Goethe-Institut New York
72 Spring Street, 11th Floor
New York, NY 10012
Co-presented with the International Studio & Curatorial Program (ISCP)
Panelists include Sofía Hernández Chong Cuy, Curator of Contemporary Art, Colección Patricia Phelps de Cisneros, New York; Chris Fitzpatrick, independent curator, San Francisco; and Astrid Honold, Director, Office for Contemporary Art, Amsterdam
Introduction by Kari Conte, Program Director, ISCP
Moderated by Tobi Maier, Curatorial Resident, Ludlow 38
Artist residencies have a long history, beginning in the early 20th century. Today there are numerous international residencies for artists, serving a distinct function within the contemporary art world. The development of curatorial residencies has not been as widespread, but has initiated a complex set of institutional models. This panel discussion will specifically consider different approaches to curatorial residencies. Speakers will share their experiences participating in residencies throughout Canada, Europe and the United States.
On Curatorial Residencies will engage with various questions. What is the impact of curatorial residencies on research and production? In what way do they relate to various forms of institutional approaches? How are they defined in relation to artist residencies? Do curators and artists have the same residency needs? Have curatorial residencies developed in tandem with curating as a profession? How do these residencies activate networks and collaboration? What are the expectations of curators and hosts?
Sofía Hernández Chong Cuy was recently appointed Curator of Contemporary Art for the Colección Patricia Phelps de Cisneros. She also works as an agent for Documenta 13 and, since 2009, she is a board member of Kunstverein, Amsterdam. In Spring 2008, she had a curatorial residency at Kadist Art Foundation, Paris, and during the 2008-2009 academic year, she was curator-in-residence at CCS Bard. Chong Cuy writes regularly for exhibition catalogs and magazines on commission, and independently in the blog she initiated, Sideshows.org.
Chris Fitzpatrick has organized exhibitions and events internationally for venues including Palazzo Ducale, Genoa; Proyectos Monclova, Mexico City; the Oakland Museum of California, Oakland; as well as the Exploratorium, Yerba Buena Center for the Arts, and many others in San Francisco, where he is based. Fitzpatrick has been awarded curatorial residencies by Fondazione Sandretto Re Rebaudengo, Turin; the Banff Centre, Alberta; and FIAC/Fondation d’enterprise Ricard, Paris. Fitzpatrick’s writing and interviews have been published in Pazmaker, Mousse Magazine, Camerawork: A Journal of Photographic Arts, The Baltic Notebooks of Anthony Blunt, and Art in America, plus books and catalogs. Fitzpatrick is currently on the curatorial board of the Present Future section of Artissima 18, Turin.
Astrid Honold is ISCP curator-in-residence from February to August 2011. She is a German curator based in Amsterdam where she established Office For Contemporary Art together with artists Fendry Ekel and Folkert de Jong. Operating in the fields of Art Management and Consulting, the Office supports a selected group of talented young artists working in The Netherlands. With Black Cat Publishing, Honold publishes monographs and exhibition catalogues. Additionally, Honold is an independent curator working with international galleries and museums.
The International Studio & Curatorial Program (ISCP) is a not-for-profit, residency-based contemporary art center for emerging to mid-career artists and curators from around the world. Founded in 1994, ISCP has hosted over 1,000 artists and curators from more than 50 countries, including the United States. In 2008, ISCP moved from Manhattan to East Williamsburg, Brooklyn, to a former 18,000 square-foot factory constructed in 1901. This move expanded ISCP’s facilities to 35 studios, an exhibition gallery and a project space. To advance its core mission of supporting artists in producing and exhibiting a wide range of contemporary, often experimental, artistic approaches, ISCP launched a series of innovative exhibitions and public programs both on- and off-site.
ISCP’s public programs are made possible thanks to the support of Brooklyn Arts Council, The Greenwich Collection, National Endowment for the Arts, and New York City Department of Cultural Affairs.
A transcript from the event has been published in Re-tooling Residencies by A-I-R Laboratory CCA Ujazdowski Castle Warsaw and can be accessed here.