Related
Exhibition
February 2022

unending beginnings: MA Curatorial Practices and the Public Sphere Practicum Exhibition

USC Roski School of Art and Design

Installation view, “unending beginnings.” MA Curatorial Practices and the Public Sphere Practicum Exhibition, USC Roski School of Art and Design, USC Roski Graduate Gallery, January 21–February 11, 2022. Photo: Ryan Miller / Capture Imaging.

Installation view, “unending beginnings.” MA Curatorial Practices and the Public Sphere Practicum Exhibition, USC Roski School of Art and Design, USC Roski Graduate Gallery, January 21–February 11, 2022. Photo: Ryan Miller / Capture Imaging.

Installation view, “unending beginnings.” MA Curatorial Practices and the Public Sphere Practicum Exhibition, USC Roski School of Art and Design, USC Roski Graduate Gallery, January 21–February 11, 2022. Photo: Ryan Miller / Capture Imaging.

Installation view, “unending beginnings.” MA Curatorial Practices and the Public Sphere Practicum Exhibition, USC Roski School of Art and Design, USC Roski Graduate Gallery, January 21–February 11, 2022. Photo: Ryan Miller / Capture Imaging.

Pia Camil, Selva Maya, 2021. Steel, concrete, recycled newspaper pulp, pigment, inset newspaper photographs, and plywood base, 9 ½  × 43 × 37”. Photo: Ryan Miller / Capture Imaging.

Pia Camil, Selva Maya (detail), 2021. Steel, concrete, recycled newspaper pulp, pigment, inset newspaper photographs, and plywood base, 91 ½ × 43 × 37”. Photo: Ryan Miller / Capture Imaging.

Eddie Rodolfo Aparicio, No Siempre Era Tan Feo (Teen Jobs), 2022. Rubber, found cloths, tree and paint residue, paint, string, and found ephemera, 102 × 36 × 2”. Photo: Ryan Miller / Capture Imaging.

Eddie Rodolfo Aparicio, No Siempre Era Tan Feo (Teen Jobs) (detail), 2022. Rubber, found cloths, tree and paint residue, paint, string, and found ephemera, 102 × 36 × 2”. Photo: Ryan Miller / Capture Imaging.

Gerald Clarke, Jr., One Tract Mind, from the series “One Tract Mind,” 2018. Digital print, 52 ¼ × 76”. Photo: Ryan Miller / Capture Imaging.

Cécile B. Evans, A Screen Test for an Adaption of Giselle, 2019. HD video and sound, 8 minutes 50 seconds. Photo: Ryan Miller / Capture Imaging.

Colleen Hargaden, H2O, 2019. Water bricks, water, blue translucent acrylic, and 3D printed rubber stoppers, dimensions variable. Photo: Ryan Miller / Capture Imaging.

Colleen Hargaden, Reproducing “H2O, 2019. Two-channel video, monitor, and projection, 11 minutes 42 seconds; 15 × 10 ¾ × 13”. Photo: Ryan Miller / Capture Imaging.

Angel Lartigue, Bacteriomancy, 2022. Ritual performance, microorganisms, acrylic purses, seaweed, and agar, dimensions variable. Photo: Ryan Miller / Capture Imaging.

Angel Lartigue, Bacteriomancy (detail), 2022. Ritual performance, microorganisms, acrylic purses, seaweed, and agar, dimensions variable. Photo: Ryan Miller / Capture Imaging.

“unending beginnings” reckons with the precarity of our existence, presenting emergent strategies that consider worldmaking and survival on multiple levels, micro and macro, human and nonhuman, to imagine alternative futures. Nonhuman ecologies demonstrate resurgent possibilities, providing blueprints for survival that do not adhere to humankind’s historical narratives of dominance. “unending beginnings” is an ode to mushrooms, water, trees, cacao beans, jungles, forests, Indigenous resistance, and all other forms of life that do not abide by Western constructs of time. There is no end and there is no beginning, our livelihood is a multispecies entanglement dependent on collaboration and adaptability of all worlds, universes, and microcosms for survival.

“unending beginnings” aims to dismantle Western notions of progress as linear and individualistic, prompting us to consider the systems we value and whom those systems serve and inevitably harm. The artists included in the exhibition expand notions of community and kinship, embracing mutability and multiplicity over hegemonic systems of colonialism and capitalism that are intrinsically tied to destruction. Together these artists offer tools for envisioning a world organized otherwise, presenting a tentacular field of possibilities and unending beginnings.

“unending beginnings” is organized by USC Roski School of Art and Design and curated by Emma Christ, Nahui Garcia, Lauren Guilford, Leah Perez, Austen Villacis, and Ruei-Chen Tsai.

Participating Artists

Eddie Rodolfo Aparicio
Pia Camil
Gerald Clarke, Jr.
Cécile B. Evans
Colleen Hargaden
Angel Lartigue

The USC Roski MA in Curatorial Practices and the Public Sphere is an intensive graduate program in the practice and history of curating, studied through the lenses of critical theory, art history and visual culture. During two years of full-time academic seminars and professional training, students explore a range of curatorial practices applicable to diverse institutions and curatorial formats.

In three consecutive Practicum courses, students conceptualize and curate their own exhibition/curatorial project and produce a publication or alternative public interface. Additionally, students complete scholarly research and write on a topic of their choice for the MA Thesis.

Led by Director Jenny Lin, MA students work closely with USC Roski’s acclaimed scholars, curators, artists, and critics including Andrew Campbell, Amelia Jones, Suzanne Lacy, Karen Moss, and Anu Vikram.

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