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Case In Point: What Do We Want From Exhibitions?

Monday, October 14, 2013 at 7:00pm Admission: 10 NIS. Free for Friends of the CCA Seating is limited; RSVP is required. Email by October 12 to secure a seat. The panel will be held in English.

Artis and the Center for Contemporary Art are pleased to present an evening exploring experimental exhibition formats through case studies by three distinguished curators, Joshua Decter, Sophie Goltz, and Chelsea Haines.

Joshua Decter will discuss his role as a curatorial interlocutor for inSite_05 Interventions, an exhibition platform that questioned models of context-specificity and social engagement within the border environs of San Diego, California and Tijuana, Mexico. He will also discuss his forthcoming book, Art is a Problem, including the chapter “What do we want from exhibitions?” (for which this panel is titled).

Sophie Goltz will present two curatorial projects that translate history into exhibition by use of the archive, and vise versa: Art and Publicity: 40 Years of Neuer Berliner Kunstverein (2009) and The Future Archive (2012).

Chelsea Haines will discuss two projects with artists who confound the distinction between studio and public practice: The Lovasik Estate Sale, a commission with Jon Rubin at the 2012 Shanghai Biennial and the exhibition Theaster Gates: A Way of Working, co-organized with Carin Kuoni for the inaugural Vera List Center Prize for Art and Politics at The New School, New York (currently on view).

About the Speakers: Joshua Decter is a New York-based writer, curator, art historian, and theorist. He has contributed to Artforum, Afterall, Texte zur Kunst, Flash Art, The Exhibitionist (among other magazines and journals), and was the editor/publisher of Acme Journal in the 1990s. Decter’s forthcoming book, Art is a Problem, will be published by JRP|Ringier in October 2013. Comprised of a selection of his writings, interviews, and curatorial projects from 1986 through 2012, it examines contemporary art in relation to its various ideological, public, institutional, discursive, curatorial, and social contexts. He is also the author of a forthcoming book (2014) in Afterall’s Exhibition Histories series that rethinks the social, urban and political dimensions of the 1993 exhibition, Culture in Action. Decter has organized exhibitions at P.S. 1 (now MoMA PS1), The Center for Curatorial Studies at Bard College, Apex Art, The Museum of Contemporary Art in Chicago, The Kunsthalle Vienna, and The Santa Monica Museum of Art. Decter was Director of the Master of Public Art Studies Program at the University of Southern California’s Roski School of Fine Arts in Los Angeles, where he founded the M.A. Art and Curatorial Practices in the Public Sphere program. He has also taught at the Center for Curatorial Studies at Bard College, The School of Visual Arts in New York, The School of the Art Institute of Chicago, New York University, UCLA, and Art Center College of Design in Pasadena.

Sophie Goltz has been working as senior curator since 2008 at Neuer Berliner Kunstverein (n.b.k.), where she curates new commissions of time-based, performative, and other practices with younger artists such as Karolin Meunier, Discoteco Flaming Star, Ming Wong, Azin Feizabadi (all 2010), Laura Horelli (2011), Julieta Aranda, Anja Kirschner and David Panos (both 2012), as well as Alejandro Cesarco and Young Brazilian Art (both 2013). Earlier, she has worked as a freelance curator and art educator with major international exhibitions of contemporary and modern art including Documenta 11 (Kassel, 2002), the 3rd Berlin Biennale (Berlin, 2004), Projekt Migration (Cologne, 2004–06) and Documenta 12 (Kassel, 2007) as well as on her own thematic projects such as Global (Post-) Conceptualism (since 2010), Archival Practices (2007–12), and Art and Sustainability (2001–08). Working with such thematically focused and often large-scale projects on a high international level not only inspires her, but also shapes her understanding and knowledge of how art and its discourses can affect the present. Goltz is also a lecturer at the Kunsthochschule Berlin-Weißensee and writes regularly for art magazines including Texte zur Kunst and springerin. She was recently appointed independent Stadtkuratorin (city curator) of Hamburg.

Chelsea Haines is a writer, editor, and curator based in New York, where she is a PhD candidate in Art History at The Graduate Center, CUNY. She is currently working with the Vera List Center for Art & Politics at The New School on their 20th anniversary initiatives, where she is co-curator of the upcoming project Theaster Gates: A Way of Working. She is also Senior Editor of The Exhibitionist, a journal on exhibition making, and recently edited the Routledge Companion to Museum Ethics: Redefining Ethics for the Twenty-First Century Museum, with Janet Marstine and Alexander Bauer. Haines is a regular contributor to publications such as Mousse, BOMB Magazine, and the online edition of Artforum. She was the Education & Public Programs Manager at Independent Curators International (ICI) from 2009-12, and has organized projects for institutions such as the Brooklyn Museum, New York University, Prospect New Orleans, Portland State University, and the Shanghai Biennial.

This panel is part of a series co-organized by the CCA and Artis, an independent nonprofit organization that broadens international awareness and understanding of contemporary art from Israel. The panellists are taking part in Artis’ 11th semi-annual curatorial research trip.

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