CURRENT/UPCOMING New video project: That Monster An allegory about the human subjects that capitalism produces. Video, with music and without music... [on the projects page]  Senior Advisor, Terra Foundation Summer Residency Giverny, France, July 2019 New posting on the Text/Interview page of website: Reign of the White Glove by Jeffrey Stuker. A new analysis of the Harry Winston, Inc. project from 1990. In Effects, No. 1, January 2018 Edited by Christopher Page and Orlando Reade   June 23-December 14, 2018 CCS Bard Hessel Museum The Conditions of Being Art: Pat Hearn Gallery and American Fine Arts, Co. (1983-2004) Opening Reception June 23rd, 2-5pm Annandale-on-Hudson, New York [includes an inadequate history of conceptual art, with archival material.] October 1, 2017-February 4, 2018 Narrative Art Musée d'art moderne et contemporain, Geneva An exhibition organized by Paul Bernard, Lionel Bovier and Julien Fronsacq [Includes Model Pleasure V, a new acquisition by MAMCO, Geneva.]  November 30th, 2017 Behind Glass A conversation with Silvia Kolbowski Bodega Gallery 167 Rivington Street, New York 7-8:30 pm [A discussion with Josephine Graf about storefront-related projects from the 1990s] Audio now available on Text/Interviews section of this website.]  November 3 - December 10, 2017 In Vitro Bodega Gallery 167 Rivington Street, New York [Group exhibition; Includes the 2000 video, Sevenx7.] "Window displays are still very much with us - as evidenced by Sara Deraedt's terrific 2016 photograph of a vacuum cleaner seen through glass -- and the exhibition ends without exploring virtual presentation strategies. Instead it leaves us with Silvia Kolbowski's riveting and prescient video, shot in 2000, in which she asks Orchard Street store owners whether they think the ultra-chic Lower East Side clothing shop Seven will change the neighborhood." Anne Doran, Collector Daily  October 24th, 2017 This Monument Which is Not One [Screening of A Few Howls Again and Like a Clap of Thunder) Harvard University, Senior Loeb Lecture Art, Design, and the Public Domain 1pm, Gund Hall 124  12 September 2017 - 19 March 2018 Tension and Conflict MAAT, Lisbon, Portugal Co-curated by Pedro Gadanho and Luisa Santos [The exhibition includes A Few Howls Again and Like a Clap of Thunder.] "Video
Art after 2008 focuses on an exceptional selection of
artistic representations [22] which, with unusual eloquence, have resorted to video
as a means of registering the impact and consequences of the 2008 global
financial crisis. "   23 May 2017 - 10 June 2017 That I am reading backwards and into for a purpose, to go on: The Kitchen, New York Curated by Magdalyn Asimakis, Jared Quinton, and Alexandra Symons Sutcliffe May 23-June 10 [The exhibition includes A Few Howls Again and Like a Clap of Thunder.]  May 25 to June 25, 2017 FRAME BY FRAME Callicoon Fine Arts A group exhibition with works by Etel Adnan, Cy Gavin, Kahlil Irving, Silvia Kolbowski, Jumana Manna, and Ulrike Müller Opening reception: Thursday, May 25th, 6 to 8pm [Includes "Missing Asher."]  Psyche-specificity a short text included in Out of Place, a publication of Skulptur Projekte Munster, Spring 2017, distributed by frieze. Now on the texts/interviews page of this website.  March 23-April 23, 2017 You May Add or Subtract from the Work: On the work of Christopher D'Arcangelo and Michael Asher [The exhibition includes my 2017 video loop, "Missing Asher.".] http://makcenter.org/programming/you-may-add-or-subtract-from-the-work/ Critics' Picks, Artforum: In 1977, artist Christopher DArcangelo placed a blank centerfold in the journal of the Los Angeles Institute of Contemporary Art along with a note suggesting that readers paste the insert to the institutes walls. Blank would meet blank: The artist exhibiting there at the time was Michael Asher, who, as usual, hung nothing, but instead hired folks to spend their days in the gallery at four bucks an hour. From that historical intersection comes this shows historicizing axis. Curators Simon Leung and Sébastien Pluot present original scholarship on Asher and DArcangelo, including video interviews conducted by Pluot and Dean Inkster with the likes of Benjamin H. D. Buchloh and Lawrence Weiner; vintage ephemera; and copies of Ashers collected writings, and a 1978 Artists Space catalogue in which DArcangelo had his name replaced by blank space. Recent works by Dorit Cypis, Ben Kinmont, Emilie Parendeau, and Silvia Kolbowski each reflect an explicit engagement with one of these influential artists. Kolbowski's video Missing Asher, 2017, for instance, relates her hunt for a previous homage to the artist and presents her droopy 1990 brochure of Asher quotes. DArcangelo and Asher would likely have appreciated such recursions. In their way, they both insisted that artworks and art history dont make themselves. DArcangelo once exhibited an hourly accounting of his day job refurbishing lofts. Thus, the curators prominent placement of the Working Artists and the Greater Economy (W.A.G.E.) poster Wo/Manifesto, 2014, the last line of which reads W.A.G.E.DEMANDS PAYMENT FOR MAKING THE WORLD MORE INTERESTING. Clearly, its not enough to muse over the variously inequitable conditions of display, nor to top up the slim honoraria of art workers with the vague benefits of brand recognition. The four dollars an hour paid to Ashers participants, adjusted for inflation, meets the W.A.G.E. standard for performers. Rare is the artist today who could say the same. Travis DiehApril 18, 2017 Dead Subjects Speak 2nd Annual Brabson Filmmaker Lecture Sam Fox School of Design & Visual Arts Washington University in St. Louis Organized by Monika Weiss Friday, March 3, 7pm Screening of A Few Howls Again at Northwestern University Block Museum of Art as part of the program: The Gay Left : Homosexuality in the Era of Late Socialism Together with Bruce LaBruces The Raspberry Reich, 2004 Organized by Thomas Love  Installation Art and the Practices of Archivalism Routledge, 2016 David Houston Jones, Associate Professor of French Literature and Visual Culture at the University of Exeter, UK With an extensive analysis of After Hiroshima Mon Amour, in a chapter entitled "The Relational Archive: Silvia Kolbowski and Eija-Liisa Ahtila." Find book here (cut and paste): https://www.routledge.com/Installation-Art-and-the-Practices-of-Archivalism/Jones/p/book/9781138777422 Another article by David Jones on After Hiroshima Mon Amour, "The inadequate archive: ethical remaking in Silvia Kolbowskis After Hiroshima mon amour," can be read here (cut and paste): https://ore.exeter.ac.uk/repository/bitstream/handle/10871/15818/Kolbowski%2c%20Raad%2c%20Hiroshima%20-%20FCS-DHJ-accepted%20archived.pdf?sequence=6&isAllowed=y  Just what is it that makes today's museums so different, so appealing? Notes on a Museum of Resistance My contribution to the "Returning" online platform at San Francisco MoMA, by Grupa O.K. http://openspace.sfmoma.org/2016/03/silvia-kolbowski/  Exhibition April 15 - July 23, 2016 Tues - Sat, 2:30 - 7:30 Opening 7pm, April 14 an inadequate history of conceptual art Institut national d'histoire de l'art Galerie Colbert, salle Roberto Longhi 2 rue Vivienne our 6 rue des Petits-Champs 75002 Paris Une table ronde autour dan inadequate history of conceptual art se tiendra en salle Walter
Benjamin le vendredi 15 avril à 11 heures et réunira, autour des notions darchives, de mémoire
et dexpérience, Silvia Kolbowski, Sébastien Pluot, Larisa Dryansky et Johanne Lamoureux. [ Curated by Johanne Lamoureux; Poster: Marc Riou]  EXTENDED THROUGH FRIDAY, FEBRUARY 19, 2016: Exhibition The first full installation of an inadequate history of conceptual art in New York since its first installation at American Fine Arts in 1999. In the group exhibition: In Place Of Curated by Leah Pires Miguel Abreu Gallery 88 Eldridge Street, New York January 10th through February 7th, 2016 From the press release: "This exhibition brings together work that, in various ways, might be understood as placeholders: for objects withdrawn for legal or political reasons; for absent bodies; for anticipated content; for unfulfilled desires or needs; for the otherwise forgotten; for those who choose to drop out; or simply because a surrogate was good enough." [Photo, top: Stephen Faught; Photo, bottom: Dushko Petrovich ] Lecture: Dead Subjects Speak Carnegie Mellon School of the Arts Tuesday, December 1, 2015, 5pm McConomy Auditorium http://www.cmu.edu/art/lectures/index.html A discussion at Cabinet Magazine The Magazine as Medium 2: The Questionnaire Panelists: Hal Foster and Silvia Kolbowski Moderated by Lori Cole Monday, 11 May 2015 7-9 PM What is the avant-garde? What constitutes political art? What should Latin American art be? These are just a few of the questionnaires issued by editors from the late nineteenth
century through the present in publications ranging from La Révolution
Surréaliste to the Partisan Review to Artforum. This
evening's panelists will examine both the impulse to issue questionnaires and their relationship to aesthetics: Hal Foster will discuss several questionnaires from October on visual culture, the contemporary, and
recessional aesthetics, while Silvia Kolbowski will focus on the difference between the questionnaire on feminism she issued in October in 1995 and her use of the form in the context of her installation an inadequate
history of conceptual art. Location: Cabinet, 300 Nevins Street, Brooklyn FREE. No RSVP necessary  2014 Grantee of the Creative Capital/Warhol Foundation Arts Writers Program for blog category www.artswriters.org/grantee/silvia-kolbowski/  A conversation with Silvia Kolbowski by Chrysanne Stathacos and Susan Silas on the MOMMY website November 2014 http://www.mommybysilasandstathacos.com
Exhibition: "A Letter Always Arrives at its Destination" Centre de Culture Contemporaine - Montpellier July 18, 2014-September 21, 2014 Co-Curated by Franck Bauchard and Sebastien Pluot  A WAR E Mona Hatoum, Adela Jusic, Silvia Kolbowski, Paky Vlassopoulou 26 July - 1 August 2014 Curated by Kostas Stasinopoulos Syros International Film Festival Syros, Greece
Above: Production still from upcoming video project on Rosa Luxemburg (March). Lecture: After Hiroshima Mon Amour April 7, 2014 Department of the History of Art University of Pennsylvania, Philadelphia
"Take It or Leave It: Institution, Image, Ideology" Above: Proximity to Power, installed in Take It or Leave It. P2P can also be found in book form. Take It or Leave It February 9, 2014 - May 18, 2014 10899 Wilshire Blvd Los Angeles, CA 90024 Co-Curated by Johanna Burton |
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"A few howls again?" 2009-2010 Commissioned by Taipei Bienniel, 2010; Curated by Lin Hong-John and Tirdad Zolghadr September 7 - November 14, 2010 A few howls again? "resurrects" the brilliant and notorious German journalist and political militant, Ulrike Meinhof (1934-1976) in a stop-motion photo "animation" video loop with titles, as well as installed photos. The project raises questions about contemporary state violence and political resistance. At left are installation views of the work at the Taipei Bienniel. See this link for an excerpt of the video under project listing. (link) |
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"After Hiroshima Mon Amour" and "A Movie Will Be Shown Without the Sound" May 8, 2009-June 14, 2009
The projection on opposite walls of a colored rectangular space of "After Hiroshima Mon Amour" (2008) and "A Movie Will Be Shown Without the Sound" (2006) allows the spectator to choose a position from which to take in either the Resnais/Duras film "Hiroshima mon amour" (1959), played without sound or titles, or "After Hiroshima Mon Amour." Enclosed in the same visual and aural space, the video and the film have the possibility of transforming each other. |
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"Nothing and Everything" One-person exhibition at Leonard and Bina Ellen Gallery
Curator's statement:
A catalogue of the same title, with a discussion between Theriault and Kolbowski can be ordered from http://ellengallery.concordia.ca |
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"After Hiroshima Mon Amour" One-person exhibition at La><art, Los Angeles
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"Manifesto Marathon" Participation in Manifesto Marathon, Curated by Hans Ulrich Obrist "Younger and Stronger Men" F.T. Marinetti's "Futurist Manifesto" was scrambled and turned into a dialogue. A performance including 60 images of mass audiences from around the world, and two actors each reading parts of Marinetti's scrambled manifesto as a pseudo political debate dialogue. |
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"an inadequate history of conceptual art" One-person exhibition at Center for Contemporary Art Ujazdowski Castle, Warsaw, Poland 3/9/07 - 4/22/07 Curated by Pawel Polit Photos 3-11 by Mariusz Michalski This 1998/1999 project was reinstalled, with the addition of a Polish audio translation, and a new projection component. Due to the fact that a loan of audio equipment from Bang + Olufsen, required for the original specifications, was not able to be procured, this component was substituted with high-end Polish audio equipment from the 1970s. Selected Bibliography an inadequate history of conceptual art (Center for Contemporary Art, Ujazdowski Castle, Warsaw), 2007. (Includes an interview by Luiza Nader.) (See Publications) Review, Obeig.pl (April 2007) In Polish |
© 2018 Silvia Kolbowski