Open Studios
May 7–May 16, 2010

Spring Open Studios 2010, 15th anniversary

Participating artists:

Daniel Barrow (Canada), Simone Bergantini (Italy), Alberto Borea (Peru), Tatjana Busch (Germany), Stefano Cagol (Italy), Ana Čigon (Slovenia), Ben Dierckx (Belgium), Anindita Dutta (India), FOS (Denmark), Chia-Wei Hsu (Taiwan), Rodrigo Imaz (Mexico), Carlos Irijalba (Spain), Claudia Kapp (Germany), Iris Kensmil (The Netherlands), Mie Olise (Denmark), Krüger & Pardeller (Austria), Lars Laumann (Norway), Edgar Leciejewski (Germany), Sang Hyun Lee (South Korea), Richard Lewer (New Zealand), Traude Linhardt (Germany), Ho-Jang Liu (Taiwan), Federico Maddalozzo (Italy), Monika Marklinger (Sweden), Renzo Martens (The Netherlands), Judy Millar (New Zealand), MIOON (South Korea), Yoshihito Mizuuchi (Japan), Maryam Najd (Belgium), Rose Nolan (Australia), Nika Oblak & Primoz Novak (Slovenia), Valerio Rocco Orlando (Italy), Gaël Peltier (France), Seung-Wook Sim (South Korea), Irena Sladoje (Bosnia & Herzegovina), Silke Trekel (Germany), Claudia Ulisses (Portugal)

A special, 15th anniversary edition of Open Studios, this ten-day event celebrates the work of the 41 artists and artist groups currently in residence at ISCP with daily screenings.

Additionally, the public is invited to STUDIO B-LAST a three-part project organized by independent curator Sandra Skurvida evolving around the encounters that take place in a specific time – studio time. A studio visit offers a possibility to experience artwork – or a performance of work by an artist. The first part of the project consists of an ongoing exhibition in ISCP’s gallery spaces where invited artist Clifford Owens will collaborate with ISCP residents to create new performances, informed by his earlier series ‘Studio Visits’ and ‘Photographs with an Audience’. Finally, STUDIO B-LAST is hosting a roundtable conference that is free and open to the public with Claudia Canizzaro, Ana Paula Cohen, Clifford Owens, and Jovana Stokic.


Friday, May 7
Valerio Rocco Orlando, Nendorf (The Damaged Piano), 2008, 2-channel video installation, 10.32 min.

Tuesday, May 11
Sang Hyun Lee , Symphony No. 9 Dream Wonder in Peach Blossom Paradise (2009), 13 min.
Irena Sladoje, Home, 2010, 2.11 min.
Lars Laumann, Morrissey Foretelling the Death of Diana, 2006, 15 min.
Anindita Dutta, Limitation II, 2005, 3.31 min.

Wednesday, May 12
Valerio Rocco Orlando, EVA, 2004, 7.34 min.
Ana Cigon, Discovery Beyond The Transparency, 2009, 3.40 min.
Nika Oblak & Primoz Novak, Shund, 2008, 3 min.
Chia-Wei Hsu, March 14, Hong Kong Coliseum, 2009, 8 min.
Gaël Peltier, pre-, 2003, 11 min.

Thursday, May 13
Carlos Irijalba, Twilight, 2008, 13 min.
Claudia Ulisses, Utopia, Mod. 273/99, 1999, 4.26 min.

Ben Dierkcx, Eyestroll 2, 2008 – ongoing, 10 min.
Mie Olise, Into The Pyramid, Inhabiting Abandoned Spaces, 2008, 5.48 min.

ISCP thanks the following contributors for their generous support:

American Australian Association, NYC; Austrian Cultural Forum, NYC; Consulate General of the Federal Republic of Germany, NYC; Consulate General of the Netherlands, NYC; Cultural Services of the French Embassy, NYC; Duvel, Inc, NYC; Embassy of Australia, DC; Italian Cultural Institute, NYC; Honorary Consulate of Sweden, NYC; John Wm. Macy’s CheeseSticks, NJ; Korean Cultural Service, NYC; Mexican Cultural Institute, NYC; Netherlands Consulate General, NYC; New Zealand Consulate General, NYC; Royal Danish Consulate General, NYC; Taipei Cultural Center, NYC; The New York City Department of Cultural Affairs; Tom Cat Bakery, Inc., NYC; Les Trois Petits Cochons, Inc., NYC; William Talbott Hillman Foundation, PA

April 17–April 19, 2010

An Act Of Mischievous Misreading

When Harold Bloom suggested in his book ‘A Map of Misreading’ (1975) that any kind of reading, if strong, is always a misreading, he probably did not think of Meris Angioletti printing the pages of Edgar Allan Poe’s Auguste Dupin stories on top of each other. This exhibition curated by Anna Gritz expands on Bloom’s assertion and presents a selection of artworks that have taken their misreadings to an extreme, revealing the creative potential of making someone else’s work one’s own. Based on the concept of the trope in literature, a strategy in which words are used in a sense different from their literal meaning, the works in this show have plundered the canon of cultural history, using works against their original intention for the sake of giving emphasis to a new idea. Participating artists include Meris Angioletti, John Baldessari, Mario Garcia Torres, Terence Gower, Sean Landers, Lars Laumann, Edgar Leciejewski, Zena Verda Pesta, Gaël Peltier and Erin Shirreff.

The artists in this show present a study of willful misplacements, misreadings and misuses that as avenues of emancipation from the idea of Deutungshoheit (the sovereignty over interpretations) reinvent sources according to their own needs and interests. As a radical form of appropriation, these works blend homage and disrespect in a mischievous way. As an unruly form of history-writing the works break down chronologies and trigger misunderstandings that might cause reassessments through irony, parody and humor. Through association they present themselves as a postscript to an existing artwork, opening up a new discourse in the form of a continued series of misreadings.

An Exercise in Misreading, Sunday April 18, 5 pm:
In conjunction with the Exhibition An Act of Mischievous Misreading (AAOMM) a selection of artists and writers were invited to explore the creative potential of making someone else’s work one’s own and to respond to the works in the exhibition.

Contributors include: Catherine Czacki, Courtenay Finn, Monstra Personale, Jens Maier-Rothe, Robert Snowden, The Steadfast Associates, Niels Van Tomme, and Jennifer Teets & Eduardo Abaroa

This exhibition is made possible by the New York City Department of Cultural Affairs and The Royal Norwegian Consulate General in New York.

Opening Reception: Apr 17, 2010

Participating Residents

April 10, 2010

Performance: Gergely László and the Yad Hanna Theater Group

Gergely László and the Yad Hanna Theater Group presents The Collective Man, a sketch in seven scenes, performed by Gergely László and the Yad Hanna Theater Group. On April 10, Kibbutz Yad Hanna celebrate its 60th anniversary. Founded near Tulkarem – bordering the Westbank – by young Hungarian survivors of the Holocaust, Israel’s best-known communist kibbutz was named Yad Hanna (Hannah Memorial) in homage to the heroic memory of Hanna Szenes. The founders of the kibbutz – officially established on April 10, 1950 and famous for its committed leftism – also included the younger sister of Gergely László’s maternal grandmother as well as her husband, who are still among the hundred to live on the premises of the once exemplarily managed settlement. The Collective Man is part of Gergely László’s Yad Hanna Kibbutz Project on the reconstruction of the (hi)story of a community, presenting the richness of its differences, patterns and identities in the context of personal and collective memory. Inspired by a research on theatre plays performed on Purim celebrations in Yad Hanna, quoting archival photographs and conversations with members of the Kibbutz, The Collective Man will be telling a story of a small community, in continuous struggle with the problems of sharing and living together.