Mercedes Vicente

• 

• PhD

  School

  School of Humanities

  Programme

  Critical Writing in Art & Design, 2013–2017

• Contact

• [email protected]
  +44 (0)7507 135020
  @Mercedes Vicente

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• Mercedes Vicente is a contemporary art curator and writer. Prior to her doctoral studies, she was Darcy Lange curator-at-large and curator of contemporary art at Govett-Brewster Art Gallery, New Zealand, as well as held curatorial positions in private and public institutions in New York including the Whitney Museum of American Art. She has organised numerous exhibitions on Lange at institutions such as Tate Modern, Ikon Gallery, Camera Austria, Cabinet (New York), Yale University, EACC (Spain) and NTU CCA Singapore. Her extensive writing and editorial credits includes books, exhibition catalogues and art journals. She is contributing editor of Darcy Lange: Study of an Artist at Work (Govett-Brewster Art Gallery and Ikon, 2008).

• Degrees

• Whitney Independent Study Program, Helena Rubinstein Curatorial Fellow, 2002; MA Curatorial Studies, Center for Curatorial Studies, Bard College, 2000; MA Film and the Arts, Gallatin School of Individualized Study, New York University, 1995

• Experience

• Curator-at-Large, Circuit Artist Films and Video Aotearoa New Zealand, 2017; Darcy Lange Curator-at-Large, Govett-Brewster Art Gallery, New Zealand, 2012-2014; Curator of Contemporary Art, Govett-Brewster Art Gallery, 2005-12; Board of Advisors, Kentler International Drawing Space, New York, 2002-present; US Correspondent, Exit, Exitexpress and Exitbook publications, Madrid, 2003-05; Associate director, Exhibit A Gallery, New York, 2001-03; Assistant curator to Barbara Duncan, private collector of Latin American Modern and Contemporary Art, New York, 2001-05; US Correspondent, Lápiz, Madrid 1995-2003; Curatorial research assistant for Chrissie Iles’ exhibition catalogue Into the Light: The Projected Image in American Art 1965-1977, Whitney Museum of American Art, New York, 2000; Curatorial assistant, retrospective Martha Rosler: Positions in the Life World, Museu d'Art Contemporani de Barcelona (MACBA), Barcelona. 1999; US Arts Correspondent, La Vanguardia and regular contributor to Spanish publications Lápiz, Rekarte and Qué Leer, 1994-98; Intern, Museum of Modern Art, Department of Education, New York, 1994; Research intern, The Metropolitan Museum of Art, Program for Art on Film, New York, 1993

• Exhibitions

• Thick Cinema, featuring videos by Fiona Amundsen, Joyce Campbell, John Di Stefano, Sam Hamilton and Kim Pieters, CIRCUIT in partnership with Christchurch Art Gallery, New Zealand, 2017; Darcy Lange: Enduring Time, Tate Modern, London, 2016; Darcy Lange: Hard, However, and Useful Is the Small, Day-to-Day Work, Nanyang Technological University, Centre for Contemporary Art, Singapore, 2015; What Would I Lie?, Royal College of Art Research Biennial, London, 2015; Vestigios invisibles, co-curated with Pep Benlloc featuring works by Mark Adams, Ana Teresa Ortega, Xavier Ribas, Ann Shelton and Vicente Tirado, Espai d’Art Contemporari de Castelló, Spain, 2014; Art and Social Change, Delhi 2013, Te Tuhi, Auckland and The Physics Room, Christchurch, New Zealand , 2014; Maddie Leach: If you find the good oil let us know, Govett-Brewster Art Gallery, 2012-14. 2014 Walters Prize Nominee, judged by Charles Esche; True Stories: Scripted Realities, featuring works by Yael Bartana, Omer Fast, Andrea Geyer, Liam Gillick, Kerry Tribe, Anton Vidokle, Govett-Brewster Art Gallery, Te Tuhi and Dunedin Public Art Gallery, New Zealand, 2012; Points of Contact: Jim Allen, Len Lye, Hélio Oiticica, co-curated with Tyler Cann, Govett-Brewster Art Gallery and Adam Art Gallery, New Zealand, 2010-11; Fertilizer no. 1: Darcy Lange Work Studies in Schools, with Pierre Leguillon and Yann Chataigne, HEAD, Geneva, 2010; Darcy Lange Work Studies in Schools, Slought Foundation, Philadelphia, 2010; Darcy Lange, Camera Austria, Graz, 2010; Darcy Lange: Work Studies, Yale University, 32 Edgewood Gallery, New Haven, 2009; Darcy Lange: Work Studies in Schools, Cabinet, New York, 2009; Darcy Lange: Work Studies 1974-77, Moderna Galerija, Ljubljana, 2009; Photo hiStories: Mark Adams, Bruce Connew, John Miller, Govett-Brewster Art Gallery, 2009; Javier Téllez: Intermission, commissioned by Govett-Brewster Art Gallery, One Day Sculpture, led by Claire Doherty and Litmus Research Initiative at Massey University, New Zealand, 2009; SCANZ, co-curated with Sarah Cook, in partnership with WITT, Govett-Brewster Art Gallery, 2009; Darcy Lange: Work Studies in Schools, co-curated with Helen Legg, Ikon Gallery, Birmingham, 2008; Amar Kanwar, Govett-Brewster Art Gallery, 2008; Jayce Salloum: everything and nothing and other works from the ongoing project ‘untitled’ 1999-2008, Govett-Brewster Art Gallery, 2008; Freehand, ArratiaBeer Gallery, Berlin, 2007; Activating Korea: Tides of Collective Action, co-curated with Beck Jee-sook, in partnership with Insa Art Space (Seoul), Govett-Brewster Art Gallery, 2007; David Hatcher: Semantic Bliss Govett-Brewster Art Gallery, 2007; Darcy Lange: Study of Artist at Work, Govett-Brewster Art Gallery and Adam Art Gallery, 2006-07; New Zealand Scapes, OFF LOOP '06 Festival, Barcelona, 2006; If It’s Too Bad to be True, It Could Be ‘DISINFORMATION’, Apexart, New York and Blackwood Art Gallery, Toronto 2005-06; From Mini-FM to Hacktivists: A Guide to Art and Activism, Govett-Brewster Art Gallery, 2005; Slowness, Dorsky Curatorial Programs, New York, and Govett-Brewster Art Gallery, 2004; Two Views, Artists Books, featuring works by Bess Frimodig and Kostas Kiritsis, Kentler International Drawing Space, New York, 2003; The Sessions of Sweet Silent Thought, Bronx River Arts Space, New York, 2003; Empire/State: Artists Engaging Globalization, co-curated with Kirstin Butler, Jennifer Farrell and Yates Mckee, Helena Rubinstein Curatorial Fellows of the Whitney Independent Study Program, The Graduate Center, New York, 2002; 911: Artists Respond, co-curated with Florence Neal, Kentler International Drawing Space and Bronx River Arts Center, New York, 2001; UN/RULED, Exhibit A Gallery, 2001; This Is What It Is, Center for Curatorial Studies, Bard College, 2000 (MA thesis exhibition). Drawings by William Anastasi, Barry Le Va, Sol LeWitt, Gordon Matta-Clark, Robert Morris, Fred Sandback and Dorothea Rockburne.; Positioning, co-curated with thirteen fellow graduate students and guest curator Maria Hlavajova, featuring works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, 1999.

• Awards

• Judge, Greater Columbus Arts Council and Columbus Art Museum Award Fellowship, Columbus, Ohio, 2013; Judge, The Parkin Drawing Award, New Zealand, 2013; Judge, Sculpture Wanganui, New Zealand 2011; Awarded Igor Zabel Competition, Moderna Galerija, Ljubljana, 2009; Judge, Trust Waikato National Contemporary Art Award, Waikato Museum, Hamilton, New Zealand, 2006

• Conferences

• Talk “Lottery of the Sea”, Symposium Allan Sekula: From the Panorama to the Detail, February 21–22, 2017, TBA21, Vienna, Austria; Talk “Lottery of the Sea,” Allan Sekula Symposium, convened by Ute Meta Bauer, NTU, CCA, 26 September 2015; Two-day workshop on Darcy Lange, as part of the research framework Place.Labour.Capital, NTU CCA, Singapore, 21-22 Septermber 2015; “In, Around and Afterthoughts on Ethics and the Darcy Lange Archive” (Keynote speaker), conference The Document Through the Lens: Archives, Whakapapa, Ethics, convened by Document Research Group, AUT/St Paul St Gallery, New Zealand, 11-12 September 2015; Symposium Turn to the Archive! Ethics and the Making, Encountering, Imagining and Missing of the Archive, convener with speakers George Clark, Sean Cubitt, Ruth Maclennan, Jeremy Millar and Etienne Sandrin, Royal College of Art, London, 23 April 2015; Amie Siegel, in conversation with Mercedes Vicente, as part of If you Were Here, The 5th Auckland Triennial, curated by Hou Hanru, Auckland Art Gallery, May 10 2013; Lecture on Hélio Oiticica, Symposium Vibration, Vibracão, Vibración: Latin American Kinetic Art of the 1960s and 70s, convened by Sue Best, University of Sydney, Sydney, 4 August 2012; Lecture on Darcy Lange, Human Capital, LOOP Screen Festival, Virreina, Barcelona, 27 May 2012; Master class on Darcy Lange with Román Gubern, in collaboration with Máster Creative Documentary, Universitat Autònoma de Barcelona, Mediateca CaixaForum, LOOP Screen Festival, Barcelona, 14 May 2012; Curatorial workshop with Pierre Leguillon and Yann Chataigne, Work Masters Program, Geneva University of Art and Design, December 2010; “Activating collaborations,” The Wellington Collaboratorium Symposium, convened by Gregory Sholette, Enjoy Gallery and Victoria University, Wellington, 2010; “Curating under working conditions,” Curatorial Strategies Series, Master of Arts Management, Auckland University of Technology, Auckland, 2010; “Darcy Lange,” Electronic Art Intermix, New York, 3 May 2010; “Darcy Lange,” Slought Foundation, Philadelphia, 30 April 2010; “Darcy Lange, Beyond Observation,” Camera Austria, Graz, 15 April 2010; Panel discussion “Adventurous materials,” Last Ride in a Hot Air Balloon, The 4th Auckland Triennial, Convener, Auckland Art Gallery, 14 March 2010; “Darcy Lange: Work Studies,” with New Users Group members Daniel Bozhkov and Nathan Azhderian, Yale University School of Art, New Haven, December 2009; “Darcy Lange, Work Studies,” Mala Galerija, Ljubljana, 20 August 2009; “Encountering new models of curating contemporary art in the Pacific Rim,” Keynote speaker, ANZAAE conference, Dunedin, 2009; “Tactical everyday solutions for the civically impaired,” Unitec Design, Auckland, 2009; Darcy Lange Panel, Expanding Documentary Conference, Gus Fisher Art Gallery, Auckland 2009; Curatorial Workshop with Vasif Kortum, Experimental Art Foundation, Adelaide, 2009; Curating New Media, SCANZ Symposium, convened with Sarah Cook, Govett-Brewste Art Gallery, 2009; “Darcy Lange, Maori Land Project,” Nederlands Instituut voor Mediakunst, Amsterdam, 4 December 2008; Darcy Lange Panel, convened by Helen Legg, with Guy Brett, Peggy Gale, Lynda Morris, Phil Slight, and Mercedes Vicente, Ikon Gallery, Birmingham, 2008; “Curating New Media,” 5th Ada Symposium, Christchurch, 2008; “Darcy Lange: Study of an artist at work,” Asian Maps; 5th International Contemporary Art Experts Forum ARCO, Madrid, 2007; Contemporary Art in Australia and New Zealand, 2006 Busan Biennale, Busan, 2006; “Time Sickness,” Auckland Art Gallery, Auckland, 2004; “From Curatorial Studies to Curatorial Practice and Vice Versa,” Govett-Brewster Art Gallery, 2004; “Curatorial Practice in Contemporary Art,” one-week seminar co-organized with Rosina Gómez-Baeza, Fundación Universidad Rey Juan Carlos, Madrid, 2004; “Has Pleasure in Slowness Disappeared?,” Bronx River Arts Center, New York, 2003; “Empire/State: Artists Engaging Globalization,” 16 Beaver, New York, 2002

• Publications

• “Every page a victory. Who cooked the feast for the victors?,” in Place.Labour.Capital, eds. Ute Meta Bauer and Anca Rujoiu (NTU CCA Singapore, 2017); “Knowledge through contact,” in Difference Screen, eds. Bruce Allan and Ben Eastop, online publication, 2017; Darcy Lange: Enduring time (Tate Film Publications, London, 2016) booklet essay; "Maddie Leach", in The Walters Prize 2014 (Auckland Art Gallery, New Zealand, 2014); Maddie Leach: If you find the good oil let us know (Govett-Brewster Art Gallery, New Zealand, 2014); Points of Contact: Jim Allen, Len Lye, Hélio Oiticica, eds. Christina Barton, Tyler Cann and Mercedes Vicente (Govett-Brewster Art Gallery and Adam Art Gallery, 2012); “Dane Mitchell,” Flash Art, May-June, 2011, p. 150; David Hatcher: Semantic Bliss (Govett-Brewster Art Gallery, 2010); “The Elliptical Return,” in John Di Stefano: Unfold (Enjoy Public Art Gallery, Wellington 2010); “Mark Adams/Ann Shelton,” Camera Austria, issue 112, December 2010; “Allan Sekula: Lottery of the Sea,” Reading Room, Issue 4, Auckland Art Gallery, 2010; “Darcy Lange,” Camera Austria, No 108, December 2009; Darcy Lange: Work Studies 1974-77 (Moderna Galerija, Ljubjana, 2009); Darcy Lange: Study of an Artist at Work, (Govett-Brewster Art Gallery and Ikon Gallery, Birmingham, UK 2008; Spanish edition, EACC, Spain 2010). Ed. Mercedes Vicente, essays by Guy Brett, Benjamin Buchloh, Dan Graham, et al.; Activating Korea: Tides of Collective Action (Govett-Brewster Art Gallery and IAS, Seoul, 2008); “The film's indissoluble whole?,” in VERTOV from A to Z, Eds. Peggy Ahwesh and Keith Sanborn (Ediciones La Calavera Press, New York, 2008); Gabriel Kuri: and thanks in advance, ed. Mercedes Vicente, essays by Gabriel Kuri, Marcella Becaria and M. Vicente (Govett-Brewster Art Gallery and A&R Press/Turner, Mexico, 2007); “Darcy Lange: Work Studies in Schools,” Documenta 12 Magazine no.3 (Taschen, 2007) pp. 30-35; "Stella Brennan" and "Sean Kerr", in Speculation (Artspace, Auckland, NZ and JRP|Ringier, Zurich 2007); “Turbulent Realities,” Broadsheet, vol. 36 no.2, 2007, pp. 95-97; Marietta Hoferer: Fieldwork (Kentler International Drawing Space, New York, 2006); “Interview with Tetsuo Kogawa,” Visit #8, Summer 2006; “AMScantm Solutions,” in Angelika Middendorf: Treadmills –looping space – (Revolver, Frankfurt am Main 2005), pp. 64-67; “Unveiling the Art of Sandra Bermúdez,” in Sandra Bermúdez: Mise en obscene (ART Press, New York, 2005), pp. 47-75; “et al: The Fundamental Practice,” Broadsheet, vol. 34 no.2, 2005, pp. 76-79; “Slater Bradley,” Exit Express, vol. 12, 2005; “Jonas Mekas,” Exit Express, vol. 11, 2005; “Johan Grimonprez,” “Eleanor Antin: Roman Allegories,” “Sara Lucas: God is Dad,” Exit Express vol. 10, 2005, pp, 27, 33; Benjamin H. D. Buchloh, Formalismo e historicidad: modelos y métodos en el arte del siglo XX, eds. Anna María Guasch and Mercedes Vicente (Akal Publicaciones, Madrid, 2005); Review of books Pamela M. Lee´s Chronophobia: On Time in the Art of the 1960s (MIT Press) and Michael P. Lynch´s True to Life. Why Truth Matters (MIT Press), Exitbook, vol. 4, 2004; “The Central Place of Discourse in Curatorial Studies,” MJ Manifesta Journal, vol. 4, 2004, pp. 80-83; “Interview with Robert Storr, Curator of 2004 SITE Santa Fe,” Exit Express vol. 5, 2004; “2004 Whitney Biennial,” Lápiz, vol. 202, 2004; Review of Martha Buskirk’s The Contingent Object of Contemporary Art and Mary Zournazi’s Hope, New Philosophies for Change, Exitbook, vol. 3, 2003; “Mark Manders,” Lápiz, vol. 198, 2003; “Interview with Dan Cameron,” in Cambio de Valores, Fondos de la Colección Fundación Arco (EACC, 2003), pp. 126-155; “The Ineluctable Weight of Living,” in Lucia Warck-Meister: Flight, 2003, pp. 6-8; “Entrevista a Rosalind Krauss,” Exitbook, vol.2, 2003, pp. 7-10; “Only Through Accelerated Time Time is Conquered,” in Empire/State: Artists Engaging Globalization (Whitney Museum of American Art, New York, 2002) pp. 24-29; Review of books Vitamin P and Gerhard Richter: Forty Years of Painting, Exitbook, vol. 1, 2002 pp. 38-9, 62; “Jorge Pardo,” Lápiz, vol.179-80, 2002, pp. 61-66; “Celeste Boursier-Monegot,” Lápiz, vol. 177, 2001, p. 68; “Louise Bourgeois & Yayoi Kusama,” Lápiz, vol.176, 2001, p. 86; “Bitstreams,” Lápiz, vol.173, 2001, p. 72; “Rosemarie Trockel,” Lápiz, vol.172, 2001, p. 72; “Body and the East,” Lápiz, vol.171, 2001, p. 74; “2000 Whitney Biennial,” Lápiz, vol. 163, 2000, p. 70; “PS 1, Greater New York,” La Vanguardia, 02/03/00; “Manly,” and “Greater New York,” Lápiz, vol. 162, 2000, pp. 74-5.; “La estrategia global,” interview with Martha Rosler, Lápiz, vol. 160, 2000, pp. 52-63; “MoMAstars,” Lápiz, vol. 160, 2000, p. 94; “El museo cuestionado,” Lápiz, vol. 157, 2000, pp. 20-25; “El arte interrogado,” interview with Owkui Enwenzor, Lápiz, vol. 153, 2000, pp. 50-7; “Reinventar el retrato,” interview with Chuck Close,” Lápiz, vol. 145, 1998, pp. 42-53; “El Guggenheim resume 5.000 años de arte Chino,” La Vanguardia, 98/2/0, p. 35; “Un mundo natural,” interview with Kiki Smith, Lápiz, vol. 139/40, 1998, pp. 62-73