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.
Recent solo exhibitions include Migros Museum, Zurich (2013), the touring show Memento Park, Eastside Projects, Birmingham, Cornerhouse, Manchester and MIMA, Middlesborough (2010-2011); Contracting Universe, Paula Cooper Gallery, New York (2010); 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 MoMA/PS1 (New York), the New Museum (New York), Hayward Gallery (London), ICA (London), Whitechapel Gallery (London), Neue Berliner Kunstverein (Berlin) and Secession (Vienna), as well as in the Taipei Biennial (2010), Moscow Biennale (2007 and 2013) and the Sharjah Biennial (2005).
Works in public collections include Tate Gallery, Arts Council England, Kadist Art Foundation, Migros Museum and Centre Pompidou.
Prior to joining UCL I was a Senior Lecturer in Photography at London College of Communication from 2006 - 2011, where I was Year Tutor on the MA in Photography programme and a tutor on the BA (Hons) in Photography, 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 Photography, Performance, Design Products and Curating)
Chelsea School of Art, London
St Martins School of Art, London
The Bauhaus University, Weimar
Goldsmith's College, London
Paula Cooper Gallery, new York
Solo show of new works by Carey Young at Paula Cooper Gallery, New York
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
Baltic, Newcastle and tour
Artist Sam Belinfante curates a pioneering exhibition that will investigate the act of listening in contemporary visual art. Listening is the latest Hayward Touring Curatorial Open exhibition, opening at BALTIC's project space BALTIC 39, Newcastle upon Tyne. This international group exhibition includes new and existing work by leading contemporary artists including Ed Atkins, Janet Cardiff and George Bures Miller, Christian Marclay, Haroon Mirza, Amalia Pica, Laure Prouvost and Anri Sala. This exhibition examines the crossover between the visual and the sonic with many of the artists selected working in both the fields of contemporary music and art. Highlights in this exhibition include Hannah Rickards' Thunder, a clap of thunder that has been stretched in duration and aurally dissected, recreated by musicians and morphed back into a thunderclap; an anechoic chamber by Haroon Mirza that silences the outside world; a new work by Laure Prouvost that choreographs a dialogue between lights and objects in the museum as well as Prem Sahib's throbbing inaccessible disco. Ed Atkins will make new drawings in response to Listening, Cardiff and Miller will allow us to eavesdrop on a cabin in a forest and Katie Paterson presents the almost inaudible sound of a dying star. Listening touches and folds into the other senses and can therefore work in tandem with, as well as contradict them. The exhibition will therefore include a variety of media from drawings and sculpture to prints and video. Works in the exhibition range dramatically in duration from less than a second to six hours. The exhibition is ambitious in its curatorial approach, orchestrating the works so that visitors are guided through the exhibition and works are allowed to 'speak' in turn. Artists in the exhibition include: 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. Listening is a collaboration with BALTIC Centre for Contemporary Art, Gateshead; the Bluecoat, Liverpool; Site Gallery and Sheffield Institute of Arts; and Norwich University of the Arts. The exhibition will tour to: BALTIC’s Project Space at BALTIC 39, Newcastle upon Tyne 26 September 2014 – 11 January 2015 the Bluecoat, Liverpool Spring 24 January - 29 March 2015 Site Gallery and Sheffield Institute of Arts gallery, Sheffield 11 April - 31 May 2015 Norwich University of the Arts Gallery 21 July – 5 September 2015
Per/Form. How to do things with[out] words2014
CA2M, Madrid, Spain
Per/Form. How to do things with[out] words OPENING: 22 MAR 2014 23 MAR — 21 sep 2014 Intensity days (program performance): 22 mar (CONSULTAR PROGRAMACIÓN) 10 may (CONSULTAR PROGRAMACIÓN) 20 sep (CONSULTAR PROGRAMACIÓN) CURATOR Chantal Pontbriand Performance and performativity are centre stage at this time. One can think of many reasons why. The fact that we are living more and more in an “immaterial” world, dominated by mediatisation (which some call spectacle), the impact of globalization, the increasing tendency to think of politics as biopolitics, these different factors enhance performance over materiality, or object making. Performativity explores the space in-between, what happens when bodies or objects are left to perform. To perform is to enable oneself or things to work through form. And to let form speak for itself. Performing and performance are concepts that activate reality. They are at play with the world. The outcome is non-linear, non-unidimensional. It opens up the real into a multifaceted and complex organism. In this sense, performativity (what performing and performance activate) offers resistance against a homogenization of the world. It leads to renewal, change, and expands the potentiality of things and beings. In a world formatted by capital and the weight of history, we need change, we need performativity to unblock minds and situations. This exhibition, conceived as an event, will enhance performativity and the way it works, the way it performs itself. It will include objects, media as well as bodies. It will be “live” at all times, as installations, photography, films, performances, discussions, inhabit the space of the museum. The subtitle of the exhibition, given by the concept “per / form”, is driven from John Langshaw Austin, the English philosopher who was one of the founders of analytical philosophy and pragmatics. In 1955, he gave a lecture called “How to do Things with Words” in which he explores the relationships between acts and language. The book published in 1962 is often quoted when discussing performance and art. This exhibition further explores that relationship through different situations proposed by the exhibition format itself and by the works presented and activated in its midst. Per/Form refers to the way performativity functions in contemporary art. In Latin, “per” means to go through, to pass through, it can also relate to purpose or meaning. “Form” is a way in which an idea develops into a shape, the way in which it acquires presence in the world. The project, a laboratory situation including installations, workshops, and performances, will explore these 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 activation can be produced in many ways. Some works activate legal texts or situations, historical and institutional displays, the way knowledge is constructed, how political life is organized today, and was so in historical situations, language and body, the idea of the common, the idea of the museum or of art or art-making as an institution, how visuality interplays with images and sound, how the body interacts with the reality of percepts such as image or sound. The project consists of different modes of “display”: the exhibition per se which brings together 16
And I Laid Traps for Troubadours, curated by Kadist Foundation2014
Clark House Initiatove, Bombay
Exhibition at Clark House Initiative, Bombay, India. From February 7 to April 27, 2014 A collaboration between Kadist Art Foundation & Clark House Initiative With: Francis Alÿs, Liz Ballard, Yael Bartana, Yogesh Barve, Kemi Bassene, Judy Blum, Sachin Bonde, Kennedy Browne, CAMP, Ceal Floyer, Aurélien Froment, Grupo Etcetera, David Horvitz, Poonam Jain, Jamboys, Mangesh Kapse, Ben Kinmont, Lawrence Liang, Simon Liddiment, Scott Myles, Open Circle, Prabhakar Pachpute, Amol Patil, Rupali Patil, Justin Ponmany, Tatiana Pozzo Di Borgo, Prasad Nikumbh, Roman Ondak, Pratchaya Phinthong, Prajakta Potnis, Nikhil Raunak, Société Réaliste, Zied Ben Romdhane, Caecilia Tripp and Nil Yalter, Carey Young Workshop at the Printmaking Studio of the Sir JJ School of Art, a pedagogical project by Aurélien Mole. The image of Nil Yalter above tells a history, impossible today, travelling from Istanbul to Bombay, by trains and road, crossing several national borders. The exhibition’s title, taken from a song by the Rolling Stones, is Lucifer’s amoral recount of evil in history. Mick Jagger’s ‘Bombay’ ironically conjures all the exoticism of the East for those on the sixties hippie trail. Recalling alternatives, the economies of the social contract, of gift-exchange, and the commons, in the face of rising exclusive nationalism, And I laid traps for troubadours who get killed before they reached Bombay 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. Works exist in situ: the travel experience, more than importing a pre-existing meaning, gives them the possibility to multiply their possible interpretations in the light of a new context. Clark House, once a shipping office, a political refuge, and an antiques’ storage – a historical place for the circulation of objects and ideas – therefore becomes a site of works in conceptual and aesthetic shift. International exhibition making is often a logistical feat that lacks the presence of a social contract between artists exhibiting and those they intend to address. To include the social contract within the exhibition, imagines an alternative economy in art as a political act. Yet the economy is a cultural phenomenon, which interacts on a personal level with people. The exhibition in Bombay circumvents the trade routes that art works tread, eliminating the chicanery of customs regulations and taxes, through instruction artworks and performances, digital files, and artists travelling to produce work while sharing techniques, conceptual inquiry and experience with younger artists. This exhibition is the second part of a project started in Paris in 2013 with the exhibition L’exigence de la saudade, curated by Zasha Colah and Sumesh Sharma then in residency at Kadist. The first part of this collaboration had achieved in presenting the work of Indian artists, not visible enough in Europe, while asking how a work of culture may retain its radicality as it is transferred, propelled or translated into the context of Paris – to imagine what ‘cultural equality’ may mean.
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. Acting as the originating 'star' of each constellation is one artwork that was chosen because of its persisting revolutionary effect on modern and contemporary art. As with the night sky—where the individual stars perceived within a single constellation are actually distant from each other in time and space—each of the 'trigger' works is displayed among artworks that relate to it, and to each other, across time and location of origin. The approach proposes the idea that the effect of an artist or artwork can take multiple directions at different points in time and space. Artworks that have a similarity, apparent variance or transformative connection to the trigger work are arranged in nine groupings, creating an accumulation of diverse relationships and meanings to extend the themes and concerns of the originating work. The display draws on Walter Benjamin's and Theodor Adorno's use of the constellation as a spatial, temporal and perceptual concept, which provides a model for organising disparate information to make visible hidden connections. Using the constellation, affinities between even seemingly antithetical artworks are revealed. This elaborates on Benjamin's concept of the constellation as a 'thought-image': the relationships between a set of elements are arranged so that a new idea becomes visible. The notion that the interplay between artworks and the viewer can also generate new meanings underpins the curatorial intention to involve audiences in formulating the reading and understanding of art. Members of the public will take part in workshops assigning to each artwork a set of keywords which are subsequently brought together to form a new 'word cloud' for each constellation. This activity enables new 'thought-images' to emerge beyond those initiated by art institutions and art history. Along with chronology, the corresponding notion of influence is abandoned in DLA Piper Series: Constellations in favour of ideas of repercussive impact, simultaneity and the active viewer as a source of knowledge. The nine constellations are each triggered by works by Marina Abramović, Barbara Hepworth, Barbara Kruger, Man Ray, Henri Matisse, Robert Morris, Hélio Oiticica, Pablo Picasso and Jackson Pollock. Surrounding these will be works by Robert Adams, Eileen Agar, Francis Alÿs, Eleanor Antin, Rasheed Araeen, Jean Arp, Giacomo Balla, David Batchelor, Herbert Bayer, David Bomberg, Pierre Bonnard, Louise Bourgeois, Constantin Brancusi, Georges Braque, Stuart Brisley, Angela Bulloch, Daniel Buren, Victor Burgin, André Cadere, John Cage, Claude Cahun, Paul Cézanne, Christo, Lygia Clark, Jeremy Deller, Trisha Donnelly, Jean Dubuffet, Marcel Duchamp, Max Ernst, León Ferrari, Barry Flanagan, Naum Gabo, Jack Goldstein, Ryan Gander, Henri Gaudier-Brzeska, Isa Genzken, Sam Gilliam, Liam Gillick, Albert Gleizes, Natalya Goncharova, Karl-Otto Götz, Duncan Grant, Mona Hatoum, Nigel Henderson, Barbara Hepworth, Douglas Huebler, Ernst Ludwig Kirchner, Edward Krasinski, L
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
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
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.
Contemporary Art Museum Saint Louis
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.
Wide Open School, Hayward Gallery, LondonHayward Gallery, South Bank Centre, London
The Hayward Gallery’s Wide Open School is an unusual experiment in learning. Its programme of classes is 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. That is a territory as expansive as the imaginations of artists, who this summer help to transform Southbank Centre into an international learning site for Festival of the World, showing how art changes lives. 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
Performativity explores the in-between space when bodies or objects are left to perform. The fact that we are living more and more in an “immaterial” world, dominated by mediatization (which some call spectacle), the impact of globalization, the increasing tendency to think of politics as biopolitics—these different factors enhance performance over materiality, or object making. Per/Form investigates the process of this enhancement—how to work through form, and how to let form speak for itself. The meaning of performance and performativity today are examined here through different modes of “display”: a book, an exhibition, and its three “Intensity Days” of performative situations. This book compliments these events and the sixteen installations of the exhibition curated by Chantal Pontbriand, “PER/FORM_How to Do Things with[out] Words” (CA2M Centro de Arte Dos de Mayo in Madrid, March 22–September 21, 2014), with theoretical texts and visual essays by thirty participating artists, including musical scores, drawings, documents, and photographs, which all work together to generate various perspectives on the subject through different theoretical premises (politics, experience, immateriality, action, realization, manifestation) and also through the artists’ many diverging perspectives. Copublished with CA2M Centro de Arte Dos de Mayo, Madrid Design by Agnès Dahan Studio Paris 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
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.
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.
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.
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.
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.
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.
This half-day symposium invited audience members to engage with international artists and academics to investigate current conditions of artistic production in relation to new forms of labour in the emerging global economy. Speakers included Claire Bishop, Tania Bruguera, Pascal Gielen, Stefano Harney, Stewart Martin, Hito Steyerl, and Carey Young. The event was chaired by T.J. Demos and Lauren Rotenberg.
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’.
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
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).
This study day explored different ideas of avant-garde art in the early twentieth century, and in contemporary practice and was staged in relation to the major Tate Modern exhibition Duchamp, Man Ray, Picabia. Speakers included Paul Wood, TJ Demos, Jason Gaiger, Jennifer Mundy, Dave Beech, Carey Young and Richard De Domenici.
Museum 21: Institution Idea Practice was an international symposium at the Irish Museum of Modern Art (IMMA), Dublin, which investigated new perspectives on the role and function of public galleries and museums in the 21st century by exploring their key challenges, frictions and possibilities. Speakers: Bart De Baere, Okwui Enwezor, Andrea Fraser, Enrique Juncosa, Susan Pearce, Carey Young
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.
'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.
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).
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.
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.