The Series : « AICA »
The Author : K. Lisa Schiff
After spending about equal amounts of time in the academic world and the art world, K. Lisa Schiff has shifted from seeking hybrid genres — a dissertation about artists’ books; artworks using text — to pursuing writing and artmaking separately. She has terminal degrees in both fields: a Ph.D. in Comparative Literature and Literary Theory (with a Graduate Certificate in Women’s Studies, University of Pennsylvania), and a M.F.A. in Studio Art (with Honors in Drawing, School of the Museum of Fine Arts / Tufts University). Various projects about Agnes Martin preceded her current research on Picasso. She has published in Art in America, Art Journal, Hyperallergic Weekend, Tate Etc., and other venues, and she has been a member of the International Association of Art Critics (AICA-USA) since 2013. Her recent solo exhibition of small drawings, at the Nano Gallery in Washington, DC, was called Out of Joint.
Publishing Partnership with AICA International
This text by K. Lisa Schiff is published in partnership with AICA following an international call for participation launched at the end of 2019. Out of some sixty proposals for articles, fourteen have been selected and will be published from 28 August as part of Manifesta 13 Marseille within the programme « Les Parallèles du Sud ».
AICA (International Association of Art Critics) is an NGO founded in 1950 under UNESCO patronage for the purpose of reinforcing worldwide freedom of speech in the area of art criticism and ensure its diversity. Its missions include promoting the discipline in the visual arts by contributing to ensuring sound methodological foundations, protecting the moral and professional interests of art critics by defending the rights of all members equally, ensuring permanent communication among all members by encouraging national and international meetings, improving and facilitating information and international exchanges in the visual arts and contributing to reciprocal knowledge and closer understanding between differing cultures.
Associate publisher, the Emerige Endowment Fund
Emerige: a proactive patron of the arts
In the firm belief that art has the power to change our daily reality, Emerige is a corporate sponsor committed to contemporary creativity by bringing culture closer to everyone, but especially the youngest in society. The Emerige Endowment Fund encourages young French artists via its Emerige Revelations Grant Scheme and its support for arts and culture educational programmes.
As a company devoted to building more beautiful cities for everyone, Emerige also contributes to bringing more art into urban communities by acquiring or commissioning contemporary art pieces under the terms of the 1 Building, 1 Artwork charter.
Parallèles du Sud, Manifesta 13 Marseille
This series of publications published in partnership with AICA International (International Association of Art Critics) is one of the 86 projects labeled “Les Parallèles du Sud”, as part of MANIFESTA 13, which will take place in Marseille from 28 August to 29 November 2020.
Manifesta is the European Nomadic Biennial, which originated in the early 1990s in response to the political, economic, and social change following the end of the Cold War and the subsequent steps towards European integration. Manifesta has developed into a platform for dialogue between art and society by inviting the cultural and artistic community to produce new creative experiences with, and for, the context in which it takes place. Manifesta rethinks the relations between culture and society investigating and catalysing positive social change in Europe through contemporary culture in a continuous dialogue with the social sphere of a specific place.
Manifesta was founded by the Dutch art historian, Hedwig Fijen. Each new edition is fundraised individually and managed by a mix of permanent international team and local specialists. Manifesta is working from its offices in Amsterdam and Marseille.
This article was written in the rosy era before the novel coronavirus, during which the principals talked with the author generously and enthusiastically about their shared project. It was edited in the time of global uncertainty during which France and the United States were following the course of the spread of the sickness through Italy. Antonio Rovaldi’s region of northern Italy was the hardest hit, and his GAMeC exhibition went on an extended hiatus. The author wishes to acknowledge the stalwart conviction of the artist and editors in persisting with this artwork and publication. The underlying ecological theme has heightened relevance, as COVID-19 underscores the interconnectedness and vulnerability of the planet as a biosphere. Meanwhile, may artistic projects such as Rovaldi’s—and intrepid publications in the arts such as Switch (on Paper)—continue to create perspectives on this global condition in which complexity, openness, and creativity motivate productive visions for ways forward.
All photographs by Antonio Rovaldi, and used with the artist’s permission. All quotations from Antonio Rovaldi, unless otherwise noted, are taken from a video chat on September 19, 2019. Quotations from Steven Handel come out of a telephone conversation on September 12, 2019. Quotations from Francesca Benedetto are taken from a video interview on September 10, 2019.