The Vision Machine

Busan Biennial

Words at an Exhibition–an exhibition in ten chapters and five poems. Busan Biennale 2020 examines the city and tries to expand the various spectrums of a metropolitan through artistic expressions. At Busan Biennale 2020, ten fiction writers and one poet were invited to write on the characteristics of the city of Busan as a conceptual basis for selecting the artists, each responding through new commissions and existing works within the context of the exhibition. The authors—which represent different generations, genres, and writing styles—have each created and written fictional layers around and about the city, some with direct reference to Busan, others through indirect and ephemeral urban tales involving the locale. Mixing past, present, and future, the artists and writers involved in Words at an Exhibition — an exhibition in ten chapters and five poems use Busan as a backdrop in ways that create a narrative that simultaneously combines reality, history, and imagination through experiences of contemporary fiction, a focus on soundscapes and film works, as well as paintings, photographs, sculptures, and site-specific installations.

Palais de Justice

Solo exhibition at La Loge, Brussels

Palais de Justice

Solo show of video installation 'Palais de Justice' at La Loge, Brussels

Palais de Justice

Solo exhibition at Towner Art Gallery, Eastbourne, UK

Carey Young: Palais de Justice

Solo exhibition, Towner Art Gallery, UK

Front International: Cleveland Triennial

Major international art exhibition of works relating to contemporary geopolitics and to the site of Cleveland, Ohio.

Extra Bodies - The Use of the 'Other Body' in Contemporary Art

Extra Bodies investigates an artistic phenomenon that appeared often in the 1990s, characterised by artists using «other bodies» for their works and making their «vitality» central. These works are all performance-based or of performative nature. The exhibition focuses on works in which the exhibited artists make use of the «other bodies» on the basis of their respective specific social roles, thus making the societal dimension a constituent element of the work – these «other bodies» can also be described as «extras». In multiple exhibition sections, which span both floors of the museum and incorporate many works from the museum's collection, light is shed on this phenomenon, and artworks from the 1960s to the present day are brought together by way of example. Most of all, the transition from the use of a «bio-political» body to a «psycho-political» body, as seen over the last 30 years, is in the foreground.

Ripple Effect

group show including Darren Bader, Egill Sæbjörnsson, Carey Young. The project is structured around three semantic points, where the notion of gratification, speculation and temperament are heightened by the artworks that are placed in close vicinity to ignite a conversation amongst and beyond. Three works by three internationally recognized artists Darren Bader, Egill Sæbjörnsson, and Carey Young are positioned as the precursors of the intrinsic inquiries of the exhibition that open up and expand to include works by artists active on the Czech art scene. The exhibition title suggests a system of relationships, where a single drop may cause effects much larger than the original move. Works by the international artists serve as such thematic drops, initiating dialogues related to the symbolic value of art, its judgment and categorization, the politics of the art world establishment, as well as self-awareness and self-reflection of the artists and their works placed within such structures. Curated by Fatos Utsek.

I am you, you are too

At a time of heightened uncertainty, division, and geopolitical tensions, I am you, you are too foregrounds works from the Walker’s collections that explore contemporary life through themes of citizenship and belonging, borders and barriers, and ways in which everyday life informs our understanding of ourselves. Bringing together a diverse, multigenerational, and international group of artists, the exhibition questions how we memorialize the past and understand the social, geographic, and political structures that shape us. The show’s title is taken from I M U U R 2 (2013), a room-scaled installation by Danh Vo that considers how collected objects, such as knickknacks and souvenirs, can communicate who we are. Monuments and shared public space play a key role for Francis Alÿs, Song Dong, and Robert Longo, whose works examine the relationship between the individual and the state. Chantal Akerman and Julie Mehretu reflect upon shifting geographical borders and changing political systems, while Postcommodity and Wolfgang Tillmans reference recent debates on the Mexico-US border and Brexit, respectively. While some artists draw on recognizable places and known stories, others turn to abstraction to elicit themes of the place of the home, the city, and national belonging. In the exhibition’s final gallery, a selection of works from the collection hang against wallpapers by Yto Barrada, Yoko Ono, and Adam Pendleton, forming unexpected juxtapositions across generations, geographies, and media. Seen together, these pieces chart ways that artists have challenged prevailing systems, including gender, race, and sexual orientation. In presenting a broad range of artistic approaches, I am you, you are too draws out timely questions of national identity, shifting political borders, and international and intercultural dialogue. Artists in the Exhibition Vito Acconci, Chantal Akerman, Francis Alÿs, Giovanni Anselmo, Siah Armajani, John Baldessari, Yto Barrada, Harriet Bart, Joseph Beuys, Alighiero Boetti, Mark Bradford, Stanley Brouwn, James Lee Byars, Luis Camnitzer, Sarah Charlesworth, Bruce Conner, Hanne Darboven, Michael Dean, Song Dong, Stan Douglas, Lara Favaretto, Leon Ferrari, Ellen Gallagher, Felix Gonzalez-Torres, Dan Graham, Steven Gwon, David Hammons, Leslie Hewitt, Douglas Huebler, Alfredo Jaar, Ronald Jones, On Kawara, Nobuaki Kojima, Tetsumi Kudo, Yayoi Kusama, Ralph Lemon, Sherrie Levine, Sol LeWitt, Glenn Ligon, Robert Longo, Kerry James Marshall, Paul McCarthy, Dave McKenzie, Julie Mehretu, Cildo Meireles, Ana Mendieta, George Morrison, Nástio Mosquito, Bruce Nauman, Shirin Neshat, Rivane Neuenschwander, Lorraine O’Grady, Yoko Ono, Gabriel Orozco, Adam Pendleton, Howardena Pindell, Adrian Piper, Pope.L, Postcommodity, Walid Raad, Charles Ray, Gerhard Richter, Paul Sharits, Gary Simmons, Lorna Simpson, Robert Smithson, Wolfgang Tillmans, Rirkrit Tiravanija, Kwong Chi Tseng, Danh Vo, Andy Warhol, Rachel Whiteread, Christopher Williams, Carey Young Curators: Vincenzo de Bellis, Adrienne Edwards, Pavel Pyś

Palais de Justice

Paula Cooper Gallery is pleased to announce a one-person exhibition of recent work by Carey Young. The show will present Young’s video work Palais de Justice (2017), as well as a new series of photographs. The exhibition will be on view at Paula Cooper Gallery 534 West 21st Street from September 7th through October 14th, 2017.

Before the Law

Titled Before the Law, after Franz Kafka’s 1915 parable in which the protagonist is continuously denied access to ‘the law,’ the series depicts a series of doorways in courthouses as metaphors for the legal system itself. Courtrooms are glimpsed in various ways – a red glow emanating from one entices us with its surprising warmth and seductiveness; a red velvet curtain in another calls to mind law’s reliance on aspects of theatre; in a third, a courtroom visible through a frosted glass window glows like an abstract painting, as if law’s abstractions may connect with artistic thinking in ways which have not yet been fully considered. The works were first exhibited at Paula Cooper Gallery, New York, from Sept - Oct 2017

Feedback, Marlborough Gallery, New York

Group exhibition of contemporary international artists working with the theme of 'feedback'.

Venice Agendas: The Contract

The exhibition includes artworks by Keith Arnatt, Hollis Frampton, Hew Locke, Donald Rodney, Monica Ross and Carey Young and is curated by Gilane Tawadros. At a time of significant social and political turbulence in the world, the obligations – explicit or implied – which we have towards each other are being called into question, re-negotiated and re-written. The Contract presents works that challenge the contractual agreements which we take for granted, recalls others which we need to remember, and provokes discussion about the nature of our obligations.

The New Architecture

Carey Young: The New Architecture was the artist’s first solo museum show in the US since 2009. This exhibition included the world debut of Palais de Justice (2017), a video work by the London-based artist, together with a selection of new and existing photographic and text-based works. Palais de Justice was filmed at the Palais de Justice in Brussels, an enormous, ornate 19th-century courthouse designed to depict law in terms of the sublime. Contradicting the familiar patriarchal culture of law, Young’s camera portrays female judges and lawyers at court. Sitting at trial, directing proceedings or delivering judgments, female judges are seen through a series of circular windows in courtroom doors. Palais de Justice subtly builds a counter-narrative: a legal system seemingly centered on, and perhaps controlled by, women, as if male presence may be optional or unnecessary in this particular future. The New Architecture sampled a decade of Young’s practice, offering a meditation on power—judicial, corporate—and artistic ideas of performance, space, and the sublime.

End User

The RYDER presents ‘End-User’, an exhibition of works by artists Jason File, JonesSmithJohnson, Jonas Lund and Carey Young exploring contract law and its far-reaching implications within our lives. .

The Revolution will not be Grey, Aspen Art Museum, Aspen

The Revolution Will Not Be Gray presents a selection of works that look both backward and forward at the shifting terrain of revolution, protest, and gestures of refusal. Examining the impetus to observe the world in strictly black-and-white terms, the exhibition reveals an intricate set of histories, politics, and identities, reminding us of the inherent power in the human voice. Featuring work by Andrea Bowers, Abraham Cruzvillegas, Claire Fontaine, Sharon Hayes, Iman Issa, Tony Lewis, Glenn Ligon, Carlos Motta, Pedro Reyes, Adam Pendleton, and Carey Young.

As Rights Go By — On the Erosion and Denial of Rights, curated by Sabine Winkler

The artworks shown in the exhibition explore the impact of globalization, financialization, and mass surveillance on civil rights and human rights, as well as the social and judicial inequality they entail. Silvia Beck* (DE), James Bridle (GB), George Drivas (GR), Özlem Günyol*/Mustafa Kunt* (TR/DE), Adelita Husni-Bey (IT), Nikita Kadan* (UA), Kollektiv Migrafona (Belinda Kazeem, Petja Dimitrova, Radostina Patulova, Vlatka Frketić, Vina Yun) (AT), Vladimir Miladinović* (RS), Yuri Pattison (IE), Lorenzo Pezzani und Charles Heller (Forensic Architecture) (IT, USA/CH), Julien Prévieux (FR), Andrea Ressi (AT), Judith Siegmund* (DE), Lina Theodorou* (GR), Carey Young (GB)

A Lesson in Sculpture with John Latham

'A Lesson in Sculpture with John Latham' addresses his visionary contribution to the study of sculpture, bringing sixteen works by Latham, spanning 1958 to 2005, into conversation with sixteen sculptures by artists working across the twentieth and twenty-first centuries. Full list of artists in the exhibition: Artists included: Bernard Aubertin (France, 1934-2015) Marcel Broodthaers (Belgium, 1924-76) Tony Cragg (England, b. 1949) Marcel Duchamp (France, 1887-1967) Barry Flanagan (Wales, 1941-2009) Mary Kelly (USA, b. 1941) Yves Klein (France, 1928-62) John Latham (Zambia, 1921-2006) Liliane Lijn (USA, b. 1939) Annea Lockwood (New Zealand, b. 1939) Gordon Matta-Clark (USA, 1943-78) Josiah McElheny (USA, b. 1966) Cornelia Parker (England, b. 1956) Katie Paterson (Scotland, b. 1981) Michelangelo Pistoletto (Italy, b. 1933) Neal White (England, b. 1966) Carey Young (UK/US citizen, b. 1970)

No-one Belongs Here More than You, Despacio, Costa Rica, curated by Sandino Scheidegger

Despacio presents conceptual works spanning the past 40 years by artists who understand how to capture and create ingenious moments that inform our memories and provoke our deepest ruminations. Including Bethan Huws, Julian Charriere, Ivan Argote, Carey Young

During the Exhibition the Museum will be Closed

During its temporary closure the Museum für Neue Kunst invites you to an unconventional program in public spaces around the city. Artworks by: Joseph Beuys Ahmet Ögüt Mounira Al Solh Catherine Ryan & Amy Spiers Richard Schindler Mladen Stilinović Carey Young The show included Carey Young's 'Welcome to the Museum' (2009), a telephone-based work, which can be accessed from any phone by calling a specific number. Referring to the telephone answering systems used by most large organisations, Young has created an answering system for a semi-fictional and absurd museum whose labyrinth of departments can be explored by callers.

Liberties: An exhibition of contemporary art reflecting on 40 years since the Sex Discrimination Act

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 Droit

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 Pompidou

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 Resistance

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

Listening

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] words

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 Foundation

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, 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 Biennale

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, 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 Liverpool

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 Itself

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.

An Exhibition: Stefan Bruggeman, Lawrence Weiner, Carey Young

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 Media

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 York

“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, 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 Young

Photographic works by Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer and Carey Young.

Specters of the Nineties

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 Removed

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.

The Accords

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

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.

Contracting Universe

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 Show

"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

The Perfect Exhibition

Artist list: Marcus Coates, Carl Michael von Hausswolff, Habib Asal, bioswop.net, Christian Jankowski, Alicja Kwade, Paul Wiersbinski, Adrian Williams, Carey Young

Fall Out

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)

Curated by Clemens von Wedemeyer, artists included: Douglas Gordon, David Lamelas, Hito Steyerl, Arnold von Wedemeyer, Clemens von Wedemeyer, Carey Young

During Office Hours

The Talent Show

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

Atopia: Art and the City in the 21st Century

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.

Corporate Everything

Taipei Biennial 2010

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 Philosophy of Money / A Filosofia do Dinheiro

World as Stage (Die Welt als Bühne)

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 History

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

Impossible Exchange

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 Contracts

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 Memory

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

Pattern Recognition

Speech Acts

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.

Counter Offer

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.

Commentary

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 Object

'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

How to do Things with Words

Deceitful Moon

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

Soft Manipulation

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

Hypnotic Show

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 Release

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 Branding

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 Usual

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 Voice

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

Les Ateliers de Rennes Biennial of Contemporary Art, Rennes

Terms of Use

Oppositions and Dialogues

Islands and Ghettoes

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.

If/Then

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

The Dotted Line

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.

For Sale

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.

Global Feminisms

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.

Consideration

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 Nicolas Bourriaud

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.

Failure

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.

No, Future

From 60 to 7: The Politics of the 'Private'

Body: New Art from the UK

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/ Work

Happy Believers: Werkleitz Biennale

Jump into Cold Water

How to Improve the World

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.

Mostly Harmless: a Performance Series

British Art Show 6

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

Consideration

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.

Disclaimer

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 Rental

Carey Young

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.

Tirana Biennale 3

Sharjah Biennial 7

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

Arbeit / Labor/ Work

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

Making Things Public: Atmospheres of Democracy

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'.

Critical Societies - Art, Critique and the Promises of Capitalism

Group show with international artists including Martha Rosler, Allan Sekula, Runa Islam, Stephen Willats, LA Raeven, John Baldessari, Carey Young.

What Business Are You In?

Trade Show

Disclaimer

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.

Viral Marketing

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.

I Believe in You, digital commission by Film & Video Umbrella, launched at 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.

Carey Young

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.

Tales of the City (curated by the British Council)

Cycle Tracks will Abound in Utopia

I am not a feminist. I am normal.

Black Friday (Excercises in Hermeneutics)

A Short History of Performance, Part II.

A Short History of performance Part II was the second in a series of performance seasons at the Whitechapel, 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.

24/7: Vilnius/New York, curated by Raimundas Malauskas

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 Society

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

Dust to Dusk

Utopia Station

Major exhibition curated by Molly Nesbit, Hans Ulrich Obrist and Rirkrit Tiravanija. Part of the 50th Venice Biennale.

Moskva ter / Moscow Square

World Question Centre (Reloaded), curated by Jens Hoffman

Beck's Futures

Electric Earth

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.

Exchange and Transform (Arbeitstitel), curated by Maria Lind

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)

Ausgetraumt (Without Dreams)

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 Usual

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.

Nothing Ventured

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.

Carey Young: Everything You've Heard is Wrong

Week-long screening of Carey Young's video 'Everything You've Heard is Wrong'

The Communications Department (curated by Alex Farquharson)

Nothing (curated by Ele Carpenter and Graham Gussin)

Continuum001, curated by Rebecca Gordon Nesbitt

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)

EXIT, Art & Cinema at the End of the Century

CRASH! Corporatism and Complicity

MayDay: Communities and Communication (curated by Jeremy Millar)

Atomic (curated by The Arts Catalyst)

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-Storung

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

Membership of Editorial Board, Edinburgh Studies in Law, Justice and the Visual

Smithsonian Artist Research Fellowship

Creative Arts Fellowship

Law and Poetics, international conference, Cambridge University

Artforum review

Acquisition of 3 works by Sharjah Art Foundation Collection, Sharjah

New York Times exhibition review

Palais de Justice, solo exhibition at Paula Cooper Gallery, New York

Acquisition of 9 works by Dallas Museum of Art

Contracts and Consideration: Law as Art (keynote at conference)

Artforum.com exhibition review

Published interview

Casino Luxembourg Artist in Residence

Synaesthesia of Law international conference

Exhibition review, Art Monthly

'Justice Must be Seen to be Done' - published article in The Brooklyn Rail

Art/Law? Creative Responses to Copyright in the Twenty-First Century

2 works acquired by Kadist Foundation, Paris

Show Time: Curating Contemporary Art

Association of Art Historians Conference 2014

Ecole Nationale de la Magistrature, Paris

External Examiner, Fine Art

AHRC Judicial Images member

Art, Architecture and Law: The Architectural Project and the Legal Contract as Social Artefacts

Honorary Fellowship, Birkbeck School of Law

3 works acquired by the Migros Museum für Gegenwartskunst, Zurich

Art Speech: A Symposium on Symposia, MoMA, New York

The Color of Law, Mousse Magazine

Inside job: Julia Bryan-Wilson on the art of Carey Young. Eight page illustrated feature on my work in Artforum.

Vidéo et après, artist talk, Centre Pompidou, Paris, France

Review in Artforum

Acquisitions Committee adviser and member, Arts Council Collection

1 work acquired by the Museum of Art, Rhode Island School of Design

Night School: Contemporary Models of Agency, New Museum, New York

9 works acquired by the Tate Collection

British Art Show 6

1 work acquired by the Tate Collection

2 works acquired by the Arts Council England Collection

1 work acquired by the Centre Pompidou, Paris

Fellowship, Henry Moore Institute

The Revolver: a twilight of ambiguity

Newsnight

Front Row

Beck's Futures