Slade School of Fine Art University College London
London WC1E 6BT
Carey Young's work centres on the growing influence of corporations and the legal sphere on individual and collective subjectivity, which she explores using a variety of media including photography, text, video and performance. Her particular focus for the last decade has been the 'corporate takeover' of individual subjectivity and the public domain, and the contemporary role of the artist.
Solo exhibitions include Dallas Museum of Art (2017), Migros Museum, Zurich (2013), the touring show Memento Park, Eastside Projects, Birmingham, Cornerhouse, Manchester and MIMA, Middlesborough (2010-2011); Paula Cooper Gallery, New York (2017, 2010, 2008); Speech Acts, Contemporary Art Museum, St Louis (2009) and Counter Offer, The Power Plant, Toronto (2009). A monograph on her work was published by JRP | Ringier in 2013.
She has exhibited in group exhibitions at venues including Centre Pompidou, Hayward Gallery, ICA (London), Whitechapel Gallery, Tate Britain, MoMA/PS1 (New York), the New Museum (New York), and Secession (Vienna), as well as in the Taipei Biennial (2010), Moscow Biennale (2007 and 2013), the Sharjah Biennial (2005) and the Venice Biennale (2003).
Works in public collections include Tate Gallery, Arts Council England, Kadist Art Foundation, Migros Museum and Centre Pompidou.
I am based in the undergraduate Fine Art Media team, and also have a special responsibility for Photography tuition within the Slade. I am also currently the Careers tutor for the Slade, and have developed a Careers programme for Slade students which covers topics such as studios, production facilities, artist residencies, artist fees and many other topics pertinent to working as a professional fine artist. This programme is considered 'best practice' within UCL and is now being used as a case study within the wider university community.
Prior to joining UCL I was a Senior Lecturer in Photography at London College of Communication from 2006 - 2011, and prior to this I was a Senior Lecturer in Photography at the University of East London (2005 - 2006.)
My experience as a visiting lecturer includes:
Harvard University, Cambridge, Massachusetts
Royal College of Art, London (MA programmes in Critical Practice, Photography, Performance, Design Products and Curating)
Goldsmith's College, London
Chelsea School of Art, London
Central St Martins School of Art, London
The Bauhaus University, Weimar
The New Architecture2017
Dallas Museum of Art
Solo museum show by Carey Young, featuring Palais de Justice, a new video work, alongside other new and existing photographic and text works.
Liberties: An exhibition of contemporary art reflecting on 40 years since the Sex Discrimination Act2015
Collyer Bristow Gallery, London
Works by over 20 women artists that reflect the changes in art practice within the context of sexual and gender equality since the introduction of the Sex Discrimination Act (1975) in the UK. Artists included: Guler Ates, Helen Barff, Sutapa Biswas, Sonia Boyce, Jemima Burrill, Helen Chadwick, Sarah Duffy, Rose English, Rose Finn-Kelcey, Alison Gill, Helena Goldwater, Joy Gregory, Margaret Harrison, Alexis Hunter, Frances Kearney, EJ Major, Eleanor Moreton, Hayley Newman, Freddie Robins, Monica Ross, Jo Spence, Jessica Voorsanger, Alice May Williams and Carey Young.
Et Mon Droit2015
Copperfield Gallery, London SE1
Group show of artists working with law, incuding Jill Magid David Birkin Jason File Marco Godoy Etienne Chambaud Carey Young
Stand Up! Nouveau Festival, Centre Pompidou2015
Group show and screenings/events at the Centre Pompidou, Paris relating to the theme of stand-up comedy and art. Carey Young's video work 'Everything You've Heard is Wrong' is included.
Not: The Art of Resistance2015
Holden Gallery, Manchester Metropolitan University
The exhibition explored the work of contemporary artists who have attempted to enact alternative modes of resistance. What these works often share is their attempt to resist cycles of antagonism and assimilation as they produce alternative models for practice and its relation to the market. Artists: Andrea Fraser – Liam Gillick – Jenny Holzer – Jonathan Monk – SUPERFLEX – Carey Young
Baltic, Newcastle and tour
Listening was a Hayward Touring Curatorial Open exhibition, and included new and existing work by leading contemporary artists including Ed Atkins, Janet Cardiff and George Bures Miller, Mikhail Karikis, Ragnar Kjartansson, Lina Lapelyte, Christian Marclay, Haroon Mirza, Max Neuhaus, Katie Paterson, Amalia Pica, Laure Prouvost, Hannah Rickards, Prem Sahib, Anri Sala, Imogen Stidworthy and Carey Young.
Per/Form. How to do things with[out] words2014
CA2M, Madrid, Spain
Per/Form. How to do things with[out] words CURATOR: Chantal Pontbriand ARTISTS: With: Mathieu Abonnenc / Jennifer Allora & Guillermo Calzadilla / Brad Butler & Karen Mirza / Geneviève Cadieux / Jean-Pierre Cometti / Agnès Dahan / Adrian Dan / Angela Detanico & Rafael Lain / Carole Douillard / Cevdet Erek / Köken Ergun / Esther Ferrer / Chiara Fumai / Ryan Gander / Simon Fujiwara / Dora García / Camille Henrot / Sandra Johnston / Amelia Jones / Latifa Laâbissi / La Ribot / Ines Lechleitner / Franck Leibovici / Cristina Lucas / Haroon Mirza / Antonio Negri / Roman Ondák / Falke Pisano / Chantal Pontbriand / Chloé Quenum / Pedro Reyes / José Antonio Sánchez / Julião Sarmento / Ulla von Brandenburg / Carey Young / Héctor Zamora. The project, a laboratory situation including installations, workshops, and performances, explored questions of how art deals with reality in a performative way. How artists use forms to create meanings, or rather multiple and open-ended meanings. Here meaning is not fixed, it fluctuates as relations between things, ideas, people are activated. The project consists of different modes of “display”: the exhibition per se which brings together 16 installation works, some of which include live elements, others which can be activated live in different ways, in situ works which will be activated in the city, and performative situations which will be concentrated in three days throughout the project. PUBLICATION: A book will be published including texts by Jean-Pierre Cometti, Amelia Jones, Antonio Negri, Chantal Pontbriand, and José Antonio Sanchez. The artists will contribute to the book in the form of visual essays. Editor: Chantal Pontbriand. Designer: Agnes Dahan. Publisher: CA2M/Sternberg Press.
And I Laid Traps for Troubadours, curated by Kadist Foundation2014
Clark House Initiative, Bombay
Included artists Francis Alÿs, Yael Bartana, Ceal Floyer, Aurélien Froment, Grupo Etcetera, David Horvitz, Poonam Jain, Ben Kinmont, Lawrence Liang, Scott Myles, Open Circle, Prabhakar Pachpute, Prasad Nikumbh, Roman Ondak, Pratchaya Phinthong, Société Réaliste, Zied Ben Romdhane, Caecilia Tripp and Nil Yalter, Carey Young 'And I laid traps for troubadours' is an exhibition of cultural transference: how ideas travel through objects and how the meaning of artworks will change and accrue, when brought into the context of Bombay's political and social realities, and imaginaries. The exhibition uses the Kadist collection as a starting point to open to other collaborations.
Prospectif Cinema, Centre Georges Pompidou, Paris2014
Centre Georges Pompidou, Paris
The “Prospectif Cinema” cycle highlights the cinematographic production of French and international artists. It is a unique opportunity to follow new events and developments in contemporary art and to analyze the issues it deals with. The event will offer a screening of Carey Young's video work, 'Everything You've Heard is Wrong' (1999), which was acquired by the Centre Georges Pompidou in 2004.
Spaces of Exception, Moscow Biennale2013
Moscow Biennale, Moscow, Russia
The ‘Book of Decrees’ was created by the legendary Russian conceptualist Dmitry Prigov (1940-2007) in 1977. It consisted of 6 pages, each of which enunciated a decree signed by “A. Prigov, chairman". Included were the following: the decree of the animal, decree of the air, decree of closeness, decree of unit, decree of black, and ultimately, the decree of decree. Blending sincere imitation, stylization and parody, in his work Prigov often celebrated and questioned the role of the artist as legislator. This project takes up this myth of the ‘artist as legislator’ from today's point of view, when artists assume multiple identities: producer, researcher, worker, romantic entrepreneur, cognitive proletarian, etc. In this project the artists mobilize their "legal imagination" and invent their own rules of engagement for approaching specific social, political or economic problems. They stage legal texts or cases, create their own laws or legal systems, – i.e., their own rules of the game, and apply the subversions of aesthetics to them through either image or anti-image, the performative and the fictional. The resulting work ranges from self-defined spaces for legal utopias, almost science-fictional in nature, up to moments of documentary truth and poetic justice. Artists: Yuri Albert Ivan Brazkin Chto Delat Yevgeniy Fiks Nikita Kadan/Alexander Burlaka Gulnara Kasmalieva/Muratbek Djumaliev Gert Jan Kocken Irina Korina Jiri Kovanda Maryanto Taus Makhacheva Renzo Martens Metahaven Aernout Mik Marina Naprushkina Nikolay Oleynikov Anna Parkina Dmitry Prigov Tima Radya Willem de Rooij Haim Sokol Jonas Staal Roy Villevoye Carey Young Katarina Zdjelar
“Carey Young: Legal Fictions,” curated by Raphael Gygax, Migros Museum für Gegenwartskunst, Zurich2013
Migros Museum, Zurich
A solo exhibition by Carey Young at the Migros Museum, Zurich, Jan - March 2013, with accompanying monograph, 'Carey Young: Subject to Contract, published by JRP | Ringier, Zurich, and Migros Museum für Gegenwartskunst, Zurich, 2013.
DLA Piper series: Constellations, Tate Liverpool2013
My work 'Body Techniques (after Parallel Stress, Dennis Oppenheim, 1970), 2007, included in the exhibition. DLA Piper Series: Constellations explores connections between major works from the Tate collection across art history by arranging them in nine 'constellations.' It presents a complete re-hang of the collection displays at Tate Liverpool, and brings together over 100 artworks created between 1900 and the present day, including a significant number of new and recent acquisitions.
Carey Young: Let the World Speak for Itself2013
Le Quartier, Centre d'Art Contemporain de Quimper
Le Quartier presents the first solo exhibition in France of Carey Young, a British artist who, over the last fifteen years, has developed her artistic practice from a crossfertilisation of disciplines including economics, law, politics and communication. The tools of these different fields act as material for her installations, text works and photographs, as well as for videos in which absurd relationships develop between the performer and the rhetoric of political, commercial or legal discourse. The exhibition at Le Quartier is the first to draw together many of Young’s photographic works. Employing a diverse range of media, this work is characterised by a conceptual and experimental approach. The artist explores the relation of the photographic image to broader systems of commodification and distribution in today’s globalised context. With the support of the British Council Carey Young was born in 1970 in Lusaka, Zambia. She lives and works in London, England. After her Masters degree in photography at the Royal College of Art, London, she has had solo shows at galleries such as the Henry Moore Institute (Leeds), John Hansard Gallery (Southampton), The Power Plant (Toronto) and the Contemporary Art Museum St. Louis. She has also recently participated in group exhibitions at Tate Britain, the Hayward Gallery, the New Museum (New York), PS1/MoMA (New York), IAC Villeurbanne, Le Plateau (Paris), and the Sharjah, Moscow, Taipei, Tirana, Rennes and Venice biennials. A solo show by Carey Young will open at the Migros Museum, Zurich, in Autumn 2013, to be accompanied by a monograph published by Migros Museum and JRP Ringier. She is represented by Paula Cooper Gallery, New York.
Constellations, Tate Liverpool2013
DLA Piper Series: Constellations explores connections between major works from the Tate collection across art history by arranging them in nine ‘constellations’. Presenting over one hundred works from the collection, on two floors of the gallery, the displays offer a fresh way of viewing and understanding artworks through correspondences rather than chronological narrative. Acting as the originating ‘trigger’ of each constellation is one artwork that has been chosen for its revolutionary effect on modern and contemporary art. Each of these trigger works is displayed among artworks that relate to it, and to each other, across time and location of origin. Chosen for their similarity to, apparent difference from or transformation of the trigger work, each grouping creates an accumulation of relationships and meaning that extends the themes and concerns of the originating work. Accompanying each constellation in the gallery is a graphic word cloud. Made up of a set of key words that relate to individual works, these clouds offer a visual snapshot of the shared characteristics within each constellation, with those traits that are most common appearing larger. DLA Piper Series: Constellations begins on the first floor and continues on the second. The first floor constellations centre upon trigger works produced before 1960 while on the second floor the groupings develop from works created after 1960. Artists include: Eleanor Antin, Claude Cahun, Trisha Donnnelly, Marcel Duchamp, Cerith Wyn Evans, Mona Hatoum, Bruce Nauman, Jackson Pollock, Robert Morris, Man Ray, Santiago Sierra, Simon Starling, Carey Young
An Exhibition: Stefan Bruggeman, Lawrence Weiner, Carey Young2013
Holden Gallery, Manchester School of Art, Manchester, UK
An Exhibition [an] [ek-suh-bish-uh-n] Noun 1. A space that needs to be filled 2. An interaction between artist, audience, curator and the gallery 3. A conversation about the use of language and communication through the display of art An Exhibition features works by Stefan Brüggemann, Lawrence Weiner, Carey Young and Itinerant Texts a collection of original slide works by twelve international artists. Any gallery always starts from the same point, that of emptiness, a space which needs to be filled. An Exhibition draws attention to that process and makes an explicit connection to the ways in which galleries work. One of the most important elements of any exhibition is that of communication between art work and audience. Each of the artists taking part has produced a body of work which questions the nature of information and the way in which we interact with the gallery space. An Exhibition opens up a conversation about the use of language and communication, as well as the relationship between artist, audience, curator and institution. Included in An Exhibition are two seminal text works by the key conceptual artist Lawrence Weiner. Carey Young has previously collaborated with business consultants and think tanks; her work often centres on notions of communication and language through her explorations of corporate culture. Works in the exhibition make use of humour and irony, some even challenge why they are there. Stefan Brüggemann consistently produces text based works that are often ambiguous, challenging and subversive. An Exhibition also includes Itinerant Texts, a set of original slide works by twelve international artists including Angela Bulloch, Tacita Dean, Tracey Emin, Douglas Gordon , Joseph Kosuth, and Simon Patterson. These artists have created works that comment on travel, transience and the nature of site-specificity.
Stage Presence: Theatricality in Art and Media2012
San Francisco Museum of Modern Art (SFMOMA)
The exhibition presented works in a variety of media and features a series of performances that explore the influence of theater, dance, and performance in contemporary art. Artists in the Exhibition: Charles Atlas, Gerard Byrne, Janet Cardiff, James Coleman, Geoffrey Farmer, Fischli/Weiss, Andrea Fraser, General Idea, Sharon Hayes, Craigie Horsfield, Mike Kelley, George Legrady, Tucker Nichols, Tony Oursler, Mika Tajima with Charles Atlas, Sam Taylor-Wood, Catherine Wagner, and Carey Young.
The Nature of Disappearance, Marianne Boesky Gallery, New York2012
Marianne Boesky Gallery, New York, USA
“The art of the future (which will disappear, like everything else): Imitate nature in an approximate way; imitate in particular nature’s way of creating!” – August Strindberg, 1894 On the 100th anniversary of the death of the famous Swedish artist August Strindberg, “The Nature of Disappearance” takes as the exhibition’s point of departure Strindberg’s radical view of art, which he first expressed in his article Du hasard dans la production artistique (“New Forms of Art! Or Chance in Artistic Creation”), November 1894. Strindberg’s paradigmatic rejection of the complete control that the artist could exercise through skill and virtuosity triggered a new chapter in art history. Strindberg’s radical creative experiments and his introduction of the apparently unintentional influenced the famous Norwegian printmaker and painter Edvard Munch. Like the Swedish artist, Munch integrated the elements of chance and accident into his artistic practice through his legendary “kill or cure” treatment. In his work, he did not just mimic the way nature created but rather, he actually let nature create. “Just wait until it has been exposed to a couple of showers, been gashed a little by some sharp nails and so forth, and then been carted around the world in all sorts of miserable, leaking boxes.… Oh yes, in due course I think this could be good! … It only needs a few flaws in order to become really good ….” In Munch’s oeuvre, mildew stains, pronounced water and rust marks, bird droppings, as well as holes and cracks, serve as physical traces of time, as part of the various things that have happened to the painting. The intentionally initiated process of decay becomes part of the work’s aesthetic, and the work becomes the visual expression of transience itself. The natural process partly progresses toward the painting’s total destruction, through which Munch identifies the ephemeral and the fleeting as a deliberate part of his artistic creative process. Even contemporaries of Munch, such as James Abbott McNeill Whistler, the American Impressionist John Henry Twachtman, and the Russian avant-gardist Vladimir Burliuk, also exposed their works to the elements and allowed nature to work with them, albeit less dramatically and consequentially than Munch. Thereby the exhibition explores the nature of disappearance, that is, the concept of the literal, physical loss of the artwork and in doing so further analyzes how artists who have come after Strindberg and Munch not only question the intactness of the object and the artwork but also literally allow nature to create the work and challenge material integrity, ultimately annihilating the art object. With Dada, and in particular with Marcel Duchamp, artists transgressed the classical borders of the work of art in that they no longer placed the production of the work in the foreground but rather constituted life itself as art. With the disappearance of the art object, art became not only an end, but also a means – a process for the artist. The artwork became assailable, vulnerable, and destructible. In the works of Yoko Ono, Joseph Beuys, Robert Smithson and Bas Jan Ader, the object is no longer a necessary condition for artistic creation. Similar to Munch, artists such as Gustav Metzger, Dieter Roth and Mathias Kessler allow the “kill or cure treatment” of natural forces to create, relying on the natural processes of decay, disintegration, and transformation, while Félix González-Torres leaves the physical di
Wide Open School, Hayward Gallery, London2012
Hayward Gallery, South Bank Centre, London
The Hayward Gallery’s Wide Open School was an unusual experiment in learning. Its programme of classes was devised and delivered by over 100 artists from approximately 40 different countries. It is not an art school however. Instead it is a wide-ranging forum where artists lead and facilitate workshops, collaborative projects, collective discussions, lectures and performances about any and all subjects in which they are passionately interested. Artists included: Jalal Toufic Michael Landy Bonnie Camplin Jane and Louise Wilson Susan Philipz Roger Hiorns Jeremy Deller Thomas Hirschhorn Raqs Media Collective Mark Wallinger Yinka Shonibare MBE Dorothy Cross Susan Hiller Carey Young
Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer, Carey Young2012
Paula Cooper Gallery, New York, USA
Photographic works by Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer and Carey Young.
Specters of the Nineties2011
Marres, Center of Contemporary Art and Culture
Specters of the Nineties presented a selection of art works and practices from the 1990s that could be considered as anticipating the social and political constellations of today and the position of art therein. Curators: Lisette Smits and Matthieu Laurette Artists: Art Club 2000, Sadie Benning, Bernadette Corporation, Plamen Dejanov & Swetlana Heger, Jeremy Deller, Stephan Dillemuth and Hans-Christian Dany, Maria Eichhorn, Annika Eriksson, Andrea Fraser, Rainer Ganahl, Renée Green, Jens Haaning, Pierre Huyghe, Karen Kilimnik, Ben Kinmont, Job Koelewijn, Renée Kool, Aleksandra Mir, Regina Müller, N55, Marylène Negro-Klaus Scherübel, Laurie Parsons, Asier Pérez, Dan Peterman, Hinrich Sachs, Joe Scanlan, Tilo Schulz, Superflex, Apolonija Sustersic, Barbara Visser, Carey Young.
Void if Removed2011
Le Plateau, FRAC Ile de France, Paris
Void if Removed explored the idea of experiences that are simultaneously conceivable and impossible and presents us with situations where observation itself destroys the possibility of observing. More precisely, artworks – sculptures, photographs, videos or performances – that are all the more frustrating and fragile because the phenomena they contain or suggest threaten to evaporate upon being opened. Featured artists : Bas Jan Ader, Eric Baudelaire, Bernard Bazile, Alighiero Boetti, Chris Burden, Coop Himmelb(l)au, Marcel Duchamp, Ceal Floyer, Ryan Gander, Dora García, Joseph Grigely, Ann Veronica Janssens, Jirí Kovanda, João Louro, Julien Loustau, Daniel Pommereulle, Stephen Prina, Anna Maria Maiolino, Man Ray, Lawrence Weiner, Ian Wilson, Carey Young, Rémy Zaugg.
New Museum, New York
Curated by Sarah Rifky of the Townhouse Gallery, Cairo, The exhibition explored the form of an accord as a representation of mutually agreed-upon principles. In the work of Yael Bartana, Dora Garcia, Wael Shawky, and Carey Young, the exhibition considers the symbolic, political, and discursive dimensions of such consensus. Young presents a set of contracts and statements, in which she considers the relationships between artist, audience, and institution. Garcia, based on her previous works on surveillance and the institution, will embark upon a new work for “The Accords.” Shawky presents a series of new works that build upon his Telematch Sadat (2007), a video in which children enact a version of Anwar El Sadat’s assassination and burial in 1981, following his unpopular signing of the Camp David Accords and the Egypt–Israel Peace Treaty. Bartana presents works inspired by her video trilogy called the New Jewish Renaissance Movement in Poland. A program of related screenings and workshops have been organized in conjunction with the exhibition.
Memento Park was a touring solo show by Carey Young which debuted at Eastside Projects, Birmingham before touring to Cornerhouse, Manchester and mima, Middlesbrough. A new video commission, Memento Park (2010), was central to the exhibition, which also surveyed a decade of the artist’s practice, and included a number of the artist's video, telephone-based, photographic and text works.
Paula Cooper Gallery, New York, USA
A one-person exhibition of photographs, video and cross-media works by Carey Young relating to space law and the general attempt to develop a legal framework for activities in outer space. Young’s idea for the exhibition arose from her ongoing interest in legal language and in law as a conceptual space, as well as a concern with Romanticism, with its iconographic references to the moon and the cosmos. The show aims to use law as a malleable artistic medium, as well as to present law as a separate kind of ‘reality’, one with its own inherent subjectivities and points of fissure.
The Talent Show2010
Walker Art Center, Minneapolis and MoMA PS1
"The Talent Show,” Walker Art Center, Minneapolis, MN; traveled to MoMA PS1 Contemporary Art Center, New York. December 12, 2010—April 4, 2011, Curated by Peter Eleey. The Talent Show examined a range of relationships between artists, audiences, and participants that model the competing desires for notoriety and privacy marking our present moment. Featured in the exhibition are 18 artists: Stanley Brouwn Chris Burden Sophie Calle Peter Campus Graciela Carnevale Phil Collins Philip-Lorca diCorcia Tehching Hsieh David Lamelas Piero Manzoni Adrian Piper Amie Siegel John Smith Andy Warhol Gillian Wearing Hannah Wilke Shizuka Yokomizo Carey Young
During Office Hours2010
The Talent Show2010
Walker Art Center, Minneapolis; MoMA PS1, New York
In recent years, television's reality shows and talent competitions have offered people a conflicted chance at fame, while various kinds of Web-based social media have pioneered new forms of communication that people increasingly use to perform their private lives as public theater. During the same period, governments worldwide have asserted vast new powers of surveillance, placing unwitting "participants" on an entirely different kind of stage. Against this backdrop, The Talent Show examines a range of relationships between artists, audiences, and participants that model the competing desires for notoriety and privacy marking our present moment. Ranging from seemingly benevolent partnerships to those that appear to exploit their subjects, many of the works in the exhibition animate the tensions between exhibitionism and voyeurism, and raise challenging ethical questions around issues of authorship, power, and control. Curated by Peter Eleey. Artist list: Stanley Brouwn, Chris Burden, Sophie Calle, Peter Campus, Graciela Carnevale, Phil Collins, Philip-Lorca diCorcia, Tehching Hsieh, David Lamelas, Piero Manzoni, Adrian Piper, Amie Siegel, John Smith, Andy Warhol, Gillian Wearing, Hannah Wilke, Shizuka Yokomizo, Carey Young
Fribourg, Fribourg, France
Atopia: Art and the City in the 21st Century2010
Centra de Cultura Contemporania de Barcelona, Barcelona
The exhibition explores a kind of unease—the awkwardness that exists between the city and the individual. WORKS BY: AES+F, anothermountainman, Alexander Apóstol, Vanessa Beecroft, Sergio Belinchón, Hicham Benohoud, Ákos Birkás, Daniel Canogar, James Casebere, Nuno Cera, Loulou Cherinet, Tiffany Chung, Philip-Lorca diCorcia, Oleg Dou, Tim Eitel, Carlos Garaicoa, Dionisio González, Douglas Gordon, Andreas Gursky, José Antonio Hernández-Díez, Carlos Irijalba, David LaChapelle, Lawrence Lemaoana, Rogelio López Cuenca & Elo Vega, Rafael Lozano-Hemmer, Enrique Marty, Emeka Okereke, Erwin Olaf, George Osodi, Adrian Paci, Evan Penny, Gino Rubert, Thomas Ruff, Dana Schutz, Montserrat Soto, Baltazar Torres, Mona Vatamanu & Florin Tudor, Vivek Vilasini, Pedro Vizcaino, Erwin Wurm, Carey Young.
Malmo Konsthall, Malmo
artists included: Mircea Cantor, Kirsten Justesen, Olivia Plender, Larissa Sansour Sophie Calle, Janet Cardiff & George Bures Miller, Sharon Hayes, Kirsten Justesen, Larissa Sansour & Oreet Ashery, Simon Starling and Carey Young
Ständige Rezeption (Permanent Reception)2010
Galerie nächst St. Stephan - Rosemarie Schwarzwälder, Vienna
Curated by Clemens von Wedemeyer, artists included: Douglas Gordon, David Lamelas, Hito Steyerl, Arnold von Wedemeyer, Clemens von Wedemeyer, Carey Young
The Philosophy of Money / A Filosofia do Dinheiro2010
Museu da Cidade (City Museum), Lisbon
Taipei Biennial 20102010
Taipei Museum of Fine Arts, Taipei
One can easily imagine an exhibition of political art, but what about an exhibition on the politics of art? Taipei Biennial 2010 is an attempt to present the politics of art in popular biennialism through exhibition per se. By exploring what a biennial can do and can be, a moment of restraint is afforded in which to set aside political or ethical tirades on global injustice and to reflect on the biennial’s origin, function, size and scale. Artist list: Lara Almarcegui Can Altay Chang Yun-Han Burak Delier Chris Evans Shahab Fotouhi Irwin Christian Jankowski Jao Chia-en Silvia Kolbowski Pak Sheung Chuen Olivia Plender Michael Portnoy Allan Sekula Larry Shao Shi Jin-hua Hito Steyerl Superflex Mario Garcia Torres Claude Wampler Wang Ya-Hui Wong Wai-Yin Yeh Wei-Li Carey Young
The Perfect Exhibition2010
Heidelberger Kunstverein, Heidelberg, Germany
Artist list: Marcus Coates, Carl Michael von Hausswolff, Habib Asal, bioswop.net, Christian Jankowski, Alicja Kwade, Paul Wiersbinski, Adrian Williams, Carey Young
World as Stage (Die Welt als Bühne)2009
Neue Berliner Kunstverein (NBK), Berlin
Many artists today work with the theatrical aspect of staging the self in everyday life. The exhibition Die Welt als Bühne (The World as Stage) uses the increasing trend towards lifestyle theater as an opportunity to confront ourselves with alternative life models and to show how existing forms of self-staging can be reinterpreted in an emancipatory fashion. Artists: Tamy Ben-Tor, Claus Carstensen/Peter Bonde/Thomas Andersen, Mads Lynnerup, Jan Mančuška, HuskMitNavn, Jan Northoff, Tilman Wendland, Carey Young Book Series “n.b.k. Discourse” To accompany the exhibition, Verlag der Buchhandlung Walther König published 'Die Welt als Bühne' by Solvej Helweg Ovesen, 126 pages with color illustrations, German/English.
Feedforward. The Angel of History2009
LABoral Centro de Arte y Creación Industrial, Gijón, Spain
Feedforward. The Angel of History addressed the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces—largely enabled by the “progress” of digital information technologies—inexorably feed us forward. The exhibition, curated by Steve Dietz (Artistic Director of the 01SJ Biennial) and Christiane Paul (Director of the Media Studies Graduate Program, New School, NY; Adjunct Curator of New Media Arts, Whitney Museum of American Art) features 29 artworks by 27 artists and artist teams. Artists included: AES+F, Paul Chan, Nancy Davenport, Cao Fei, Daniel García Andújar, Fernando García-Dory, Goldin + Senneby, Harwood, Wright, Yokokoji, Knowbotic Research + Peter Sandbichler, Langlands + Bell, Jennifer + Kevin McCoy, Margot Lovejoy, Naeem Mohaiemen, Carlos Motta, Trevor Paglen, Carey Young
Frieze Projects, Frieze Art Fair
Curators Filipa Oliveira and Miguel Amado presented a group of artists’ commissions that played on the transactional nature of the art fair. From the Arte Contempo stand, visitors were invited to engage in a number of activities that reversed or subverted the usual exchange of money for goods or services. Artists: Fia Backstrom, Julieta Aranda and Anton Vidokle (e-flux), Carolina Caycedo, Carey Young
Carey Young: Uncertain Contracts2009
Museum of Art, Rhode Island School of Design
Solo exhibition. Carey Young explores current political, social and ethical issues by focusing on increased commercialization in both personal and public domains. This exhibition features a selection of the artist's videos and works in other media, as well as her vinyl wall installation Declared Void (2005), recently acquired by the Museum.
Void of Memory2009
Artsonje Center, Seoul
Artists included: Ai Weiwei, Christian Boltanski, Nina Fischer & Maroan el Sani, Shilpa Gupta, Mona Hatoum, Runa Islam, Chosil Kil, Lee Bul, Christian Marclay, Aiko Miyanaga, Shimabuku, Taro Shinoda, Bob and Roberta Smith, Nedko Solakov, Camila Sposati, Sulki & Min, U Sunok, Jun Yang, Yangachi, Tomoko Yoneda, Carey Young
City Art Gallery, Leicester
Contemporary Art Museum Saint Louis
Telephonic Works (art Using Telephones)
A series of telephone call centre works presented as Young's first museum solo show in the United States. The museum visitor, upon picking up each phone, becomes both a listener and a performer, in dialogue with live agents scripted and trained by the artist.
The Power Plant, Toronto, Canada
Solo survey show of Carey Young's works since 1999, staged in conjunction with a concurrent solo show by Lawrence Weiner at the same venue.
Paula Cooper Gallery, New York
Works by Jonathan Borofsky, Sam Durant, Wayne Gonzales, Hans Haacke, Glenn Ligon, Walid Raad, Kelley Walker, Meg Webster, and Carey Young. From Jonathan Borofsky’s painting of the Soviet flag to Hans Haacke’s reappropriations of Paine Webber’s advertisements, from Sam Durant’s mirror spray-painted with slogans from May 1968 to Carey Young’s contractual take on constitutional rights, this show presents a variety of artistic responses to social upheavals, past and present, in their differences and striking sameness.
The Space of the Work and the Place of the Object2009
SculptureCenter, New York
'The Space of the Work and the Place of the Object' considered the status of the art object within the context of its production. The artists in this exhibition all make objects that reflect the facts and fissures of their production. Each artwork is concerned with the conditions in which art and meaning are made and circulated, turning them to their own advantage, or sometimes ignoring or disrupting them. Artists: Walead Beshty, Melanie Gilligan, Gabriel Kuri, Michael Rakowitz, Blake Rayne, Karin Schneider, Simon Starling, Carey Young
Hayward Gallery Project Space, London
Coinciding with the 40th anniversary of the Apollo 11 lunar landing, Deceitful Moon is an exhibition in the Hayward Gallery Project Space that explores the moon as a site for misinformation, misrepresentation and mistrust. Curated by Tom Morton. Featured artists: MATTHEW DAY JACKSON & DAVID TOMPKINS, GRANT MORRISON & CAMERON STEWART, ALEKSANDRA MIR, TOM DALE, WILLIAM HOGARTH, AMALIA PICA, SAM PORRITT, KAREN RUSSO, JOHANNES VOGL, KEITH WILSON, CAREY YOUNG
How to do Things with Words2009
Center for Curatorial Studies, Bard College, New York
Casino Luxembourg, Luxembourg
An exhibition curated by Maria Lind, Zoltan Eric and Enrico Lunghi. The invited artists all share an inquisitive stance towards the social realities produced by these means of 'soft manipulation': surveillance, data gathering, biometric techniques of identification and above all the manipulative potential of the mass media. The artists included in the show were: Köken Ergun, Sagi Groner, Per Hasselberg, Saskia Holmkvist, Andreja Kuluncic;, Julia Meltzer & David Thorne, Carlos Motta, Rabih Mroué, An-My Lê, Ferhat Özgür, Jenny Perlin, Lisi Raskin, Bert Theis, Måns Wrange, Carey Young, Katarina Zdjelar, Artur Zmijewski
Centre Pompidou, Paris
A group exhibition featuring written works by artists, to be experienced under hypnosis. The viewer was hypnotised by a hypnotist before experiencing the exhibition. Artists included: Pierre Huyghe, Will Holder, Joachim Koester, Carey Young
Carey Young: Mutual Release2008
Thomas Dane Gallery, London
CAREY YOUNG - MUTUAL RELEASE Thomas Dane Gallery and ELECTRA are pleased to announce Mutual Release, a new commission consisting of print, text and video works based on a legal theme by the artist Carey Young. Can the legal contract be a form of art? Working closely with a team of lawyers specialising in media and intellectual property law, Carey Young has created a series of new works which invite the viewer to enter into, or be privy to contractual relationships based on viewing, owning and collecting art. By treating the law as an artistic medium, the artist allows the viewer to experience the otherwise abstract space of the contract. In the show, visitors will be offered a free work, which acquires the status of a work of art only once it has been signed by them. From then on, the owners and the artist enter into a contract, which ends only with the death of the artist and / or the owner. Art becomes bound to life and death. In a text work which plays on the legacies of Institutional Critique, the artist and the gallery enter into a contract which offers each 'complete mutual release'. In a new video, we see an actor interpret legal terms from a commercial contract as a form of acting exercise. With legally-trained executives increasingly running movie studios, news agencies and universities, Mutual Release addresses the legal 'lock down' of contemporary cultural life. Through this exhibition the artist further develops her interest in both the performative and the conceptual dimension of the law to explore its limits and to destablise its language. --- Offer and Exchange: Sites of Negotiation in Contemporary Art is a series of site-specific commissions inviting artists using legal contracts as artistic frameworks. Each commission has been conceived for one of the following sites in which art is made visible: (i) the commercial gallery; (ii) the corporate collection; (iii) the art magazine; (iv) the public institution; (v) the private collection; (vi) the auction house; (viii) the art fair. Mutual Release by Carey Young explores contractual relationships in the context of the commercial gallery. Carey Young has exhibited widely both in the UK and internationally, recently with a solo show at Paula Cooper Gallery, New York (2007), and exhibiting in Performa 05 Biennial (2005), at Henry Moore Institute, Leeds (2004) and John Hansard Gallery, Southampton & touring show (2001-2). Her work has appeared in numerous group shows including: A Short History of Performance Part II, Whitechapel Gallery, London (2003); Sharjah Biennial 7, Sharjah (2005), British Art Show 6, BALTIC, Newcastle & tour (2005-06); How to Improve the World, Hayward Gallery, London (2006); Moscow Biennale 2, Moscow (2007); Islands and Ghettoes, Heidelberger Kunstverein (2008), Business as Usual, Museum of Contemporary Art, Detroit (2008), and the performance series Hey Hey Glossolalia, curated by Creative Time, staged in New York (May 2008). In 2009 she will have solo shows at The Power Plant, Toronto, the Museum of Contemporary Art St Louis and Midway Contemporary Art, Minneapolis. For more info on her work see www.careyyoung.com Legal Team Robert Lands is a Partner and Head of Intellectual Property & Media at London-based law firm Finers Stephens Innocent. Dr. Jaime Stapleton is an Associate Research Fellow at the School of Law, Birkbeck College, University of London. Curators Daniel McClean is a curator and practising lawyer specialising in art law, media
Ours: Democracy in the Age of Branding2008
New School, New York
The exhibition wpresented a range of works by emerging and established international artists that reflected on some of the desires generated and satisfied by democracy—such as choice, participation, freedom of expression, a sense of belonging and the promise of individual success—and assessing whether these values have become associated with the idea of democracy in the way a consumer brand acquires value. Artists: Liam Gillick, Alexis Bhagat, Kota Ezawa, Runo Lagomarsino, Dave Muller, Nadine Robinson, Andrea Geyer and Carey Young, Paul Chan, Sam Durant, Sharon Hayes, Susan Hiller, Ashley Hunt, Emma Kay, Komar & Melamid, Asaf Koriat, Miguel Luciano, Aleksandra Mir, Timo Nasseri, Ariel Orozco, Trevor Paglen, Anri Sala, Hank Willis Thomas, Johan Tiren, Brian Tolle, Judi Werthein, and The Yes Men.
Business as Usual2008
Business as Usual explores the complex intersection of art and commerce over the past decade. Both individually and collectively, the artists featured in the exhibition — Bernadette Corporation, Guyton\Walker, Josephine Meckseper, Carey Young, and Sislej Xhafa — explore the role and function of art in a culture increasingly dominated by the dictates of the market, both artistic and otherwise.
Hey Hey Glossolalia: Exhibiting the Voice2008
Various venues in New York City
In May 2008, Creative Time presented Hey Hey Glossolalia, a month-long series of events that explored the use of the voice in contemporary art. The projects included in Hey Hey Glossolalia combined sound, image, performance, and writing to investigate issues not limited to, the peripheries of speech, the charged relationship between speaker and audience, and how the artist (and curator) can speak with and through the voice of others. Artists included: RYan Gander, Liam Gillick, Mark Leckey, Genesis P-Orridge, Adam Pendleton, Frances Stark, Bedwyr Williams, Carey Young
Oppositions and Dialogues2008
Lewis Glucksman Gallery, Cork (& tour to Kunstverein Hannover)
Les Ateliers de Rennes Biennial of Contemporary Art, Rennes2008
Les Ateliers de Rennes
Montehermoso Cultural Centre
Islands and Ghettoes2008
Heidelberger Kunstverein, Heidelberg, Germany
The exhibition ISLANDS+GHETTOS drew attention to the strategies of territorial isolation and social seclusion in 21st century cities. Artists included: Alexander Apostol, Atelier Van Lieshout, Dorit Margreiter, Peter Coffin, Harun Farocki, Peter Fend, Andreas Fogarasi, Kristjan Gudmundsson, Emily Jacir, Armin Linke, Eyal Weizman in cooperation with Renato Rinaldi, Rivane Neuenschwander, Ed Osborn, Marjetica Potrc, Sean Snyder, Javier Téllez, Carey Young.
Paula Cooper Gallery, New York
Paula Cooper Gallery is pleased to present If/Then, an exhibition of new work by London-based artist Carey Young, which will run from December 1, 2007, through January 12, 2008. The exhibition includes works that develop Young's interest in corporate and legal languages and their effects on human agency. For example, Cautionary Statement is a text based on corporate disclaimers published in annual reports that function as legal devices allowing a company to make “forward-looking” statements (statements about the future), while protecting it if those statements don’t come to pass. The placement of the piece above the receptionist’s desk highlights the context of the gallery as a space in which such forward-looking statements may or may not be uttered. Body Techniques (2007) is a new series of photographs that considers the interrelationships between art and globalized commerce. The title of the series refers to a phrase originally coined by Marcel Mauss and developed by Pierre Bourdieu as habitus, which describes how an operational context or behavior can be affected by institutions or ideologies. Set in the vast building sites of Dubai and Sharjah’s futuristic corporate landscape, we see Young alone and dressed in a suit, her actions reworking some of the classic performance-based works associated with Conceptual art, including pieces by Richard Long, Bruce Nauman, Mierle Laderman Ukeles, Dennis Oppenheim and Valie Export. In thus recasting earlier works centered around the physicality of the body in time and space, it is ambiguous whether the artist is molding herself to the landscape or exploring ways of resisting it. The locations for Young's photographs are a series of empty, uninhabited 'new build' developments reminiscent of Las Vegas, rising from the desert's tabula rasa aimed at bombastic luxury and spectacle and intended for thousands of incoming Western corporate executives. The architectural style is consummate ‘global village’ - a business theme park composed of swathes of multinational HQs and Italianate McVillas. These non-places could eventually compose an entire world-view: a hyperreal, corporate vision of utopia. Half-constructed backdrops are used as a 'stage' for the action, with the artist appearing as one tiny individual, overwhelmed, dislocated from, or even belittled by the corporate surroundings, while dressed up to play a role within it. The exhibition also includes Product Recall, a new video in which the artist is asked to match from memory a series of advertising slogans with their corresponding brand. The slogans belong to global companies (many of which are active as art sponsors) that brand themselves around “imagination” or “inspiration.” It is unclear whether the artist is attempting to remember the slogans, or to forget them. For Inventory, the artist weighed herself and used scientific calculations of the mass and current market value of each chemical element in her body to determine her “total market value.” This amount is expressed in Pounds Sterling on the wall and is accompanied by a print of the calculation data. Since the physique of the artist and the market value of her constituent chemical elements may fluctuate over time, future versions of this work may display a different value. The text for Subroutine is based on a 1935 poem by the Czech lyric poet Frantisek Halas translated in Perl, a universally popular computer language used to write applications for desktop computers. A subroutin
Modern Art Oxford, Oxford, UK
Speechcraft features a meeting of the international public speaking club Toastmasters. Widely used by businesspeople as well as trainee lawyers and politicians, Toastmasters trains people from all walks of life to construct their public presence so that they look and sound like ‘leaders’. Speechcraft is a performance work which takes a Toastmaster training session as a readymade performative situation. The artist inserts specific subject matter for speakers to respond to by giving an impromptu speech. The subject matter given to the speakers were all objects from Carey Young's studio which she personally finds inspiring. As with every Toastmaster meeting, all the resulting speeches were judged and evaluated by other Toastmaster members, as well as the audience, in a cycle of inspiration, review, and reward. Each time the piece is staged it alters due to the unique contributions of the speakers taking part, the audience's reactions and involvement, and the inspirational objects from the artist's studio, a collection which grows and changes as she develops new artistic works. Carey Young has written: “Speechcraft is in many senses an opportunity for the invited public to think about the relationship between art, artists and the public by presenting Toastmasters as a kind of alternative space of creativity, interpretation, ritual and critique.”
The Dotted Line2007
BRIC Rotunda Gallery, Brooklyn, New York
Curated by Colby Chamberlain, winner of the Fall 2007 Lori Ledis Award for Curatorial Initiative What are the aesthetics of administration? The Dotted Line presented work that assumes the form of official documents ubiquitous to everyday life. Artists in this exhibition were Art Hijack Past (Trong Nguyen and Elana Rubinfeld), Kate Bingaman-Burt, Stephanie Brooks, Eric Doeringer, Patrick Killoran, Jill Magid, Ed McGowin, Filip Noterdaeme (The Homeless Museum), Michael Rakowitz, and Carey Young. The work investigated the absurdities inherent to bureaucratic procedures, as well as the emotional content that is often obscured by institutional language.
Cristina Guerra Contemporary Art, Lisbon
Curated by Jens Hoffmann, with works by Art & Language, Jennifer Allora & Guillermo Calzadilla, Tauba Auerbach, John Baldessari, Daniel Buren, Arabella Campbell, Maria Eichhorn, Michael Elmgreen & Ingar Dragset, Ceal Floyer, Andrea Fraser & Jeff Preiss, Ryan Gander, Jordan Kantor, John Knight, Louise Lawler, Tim Lee, Renata Lucas, Shana Lutker, Kris Martin, Jonathan Monk, Roman Ondák, Raymond Pettibon, Tino Sehgal, Andreas Slominski, Ron Terada, Mario Garcia Torres, and Carey Young. This gathering of around thirty international artists presents instances where the status of the artwork and its display in a commercial setting was conceptualized and foregrounded.
Brooklyn Museum, Brooklyn, New York
Artists included Emily Jacir, Anna Gaskell, Tania Bruguera, Sigalit Landau, Tracey Emin, Sam Taylor-Wood, Sarah Lucas, Pipilotti Rist, Kara Walker, Tracey Rose, Carey Young. Global Feminisms was the first international exhibition exclusively dedicated to feminist art from 1990 to the present. The show consisted of work by approximately eighty women artists from around the world. Its goal was not only to showcase a large sampling of contemporary feminist art from a global perspective but also to move beyond the specifically Western brand of feminism that has been perceived as the dominant voice of feminist and artistic practice since the early 1970s. The exhibition was arranged thematically and features the work of important emerging and mid-career artists.
Midway Contemporary Art, Minneapolis
Midway Contemporary Art, Minneapolis, is pleased to announce Consideration, a solo show by London-based artist Carey Young which features a series of legally-enforceable contracts between artist and viewer.
Stock Zero: The 2nd Moscow Biennial of Contemporary Art, curated by Nicholas Bourriaud2007
Moscow Federation Tower, Moscow
An exhibition exploring the 'landscape' of capitalism: artists postproducing logos, brands, products and signs, along with artists describing the processes of the capitalist economy or exploring its margins. Artists: Peter Сoffin, Loris Greaud, Kendell Geers, Jonathan Hernandez, Josephine Meckseper, Flavia Muller Medeiros, Gianni Motti, Elena Nemkova, Ester Partegas, Daniel Pflumm, Franck Scurti, Meredyth Sparks, Simon Starling, Superflex (Rasmus Nielsen, Jakob Fenger and Bjørnstjerne Christiansen), Barthelemy Toguo, Johannes Wohnseifer, Carey Young.
Landesgalerie, Linz, Austria
Artists included Martin Kippenberger, Christian Jankowski, Peter Land, Sean Landers, Alexis Rockman, Julian Rosefeldt, Carey Young. The exhibition brought together key positions within contemporary art that engage in different ways with the topic of failure. The spectrum ranged from psychological aspects such as coping with individual failure and the fear of failing via socio-political problematics to ironic interpretations of failure. With exhibition catalogue.
Bloomberg Space, London
From 60 to 7: The Politics of the 'Private'2007
Henie Onstad Art Centre, Oslo
Body: New Art from the UK2006
Vancouver Art Gallery, Vancouver
This collaborative exhibition, co-curated by the Vancouver Art Gallery and the British Council, presented the work of 15 British artists in Canada’s foremost contemporary art museum, and subsequently toured to museums in Ottawa, Oakville, Edmonton and Nova Scotia. Artists included: Fiona Banner, Martin Boyce, Jake and Dinos Chapman, Tacita Dean, Tracey Emin, Douglas Gordon, Melanie Jackson, Sarah Lucas, Cornelia Parker, Sam Taylor-Wood, Mark Wallinger, Rebecca Warren, Gillian Wearing, Cathy Wilkes and Carey Young. The artists represented are neither of a single generation or geographical location but share common concerns, along with eclectic working methodologies; the exhibition encompassing installation, sculpture, video, painting and drawing.
Arbeit / Labor/ Work2006
Lewis Glucksman Gallery, Cork (& tour to Kunstverein Hannover)
British Art Show 62006
Tour of major galleries in England
The selection concentrated on artists who have made a significant contribution to British art over the past five years. The British Art Show 6 is organised by the Hayward Gallery as part of its Hayward Gallery Touring programme. The tour began at Baltic, Gateshead and continued to Manchester, Nottingham and Bristol. Artist List: Tomma Abts Haluk Akakçe Phillip Allen Tonico Lemos Auad Claire Barclay Anna Barriball Breda Beban Zarina Bhimji Neil Cummings and Marysia Lewandowska public works Ergin Çavuþoðlu Gordon Cheung Adam Chodzko Marcus Coates Nathan Coley Phil Collins Enrico David Chris Evans Doug Fishbone Siobhán Hapaska Roger Hiorns Matthew Houlding Richard Hughes Marine Hugonnier Gareth Jones juneau/projects/ Kerstin Kartscher Janice Kerbel Mark Leckey Hew Locke Andrew McDonald Christina Mackie Goshka Macuga Daria Martin Heather and Ivan Morison Rosalind Nashashibi Nils Norman Saskia Olde Wolbers Silke Otto-Knapp Toby Paterson Paul Rooney Eva Rothschild Zineb Sedira Lucy Skaer Alia Syed David Thorpe Mark Titchner Rebecca Warren Gary Webb Carey Young
Jump into Cold Water2006
How to Improve the World2006
Hayward Gallery, London
An exhibition of British art from the last six decades. How to Improve the World explored what is arguably the most fertile era in the history of British art, a period when artists working in this country have a made a global impact. Artists included: Francis Bacon, Patrick Caulfield, Jeremy Deller, Lucian Freud, Gilbert & George, Liam Gillick, Mona Hartoum, Barbara Hepworth, Susan Hiller, Damien Hirst, David Hockney, Richard Long, Sarah Lucas, Steve McQueen, Henry Moore, Chris Ofili, Bridget Riley, Mark Titchner, Cereth Wyn-Evans, Carey Young.
Happy Believers: Werkleitz Biennale2006
Werkleitz Biennale, Halle, Germany
Mostly Harmless: a Performance Series2006
Govett Brewster Art Gallery, Plymouth, New Zealand
Paula Cooper Gallery, New York
Part of PERFORMA 05, the the first biennial of visual art performance in New York City. PERFORMA presents Consideration, London-based artist Carey Young’s first solo exhibition in the US. It features a series of legally-enforceable contracts between artist and viewer and is hosted by Paula Cooper Gallery, New York. Created in conjunction with a legal team, the text, video and performative works entice the viewer into agreements that explore notions of individual autonomy, freedom of speech and the social contract. Engaging participants in a series of contractual relationships, Young dissects the viewer’s experience of the exhibition, from accepting the exhibition invitation, to entering the exhibition space, to voicing an opinion about the works. With legally-trained executives increasingly running movie studios, news agencies and universities, Consideration interrogates the legal ‘lock down’ of contemporary cultural life and develops Young’s interest in legal structures, language and the performative.
IBID Projects, London
Disclaimer was an exhibition of work by Carey Young, which was commissioned and first shown by the Henry Moore Institute, Leeds in 2004. Disclaimer presents new text and video works which explore the connections between legal disclaimers and notions of negative space.
E-flux Video Rental2005
Trafo Gallery, Budapest
Trafo Gallery is pleased to announce a solo show by London-based artist Carey Young. The show will feature Young's notable video 'I am a Revolutionary' (2001) alongside a new performance work developed especially for the exhibition.
Critical Societies - Art, Critique and the Promises of Capitalism2005
Group show with international artists including Martha Rosler, Allan Sekula, Runa Islam, Stephen Willats, LA Raeven, John Baldessari, Carey Young.
Making Things Public: Atmospheres of Democracy2005
curated by Bruno Latour and Peter Weibel. The exhibition Making Things Public addresses the challenge of renewing politics by applying to it the spirit of art and science. This unusual exhibition builds on the Iconoclash exhibition (ZKM 2002), which dealt with the crisis of representation in art, whereas Making Things Public tackles the problem of representation in politics. In this pioneering project over one hundred artists, scientists, sociologists, philosophers and historians re-explore the term 'politics'.
What Business Are You In?2005
Contemporary Art Center, Atlanta
Sharjah Biennial 72005
Sharjah Art Foundation
artists included: - Allan Sekula - Kelley Walker - Santiago Sierra - Tarek Al-Ghoussein -Terry Atkinson - Maja Bajevic - Mohamed El Baz - Ursula Biemann - Luchezar Boyadjiev - Sonia Boyce - Christoph Buchel & Giovanni Carmine - Claude Closky - Phil Collins - Minerva Cuevas - Zeyad Dajani - Rineke Djikstra - Heri Dono - Solvej Dufour Andersen - Fouad Elkoury - Anne-Marie Filaire - Yang Fudong - Carlos Garaicoa - Rula Halawani - Karin Hanssen - Dirk Herzog - IRWIN - Emily Jacir - Mohammed Kazem - San Keller - Anna Kleberg - - Tim Lee - Zoe Leonard - Tracey Moffatt - Leyla Al Mutannakker - Ingrid Mwangi - Moataz Nasr - Olaf Nicolai - Otobong Nkanga - Marcel Odenbach - Mark Pilkington - Marwan Rechmaoui - Mario Rizzi - Natascha Sadr Haghighian - Jayce Salloum - Shirana Shahbazi - Solmaz Shahbazi - Hassan Sharif - Suha Shoman - Nedko Solakov - Beat Streuli - Vivan Sundaram - Erik Van Lieshout - Nari Ward - Carey Young
Tirana Biennale 32005
Various venues across Tirana
Arbeit / Labor/ Work2005
Galerie im Taxispalais, Innsbruck
The theme of this exhibition project was work / labor, which, over the past four decades, has become a central focus of the visual arts. Proceeding from artistic positions from the 1960s and 1970s, and extending to very recent works, the exhibition deals with issues such as women’s work, globalization and globalized gender relations or forms of transition from socialist to capitalist work. Artists included: Conrad Atkinson, Ursula Biemann, Harun Farocki, Paul Graham, Mary Kelly, Mierle Laderman Ukeles, Adrian Paci, Martha Rosler, Mladen Stilinović (HR), Anne Tallentire (UK), Jeff Wall, Carey Young
Henry Moore Institute
Following her fellowship at the Henry Moore Institute, Carey Young (b. 1970) will make four new works for Gallery 4. Young is a London-based artist who has become recognised for works across a variety of media which investigate the increasing incorporation of the personal and public domains into the realm of the commercial. Young’s show at the Henry Moore Institute will explore the connections between legal 'disclaimers' and notions of negative space.
Kunstverein Muenchen, Munich, Germany
As part of her series of virus-like interventions into the marketing and communications structure of the Kunstverein, two new commissions by Carey Young (London) combine specific 'pro-revolution' references within a system of marketing display and distribution. Curated by Maria Lind.
Cycle Tracks will Abound in Utopia2004
Australian Centre for Contemporary Art, Melbourne
Tales of the City (curated by the British Council)2004
Arte Fiera, Bologna
I Believe in You, digital commission by Film & Video Umbrella, launched at Tate Britain, London.2004
Tate Britain, London
I Believe in You was an internet-based project which employed the use of text messaging and which was launched at Tate Britain.
I am not a feminist. I am normal.2004
Austrian Cultural Forum, London
Black Friday (Excercises in Hermeneutics)2004
Galerie Kam, Berlin
Index, Contemporary Art Foundation, Stockholm, Sweden
Index announces Carey Young's first solo exhibition in Sweden. Carey Young, who is based in London, has become recognised for her works across a variety of media which investigate the increasing incorporation of the personal and public domains into the realm of the commercial. Young's projects often centre on notions of language, training and performance, and take an ambiguous political stance in order to create a web of complex associations and questions for the viewer. At Index, Young will show a variety of recent works across media including video, slide projection and will debut Colour Guide, a new installation exploring the implications of the increasing corporatisation of the photographic industry.
A Short History of Performance, Part II.2003
Whitechapel Gallery, London
A Short History of performance Part II was the second in a series of performance seasons at the Whitechapel. It was curated by Iwona Blazwick and Andrea Tarsia. Artists included Joseph Beuys, Andrea Fraser, Mark Dion, Robert Morris, Inventory, Walid Raad/The Atlas Group, Martha Rosler and Carey Young.
International tour organised by the British Council
An exhibition of video-based works presenting a new wave of UK artists currently appearing in major exhibitions such as Documenta, the Turner Prize and Beck's Futures. A major focus of the exhibition examines the artist as an outsider who operates within and plays with pre-determined social structures. Curated by the British Council. Artists included: Adam Chodzko, Volker Eichelmann & Roland Rust, Folk Archive, Luke Fowler, Rob Kennedy, Torsten Lauschmann, Mark Leckey, Hilary Lloyd, Oliver Payne & Nick Relph, Paul Rooney, Stephen Sutcliffe, Szuper Gallery, Wolfgang Tillmans, Mark Titchner, Carey Young. The exhibition opened at the State Russian Museum, St. Petersburg, before travelling to Moscow and touring Russia for 3 months. European and South American tours followed.
World Question Centre (Reloaded), curated by Jens Hoffman2003
Moskva ter / Moscow Square2003
Museum Ludwig, Budapest
ICA, London and tour
Dust to Dusk2003
Konsthall Charlottenborg, Copenhagen
Major exhibition curated by Molly Nesbit, Hans Ulrich Obrist and Rirkrit Tiravanija. Part of the 50th Venice Biennale.
24/7: Vilnius/New York, curated by Raimundas Malauskas2003
Contemporary Art Centre, Vilnius
artists included: 16 Beaver Street Group, Jennifer Allora & Guillermo Calzadilla, Bik Van der Pol, Daniel Bozhkov, Bureau of Inverse Technology, Club Mikshys, Phil Collins, Rainer Ganahl, Hope Ginsburg, Tehching Hsieh, Emily Jacir,Kristina Inciuraite, Natalie Jeremijenko, Matthew Keegan, Matthieu Laurette, Pia Lindman, Adrian Piper, William Pope L., M&M Proyectos, Jonathan Monk, Radical Software Group / Edas Telycenas, Arturas Raila, Martha Rosler, Beatriz Santiago, Trebor Scholz, Tino Sehgal, Temporary Services, Valie Export Society, Andy Warhol, Carey Young
Gesellschaftsbilder/ Images of Society2003
Kunstmuseum Thun, Thun, Austria
The exhibition Gesellschaftsbilder presented works dealing with contemporary society by almost a dozen international artists. These works mirror, comment or reflect on structures, organizations or systems of human community. Participating artists: Pierre Bismuth, Hans-Peter Feldmann, Mona Hatoum, Thomas Hirschhorn, William Kentridge, Ulrike Kuschel, Guillermo Kuitca, Graham Little, Juan Muñoz, Olaf Nicolai, João Onofre, Anri Sala, Rosemarie Trockel, Carey Young
Exchange and Transform (Arbeitstitel), curated by Maria Lind2002
Kunstverein Muenchen, Munich, Germany
Group exhibition featuring the works of Simon Starling, Minerva Cuevas, Vera Lutter, Bik van der Pol, Oliver Ressler, Carey Young and others
STRIKE (curated by Gavin Wade)2002
Wolverhampton Art Gallery, Wolverhampton
Nothing (curated by Ele Carpenter and Graham Gussin)2001
Northern Gallery of Contemporary Art, Sunderland; Rooseum, Malmo; CAC, Vilnius; Mead Gallery, Warwick
Carey Young: Everything You've Heard is Wrong2001
Wilkinson Gallery, London
Week-long screening of Carey Young's video 'Everything You've Heard is Wrong'
The Communications Department (curated by Alex Farquharson)2001
Wilkinson Gallery, London
Fig-1 staged Carey Young's first solo exhibition. The exhibition featured 'Nothing Ventured', a new telephone-based work by the artist. Picking up a phone receiver located in the gallery, the visitor was connected direct to a telephone call centre located in Souh-East England which was hired by the artist to ‘represent’ her. Resulting conversations between callers and call centre agents were recorded and transcribed and form the documentation of the piece, which has subsequently been exhibited in its own right on a number of occasions.
Ausgetraumt (Without Dreams)2001
Major group exhibition curated by Kathrin Rhomberg, including works by Pawel Althamer, Joze Barši, Thomas Baumann, Cezary Bodzianowski, Copenhagen Free University (Henriette Heise & Jakob Jakobsen), Josef Dabernig, Ricarda Denzer, Tomislav Gotovac, Renée Green, Elisabeth Grübl, Florian Hecker, Patrick Jolley & Reynold Reynolds, Martin Kaltner, Július Koller, N.I.C.J.O.B., Deimantas Narkevicius, Roman Ondák, George Ovashvili, Mladen Stilinovic, Werner Würtinger, Carey Young.
Business as Usual2001
John Hansard Gallery, Southampton and tour
The first touring solo show by Carey Young, curated and organised by Film and Video Umbrella, London and featuring a number of newly commissioned works in video, photography and installation. The show originated at John Hansard Gallery, Southampton before touring to Angel Row, Nottingham and Firstsite, Colchester. Alongside the show, the first monograph on the artist's work, 'Carey Young: Incorporated' was published by Film and Video Umbrella in association with John Hansard Gallery.
Continuum001, curated by Rebecca Gordon Nesbitt2000
Group show including works by Liam Gillick, Superflex, Nathan Coley, Julia Scher, Carey Young
Media_Art_2000, Seoul Biennale (curated by Jeremy Millar & Barbara London)2000
Seoul Museum of Contemporary Art
EXIT, Art & Cinema at the End of the Century1999
Chisenhale Gallery, London
MayDay: Communities and Communication (curated by Jeremy Millar)1999
The Photographers' Gallery, London
CRASH! Corporatism and Complicity1999
Atomic (curated by The Arts Catalyst)1998
Touring group exhition on the theme of the nuclear age, with works by James Acord, Mark Waller, Carey Young.
Zones of Disturbance / Zonen der Ver-Storung1997
Steirisher Herbst, Graz
Group show with works by Pierre Huyghe, Elija-Liisa Athila, Phyllis Baldino, Heath Bunting, Olga Chernysheva, Serge Comte, Veronika Dreier, Rainer Ganahl, Johan Grimonprez, Graham Harwood, Deborah Holland, Christian Jankowski, LOKAL TV, Kristin Lucas, Dorit Margreiter, Tracey Moffatt, Ariane Müller, Muntean/Rosenblum, Anatoly Osmolovsky, Tony Oursler, Mathias Poledna, Linda Post, Graham Ramsay, Friona Rukschcio, Wally Salner & Meike Schmidt-Gleim, Ann-Sofi Sidén, Peter Spillmann, Lisa Strömbeck, Alma Suljević, Milica Tomić, Momoyo Torimitsu, Gillian Wearing, Carey Young and Jasmila Žbanić
In 2005 I devised the concept of ‘law as an artistic medium’, and have created a large body of artistic work which explores this idea. These works encompass photography, video, performance and text, and also take the form of legal instruments including contracts, offers and disclaimers. As experimental legal forms, the works often operate at the limits of what is legally possible, and explore law as a form of performance, literature and fiction. Through an illustrated talk I propose to discuss a number of these projects and their implications as both works of art and ‘works of law’. As such, the presentation will consider some ways in which visual art can address (and define) not only aesthetics of law, but law’s ‘plasticity’.
Contemporary Art in the United Kingdom features over 50 of the region’s most prolific artists including Gillian Wearing, Steve McQueen, Fiona Banner, Bob and Roberta Smith, Chris Ofili, Douglas Gordon and Sarah Lucas, alongside the work of emerging talents. It also includes reprinted essays by John Roberts, Malcolm Dickson and Nicolas Bourriaud as well as a specially commissioned essay, An ‘Other’ History: Feminist Art in Britain since 1970 by Amelia Jones.
Theoretical texts and visual essays by thirty artists participating in the exhibition Per/form at CA2M Centro de Arte Dos de Mayo, including musical scores, drawings, documents, and photographs, which all work together to generate various perspectives on performativity through different theoretical premises (politics, experience, immateriality, action, realization, manifestation) and also through the artists’ many diverging perspectives. Contributions by Jean-Pierre Cometti, Amelia Jones, Antonio Negri, Chantal Pontbriand, José Antonio Sanchez; visual essays by Mathieu Abonnenc, Jennifer Allora & Guillermo Calzadilla, Brad Butler & Karen Mirza, Geneviève Cadieux, Adrian Dan, Angela Detanico & Rafael Lain, Carole Douillard, Cevdet Erek, Köken Ergun, Esther Ferrer, Chiara Fumai, Simon Fujiwara, Ryan Gander, Dora García, Camille Henrot, Sandra Johnston, Latifa Laâbisi, La Ribot, Ines Lechleitner, Franck Leibovici, Cristina Lucas, Haroon Mirza, Roman Ondak, Falke Pisano, Chloé Quenum, Pedro Reyes, Julião Sarmento, Ulla von Brandenburg, Carey Young, Héctor Zamora
Carey Young’s artistic work often focuses on the growing influence of corporations and the legal sphere on individual and collective subjectivity, which she explores using a variety of media including video, photography, installation, and performance. In this article, which takes the form of an artist’s statement, she discusses various artistic works of hers in relation to their interrogations of contemporary neoliberalism.
Steeped in the tradition of landscape art, walking has been at the heart of many art practices and performances for decades now. This exhibition, focusing on artists’ walks and journeys, both literal or metaphorical is the first to examine the astonishingly varied ways in which artists since the late 1960s have used what would seem like a universal act – of taking a walk – as a means to create new types of art. Artists : Marina Abramovic, Francis Alÿs, Tim Brennan, Atul Bhalla, Janet Cardiff, Sophie Calle, Rachel Clewlow, Mike Collier, Sarah Cullen, Chris Drury, Hamish Fulton, Alec Finlay, Dan Holdsworth, James Hugonin,Tim Knowles, Richard Long, Melanie Manchot, Bruce Nauman, Julian Opie, Simon Pope, Plan B, Brendan Stuart Burns,Tim Robinson, Brian Thompson, Rachel Reupke, Richard Wentworth, Jeremy Wood, Wrights & Sites, walkwalkwalk, Carey Young
Legal Maxims is a work consisting of a pair of legal phrases created in white neon. The phrases, ‘WRONG IN ITSELF’ and ‘NOBODY’S THING’, are legal maxims – an ancient and basic form of establishing logic or ideal within the legal field – which operate as a kind of rhetorical shorthand, intended to assist judges in deciding the outcome of cases. Contrary to the precision considered so fundamental to law, and selected by the artist for their philosophical suggestiveness, they seem inherently ambiguous and suggestive of slippages at the core of legal thinking.
Since the late 1990s, Carey Young has investigated the growing influence of international corporations on the individual in works that span a variety of media including video, performance, text, and installation, and which draw on the tradition of Conceptual art. Notably, she studies how language is transformed by corporate culture, or how contractual structures and their linguistic markers progressively pervade and reshape all domains of life. Like a double agent, she immerses herself in the business or legal worlds, donning the appropriate attire and enacting recommended scenarios in order to examine and question the reach of each institution’s power, and its ability to shape our contemporary reality. The publication was published in conjunction with Carey Young’s first solo exhibition in Switzerland, curated by Raphael Gygax, and offers an overview on her works from 2003 to today. It includes contributions by the artist, Martha Buskirk, Raphael Gygax, and Tirdad Zolghadr. Carey Young has presented her work in numerous solo exhibitions, including at the Paula Cooper Gallery, New York (2010); the Contemporary Art Museum, St. Louis; and The Power Plant, Toronto (both in 2009); she participated in the Taipei Biennial in 2010, the Moscow Biennial in 2007, the Sharjah Biennial in 2005, and the Venice Biennial in 2003.
Contemporary Art in the United Kingdom is a diverse, in-depth exploration of those at the cutting edge of British Art, providing a unique complexion of the contemporary art scene in the British Isles. Including work by artists including Gillian Wearing, Steve McQueen, Fiona Banner, Bob and Roberta Smith, Chris Ofili, Douglas Gordon, Sarah Lucas, Liam Gillick, Tacita Dean, Paul Noble, Carey Young.
April 12, 2011 marks the acclaimed fiftieth anniversary of Yuri Gagarin's voyage into space. This volume looks at a huge selection of art and literature inspired by conceptions of outer space, from Sylvie Fleury to Thomas Ruff, Buckminster Fuller to Philip K. Dick. The book is housed in a silkscreened jacket with fluorescent color printing.
Monograph associated with the exhibition Die Welt als Bühne / The World as Stage at nbk Berlin. Carey Young's work features on the book's cover as well as featured and discussed at length within the publication. Many artists today work with the theatrical aspect of staging the self in everyday life. The question of the theatrical has taken on a new relevance due to the multiple forms of self-staging and lifestyle. If everyone plays the main role in his or her own lifestyle film, what is the role of art? In their work, the participating artists mediate among art, media staging, and real life. Including discussion of works by Tamy Ben-Tor, Claus Carstensen/Peter Bonde/Thomas Andersen, Mads Lynnerup, Jan Mančuška, HuskMitNavn, Jan Northoff, Tilman Wendland, Carey Young.
Memento Park was shot in a statue park in Budapest which contains a large collection of monumental, socialist realist Soviet statues in poses of ‘suspended animation’. We see the statues surrounded by suburban housing, open land, commercial signage, electricity pylons and a busy road with thundering industrial traffic. The bustling contemporary life passing by outside the park seems to undercut the statues' historical importance and impressive physical impact by giving them a provisional, peripheral, Robert Smithson-esque context. Nevertheless, the seductive lushness of the surrounding greenery, shot mainly at the beginning and end of the day, gives these icons of propaganda a strange and beautiful serenity, like we are witnessing the dusk and dawn of an idyll.
Report of the Legal Subcommittee is a print featuring a map of the stars, together with a found transcription of a United Nations meeting in which various international delegations declare frustration with their 40-year-old, ongoing efforts to devise a legal definition of outer space. This admission seems to hold a rich poetic potential, the human attempts to bureaucratize and control outer space seemingly frustrated by the sublime scale and mystery of its infinite depths.
Many artists today work with the theatrical aspect of staging the self in everyday life. The question of the theatrical has taken on a new relevance due to the multiple forms of self-staging and lifestyle. If everyone plays the main role in his or her own lifestyle film, what is the role of art? In their work, the participating artists mediate among art, media staging, and real life. Including Tamy Ben-Tor, Claus Carstensen/Peter Bonde/Thomas Andersen, Mads Lynnerup, Jan Mančuška, HuskMitNavn, Jan Northoff, Tilman Wendland, Carey Young.
The categories of realism and abstraction can no longer be seen as being opposed to each other, either in art or in everyday life. Exhibition catalogue.
Through photography, painting, sculpture, installations and videos, thirteen international artists of the last generation from Europe, the United States and Asia reflect on the precise moment in which images reveal themselves as obvious constructions and manifest illusions. Digital technologies for producing images subject today's visual landscape to constant transformation. In the works by Anna Barriball, Frank Benson and Giuseppe Gabellone, the drawings have a sculpture-like relief, the surfaces mimic spaces and materials, the forms seem poised between two- and threedimensionality, between being an image and being an object. Even economics and politics seem to evolve within a language which is just as concrete and abstract. For that reason, Roman Ondák, Pratchaya Phinthong e Carey Young reflect on the areas of economic trade and political action: fluctuations in the value of money, the nature of legal contracts, predictions about the future and political rhetoric are seen as "representation", conventions, acts of faith and role-play.
A two-volume publication focussing on artists' use of the voice, with a section curated by Adam Pendleton and contributions by over 40 major contemporary artists, including Tauba Auerbach, Mark Beasley, Nicholas Bullen, Adam Chodzko, Cerith Wyn Evans, Chris Evans, Ryan Gander + Bedwyr Williams, Liam Gillick + Tirdad Zolgadhr, Will Holder, Mark Leckey, No Bra, Genesis Breyer P-Orridge, William Pope L., Sun Ra, Rammellzee, Rigo 23, Frances Stark, Ian Svenonius, Javier Téllez, Mark Titchner, Vert, Robert King Wilkerson, Carey Young, and more. Designed by Mark Beasley and Dexter Sinister.
This vinyl text wall piece is intended to operate as a footnote to an exhibition. It consists of an appropriated text: part of a published statement by the currency speculator and stock investor George Soros. An asterisk has been added to the beginning of the text, in effect turning the text into a footnote, as if a dialogue is occurring within the gallery space.
Shows modern art that features language, text passages, and font styles as a tool to express ideas during the twentieth century.
'Utopias' illuminates how the exploration of utopian themes in art today contributes to our understanding of contemporary cultures, and the possibilities for shaping their futures. Features a text written by Carey Young with Raimundas Malasauskas.
Essays by Bart De Baere, Céline Condorelli, Mark Cousins, Wouter Davidts, Jean-Claude Lebensztejn, Andrea Phillips, Jaime Stapleton, Jan Verwoert, Eyal Weizman & Rony Brauman With works by Michael Asher, Artist Placement Group, Can Altay, Conrad Atkinson, Adam Broomberg & Oliver Chanarin, Lonnie van Brummelen & Siebren de Haan, Banu Cennetoglu, Christopher D’Arcangelo, Martin Beck, Cevdet Erek, Andrea Fraser, Buckminster Fuller, Ryan Gander, Ella Gibbs, Frederick Kiesler, Lucy Kimbell, James Langdon, El Lissitzky, Peter Nadin, “The offices of Peter Fend, Coleen Fitzgibbon, Jenny Holzer, Peter Nadin, Richard Prince & Robin Winters,” Gordon Matta-Clark, Antoni Muntadas, Lilly Reich, Support Structure, Rirkrit Tiravanija, Lawrence Weiner, Christopher Williams, Carey Young.
Throughout its diverse manifestations, the utopian entails two related but contradictory elements: the aspiration to a better world, and the acknowledgment that its form may only ever live in our imaginations. Furthermore, we are as haunted by the failures of utopian enterprise as we are inspired by the desire to repair the failed and build the new. Contemporary art reflects this general ambivalence. The utopian impulse informs politically activist and relational art, practices that fuse elements of art, design, and architecture, and collaborative projects aspiring to progressive social or political change. Two other tendencies have emerged in recent art: a looking backward to investigate the utopian elements of previous eras, and the imaginative modeling of alternative worlds as intimations of possibility. This anthology contextualizes these utopian currents in relation to political thought, viewing the utopian as a key term in the artistic lineage of modernity. It illuminates how the exploration of utopian themes in art today contributes to our understanding of contemporary cultures, and the possibilities for shaping their futures. Artists surveyed include: Joseph Beuys, Paul Chan, Guy Debord, Jeremy Deller, Liam Gillick, Antony Gormley, Dan Graham, Thomas Hirschhorn, Ilya and Emilia Kabakov, Bodys Isek Kingelez, Paul McCarthy, Constant A. Nieuwenheuys, Paul Noble, Nils Norman, Philippe Parreno, Pil and Galia Kollectiv, Superflex, Rirkrit Tiravanija, Mark Titchner, Atelier van Lieshout, Jeff Wall, Andy Warhol, Wochenklauser, Carey Young Writers include: Theodor Adorno, Jennifer Allen, Catherine Bernard, Ernst Bloch, Yve-Alain Bois, Nicolas Bourriaud, Benjamin H.D. Buchloh, Alex Farquharson, Hal Foster, Michel Foucault, Alison Green, Fredric Jameson, Rosalind Krauss, Hari Kunzru, Donald Kuspit, Dermis P. Leon, Karl Marx, Jeremy Millar, Thomas More, William Morris, Molly Nesbit, Hans Ulrich Obrist, George Orwell, Jacques Rancière, Stephanie Rosenthal, Beatrix Ruf Documents of Contemporary Arts series Copublished with Whitechapel Gallery, London
Of all the questions Has Man A Function In Universe? may be the key that binds and directs all of the other questions. Gavin Wade has commissioned artists and writers to respond to this question using a combination of text and image.
In this video we see an actor dressed as a lawyer, standing in a vast white space. He interprets a script composed of legal terms from a commercial contract. The details of the contract have been omitted, leaving a list of words such as ‘contract’, ‘parties’, ‘tender’ and ‘service’. The actor delivers the words one by one, starting ‘in character’ as a lawyer, before creating multiple interpretations through gesture, style and characterisation. The piece questions whether the lawyer’s legal identity, and that of the law itself, can be seen as a mere surface to be changed or dissolved at will. The performativity inherent to the courtroom is used as a way to question the assumed objectivity of the law, with the actor’s multiple interpretations instead suggesting an inherent subjectivity. The piece, which inhabits the form of a contract, explores law as a conceptual space, with the actor’s moving body suggesting a typographic form against the abstract whiteness of the backdrop. Solo exhibitions of this work include Migros Museum (Zurich 2013), Paula Cooper Gallery (New York, 2010), The Power Plant (Toronto, 2009), Museum of Art, Rhode Island School of Design (Providence, 2009), and Eastside Projects (Birmingham 2010 and tour to Cornerhouse, Manchester and mima, Middlesbrough.) Group exhibitions include World as Stage, nbk, Berlin, 2009 (exh. cat). The piece was featured three times in Artforum, reviewed in Art Monthly and Frieze (online); discussed in publications Carey Young, monograph, pub. Migros Museum/JRP Ringier (2013), Permanent Mimesis, exh. cat., pub. Electa Mondadori/GAM, Turin, 2010, and The World as Stage, Neue Berliner Kunstverein / Walter Konig. 2010; discussed in artist talks at venues including Centre Pompidou and the Miami Art Museum and within leading conferences at Tate Modern, Jan van Eyck Academy, Maastricht and Irish Museum of Modern Art, Dublin.
In the video Product Recall, we see Carey Young invited into a psychoanalyst's consulting room. She is asked to match from memory a series of advertising slogans with their corresponding brand. The slogans belong to global companies (many of which are active as art sponsors) that brand themselves around “imagination” or “inspiration.” It remains unclear whether the point of the exercise is for the artist to remember the slogans, or to forget them.
The 150 pages comprehensive catalogue will, in addition to a documentation of the touring exhibitionIslands and Ghettos, contain articles by Paloma Blanco, Alfredo Brillembourg and Hubert Klumpner, Alice Creischer and Andreas Siekmann, Keller Easterling, Stefan Horn, George Katodrytis and Kevin Mittchel, Frederic Levrat, Marjetica Potrc, Eyal Weizmann and Michael Zinganel.
"Global Feminisms" is a celebration of contemporary feminist art that brings together works by over eighty women artists from around the world. Contributions by a multinational team of authors focus particular attention on socio-cultural, racial and gender identities. By offering new perspectives on feminist artistic expression since 1990, this ground-breaking book moves the discourse of feminism away from its traditional linear history and towards a global inclusiveness that acknowledges the cultural differences in women's lives and the ever-changing perceptions of feminism. "Global Feminisms" features the work of more than eighty contemporary women artists from over fifty countries, among them Catherine Opie, Miwa Yanagi, Pilar Albarracin, Shahzia Sikander and Carey Young and includes essays offering new perspectives by internationally known contributors.
Publication associated with the exhibition 'Scheitern / Failure', which explored notions of failure in works by leading contemporary artists.
After a decade of art revolving around sensation and celebrity, New Art from London identifies the emergence of a more mature and motivated strain of artists. Although far from being a coherent generation of tyros with a manifesto, their work suggests, along with irony, wit and intelligence, a new sense of seriousness about art in Britain.
Institutional Critique and After
Published in celebration of the Arts Council Collection's 60th anniversary, "How to Improve the World" includes over 150 of the Collection's key works.
Published on the occcasion of British Art Show 6, this book brings together the work of 50 artists and artist groups living and working in Britain.
A monumental ZKM publication, redefining politics as a concern for things around which the fluid and expansive constituency of the public gathers; with contributions by more than 100 writers and artists. In this groundbreaking editorial and curatorial project, more than 100 writers, artists, and philosophers rethink what politics is about. In a time of political turmoil and anticlimax, this book redefines politics as operating in the realm of things.
This 'exhibition in a book' features the work of over 100 artists who examine the place and function of performance in the contemporary world.
this catalogue has been published to accompany a British Council exhibition touring to five venues throughout Canada. This exhibition explores new contemporary works by 14 influential artists whose principal focus is the human body.
This publication presents wide-ranging voices and approaches to new media practice and illustrates the extraordinary breadth and diversity of the constituencies and cultures of the new media artistic landscape in the UK between 1994 and 2004.
In this polemical book, Neil Mulholland charts the political and cultural shifts in art in Britain from the mid-1970s to the end of the twentieth century. The book includes a discussion of Carey Young's work.
Catalogue for the Beck's Futures exhibition at the ICA, London (and tour.) Designed by Neville Brody.
Catalogue of 'Electric Earth', a British Council exhibition of video based works examining the theme of alternative ways of living and systems of belief and presenting a new wave of UK artists currently appearing in major exhibitions such as Documenta, the Turner Prize and Beck's Futures.
Catalogue accompanying the major group exhibition 'Moskva ter / Moscow Square' at Museum Ludwig, Budapest
It's assumed that society in general would respond with utter indifference if contemporary artists were to go on strike. The hands-on curator Gavin Wade posed the difficult question 'How does/could/would the withdrawal of art affect the world?' to over 100 contemporary artists, writers and curators. The various responses are mounted in a physical exhibition as well as this book, design by Gudmund Aarseth adjusted by the artist Liam Gillick. The impressive array of respondents whose replies range from openly sincere letters to light projections include Conrad Atkinson, Fiona Banner, Martin Creed, Bill Drummond, Rebecca Gordon-Nesbitt, Susan Hiller, John Latham, Gustav Metzger, Jeremy Millar, Paul Noble, Carey Young and many more.
The first monograph devoted to the work of Carey Young.
This book investigates absence, invisibility, outer space and infinity, all of which add up to what we understand as Nothing. With contributions from writers such as JG Ballard and Jorge Luis Borges; academics including Isaac Asimov and Paul Virilio; and artists including Gilbert and George, and Andy Warhol, this book is both fascinating and provocative. Nothing features art projects by some of the world's best-respected contemporary artists, including Liam Gillick, Maurizio Cattelan, Andreas Gursky, Hans Haacke, Ed Ruscha and Catherine Yass.
Catalogue for the touring exhibition 'Atomic' featuring works by James Acord, Mark Aerial Waller and Carey Young, on the subject of the cultural legacy of the nuclear industry.
In connection with the Beck's Futures exhibition at the ICA, London, Carey Young was interviewed about her artistic work as part of the Front Row arts radio show on Radio 4.
A one hour BBC4 TV programmed devoted to the work of artists included in the Beck's Futures exhibition at the ICA, London in 2003, including a section on the work of Carey Young.
What are the exhibitions that truly changed the course of the discipline, provoked public reactions and contributed to a more complex understanding of what exhibition-making means today? Curator Jens Hoffmann and artist Carey Young were in discussion to consider questions including the evolving role of a curator, the major changes that have influenced curating and its relationship to art, artists and the wider world. This event coincided with the publication of Jens Hoffmann’s book Show Time: The 50 Most Influential Exhibitions of Contemporary Art, in which he examines the innovations in curatorial practice of the last 25 years. The book’s thematic sections focus on a variety of exhibitions, including those that have explored public space; reflected on globalization; engaged audiences in revolutionary ways; and introduced other/new disciplines such as theatre and architecture into the gallery space. Carey Young’s artistic practice often focuses on the growing influence of corporations and the legal sphere on to individual and collective subjectivity, which she explores using a variety of media including video, photography, installation and performance. Her interest in the inter-connections between economic systems, contemporary culture and the legacy of institutional critique, offer an invaluable contribution to this debate.
Obsidian Contract (2010) is an artwork featuring a legal text written backwards and reflected in a black mirror, a device which has a long tradition within witchcraft and the occult in many cultures, and was also used by landscape painters in the Romantic era to imbue a scene with a dramatic tonality. The text proposes the exhibition space visible in the mirror as a new area of publicly-owned land, in which certain activities considered illegal in public space at different times, such as the grazing of animals or sexual activity, are made permissible.
Speechcraft features a meeting of the international public speaking club Toastmasters, presented as a participatory performance that the artist has adapted by inserting her own subject matter. It was staged at the Hayward Gallery, London on June 23rd 2012, as well as prior stagings by The Power Plant, Toronto (2009), Creative Time, New York (2008) and Modern Art Oxford (2007).
The interactive telephone piece Follow the Protest uses a call centre interface to offer recordings of interviews and other sounds recorded by the artist at the G20 protests in London in April 2009. A key concern of the work is the desire for a pro-revolutionary Leftist stance within the artistic sphere, and the artistic avant garde, with its historical connection to ideas of revolution. The work offers a playful ‘protest on demand’; the piece contrasts the architecture and aural experience of today’s typical ‘commercial’ phone call with the sound, passion and ‘liveness’ of direct action protest. The recordings include various protest chants, speeches and interviews with a variety of protestors, including a TV journalist, a protest organiser and employees of an investment bank. The piece contrasts physical gallery space with a telephonic, hypertextual labyrinth to be explored and interacted with by the viewer, like a negative space or ‘non-site’ which reflects and inverts the exhibition site. Nevertheless, the work subtly alludes to the increasing commercialisation, if not corporatisation of the art world, and the bureaucratic functions inherent to any art institution. Solo exhibitions include Eastside Projects (Birmingham, 2010 and tour to Cornerhouse, Manchester and mima, Middlesbrough); Contemporary Art Museum Saint Louis, Saint Louis. Group exhibitions include “Commentary”, Paula Cooper Gallery, New York, NY, 2009. Conferences and public lectures “Politics and Photography - Carey Young & Immo Klink,” Photoworks, Brighton, 2011 “Art Speech: A Symposium on Symposia,” MoMA, New York, NY, 2011, “Vidéo et après,” Centre Pompidou, Paris, France, 2010. Publications include Carey Young, monograph, pub. Migros Museum/JRP Ringier (2013); Bryan- Wilson, Julia. “Inside Job: Julia Bryan-Wilson on the art of Carey Young,” Artforum October 2010, pp. 240-247; Katz, Miriam. “Carey Young: 500 Words,” Artforum (online) May 5, 2009.
'Missing Mass' is a sculptural work created with the scientific advice of Dr. Malcolm Fairbairn, an astrophysicist based at King’s College London. The piece ‘presents’ a specific number of dark matter particles, calculated to be present according to scientific logic, alongside a legal disclaimer which proposes the particles as the only truly free entities in existence, since they can pass through any material entity on the planet. The work centres on the idea of artistic freedom, suggesting that if dark matter particles are the only free entities in existence, by implication, art, the artist, and any other societal or cultural element held to be symbolic of freedom, are merely constrained, whether by gravity, bureaucracy, institutional ties, etc. The work also proposes links between minimal and conceptual sculpture (such as the early work of Hans Haacke) and contemporary developments in astrophysics. Like a number of my works, the piece uses a legal disclaimer, a written form familiar from contemporary communications, which symbolises the lack of responsibility taken by large organisations in the contemporary era. Solo exhibitions include Le Quartier, (Quimper, 2013), Migros Museum (Zurich, 2013), mima, Middlesbrough (2010), Paula Cooper Gallery (New York, 2010). Group exhibitions include Marianne Boesky Gallery (New York, 2012). Publications include Williams, Tom. “Carey Young” Art in America January 2011, pg. 110-111; illus.
A series of six ‘camera-less’ photographs made by exposing light through translucent meteorite fragments in the darkroom, as if they were photographic negatives. The resulting images are abstract yet offer us a window into a meteorite’s formation at the birth of the solar system some 4.75 billion years ago, long before the formation of the Earth. Whilst the image relates cosmic time to the indexical moment of exposure embedded in any photograph, the title includes a copyright statement outlining an comet-like scattering of the image into the public domain after the artist’s death. Created with a specialist IP lawyer, this represents an experimental new form in copyright law. The title of each work in the series is: ‘C-type print from the Redshift series (exposed from a slice of pallasite meteorite, formed approximately 4.6 billion years ago, at the birth of the Solar System. The artist hereby declares that with effect from 1st January 2110 copyright protection in this work shall be abandoned on a country by country basis. This global abandonment of copyright is to begin with the Prime Meridian and will proceed westerly across the globe at the rate of 1000 miles per year, as measured from the Equator).’ Solo exhibitions of this project include Le Quartier, (Quimper, 2013), Migros Museum (Zurich, 2013), Eastside Projects (Birmingham, 2010 and tour to Cornerhouse, Manchester and mima, Middlesbrough); Paula Cooper Gallery, New York, 2010. Group exhibitions include ‘Space. About a Dream’, Kunsthalle Wien, Vienna, 2011 (exh. cat); ‘Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer, Carey Young’, Paula Cooper Gallery, New York, 2011. Conferences and public lectures include Photoworks, Brighton, 2011. Publications include Carey Young, monograph, pub. Migros Museum/JRP Ringier (2013); Adler, Phoebe and Slyce, John, Contemporary Art in the UK, Black Dog Publishing, 2012.
My artistic work employs a variety of media, including video, installation, photography, text and performance, and is often concerned with the relationships between the body, language, rhetoric and systems of power. Since 2003 I have developed a number of artistic works that are also functional legal instruments, and which have aimed to use law as a malleable artistic medium. Whilst generally concerned with ideas of jurisprudence and the real, these works have explored diverse areas of legal knowledge such as contract law, intellectual property and ‘outer space’ law. These works have been exhibited at numerous international museums and galleries, and have typically been developed after intensive periods of research, and with the guidance and drafting expertise of a variety of expert lawyers and legal researchers. As experimental legal forms, the works are intended to operate at the limits of what is legally possible, and to present law as a separate kind of ‘reality’, one with its own inherent subjectivities and points of fissure. I propose to discuss a number of these projects and their implications as both works of art and ‘works of law’.
Carey Young, whose work is represented in the Tate collection, has invited New York-based artist Jill Magid to join her for this screening and talk. As part of an ongoing dialogue, the artists will discuss their respective practices exploring the interface between the psychological, the judicial and the commercial in different ways. Against the backdrop of the increasing authority exercised by corporations, modes of surveillance and other structures of power, the event will consider evolving definitions of appropriation and subjectivity through a selection of the artists’ work in video and other media, and a live discussion in situ.Carey Young, whose work is represented in the Tate collection, has invited New York-based artist Jill Magid to join her for this screening and talk. As part of an ongoing dialogue, the artists will discuss their respective practices exploring the interface between the psychological, the judicial and the commercial in different ways. Against the backdrop of the increasing authority exercised by corporations, modes of surveillance and other structures of power, the event will consider evolving definitions of appropriation and subjectivity through a selection of the artists’ work in video and other media, and a live discussion in situ.
By and Between (after Bernd and Hilla Becher) (2013) is a photo/text piece which incorporates an original, unique, iconic, borrowed work by Bernd and Hilla Becher: Gasbehälter Zeche Concordia, Oberhausen. D. 1969, consisting of two b/w photographs of an empty and full gas tank. With the consent of Hilla Becher, a duplicate was made by a specialist technician, and the resulting print was framed by the Bechers' usual framer in Düsseldorf. The original Becher work and its copy hang side by side, more or less indistinguishable, together with a wall text consisting of a found selection of ‘doublets’ - legal pairs of words such as ‘null and void’, 'do and perform', ‘final and conclusive’ - which are used by Anglophone lawyers to add emphasis and nuance through repetition, but are also possibly redundantly repetitious. At its simplest level the piece offers a guessing game as to which is original and copy, yet through the text, questions are posed about the value and role of appropriation in art. The piece refers to Sherrie Levine and also makes indirect reference to the notable but contested claims of copyright infringement around appropriation in art. Here, instead of being a mechanism to restrict creativity, law here is as a freeing device, a method to suggest multiple interpretations of an apparently simple act of appropriation and homage.
We the People (after Pierre Cavellat) (2013) is a large-scale photographic work, featuring a judge’s robe and wig hung on a domestic garden washing line. Made in reference to a French judge and amateur artist, Pierre Cavellat, who created artistic works surreptitiously while judging courtroom trials, the image reworks a snapshot made by Cavellat at the start of his retirement. Young here considers law in relation to performance, and compares the official state pomp and power of the judge with the private and vulnerable sphere of the body, whilst the costume subtly suggests a chrysalis, or a moment of submission or servitude.
In this performance an actor, dressed as a lawyer, reads out a will in front of audience members who are referred to as both ‘witnesses’ and potential ‘beneficiaries’ to the will. The will proposes experimental relations between people and objects and takes a playful approach to the relationship between art and memory, and between the physical and immaterial. A ‘will reading’ is familiar as a pivotal dramatic event within literature, cinema and TV soap operas. Nevertheless, such events are unnecessary in legal terms and reside purely in the realm of the fictional. Wills could be seen as a form of legal choreography, structuring relationships between the dead and the living, and between people and objects, and acting as an utterance of love, kinship, spite, remembrance, rage, generosity or, perhaps, madness. Wills are a form of gift-giving, an instruction, a legacy, a form of succession, disclosure and confession. Still Life was first presented as part of These Immovable Walls: Performing Power at Dublin Castle, July 2014 curated by Michelle Browne.
London-based artist Carey Young has, for a number of years, used law as one of her artistic media. She exhibits internationally, including solo shows at Migros Museum für Gegenwartskunst, Zurich (2013) and The Power Plant, Toronto (2009), and group shows at MoMA/PS1 (New York), the New Museum (New York), Tate Britain, Hayward Gallery and San Francisco MoMA as well as various biennials. She is represented by Paula Cooper Gallery, New York. A monograph on her work, Subject to Contract, was published by JRP|Ringier in 2013. She teaches at the Slade School of Fine Art, UCL, and is an Honorary Research Fellow in the Law School at Birkbeck, University of London. www.careyyoung.com
Counter Offer (2008) is a two-part text piece created with the advice of a legal team. The first part contains an offer (of ‘liberty’) and the second a counter offer (of ‘justice’). Through the wording of the contract, these utopian offers are surrounded by a legal loop in which both are cancelled out in ‘mid air’: through the act of reading, both offers become withdrawn, and the piece seems to suggests its own erasure. The work asks: how might law be used as an artistic medium? Can an artwork also be a functional legal contract? How might a moment of poetry be created within a contractual structure? The work was commissioned by Electra and Thomas Dane Gallery in 2008. Solo exhibitions featuring this work include Migros Museum (Zurich 2013), The Power Plant (Toronto, 2009), Eastside Projects (Birmingham 2010 and tour to Cornerhouse, Manchester and mima, Middlesbrough), Thomas Dane Gallery, 2008. Group exhibitions include Museum as Hub: The Accords, The New Museum, New York, NY. 2011, Permanent Mimesis, curated by Alessandro Rabottini, Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy, 2010. Group show including Roman Ondák, Seth Price. It was reviewed in Frieze (online, 2009); featured in publications Migros Museum (Zurich 2013), Permanent Mimesis, exhibition catalogue, pub. Electa Mondadori/GAM, Turin, 2010, and Art and Text, Black Dog Publishing, London, UK, 2009; discussed in artist talks at venues including Photoworks, Brighton, Centre Pompidou and the Miami Art Museum and within leading conferences at Tate Modern, Jan van Eyck Academy, Maastricht, University of Sussex and Irish Museum of Modern Art, Dublin.
Obsidian Contract features a legal contract written backwards and reflected in a black mirror. Dark or obsidian mirrors have a long tradition within witchcraft and the occul. Associated with attempts to see or ‘divine’ the future or to communicate with ‘spirit worlds’, they also became an artistic device used by landscape painters in the Romantic era. The text in this piece proposes the exhibition space visible in the black mirror as a new area of publicly-owned land, in which numerous activities which states have made illegal in public space, such as the grazing of animals, sexual activity or the distribution of propaganda, are made permissible. This piece is intended to question the privatisation and commodification of the commons by proposing a new area of the commons within the exhibition space. Although this space is virtual and unfixed (it extends according to the viewer’s angle of vision, and is potentially infinite, according to the exhibition space), the legal agreement the gallery signs up to is real and potentially ‘actionable’ in law. The piece exists as an liberatory and experimental legal instrument that uses law as an artistic medium. It suggests law as a separate kind of ‘reality’, one with its own inherent subjectivities and points of fissure. Solo exhibitions of this work include Migros Museum (Zurich 2013), Eastside Projects (Birmingham 2010 and tour to Cornerhouse, Manchester and mima, Middlesbrough), Paula Cooper Gallery, New York, 2010. Group exhibitions include ‘Mind the System, Find the Gap’, Z33, Hasselt, Belgium, 2012 (exh. cat); ‘Museum as Hub: The Accords’, The New Museum, New York, NY. 2011. ‘Ventajas de viajar en tren’, Parra & Romero, Madrid, 2011; Void if Removed, Le Plateau / Frac Île-de-France, Paris, France, 2011. The piece was reviewed in Art Monthly and included in Carey Young, monograph, pub. Migros Museum/JRP Ringier (2013).