International Studio Programme : February 2006

Corey McCorkle


Corey McCorkle From Greater New York 2005, PS1

Corey McCorkle (b.1969) is interested in the Utopian ideas of nature and transcendence, which he pursues in many of his installations. McCorkle's work has been included in the surveys Make It Now at Sculpture Center (2005) and Greater New York 2005at PS1, and was featured in a solo exhibition in 2006 at Kunsthalle Bern in Switzerland. McCorkle's work has also been included in The Plain of Heaven by Creative Time in NYC (2005) and in Monopolis at Witte de With in Rotterdam (2005). Most recently, his work was included in Just Kick It Till It Breaks at The Kitchen in NYC (2007). McCorkle will have upcoming exhibitions at Pompidou Center, Paris and SMAK in Gent. He is featured in the November 2007 issue of Frieze.

This residency is made possibly with 03 Funding: specifically designated funds made available by the Ministry of Foreign Affairs for exchange with countries of the South in the field of contemporary art, discourse and production.

Carol Bove


Carol Bove Adventures in Poetry, 2001

Carol Bove's work reflects on social, political, and artistic movements of America in the 1960s and 1970s. Bove has had solo exhibitions at Kunsthalle Zurich, Switzerland (2004); Hamburg Kunstverein, Germany (2003); Team Gallery, New York (2003); Art Basel|33, Basel, Switzerland (2002); and Bronwyn Keenan Gallery, New York (2000).

Bove has also been featured in numerous group exhibitions including The Joy of Sex: Carol Bove and Charles Raymond at Cubitt, London (2004);Influence, Anxiety, and Gratitude at the List Visual Arts Center, M.I.T., Cambridge, MA (2003);Reproduction II at Georg Kargl, Vienna, Austria (2003); and Transformer at La Panaderia, Mexico City (2001).

Dan Graham


Dan Graham Continuous Past(s), 1974 Sketch

Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his investigations, which are translated into essays, performances, installations, videotapes and architectural/sculptural designs.

Graham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in an inquiry into public and private, audience and performer, objectivity and subjectivity. In installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture. Graham has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is in the collections of major institutions in USA and Europe, including Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; and The Tate Gallery, London. He has had retrospective exhibitions at Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions/institutions such as Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S.1, New York; American Film Institute National Video Festival, Los Angeles; and The Museum of Modern Art, New York, among other festivals and institutions.

Lawrence Weiner


Lawrence Weiner

The late fifties and early sixties Weiner spent travelling throughout North America (USA, Mexico, and Canada). The first presentation of his work was Mill Valley California in 1960. Lawrence Weiner divides his time between his studio in New York City and his boat in Amsterdam. He participates in public and private projects and exhibitions, in both the new and old world, maintaining that Art is the empirical fact of the relationships of objects to objects in relations to human beings, and not dependant upon historical precedent for either use or legitimacy.