December 12 Jill Magid
Jill Magid, a New-York based artist and writer, forms intimate relationships with systems of power including police, military, secret service, corporations, and CCTV surveillance. For Magid, their power isn't a remote condition to contest, but rather something to manipulate by drawing it closer, exploiting its loopholes, engaging it in dialogue, infiltrating its structure, and repeating its logic.
With solo exhibitions at institutions around the world including Tate Modern, London; Whitney Museum of American Art, New York; Berkeley Museum of Art, California; Tate Liverpool; the Stedelijk Museum Bureau Amsterdam; Yvon Lambert, Paris and New York; Gagosian Gallery, New York; The Centre d' Arte Santa Monica, Barcelona and at the Security and Intelligence Agency of the Netherlands, Magid has been recognized with awards such as the Basis Stipendium from Fonds Voor Beeldende Kunsten in the Netherlands and the Netherland -American Foundation Fellowship Fulbright Grant. Magid has participated in the Liverpool, Bucharest, Singapore, Incheon, and Gothenburg Biennials. She is also the author of four books including Becoming Tarden, a nonfiction novel which opens with the phrase "the secret itself is much more beautiful than its revelation." Magid holds a BFA from Cornell University and a Masters of Science from the Massachusetts Institute of Technology. She is an adjunct professor at Cooper Union, and a 2013-15 Fellow at the Vera List Center for Art and Politics.
Visiting Artists 2014
March 4 Pedro Reyes
Brown Center: Falvey Hall
Pedro Reyes (b.1972) lives and works in Mexico City. His works take on a variety of forms from penetrable vinyl sculptures (Capsulas, 2002-10) to a TV production featuring Karl Marx and Adam Smith incarnated as puppets (Baby Marx, 2009). In 2008, Reyes initiated his ongoing project Palas por Pistolas, where guns were converted into shovels to plant trees. This led to Disarm (2012), where 6,700 destroyed weapons given to Reyes by the Mexican Army were made into musical instruments. In 2011 the Solomon R. Guggenheim Museum in New York City commissioned Sanatorium an itinerant clinic that mixes art and psychology. Reyes has exhibited in major exhibitions such as the Venice Biennial and Documenta Kassel.
March 11 Kimsooja
Graduate Center Auditorium,131 W. North Ave.
Kimsooja’s work combines performance, video, sound and installation; addressing issues of the displaced self and others. Kimsooja tries to bring together a conceptual, logical and structural investigation of performance through immobility that inverts the notion of the artist as the predominant actor. Refusing to draw a systematic play of contrasts into any sort of tension charged dialectical relationship, Kimsooja instead tries to achieve a delicate equilibrium in which opposite poles are brought to the fore as a natural basis for harmony: inserting herself as both subject and object of the viewer’s gaze, an individual and an abstraction, a specific woman and every woman, instrument and actress, motionless and purposeful, balancing between presence and absence, wishing that the fact of what the eye sees is a truism.
Kimsooja is an internationally acclaimed Korean born (1957-) multi media artist who lives and works in New York, Paris, and Seoul. Her work combines performance, video and installation, addressing issues of the displaced self. Kimsooja’s work combines a conceptual and structural investigation of performance through immobility with an invitation to question our existence, and the major challenges we are facing in this era.
Kimsooja’s work has been exhibited internationally. Solo exhibitions include P.S.1 / MOMA; Crystal Palace of Reina Sophia; Traveling solo show at Contemporary Art Museum of Lyon, Museum Kunst Palast Dusseldorf, and PAC Milan; Hirshhorn Museum; Vancouver Art Gallery; The Korea Pavilion, Venice Biennale; Miami Art Museum; Perm Contemporary Art Museum, Russia; La Fenice Venice; Baltic Center; BOZAR Brussels; Kunsthalle Bern; Kunsthalle Vienna; the National Museum of Contemporary Art Korea for the Yong Gwang Nuclear Power Plant; Daegu Art Museum; Atelier Hermes Seoul; ICC, Tokyo; and CCA Kitakyushu.
March 25 Janine Antoni
Brown Center: Falvey Hall
Janine Antoni employs an amalgam of mediums including performance, sculpture, photography, installation, and video. Her body is both her tool for making and the source from which her meaning emerges. She carefully articulates her relationship to the world, giving rise to emotional states that are felt in and through the body. This takes on a physicality that speaks directly to the viewers’ body, unleashing a deeply felt empathetic response.
Janine Antoni was born on January 19, 1964 in Freeport, Bahamas. She received her BA in 1986 from Sarah Lawrence College and her MFA from Rhode Island School of Design in 1989. Antoni’s work has been included in exhibitions including the Venice Biennial, the Whitney Biennial, the Johannesburg Biennial, the Istanbul Biennial, the Kwangju Biennial, the SITE Santa Fe Biennial, and the Prospect.1 Biennial in New Orleans. She received a MacArthur Fellowship in 1998, the Larry Aldrich Foundation Award in 1999, the Joan Mitchell Painting and Sculpture Award in 1998, the Irish Museum of Modern Art/Glen Dimplex Artist Award in 1996, the John Simon Guggenheim Memorial Foundation Fellowship in 2011, and the Creative Capital Grant in Visual Arts in 2012. Janine Antoni lives in New York and is represented by Luhring Augustine, NY.
April 1 Mark Harris
Graduate Center Auditorium,131 W. North Ave.
Mark Harris is an artist, writer, and curator. His approaches to making artwork are linked by an interest in the imagery of intoxication as a form of utopian representation considered as alternative agency to militant strategies of the historical avant-gardes. Primarily working in video, painting, and drawing, he has most recently been reconfiguring photographs derived from hippy communities of the 1960s to consider them as future-oriented wish images. Currently coordinator of critical studies on the MFA at Goldsmiths College, London, Mark Harris’s degrees include MA in Painting from The Royal College of Art, London; MA in Continental Philosophy from University of Warwick, Coventry; and PhD in Philosophy from Goldsmiths College, London.
In 2005 he received an Arts Council England Fellowship with the Long March Project, Beijing. Recent exhibitions of his work include “State Fare” (Wexner Center, Columbus, 2007), “Utopian-Bands,” (2 kolegas, Beijing, 2006; and Weston Art Gallery, Cincinnati, 2008), “Morning Star” (Country Club Gallery, Cincinnati, 2010), “London Open” Whitechapel Gallery, London (2012), “High Times” at the Wellcome Collection, London (2011), Baltimore Contemporary Museum (2011), “Dial Collect” at SOMArts, San Francisco (2013).
In 2009 he received a Warhol Foundation/Creative Capital Art Writers Grant. Recent published essays include “Pipilotti Rist's Music” for the Contemporary Arts Museum, Houston, “Chelsea Hotel, March 14, 2008” on Marcia Farquhar's performance work, “The City Sings,” on Heather Phillipson’s video work, and “Marcia Hafif: Glaze Paintings”. He has contributed an essay to “The Countercultural Experiment: Consciousness and Encounters at the Edge of Art,” 2011 by University of Minnesota Press.
He has curated exhibitions such as “Educating Barbie,” at Trans Hudson Gallery, New York, 1999; “Bad Drawing–malevolent, misbehaving, misunderstood” (2006) and “Once Upon A Time In The Midwest” (2007) at the University of Cincinnati; “Star Maker,” at E:vent gallery, London, 2009.