally, the exhibition presents an archive featuring the entire collection of video works included in all phases of the exhibition.
On the Tectonics of History previous stations:
November 24, 2005 - January 15, 2006: Forum Stadtpark Graz, Austria;
November 1, 2006 - December 15, 2006: Faculty of Art and Design of Jan Evangelista Purkyně University and Emil Filla Gallery in Ústí nad Labem, Czech Republic;
Mars 17, 2007 - April 29, 2007: WYSPA Institute of Art/WYSPA Progress Foundation, Gdansk, Poland;
September 19, 2008 - October 25, 2008: Motorenhalle - Projektzentrum für zeitgenössische Kunst, Dresden, Germany
© Graphic logo: Toledo i Dertschei
International Studio & Curatorial Program (ISCP)
1040 Metropolitan Avenue | Brooklyn, NY 11211
T: (718) 387 2900 | F: (718) 387 2966
info@iscp-nyc.org | www.iscp-nyc.org
Direction: Grand St stop on the L train.
For more information please contact:
Andrea Domesle | a\_domesle@aon.at
Martin Krenn | mail@martinkrenn.net www.martinkrenn.net/tectonic
Sandrine Canac | scanac@iscp-nyc.org
FOR IMMEDIATE RELEASE
ON THE TECTONICS OF HISTORY
May 29 - June 28, 2009
Curated by Andrea Domesle and Martin Krenn
Opening Reception: Thursday, May 28, 2009, 6 - 9pm
Opening Hours: Saturday - Sunday, 2 - 6pm
Talk with the Curators + Video presentation by Maciej Toporowicz: Saturday, May 30, 2009 - 4pm
A wall installation with reprints of art works from: David Adam, Pat Binder, Klaus vom Bruch, Lutz Dammbeck, Jochen Gerz, Hans Haacke, Rafal Jakubowicz, Klub Zwei, Grzegorz Klaman, Zdena Kolečková, Anna Konik, Anna Kowalska, Martin Krenn, Monument für die Niederlage, Susanne Kriemann, Robert Kuśmirowski, Pia Lanzinger, Boris Lurie, Gustav Metzger, Lisl Ponger, Rafani, Anja Salomonowitz, Naomi Tereza Salmon, Joachim Seinfeld, Esther Shalev-Gerz, Tim Sharp, Michaela Thelenová, Maciej Toporowicz, Arye Wachsmuth, Peter Weibel, Artur Żmijewski.
How and where can the influence of history be made tangible? Which intentions or political aims underlie the images that establish our interpretation of the past?
On the Tectonics of History exposes the historical traces of the Nazi era in the 1930s and 1940s. The show investigates the way in which imagery continues to shape our understanding of this regime, and subsequently reflects on how present day society deals with this time-period.
On the Tectonics of History presents contemporary works of art in the fields of photography, film and video. Often oscillating between conceptual and factual representation, the works enable us to produce meaning and, in turn, to formulate images of history that are not yet consistent within our society. According to Aleida and Jan Assmann, Professors of Archeology, documentary photography and film act as an image storage-bank for our collective memory. Since the 1930s, technological achievements have permitted a much broader use of these two media while allowing a steady increase of distribution.
On the Tectonics of History is a travelling exhibition that makes its last stop at ISCP. The exhibition gathers a selection from the four touring stations of the show selected by the curatorial team Domesle/Krenn. Following ISCP’s format - a residency program for artists and curators - the final presentation at ISCP Gallery reflects the curatorial concept of On the Tectonics of History and should be considered a conclusion and reflection of the touring experience. Reproductions of artworks shown during the exhibition’s tour are juxtaposed with printed works by Boris Lurie, one of the founders of the NO!art movement during the 1960s in New York. Additionally, the exhibition presents an archive featuring the entire collection of video works included in all phases of the exhibition.
On the Tectonics of History previous stations:
November 24, 2005 - January 15, 2006: Forum Stadtpark Graz, Austria;
November 1, 2006 - December 15, 2006: Faculty of Art and Design of Jan Evangelista Purkyně University and Emil Filla Gallery in Ústí nad Labem, Czech Republic;
Mars 17, 2007 - April 29, 2007: WYSPA Institute of Art/WYSPA Progress Foundation, Gdansk, Poland;
September 19, 2008 - October 25, 2008: Motorenhalle - Projektzentrum für zeitgenössische Kunst, Dresden, Germany
© Graphic logo: Toledo i Dertschei
International Studio & Curatorial Program (ISCP)
1040 Metropolitan Avenue | Brooklyn, NY 11211
T: (718) 387 2900 | F: (718) 387 2966
info@iscp-nyc.org | www.iscp-nyc.org
Direction: Grand St stop on the L train.
For more information please contact:
Andrea Domesle | a\_domesle@aon.at
Martin Krenn | mail@martinkrenn.net www.martinkrenn.net/tectonic
Sandrine Canac | scanac@iscp-nyc.org
ISCP OPEN STUDIOS | Four days of international contemporary art
Dates:
Fri May 08, 2009 00:00 - Tue Apr 14, 2009
Javier Arce (Spain) >> Olivier Babin (France) >> Maria Bussmann (Austria) >> Christian Capurro (Australia) >> Naia del Castillo (Spain) >> Szu-Han Chen (Taiwan) >> Lilibeth Cuenca (Denmark) >> Koenraad Dedobbeleer (Belgium) >> Charlotte Dumas (The Netherlands) >> Michael Höpfner (Austria) >> Akino Kondoh (Japan) >> Kasper Kovitz (Austria) >> Pei-Yu Lai (Taiwan) >> Manuela Lalic (Canada) >> Lotte Lindner & Till Steinbrenner (Germany) >> Liisa Lounila (Finland) >> Patricia Martín (Mexico) >> Javier Martin de Frutos (Spain) >> Svätopluk Mikyta (Slovakia) >> Are Mokkelbost (Norway) >> Melvin Moti (The Netherlands) >> Patrick Nilsson (Sweden) >> Bjargey Ólafsdóttir (Iceland) >> Jochen Plogsties (Germany) >> Leonard Qylafi (Albania) >> Antonio Rovaldi (Italy) >> Miha Štrukelj (Slovenia) >> Chaw Ei Thein (Burma) >>
FRIDAY, MAY 8 >> Press Preview: 5 - 7 PM >> Opening Reception: 7 - 9 PM
++ PERFORMANCE: Lotte Lindner & Till Steinbrenner (on going)
++ LIVE MUSIC PERFORMANCE (8PM): Bjørn Vidar Solli Quartet (www.myspace.com/bjornsolli)
SATURDAY, MAY 9 >> 12 - 6 PM
++ 2PM: ARTIST TALK >> Lisi Raskin
++ 4PM: SCREENING >> Nedko Solakov, 'The Deal', 2002, 30 mn 11s
Alexandra Do Carmo, 'Office/Commercial', 2007, 30 mn 45s
SUNDAY, MAY 10 >> 12 - 6 PM
++ 2PM: ARTIST TALK >> Hakan Topal/xurban\_collective and Alex Villar
++ 4PM: SCREENING >> Nedko Solakov, 'The Deal', 30 mn 11s
Alexandra Do Carmo, 'Office/Commercial', 30 mn 45s
MONDAY, MAY 11 >> 2 - 8 PM
++ 5PM: SCREENING >> Nedko Solakov, 'The Deal', 30 mn 11s
Alexandra Do Carmo, 'Office/Commercial', 30 mn 45s
++ 7PM: ARTIST TALK >> Carlos Motta
International Studio & Curatorial Program (ISCP) cordially invites you to our spring Open Studios.
A four-day exhibition of international contemporary art, this event presents work by the 27 artists and artist groups currently in residence at ISCP. The current residents represent an inspiring and wide range of conceptual interests and fresh artistic choices. These include hybrids, cross sections and traditional approaches to painting, drawing, video, performance, sculpture, sound, installation, artists’ books and architecture.
In addition, ISCP proudly presents the exhibition Financial District, organized by Miguel Amado, curator-in-residence in 2009. The Financial District marks the urban landscape of all major American cities. More than an architectural feature or a geographical location, the Financial District represents an ideology, that of the ‘new spirit of capitalism’, which has developed over the past decades and has been recently questioned in the wake of the current financial crisis. Financial District brings together residents at ISCP, as well as New York-based and international artists whose work allegorically responds to, comments on, and speculates about the current economic climate.
ISCP presents Open Studios twice a year to give the public, art professionals and other art enthusiasts access to cutting-edge contemporary art from around the world. Free to the public, these events provide an exclusive peek into the production, process and personal archives of globally celebrated artists, many of them showing their work in New York for the first time.
Founded in 1994, ISCP has hosted more than 800 artists and curators who have significantly contributed to New York’s art community. The program is designed to connect the ISCP participants to local institutions, key professionals, and a broad range of international visitors. The interaction between artists, curators and critics at ISCP creates opportunities that support every stage of artistic production and development, offering a range of crucial, career advancing exchanges such as master class level critique, exhibition participation, long-term collaborations and gallery representation. ISCP continues to expand its programming to accommodate new directions in global artistic expression, and is pleased to open a new floor of studios and additional public programs in 2009.
Founding Director Dennis Elliott and Program Director Kristine Siegel invite you to join us in the studios!
FRIDAY, MAY 8 >> Press Preview: 5 - 7 PM >> Opening Reception: 7 - 9 PM
++ PERFORMANCE: Lotte Lindner & Till Steinbrenner (on going)
++ LIVE MUSIC PERFORMANCE (8PM): Bjørn Vidar Solli Quartet (www.myspace.com/bjornsolli)
SATURDAY, MAY 9 >> 12 - 6 PM
++ 2PM: ARTIST TALK >> Lisi Raskin
++ 4PM: SCREENING >> Nedko Solakov, 'The Deal', 2002, 30 mn 11s
Alexandra Do Carmo, 'Office/Commercial', 2007, 30 mn 45s
SUNDAY, MAY 10 >> 12 - 6 PM
++ 2PM: ARTIST TALK >> Hakan Topal/xurban\_collective and Alex Villar
++ 4PM: SCREENING >> Nedko Solakov, 'The Deal', 30 mn 11s
Alexandra Do Carmo, 'Office/Commercial', 30 mn 45s
MONDAY, MAY 11 >> 2 - 8 PM
++ 5PM: SCREENING >> Nedko Solakov, 'The Deal', 30 mn 11s
Alexandra Do Carmo, 'Office/Commercial', 30 mn 45s
++ 7PM: ARTIST TALK >> Carlos Motta
International Studio & Curatorial Program (ISCP) cordially invites you to our spring Open Studios.
A four-day exhibition of international contemporary art, this event presents work by the 27 artists and artist groups currently in residence at ISCP. The current residents represent an inspiring and wide range of conceptual interests and fresh artistic choices. These include hybrids, cross sections and traditional approaches to painting, drawing, video, performance, sculpture, sound, installation, artists’ books and architecture.
In addition, ISCP proudly presents the exhibition Financial District, organized by Miguel Amado, curator-in-residence in 2009. The Financial District marks the urban landscape of all major American cities. More than an architectural feature or a geographical location, the Financial District represents an ideology, that of the ‘new spirit of capitalism’, which has developed over the past decades and has been recently questioned in the wake of the current financial crisis. Financial District brings together residents at ISCP, as well as New York-based and international artists whose work allegorically responds to, comments on, and speculates about the current economic climate.
ISCP presents Open Studios twice a year to give the public, art professionals and other art enthusiasts access to cutting-edge contemporary art from around the world. Free to the public, these events provide an exclusive peek into the production, process and personal archives of globally celebrated artists, many of them showing their work in New York for the first time.
Founded in 1994, ISCP has hosted more than 800 artists and curators who have significantly contributed to New York’s art community. The program is designed to connect the ISCP participants to local institutions, key professionals, and a broad range of international visitors. The interaction between artists, curators and critics at ISCP creates opportunities that support every stage of artistic production and development, offering a range of crucial, career advancing exchanges such as master class level critique, exhibition participation, long-term collaborations and gallery representation. ISCP continues to expand its programming to accommodate new directions in global artistic expression, and is pleased to open a new floor of studios and additional public programs in 2009.
Founding Director Dennis Elliott and Program Director Kristine Siegel invite you to join us in the studios!
