The catalogs for the 100/10 (100 days/10 visions) project are an homage to many of the ICI’s favorite people and things: W. G. Sebald, his poem After Nature, The New Museum in New York. Modeled on that museum’s catalog for their 2008 exhibition After Nature, this book also owes allegiance to Aby Warburg (1866-1929). Under the dustcover you’ll find a “good neighbor,” a book that impacted the curator of this project iteration (and so, a different title for each participant) even though that book’s influence may not be immediately apparent in the exhibition photos that are sprinkled within its pages. Warburg, lamenting the possible loss of open stacks in public libraries, argued that when looking for a desired book on a library shelf it is often its neighbor that first draws your attention, its good neighbor that holds the answer you are seeking.
Category: 100/10
100/10∆5 Catalog
The catalogs for the 100/10 (100 days/10 visions) project are an homage to many of the ICI’s favorite people and things: W. G. Sebald, his poem After Nature, The New Museum in New York. Modeled on that museum’s catalog for their 2008 exhibition After Nature, this book also owes allegiance to Aby Warburg (1866-1929). Under the dustcover you’ll find a “good neighbor,” a book that impacted the curator of this project iteration (and so, a different title for each participant) even though that book’s influence may not be immediately apparent in the exhibition photos that are sprinkled within its pages. Warburg, lamenting the possible loss of open stacks in public libraries, argued that when looking for a desired book on a library shelf it is often its neighbor that first draws your attention, its good neighbor that holds the answer you are seeking.
100/10∆2 Opening Reception
100/10∆4 Catalog
The Catalog for the 100/10/04 project is adapted from E.E. Cummings’ Enormous Room by Karen Frimkess-W0lff, curator of this iteration of the 100/10 project.
The catalogs for the 100/10 (100 days/10 visions) project are an homage to many of the ICI’s favorite people and things: W. G. Sebald, his poem After Nature, The New Museum in New York. Modeled on that museum’s catalog for their 2008 exhibition After Nature, this book also owes allegiance to Aby Warburg (1866-1929). Under the dustcover you’ll find a “good neighbor,” a book that impacted the curator of this project iteration (and so, a different title for each participant) even though that book’s influence may not be immediately apparent in the exhibition photos that are sprinkled within its pages. Warburg, lamenting the possible loss of open stacks in public libraries, argued that when looking for a desired book on a library shelf it is often its neighbor that first draws your attention, its good neighbor that holds the answer you are seeking.
This catalog can be purchased in the ICI gift shop for $25.
100/10∆3 Catalog
The catalogs for the 100/10 (100 days/10 visions) project are an homage to many of the ICI’s favorite people and things: W. G. Sebald, his poem After Nature, The New Museum in New York. Modeled on that museum’s catalog for their 2008 exhibition After Nature, this book also owes allegiance to Aby Warburg (1866-1929). Under the dustcover you’ll find a “good neighbor,” a book that impacted the curator of this project iteration (and so, a different title for each participant) even though that book’s influence may not be immediately apparent in the exhibition photos that are sprinkled within its pages. Warburg, lamenting the possible loss of open stacks in public libraries, argued that when looking for a desired book on a library shelf it is often its neighbor that first draws your attention, its good neighbor that holds the answer you are seeking.
100/10∆5 Press Release
100/10∆5: Pam Posey and Christine Nguyen at the Institute of Cultural Inquiry (ICI)
April 19 – May 15, 2011
Free to the public
Reception: Saturday, May 7th, 7-9pm
Curator’s Talk: Sunday, May 15th, 4-5pm
LOCATION
1512 S. Robertson Blvd., Los Angeles, CA 90035
(two blocks south of Pico); street parking available
The Institute of Cultural Inquiry is pleased to announce the fifth iteration of its ambitious project 100/10 (100 days/10 visions), a collaboration between Los Angeles-based curator/artist Pam Posey and artist Christine Nguyen. Fascinated by the Institute’s fantastical Earth Cabinet, a monolithic oak chest that houses hundreds of soil samples from far-flung (and sometimes unverifiable) locales, Posey and Nguyen de-mystify the processes by which the study of the natural world–the analyses, taxonomies, methodologies, and institutional edifices that comprise the cultural production of Scientific Knowledge–transforms into a tenuously stable parafiction demanding both skepticism and belief. Their installation alludes to this study of an elusive empirical world by collapsing the scientist’s universe of purported facts and the confabulist’s arena of the fictive.
Posey has taken up a totemic line from Paul Harding’s Tinkers: “Shadows leaked out from beneath the edge of the forest.” In the “overgrown forest” of the Institute’s extensive holdings accumulated over its two decades, Posey asks, how do phantom worlds leak out from the real world, casting shadows of doubt upon its seeming veracity? In this shadow-play, both tinkerers will place their own art–individual and collaborative–alongside natural objects and ICI artifacts; the installation will change daily over the course of the residency. A unique catalog will accompany this exhibition. Modeled upon the New Museum’s catalog for its 2008 landmark show After Nature, catalogs for the 100/10 shows exist as a dustcover wrapped around a slightly used copy of a book that has influenced the show’s curator and artist. The 100/10∆5 catalog, housing Harding’s Tinkers, may be purchased in the ICI gift shop or through the ICI website.
Pam Posey is a Los Angeles-based artist who received her BA from Bennington College and her MFA from the University of Massachusetts. She has had solo exhibitions at Craig Krull Gallery, and her work has been included in group exhibitions at Andrewshire Gllery, Carl Berg Gallery, Domestic Setting, and the Torrance Art Museum.
Christine Nguyen currently resides in Los Angeles, California. She received her B.F.A from California State University, Long Beach and M.F.A from University of California, Irvine. Her solo exhibitions have been featured at the Hammer Museum (Project), Michael Kohn Gallery, Andrewshire Gallery, and Sam Lee Gallery in Los Angeles. Her work has also been included in group exhibitions at the Kunsthalle zu Kiel, Kiel, Germany; Laguna Beach Art Museum, Laguna Beach; 4-F Gallery, Los Angeles, PH Gallery, New York; San Art, Ho Chi Minh City, Vietnam; Sprueth Magers Projekte, Munich, Germany; and 10 Chancery Lane Gallery, Hong Kong.
Posey and Nguyen have been known to hike together in the Sierra Mountains. They make extremely slow progress because of their tendency to tinker with nature along the way. Nguyen’s work with salt causes her to spend time at oceans and salt flats while Posey investigates rogue urban gardens. Nguyen also composes and sings her own songs while Posey collects found sounds, both natural and urban, on her iPhone.
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Beginning January 31, 2011 and running for 100 consecutive business days, the ICI site and its archives will undergo a multitude of interpretations. ICI has invited ten researchers—artists, writers, and visual thinkers—to set into play ideas that blend contemporary visual practices with aspects of the ICI Earth Cabinet, Ephemera Kabinett, and a 2,500+ volume library along with the nooks and crannies of the eclectic, historically layered ICI space. With just two weeks to conceive of their vision, curators will work in a designated laboratory modeled upon the transparent workspaces of 19th-century natural history museums. Each curator will conceptualize a new trajectory through ICI’s body, transforming the ICI display by the end of their residency.100/10project participants have included ∆1: Alex Harvey with Anna Ayeroff, ∆2: Antoinette LaFarge with Ruth Coppens, ∆3: Norway Nori as well as ∆4: Karen Frimkess Wolff and Paul Evans.
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Since 1991, the Institute of Cultural Inquiry (ICI) has explored the role of visuality in imagining, perpetrating and perpetuating the intangible and ever-changing phenomena known as “culture.” The ICI sponsors displays, symposia, workshops, performances and provides numerous opportunities for both the artist fabricator and the curious spectator of visual culture. The non-profit organization also maintains an active publishing program, releasing the critically acclaimed Searching for Sebald: Photography After W. G. Sebald in 2007. 100/10 is the first project conceptualized within the 2011-12 ICI study theme of Phantom Worlds.
Purchase catalog for 100/10∆5.
Read more about the complete 100/10 project.
100/10∆6 Press Release
100/10∆6: Christel Dillbohner and Inge Kamps at the Institute of Cultural Inquiry (ICI)
One Day Event – Wednesday April 27, 2011
1-5 p.m.; no reservations required.
Free to the public
LOCATION
1512 S. Robertson Blvd., Los Angeles, CA 90035
(two blocks south of Pico); street parking available
For the sixth iteration of the Institute of Cultural Inquiry’s ambitious project 100/10 (100 days/10 visions), curator-artist Christel Dillbohner has opened doorways to parts of the ICI that are rarely seen or addressed. At the center of her vision is Köln-based artist Inge Kamps’ Vom Licht der Natur, a research based exploration into the natural world utilizing processes that mirror Dillbohner’s own experiences as an organic gardener and collector of medicinal and edible plants. Kamps uses a transformative process to transmute her focused observations into a special “sight,” thereby enabling her to collect and represent the colorful essences of light within a garden’s verdant realm. For this one-day exhibition, we are introduced to Kamps’ unique process through a series of abstract color photos and time-lapse videos. Dillbohner, a long-time associate of the Institute, has chosen to nestle Kamps work within the shadowy corners of the ICI to animate the artist’s alchemical leanings with the organization’s substantial holdings of alchemical texts; treatises by masters like Hermes Trismegistus, Albertus Magnus and Paracelsus, the latter being a philosopher Kamps is particularly drawn to.
A unique catalog will accompany this exhibition. Modeled on the New Museum’s catalog for its 2008 landmark show, After Nature, the document exists as a dustcover wrapped around a slightly used book that has influenced the show’s curator and artist. For 100/10∆6, the book is Mediziner Heiler Philosoph by Paracelsus. It can be purchased in the ICI gift shop or through the ICI website.
Christel Dillbohner is an art practitioner whose engagement with cultural and natural studies has informed her art of process painting, assemblage, and site-specific installations for over 30 years. Originally from Cologne, Germany, she now lives and works in Berkeley, California. She has traveled widely and publishes her ‘sojournal’ observations in small editions. Recent projects include An den Ufern der Zeit (2007), Ice Floe (2009) and the collaborative installation Interspacing (2010). Her website is www.dillbohner.de.
Inge Kamps, a native of Cologne, Germany, is a painter, photographer and video artist who investigates social phenomena and the natural world and believes the role of the artist includes participating in the cultural discourse. She founded the artists’ collective “Künstler auf dem Hagengelände e.V.” (1988) and is a curator with a handful of projects including PaarWeise (1987), Lob des Schattens (1998), and Drittes Ufer ( 2003). Among her large-scale video installations are Babel (1994), Made in Kalk (1998), and Zeit-Wände VII (2003). Her website is www.kamps-lab.de
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Beginning January 31, 2011 and running for 100 consecutive business days, the ICI site and its archives will undergo a multitude of interpretations. ICI has invited ten researchers—artists, writers, and visual thinkers—to set into play ideas that blend contemporary visual practices with aspects of the ICI Earth Cabinet, Ephemera Kabinett, and a 2,500+ volume library along with the nooks and crannies of the eclectic, historically layered ICI space. With just two weeks to conceive of their vision, curators will work in a designated laboratory modeled upon the transparent workspaces of 19th-century natural history museums. Each curator will conceptualize a new trajectory through ICI’s body, transforming the ICI display by the end of their residency.100/10 project participants have included ∆1: Alex Harvey with Anna Ayeroff, ∆2: Antoinette LaFarge with Ruth Coppens, ∆3: Norway Nori as well as ∆4: Karen Frimkess Wolff and Paul Evans. ∆5: Pam Posey will begin on April 11, 2011 and will run for 5 consecutive weeks.
—–
Since 1991, the Institute of Cultural Inquiry (ICI) has explored the role of visuality in imagining, perpetrating and perpetuating the intangible and ever-changing phenomena known as “culture.” The ICI sponsors displays, symposia, workshops, performances and provides numerous opportunities for both the artist fabricator and the curious spectator of visual culture. The non-profit organization also maintains an active publishing program, releasing the critically acclaimed Searching for Sebald: Photography After W. G. Sebald in 2007. 100/10 is the first project conceptualized within the 2011-12 ICI study theme of Phantom Worlds.
Purchase catalog for 100/10∆6.
Read more about the complete 100/10 project.
100/10∆5 Postcard
100/10∆6 Postcard
100/10∆1 Catalog
The catalogs for the 100/10 (100 days/10 visions) project are an homage to many of the ICI’s favorite people and things: W. G. Sebald, his poem After Nature, The New Museum in New York. Modeled on that museum’s catalog for their 2008 exhibition After Nature, this book also owes allegiance to Aby Warburg (1866-1929). Under the dustcover you’ll find a “good neighbor,” a book that impacted the curator of this project iteration (and so, a different title for each participant) even though that book’s influence may not be immediately apparent in the exhibition photos that are sprinkled within its pages. Warburg, lamenting the possible loss of open stacks in public libraries, argued that when looking for a desired book on a library shelf it is often its neighbor that first draws your attention, its good neighbor that holds the answer you are seeking.