
Independent Curators International (ICI), l’Institut français in Paris, and the Cultural Services of the French Embassy in New York announce curator Fanny Gonella as the 2013 ICI/French Institute Fellow.
ICI, l’Institut français in Paris, and the Cultural Services of the French Embassy in New York are pleased to announce that Fanny Gonella has been selected as the second ICI/French Institute Fellow. The fellowship program offers a French curator a new opportunity for international research and the development of professional networks. The program spans over a period of six months and includes two visits to the U.S., where the Fellow will use ICI as a base.
Fanny Gonella, a Bonn-based curator, will research the artistic legacy of Robert Morris, focusing on the critical discourse his work generated around 1970s notions of queer identity, social constructs, and stereotypes. Gonella will use Morris’s 1974 self-portrait as a starting point to investigate historical and current gender issues, and plans to conduct a series of interviews with artists who worked directly with Morris, and with contemporary artists whose work continues his legacy. Further information on Gonella’s research and details on related events will be available on ICI’s website this winter 2013.
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Muriel Enjalran was invited to come to New York from Paris as the first ICI/French Institute Fellow. After participating in ICI’s Curatorial Intensive program in the Summer 2012, she conducted research into artists who engage with the public sphere and explore the relationship between art and politics beyond conventional practices. Enjalran takes the works and activities of Justine Triet, Ângela Ferreira, and Caetano Dias (artists residing across various continents) as a departure point for interrogating how their work attempts to redefine aesthetics, therefore redefining art and politics while engaging with the social.

Colección Patricia Phelps de Cisneros and Independent Curators International are pleased to announce that Remco de Blaaij has been selected as the second recipient of the CPPC Travel Award for Central America and the Caribbean. The award supports a contemporary art curator based anywhere in the world to travel to Central America and the Caribbean to conduct research about art and cultural activities in the region. The process will generate new collaborations with artists, curators, museums, and cultural centers in the area.
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We speak today of a potent return to the politics within art, but what do we mean in saying this? If every artistic event is political in its public presentation as affirmed by artist Joseph Beuys with his concept of “Social plastic,” then have these two fields ever been autonomous?


