#ccsbard

[play-dolls]

[ingridpuiyeechu]

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Present tense -- arriving (and opening) tonight at 6pm, #Art in the Year of the Future #Cyberpunk2019 #TaiKwunContemporary #CCSBard #HongKong #exhibitions #Repost @taikwuncontemporary • • • • • • ⠀ 「幽靈維面——電馭叛客在未來之年」⠀ ⠀ Phantom Plane, Cyberpunk in the Year of the Future⠀ ⠀ 05.10.2019 – 04.01.2020 與巴德學院藝術策展研究中心共同呈獻 Co-presented by Center for Curatorial Studies, Bard College ⠀ 參展藝術家 Participating artists: 唐納天 Nadim Abbas, Bettina von Arnim, 陳偉江 Chan Wai Kwong, 陳維 Chen Wei, 崔潔 Cui Jie, Aria Dean, 何銳安 Ho Rui An, 徐梯善 Tishan Hsu, 石田徹也 Tetsuya Ishida, JODI, 李昢 Lee Bul, 三上晴子 Seiko Mikami, 中藤毅彦 Takehiko Nakafuji, 大竹伸朗 Shinro Ohtake, Yuri Pattison, Sondra Perry, Seth Price, Jon Rafman, 佃弘樹 Hiroki Tsukuda, Nurrachmat Widyasena, Zheng Mahler 策展人Curators: Lauren Cornell, 陳樂明 Dawn Chan, 譚雪 Xue Tan, Tobias Berger以及助理策展人 with Assistant Curator Jeppe Ugelvig ⠀ ⠀ 免費入場 | Free admission⠀ ⠀ 大館當代美術館 | Tai Kwun Contemporary⠀ ⠀ Mon 2-8pm, Tue-Sun 11am-8pm⠀ 短片作品鳴謝 Video material courtesy of 陳偉江 Chan Wai Kwong, 何銳安 Ho Rui An, JODI, 大竹伸朗 Shinro Ohtake, Seth Price, Jon Rafman 及 and Zheng Mahler 短片製作 Teaser by @jimdemuth #Cyberpunk2019 #TaiKwunContemporary @taikwun.hk #TaiKwun @taikwun.hk #ContemporaryArt #Cyberpunk ⠀ #nadimabbas #bettinavonarnim @chan_wai_kwong @chenweichenwei⠀ @cuijie83 #AriaDean @horuian #tishanHsu #tetsuyaIshida #JODI @lee.bul⠀ #seikomikami @niepcetokyo #shinrootake @yuripattison #sondraperry #sethprice⠀ #jonrafman @hirokitsukuda @mas_ito @zhengmahler @lauren1cornell #DawnChan @xue77 @tobiasmberger⠀ @jeppeugelvig (at Tai Kwun Contemporary) https://www.instagram.com/p/B3MKGUjlxj4/?igshid=h114ft0z1xkm

[ingridpuiyeechu]

Alma matters -- coming across #WitnessToHerArt a 2006 @ccsbard publication again recently was both a nostalgic and insightful reminder of how (and as it acknowledges): "one's beliefs and values are always tested (as they should be) and, though pedagogy, critique and dialogue itself never come effortlessly or perfectly, in each instance the process is somehow redefined and remade anew" -- a lesson returning to live/curate/write about the art/artists/ecology of #HongKong and region proves daily (p.s. hello with he/#art to all #CCSBard #HesselMuseum #friendsandfamily) (at Central, Hong Kong) https://www.instagram.com/p/BwSjUpIlGeR/?utm_source=ig_tumblr_share&igshid=1osju3pj0urow

[johnleiphoto]

visiting Ty #bardcollege family and alumni weekend #ccsbard #hesselmuseum of #art #photobomb https://www.instagram.com/p/BplAKiRlexx/?utm_source=ig_tumblr_share&igshid=1elde9gw7i5o4

[bronislava]

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#always #looking at #me #ccsbardhesselmuseum #ccsbard

[lehmannmaupin]

“The overall effect is like that of a giant Surrealistic collage, a crazy quilt of superstition, paranoia, perversity and idiocy. It’s great fun to peruse.” — Tap the link in our bio to read the @nytimes review of @tonyoursler’s concurrent exhibitions at @bardcollege and @themuseumofmodernart. #tonyoursler #imponderable #ccsbard #moma

[forwardretreat]

What happens when contexts collide, overlap, tangle—or simply drift past one another as those who actively define a term by virtue of engagement with its subject remain blissfully unaware that others are writing new definitions elsewhere, to divergent effects?

I recently published an essay—"Another ‘C’ Word: On Content and the (Techno) Curatorial"—on digital, linguistic, and curatorial intersectionality for Bard College's Center for Curatorial Studies' Red Hook Journal; it begins with Raymond Williams's masterpiece, "Keywords," and traces its way to the NSA's XKEYSCORE computer program, which is utilized by its clandestine surveillance program. Have a read, if you please.

[blogofmazen]

And Now a Word from Our Sponsors

Save the date! The show curated by Mazen's Nicola at CCS Bard opens on April 13! Below you can find few words that introduce the show, which will also features works by Matthew Barney:

What if we walked into an exhibition and looked at an art object keeping in mind not only the claim of the artist, but also the significance of the ties and nodes of its constitutive network of power and money? The modes of production of an artwork and the forces driving its placement in an exhibition, museum, or collection are often highly inter-connected; still, all the curators interviewed for this project have agreed that the presumably autonomous meaning of the work has to be detached from the economic and power dynamics behind its production and placement. These dynamics should arguably be kept behind closed doors, becoming hearsay, if not gossip. Curatorial practice plays an important role in keeping these two dimensions apart. But who benefits the most from this separation? Is it the work, the artist, or the institution? Is it the general public or, at the end of the day, is it neo-liberalism? And is it true that the detachment of capital from meaning has served art well? As a matter of fact, this separation has also resulted in the creation of  ‘grey areas’ of business. Especially as the art market has grown from the small, passionate community of the early 1990s to a $50 billion industry today.

Participants in the art field have argued that for the last 20 years the relationship between dealers, collectors and curatorial practitioners has never been properly regulated because personal ethics were usually sufficient to steer a true course. Nonetheless, individual principles cannot be expected to withstand the avalanche of private wealth that, quite dramatically, hit the contemporary art field over the last two decades. The complexity of dealing with the strings attached to financial support in the arts is growing at the same pace as the number of individuals of great means who have been recently involved in the art world. This new crowd of patrons can’t understand why there’s a genuine resistance to the way private funding shapes the production of art and its meaning. The lack of regulation – and, more generally, the lack of accountability – is favorable for these individuals. It distorts what is accepted as common practice through the few official policies in place. Many art professionals insist there is no need to further scrutinize a market that prompts few consumer complaints. But has self-monitoring kept pace with the increasing treatment of art as a commodity?