Non-Participation / No Participatión at AB9 in Murcia, Spain, July 24 – September 9

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I’m thrilled to be presenting Non-Participation at AB9 in Murcia, Spain! The project will be on view from June 24 – September 1.

Mas información aqui

“No participación” es una colección de cartas escritas por artistas para rechazar la invitación a participar en eventos culturales por diversas razones éticas o políticas. Tras pasar por espacios artísticos de San Louis, Houston o Copenhague, el proyecto, comisariado por la historiadora del arte neoyorquina Lauren van Haaften-Schick, llega ahora al espacio AB9 (C/Andrés Baquero, 9, Murcia), donde a partir del próximo viernes 24 se expondrán cartas de rechazo de artistas como como Jo Baer, Marcel Broodthaers, Jean Toche, Helena Keeffe, Dan Wasil, Leina Bocar, Tanja Ostojic, David Horvitz, Catherine Opie, Barbara Kruger, Libia Castro, Olafur Olafsson, Charlie Sofo, Gabrielle de Vietri, Ahmet Ögüt, Elaine W. Ho and Fotini Lazaridou-Hatzigoga, Leone Contini, Chto Delat?, Takis, Robert Irwin, Danh Vō, The International Strike of Artists, Gustav Metzger, Art Strike 1990-1993 o Ladies Invitational Deadbeat Society.

En los últimos años ha tenido lugar una oleada de protestas públicas contra eventos artísticos de gran importancia y prestigio, entre los que se encuentran la Bienal del Whitney de 2014, la 19ª Bienal de Sidney, Manifesta 10 y otros muchos. Esta oleada ha coincidido en el tiempo con un progresivo aumento de la atención a los derechos laborales de los artistas y el nacimiento de nuevas formas de hablar sobre el arte y la mano de obra. En este momento de reconsideración y agitación de las artes, “No Participación” intenta recoger la evidencia de estos esfuerzos y hacer visible el papel clave que los actos de rechazo y retirada podrían desempeñar en la reformulación del lugar del arte y el artista. En palabras del artista Michael Rakowitz, “lo que un artista rechaza a veces es más importante que lo que acepta.”

El acto de no participación va más allá de la declaración “no”. Obliga a una pausa o detención que permite la reconsideración de nuestros modos habituales de producción y de las transacciones en las que tomamos parte, y nos lleva a preguntarnos por qué nos sentimos presionados a decir un rotundo “sí” a pesar de que nuestro deseo es decir no. La activación de la no participación como estrategia y método está ligado tanto a las historias de protesta como a la destrucción creativa, cuyo objetivo es dar a conocer una nueva forma de producción que interrumpe la reproducción de las normas en vigor. En tanto que documentos escritos, las cartas y declaraciones de este proyecto constituyen un archivo de pausas, rupturas, riesgos y no reproducciones.

Estas cartas han sido recopiladas a través de una convocatoria abierta aún en curso, que se ha complementado con una investigación histórica. Entre las cuestiones planteadas por estas cartas de artista se encuentran, entre otras, la falta de pago de los honorarios de los artistas, la negación de la propiedad de los derechos, la censura o la controversia sobre las fuentes de financiación de los eventos culturales. Las cartas recibidas tienen un alcance global, desde Australia a los Balcanes, pasando por todas las regiones de los EE.UU., e incluyen tanto a artistas establecidos como otros menos conocidos. Las cartas en Inglés o en Español pueden aún ser enviadas a lauren@laurenvhs.com.

En torno a “No Participación” se han celebrado exposiciones y talleres previos en The Luminary (St. Louis, MO), la Universidad de California en Berkeley, la Art League (Houston, TX), el Bureau Publik de Copenhague y Rum 47 en Aarhus.

La responsable del proyecto, Lauren van Haaften-Schick, es historiadora del arte y comisaria. Su obra se ha centrado en la apropiación artística y el empleo de tecnologías legales como contratos, conceptos de propiedad y regulaciones. Entre sus temas de interés se encuentran la obra de Seth Siegelaub, el arte conceptual, las publicaciones de artista y las intervenciones en los medios, y el trabajo de artista y los derechos de propiedad. Actualmente realiza el doctorado en Historia del Arte en la Universidad de Cornell y es directora asociada del Art & Law Program de la ciudad de Nueva York.

Review of “Seth Siegelaub: Beyond Conceptual Art” at the Stedelijk Museum

My review of “Seth Siegelaub: Beyond Conceptual Art” at the Stedelijk Museum, Amsterdam is up now at Hyperallergic.

The Aesthetics of Paperwork and Cultural Theory According to Seth Siegelaub

by Lauren van Haaften-Schick on April 14, 2016

'Beyond Conceptual Art,' installation view

‘Beyond Conceptual Art,’ installation view (all photos by Gert Jan van Rooij unless noted)

AMSTERDAM — Running down a list of the manifold roles of Seth Siegelaub (1941–2013) can trigger some confusion: He was, variously, an art dealer, curator, publisher, plumber, bibliographer, rare book dealer, librarian, art collector, textile specialist, cataloguer of Marxism and mass media studies, researcher in time and causality, and on and on. The challenge of identifying these many hats foregrounds the Stedelijk Museum’s major exhibition Seth Siegelaub: Beyond Conceptual Art, curated by Leontine Coelewij and Sara Martinetti in cooperation with the Stichting Egress Foundation, which is the first attempt to present so many of his diverse activities at once….

Read the full article here!

 

Presentation at the 19th Annual Law, Culture and the Humanities Conference

On April 1 I was pleased to present once again at the annual Law, Culture and the Humanities Conference, this year held at the University of Connecticut Law School.

My paper considered artists’ uses of legal entities as sculptural material, with a focus on the work of Michael Asher, Maria Eichhorn, and Cameron Rowland. Please contact me for further information on the topic or for a draft of the paper.

 

Conversation with Charles Simonds and Laura Grace Chipley at the Brooklyn Rail

On February 13 I’ll moderate an excellent conversation for the exhibition Social Ecologies curated by Greg Lindquist for the Brooklyn Rail. We’ll be discussing Simond’s early “dwellings” sculpture and their documentation in film, alongside Chipley’s use of drone surveillance.

Community + Ecology

Charles SimondsLaura Grace Chipley and Junior Walk (The Appalachian Mountaintop Patrol), moderated by Lauren van Haaften-Schick
Screenings of video works by Charles Simonds and Laura Grace Chipley with The Appalachian Mountaintop Patrol, followed by a discussion moderated by Lauren van Haaften-Schick. The gallery will be open following the discussion for a reception.

On February 13, 2016, 7pm, Brooklyn Rail HQ, 253 36th St, 3rdFloor

Poetic Justice: On the Intersection of Art and Law in the Work of Félix González-Torres

I’m thrilled to be heading to Miami at the end of this week for this excellent conference, organized by Cornell Law School and Art & Law Program Director Sergio Muñoz Sarmiento:

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Poetic Justice:
On the Intersection of Art and Law in the Work of
Félix González-Torres

Thursday, February 11, 2016

de la Cruz Collection
23 NE 41st Street, Miami, FL 33137
(305) 576-6112

Since the beginning, Félix González-Torres‘ art and activist work have received substantial academic and institutional attention. However, in the last few years, there has been a growing scholarly interest in González-Torres’ art works and the ways in which they are informed by law and juridical structures. Through the intersection of conceptual art strategies and legal instruments, González-Torres’ art works complicate and expand our understanding of what constitutes the art object, the ownership, exhibition and dissemination of art, and the public’s relationship to art and art institutions.

This symposium brings together scholars with backgrounds in law, art history and cultural history, as well as collectors and contemporary artists, in order to analyze the work of Félix González-Torres and its impact on the emerging field of art and law. This will be a unique opportunity for researchers, art historians, curators, artists, students and lawyers interested in art and law and the work of Félix González-Torres to meet and discuss their mutual interests.  The symposium is organized by Cornell Law School and the Art & Law Program and the de la Cruz Collection.

Full program and speakers here: http://www.lawschool.cornell.edu/Events/Poetic-Justice-On-the-Intersection-of-Art-and-Law-in-the-Work-of-Felix-Gonzalez-Torres_Program.cfm

 

Seth Siegelaub: Beyond Conceptual Art, 12 Dec 2015 – 17 Apr 2016, The Stedelijk Museum, Amsterdam

I am thrilled to have made it to Amsterdam for the opening of Seth Siegelaub: Beyond Conceptual Art, at the Stedelijk Museum. The exhibition is the first to present an overview of the life and work of the art pioneer, collector and publisher. Full info at Stedelijk.NL 

I have a short text on my work with Seth in the catalog to the show, available at buchhandlung-walther-koenig.de

At left, Joseph Kosuth with Seth Siegelaub; “Titled (Art as Idea as Idea) The Word ‘Definition,'” 1966-1968, by Joseph Kosuth installed above sofa, c. 1960s-1970s. New York, Museum of Modern Art (MoMA). Photograph, resin-coated print 5 x 7″ (12.7 x 17.7 cm). Seth Siegelaub Papers. Gift of Seth Siegelaub and the Stichting Egress Foundation, Amsterdam, I.A.119. The Museum of Modern Art Archives, New York (copyright unknown). Cat.no.: MA2177).© 2015. Digital image, The Museum of Modern Art, New York/Scala, Florence – See more at: http://www.stedelijk.nl/en/exhibitions/seth-siegelaub-beyond-conceptual-art#sthash.4qZcBfGk.dpuf

Non-Participation at Art League Houston, November 20 – January 11

Glad to announce that the second exhibition of Non-Participation is now on view at the Art League Houston.

Non-Participation
Lauren van Haaften-Schick
Exhibition dates: November 20, 2015 – January 11, 2016
Opening reception: Friday, November 20, 6-9 PM
ALH Front Gallery I Artist talk at 7 PM

Art League Houston is excited to present Non-Participation, organized by Lauren van Haaften-Schick. Non-Participation is a collection of letters written by artists to decline invitations to participate in cultural events for various political or ethical reasons. In recent years there has been a surge of public protest against highly notable and prestigious art events, including the 2014 Whitney Biennial, The 19th Sidney Biennale, Manifesta 10, and many others. Concurrent with this phenomenon is an increase in attention to artists’ labor rights, as evident in the great interest in Working Artists for the Greater Economy’s W.A.G.E. Certification system, and major conferences facilitating new ways of speaking about art and labor, such as the Art League Houston’s charge practicum. In this moment of encouraging upheaval in the arts, Non-Participation seeks to collect the evidence of these efforts and make visible the key role that acts of refusal and withdrawal might play in introducing reform. In the words of artist Michael Rakowitz, “what an artist refuses is sometimes more important than what he or she agrees to.”

The act of non-participation extends beyond a statement of “no.” It forces a pause or stoppage allowing for the reconsideration of our routine modes of production and of the transactions in which we take part, and leads us to ask why it is that we might feel pressured to say an unqualified “yes.” The activation of non-participation as strategy and method is dually tied to histories of protest as well as creative destruction, wherein the aim is to reveal a new form of production that disrupts the reproduction of the standards in place. As written documents, the letters and statements within this project comprise an archive of pauses, breaks, risk, and non-reproduction. The declaration and inscription of “N-O” remains the foundation, for it ends with an opening.

These letters have been collected through an ongoing open call for submissions, complemented by historical research. Issues raised in these artists’ letters include the non-payment of artists’ fees, the denial of copyright ownership, censorship, and controversy over funding sources, among many others. The submissions received are global in reach, from as far as Australia, the Balkans, to all regions of the US, and include both established and lesser-known artists. At the Art League Houston, this presentation of Non-Participation focuses on letters that challenge labor and economic inequities, in conversation with the second edition of charge. Letters submitted during the exhibition at the Art League Houston will be added to an online archive at nonparticipation.org. Submissions should be sent to lauren@laurenvhs.com.

Previous presentations and workshops around Non-Participation have been held in St. Louis, MO, the University of California at Berkeley, the Art League Houston, TX, and in Copenhagen and Aarhus, Denmark. In the summer of 2014 the first exhibition of Non-Participation was held at the Luminary in St. Louis. The letters are currently being compiled into a book published with Half Letter Press (Copenhagen/Chicago), and will also be collected in an ongoing online archive.

Associate Director, The Art & Law Program, and Call For Applications

I’m pleased to announce that in January 2016 I will join artist and lawyer Sergio Muñoz Sarmiento as Associate Director of the Art & Law Program in New York City. In 2012 I participated in the Program as a curatorial fellow, and have returned many times since as a guest seminar leader. I’m extremely pleased to contribute to the continued growth of the Program and look forward for the exciting developments that the 2016 season will bring.

The Program is now taking applications for the spring 2016 session

About

The Art & Law Program (“The Program”) is a 13-week seminar series with a theoretical and philosophical focus on the effects of law and jurisprudence on cultural production and reception. An examination of how artistic practices challenge, rupture, and change the apparatus of law completes The Program. The Program consists of a nonpartisan community that aims to attract qualified individuals in the areas of visual art, architecture, writing, curating, and film. This list is non-exclusive. Artists with non-traditional practices are especially encouraged to apply, as are cultural producers interested in the cultural effects of law. The Art & Law Program takes place in New York City from mid-January to early May. In 2016 the Program will hold its seminars at the Triple Canopy space in Brooklyn. Until further notice, please reserve Monday and Wednesday nights, 6-9pm, for these seminars.

Fellows of The Program will meet once a week to discuss readings and visual materials with the Director of the Program, Sergio Muñoz Sarmiento, curator/art historian and Associate Director of the Program, Lauren van Haaften-Schick; and/or with a guest seminar leader. Seminar leaders assign required readings and present ideas and materials relevant to their areas of practice. There is a particular emphasis on the understanding of legal cases and texts through a close analysis of reading and writing.

Through an analysis of legal structures and modes of thought, the Program aims to critique current artistic, curatorial, theoretical and art historical practices and methodologies. Conversely, the use of law and jurisprudence as theory, practice and medium is explored.

Please note that The Program does not focus on traditional and conventional critical theories (e.g.- Marxism, post-structuralism, post-colonialism, feminism, globalization, etc.), but rather investigates how the philosophy and practice of law disturbs the critical theory establishment and creates a new space and discourse for aesthetic, cultural and intellectual practices.

The Art & Law Program will conclude with an end-of-program retreat at Denniston Hill artist residency.

Who Should Apply? 

The Program seeks qualified, open-minded and self-motivated individuals with a genuine and rigorous attraction to critical thought and debate. In particular, The Program welcomes candidates who are open to controversial dialogue and who seek to challenge their respective practices.

With this in mind, there is no exhibition or paper presentations which conclude the program. Rather, participants are highly encouraged to produce – on their own – a static or non-static material with what is learned, or unlearned, during and after The Program. Please note that the Program is not for everyone. Applicants are encouraged to study and fully understand the mission of the Program and speak with alumni regarding the Program’s structure and expectations of its participants.

Origins

The Art & Law Residency, the first residency of its kind, was founded by Sergio Muñoz Sarmientio in 2010. The Program has emerged as a reflection of his experience at Cornell Law School, CalArts, and the Whitney Independent Study Program, and merges or responds to the discourses of each of these spaces. We now look forward to welcoming the seventh class to The Program in 2016.

Donate

The Art & Law Program is fiscally sponsored by Fractured Atlas, a 501(c)(3) public charity. Contributions for the purposes of Art & Law Program are tax-deductible to the extent permitted by law. If you would like to donate to the Art & Law Program, you may do so online here.

3 Sundays for Robert Seydel and Closing of “Robert Seydel: The Eye in Matter” at the Queens Museum

I’m honored and a bit humbled to be speaking Sunday September 27 at the Queens Museum for the closing of the exhibition “Robert Seydel: The Eye in Matter” at the Queens Museum. I’ll be talking about Robert’s work and the work of Seth Siegelaub, two of my most influential mentors, and two of the most inspiring living libraries…

Many other excellent folks will be presenting too. Thank you to Nathaniel Otting for inviting me.

“Journal Page, 6.10” by Robert Seydel, n.d. from A Picture Is Always a Book: Further Writings from Book of Ruth (Siglio and Smith College Libraries, 2014). © the Estate of Robert Seydel.

“Quail rise”: “R’s Queens” Reprised
ROW / SEW: 3 Sundays for Robert Seydel

“ROW / SEW: 3 Sundays for Robert Seydel” is a series of gatherings of artists and writers to address, to read, to perform, to pay homage to the life and work of Robert Seydel, his alter ego Ruth Greisman, and her friends Joseph Cornell, Marcel Duchamp, et al. to complement the exhibition Robert Seydel: The Eye in Matter. The series is organized by Emmy Catedral with Nathaniel Otting in conjunction with Siglio and Ugly Duckling Presse.

My name & time: a Queens of the mind.
There’s an occult meaning in initials.

“Read in splendour” between these two lines from Robert Seydel‘s Book of Ruth (Siglio, 2011), this restaging of a scene from last year’s Eterniday event features Renee Gladman, Ross Simonini, and Jane Carver. Proceeding from the “occult meaning in initials,” the afternoon includes short readings from (and for) Seydel’s Songs of S (Siglio | Ugly Duckling Presse, 2015) by Stefani Barber, Sarah Wang, Simone Kearney, Shanxing Wang, Sophie Seita, Sarah Jane Stoner, and Simone White. With opening and closing ceremonies by Andre Bradley (on initials) and Lauren van Haaften-Schick (on Seth Siegelaub).

Other events in the “ROW / SEW: 3 Sundays for Robert Seydel” series:

Jul 26: Art a Grammar, Grammar a House: A Gathering (or, Artist-Writers: A Weaving)
Aug 16: Plaid Duchamp Record in Magenta

 

The Experimental Television Center: A History, Etc – Hunter College 205 Hudson Street Gallery Opening September 24, 7-9pm

The Experimental Television Center: A History, Etc . . .
At the Hunter College 205 Hudson Street Gallery
Opening October 24, 7-9pm

Analog control box documentation, Richard Brewster, 1980. Courtesy Experimental Television Center and the Rose Goldsen Archive of New Media Art, Cornell University.

Analog control box documentation, Richard Brewster, 1980. Courtesy Experimental Television Center and the Rose Goldsen Archive of New Media Art, Cornell University.

This summer I contributed to a major archival effort to identify and process materials for this exhibition, and the acquisition of the Experimental Television Center Archives by the Rose Goldsen Library & Archives at Cornell University. Lots of amazing history on artist-run spaces and video art in NY State.

The Experimental Television Center: A History, Etc . . .
September 25–November 21, 2015
Opening: September 24, 7–9pm
Hunter College 205 Hudson Street Gallery 
Hunter College MFA Campus, New York
Hours: Wednesday–Sunday 1–6pm
www.hunter.cuny.edu
goldsen.library.cornell.edu
www.experimentaltvcenter.org

For over 40 years, the Experimental Television Center (ETC) in Owego, New York was one of North America’s preeminent organizations for video art, fostering a community for creativity and innovation through its residency and tool-building programs. The Experimental Television Center: A History, Etc . . . is the first academic survey of the Center’s prolific yet under-recognized role in the evolution of video art. Through works of art, ephemera, and video processing tools, this exhibition maps the ETC’s influence within the larger narrative of the history of video into the digital and internet age. 

From 1971 to 2011, over 1,500 artists participated in the ETC residency program, which functioned as a site for exploration, education, and practice for media artists. This exhibition spans works from the 1960s through the 2000s, including a collection of original analog instruments designed by artists/technologists, as well as two interactive installations featuring contemporary tools designed by Dave Jones, a long-time collaborator with ETC, and Jason and Debora Bernagozzi, founders of the new media organization Signal Culture in Owego, New York.

Organized by: Sarah Watson, Chief Curator of the Hunter College Art Galleries; Timothy Murray, Curator of the Rose Golden Archive of New Media Art; and Sherry Miller Hocking, Assistant Director of the Experimental Television Center. 

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