CCS BARD

In the Shadow of an Invisible Thread is the first institutional solo exhibition in the United States of work by Martin Soto Climént (b. 1977), a conceptual artist from Mexico City best known for his transformative arrangements of everyday objects. Presenting a newly commissioned installation that fills a large gallery at the Hessel Museum of Art, the exhibition explores how the notion of “intimate revolt”, a term articulated by theorist Julia Kristeva, is fundamental to Soto Climént’s practice.

like drawing a line in the sand at the ocean’s edge stages an intergenerational dialogue between four island-based practitioners working throughout the Pacific: Piliāmoʻo [Mark Hamasaki and Kapulani Landgraf], John Vea, and Cory Kamehanaokalā Taum. The exhibition brings together existing artworks and a new commission.

Moving at the Tempo of a Broken Song explores processes of listening by examining ways in which sound is mediated by various apparatuses, whether technological or body-related. Bringing together a new commission by Danilo Correale titled Bird Song. Active Noise Cancelling (2019), two excerpts of Alison O’Daniel’s feature-length film The Tuba Thieves (2018), and a new version of Alexander Provan’s audio work Measuring Device with Organs (2018), the exhibition invites the audience to reconsider sound as a primary factor in the production of time, place, and social behavior.

NOVI presents a newly commissioned installation by Adriana Ramić (b.1989). Drawing from personal photographs, interviews, and ephemera collected by the artist, the exhibition considers the power of images, formations of memory, and the influence systems of encoding and reconfiguration can have on these. New computational transcriptions and translations reflect the difficulties and slippages within processes of translation and transmission of meaning. NOVI investigates ideas of place and processes of memory, translation, and encoding.

Fong Fo: Extra presents newly commissioned works by Fong Fo, a Guangzhou-based art collective. Fong Fo functions as a collective, a monthly magazine, and a network of people. The exhibition reflects on the collective’s projects—deriving from and informed by their publishing practices — in order to reimagine how the magazine serves as an artistic platform for community building.

Missing Hue of the Rainbow is an exhibition that takes up the histories of color’s ambivalent relationship to identity, by bringing together works in photography, video, artist’s books, literature and poetry. Along with a film screening, bibliography and library presentation on dissent, the exhibition forms part of the first motion within Tonalities of Dissent, a long-term curatorial project by Srinivas Aditya Mopidevi.

Flight: A Collective History focuses on the largely forgotten history and legacy of a women artists’ collective in Kampala, specifically the trajectory of the collective’s 1995 exhibition, Women Artists on the Move.

Limit Cycles: Materials, Torques, Intervals proposes a reading of artworks via the dynamic concept of limit cycles: involuntary and voluntary systems of regulation that are inherent within materials and the human body.

Balticana is a poetic exploration of obscure but illuminating connections between the historic, cultural and sociopolitical context of the Baltic region, particularly those common references to the mood across art, society and behavior. Working in dialogue with artists, art works and ephemera, and departing from the atmosphere of fog, the exhibition’s curator collects and weaves together national, literary and cultural metaphors of the three Baltic states, to produce Balticana as an allegory and imaginary fourth state.”

a semblance of the indefinite presents recent work by Chul Hyun Ahn and Rafaël Rozendaal. While utilizing different scales of space – the volume of a sculpture, the interior space of a gallery – each artist uses light and space as primary materials to create illusionistic representations of seemingly infinite space.

Living in Foul focuses on work by the late Chilean radical drag performer, essayist and activist Hija de Perra, set in dialogue with artists Jota Mombaça and Pêdra Costa. By bringing these artists’ voices together, the exhibition draws attention to transnational critiques of queer theory and practices of sexual dissidence from South America.

Ping presents the video work of interdisciplinary artist Autumn Knight produced between 2013 and 2019, including a newly commissioned video installation. The exhibition creates a context for examining the conceptual and visual parameters of Knight’s practice.

this is the no thing that we are engages the work of Susan Hiller and Krista Belle Stewart, artists who both investigate recording technologies and acts of transcription, to challenge the way we document, interpret and remember human experiences. The exhibition includes a newly commissioned, site specific installation by Stewart, centered on a century-old recording of her great-grandmother, Terese Kaimetko, speaking and singing in Syilx (Okanagan).

In this world, we explores forms of visual representation of Chinese migrant workers who are largely excluded from political and cultural domains. Counter to a dominant tendency to portray them as a generic mass of former peasants and interchangeable “others,” this exhibition seeks to draw attention to fragments and traces of their everyday individual lives. In this world, we presents copies of archival images from Liu Chuang’s Love Story (2006-2015), the video installation Waterfall (2016) by Li Jinghu, and selected videos from Labour in a Single Shot (Hangzhou) (2014), part of a video documentation project initiated by Antje Ehmann and Harun Farocki. The exhibition also includes investigative materials from non-governmental organization China Labor Watch.