Sylvie Fortin
Sylvie Fortin is an interdependent curator, researcher, critic, and editor based between Montréal and New York. She was Curator-in-Residence 2019–2021 at Bemis Center for Contemporary Arts, Executive/Artistic Director of La Biennale de Montréal (2013–2017), Executive Director/Editor of ART PAPERS in Atlanta (2004–2012), Curator of Contemporary Art at the Agnes Etherington Art Centre at Queen’s University in Kingston, Ontario, 2013, Curator of Manif 5 – the 5th Québec City Biennial (2010), and Curator of Contemporary Art at the Ottawa Art Gallery (1996-2001). Fortin lectures internationally and her critical essays and reviews have been published in numerous catalogues, anthologies, and periodicals, including Art/Agenda, Artforum International, ART PAPERS, Art Press, C Magazine, Flash Art, and Frieze.
In 2017, Fortin began a long-term, interdisciplinary, multi-sited, and iterative curatorial inquiry into the currencies of hospitality. This hydra-like pursuit has had several public manifestations, including her editorship of the Fall 2020 issue of PUBLIC Art |Culture |Ideas and her collaboration with artists Richard Ibghy & Marilou Lemmens, which explores the intersections between territory, habitat, financialization, and hospitality through local collaborations that radically reconfigure the exhibition for each presentation. Iterations of this name-changing exhibition were presented at Bemis Center for Contemporary Arts in Omaha, NE (2019 – 2020) and the Ulrich Museum of Art in Wichita, KS (2021); the next version will soon be hosted by Confederation Centre Art Gallery in Charlottetown, Canada (2023).
Her other current project delves into the storied entanglements of the body and hospitality by way of an episodic international group exhibition entitled I don’t know you like that: The Bodywork of Hospitality, which premiered at Bemis Center (2021 – 2022) and is currently on view at University at Buffalo Art Galleries (2022 – 2023).
Shuffling between Argentina and Portugal, the next chapter of her curatorial research focuses on the intersection of hospitality and economics while operating as a humble, informal platform for resource redistribution. This project is indebted to Fortin’s collaboration with Argentinian-French artist Liv Schulman with whom she produced the feature-length film The New Inflation (2019 – 2021). Researched, cast, and shot in Omaha, this ambitious film explores the ways in which economic forms, such as inflation and speculation, become embodied, infiltrate language, perception, and desire, and inflect social relations.
In 2017, Fortin began a long-term, interdisciplinary, multi-sited, and iterative curatorial inquiry into the currencies of hospitality. This hydra-like pursuit has had several public manifestations, including her editorship of the Fall 2020 issue of PUBLIC Art |Culture |Ideas and her collaboration with artists Richard Ibghy & Marilou Lemmens, which explores the intersections between territory, habitat, financialization, and hospitality through local collaborations that radically reconfigure the exhibition for each presentation. Iterations of this name-changing exhibition were presented at Bemis Center for Contemporary Arts in Omaha, NE (2019 – 2020) and the Ulrich Museum of Art in Wichita, KS (2021); the next version will soon be hosted by Confederation Centre Art Gallery in Charlottetown, Canada (2023).
Her other current project delves into the storied entanglements of the body and hospitality by way of an episodic international group exhibition entitled I don’t know you like that: The Bodywork of Hospitality, which premiered at Bemis Center (2021 – 2022) and is currently on view at University at Buffalo Art Galleries (2022 – 2023).
Shuffling between Argentina and Portugal, the next chapter of her curatorial research focuses on the intersection of hospitality and economics while operating as a humble, informal platform for resource redistribution. This project is indebted to Fortin’s collaboration with Argentinian-French artist Liv Schulman with whom she produced the feature-length film The New Inflation (2019 – 2021). Researched, cast, and shot in Omaha, this ambitious film explores the ways in which economic forms, such as inflation and speculation, become embodied, infiltrate language, perception, and desire, and inflect social relations.
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The Hospitality of the Images is the first event in a dynamic month-long series celebrating the release of the latest issue of Public, which offers an interdisciplinary exploration of the currencies of hospitality. This series mobilizes and amplifies the publication, positioning it as a relay for the exchange of ideas, and a vector for attentive engagement, open debate, and speculation around questions of hospitality.
To buy your copy of PUBLIC 61: http://ow.ly/Jcr250DFAGw
art-agenda.com/features/403438/surrogacy-money-shots-and-bit-rot
ISBN 978-0-9718102-2-8
Published in Art Papers in 2006.
Published in Art Papers in 2005 with a limited edition temporary tattoo.
The Hospitality of the Images is the first event in a dynamic month-long series celebrating the release of the latest issue of Public, which offers an interdisciplinary exploration of the currencies of hospitality. This series mobilizes and amplifies the publication, positioning it as a relay for the exchange of ideas, and a vector for attentive engagement, open debate, and speculation around questions of hospitality.
To buy your copy of PUBLIC 61: http://ow.ly/Jcr250DFAGw
art-agenda.com/features/403438/surrogacy-money-shots-and-bit-rot
ISBN 978-0-9718102-2-8
Published in Art Papers in 2006.
Published in Art Papers in 2005 with a limited edition temporary tattoo.
BNLMTL 2014, L’avenir (looking forward), is presented by La Biennale de Montréal and co-produced with the Musée d’art contemporain de Montréal.
Curators: Gregory Burke, Peggy Gale, Lesley Johnstone and Mark Lanctôt
Editor: Sylvie Fortin
ISBN 978-2-9814722-0-5
Boubnova was recently selected to curate the Bulgarian National Pavilion at La Biennale di Venezia 2019, 20 years after her Venice curatorial debut, in 1999, in the same pavilion.
Glenn Harper and Twylene Moyer, eds.
Washington, DC: Washington University Press and International Sculpture Center, 275-283.
Glenn Harper and Twylene Moyer, eds.
Washington, DC: Washington University Press and International Sculpture Center, 206-212.
isc Press, 2013, pp. 251-257
Hospitality is usually considered a philosophical concept, an ethical concern with juridical implications, a sociopolitical practice… or an industry. This volume shifts the focus to speculate on some of its other (often stealth) manifestations. It mobilizes hospitality-as concept, metaphor, performance, dissidence, and weapon-to render its pluripotent agency.
PUBLIC 62 will critically address and contribute to this field of research and action. It will, however, venture significantly further in its interdisciplinary scope, beyond (while still welcoming) the domains of politics and aesthetics.
Exploring how the concept of hospitality operates in a broad range of fields, disciplines and practices, this issue of PUBLIC will update and expand the currencies of hospitality to pose pressing questions to contemporary artistic practice. It will open up a space to pursue crucial artistic, social, and political questions that have so far been foreclosed by both the narratives we mobilize to understand and describe contemporary politics and the sequence of terms (appropriation, institutional critique, relational aesthetics, social practice, improvisation, process and the remake, and so on) to which we have subscribed to define and understand contemporary art.
This volume therefore seeks to foster and assemble a wide range of approaches to hospitality and its contemporary currencies. We welcome daring artistic and scholarly proposals on a broad range of topics listed in the attached CFP.
et emporter" des artistes Richard Ibghy et Marilou Lemmens organisée par la conservatrice Sylvie Fortin et présentée au Musée d’art du Centre de la Confédération du 18 février au 21 mai 2023.
The exhibition featured works by Ingrid Bachmann, Crystal Z Campbell, Jean-Charles de Quillacq, Stephanie Dinkins, Heather Dewey-Hagborg, Celina Eceiza, Adham Faramawy, Mounir Fatmi, Flis Holland, Oliver Husain, Rodney McMillian, Bridget Moser, Berenice Olmedo, Pedro Neves Marques, Kerstin Schroedinger, Jenna Sutela, Ana Torfs, and Francis Upritchard.