The Church w/ DIA Foundation: Porter & Fusco in Conversation w/ Katzenstein, 8.24th

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LILIANA PORTER & COCO FUSCO

in conversation with

INÉS KATZENSTEIN

co-presented with

DIA ART FOUNDATION

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SATURDAY, AUGUST 24th, 2024 | 3 PM

TICKETS:
General Ticket: $20 Members: $15

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Co-presented with Dia Art Foundation, an exclusive dialogue between two pioneering icons, Liliana Porter and Coco Fusco, and moderated by MoMA Curator of Latin American Art and Director of the Cisneros Center, Inés Katzenstein. An introduction will be given by Sheri Pasquarella, Executive Director of The Church, and Humberto Moro, Deputy Director of Program at Dia Art Foundation.

This unique collaboration explores shared themes in the two summer exhibitions of the presenters: Liliana Porter, on view at Dia Bridgehampton from June 23, 2024, through June 1, 2025; and Are You Joking? Women & Humor, at The Church, which includes Fusco among some 40+ other Artists.

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LILIANA PORTER

Liliana Porter was born in Buenos Aires in 1941. She studied at the Escuela Nacional de Bellas Artes in Buenos Aires and Universidad Iberoamericana in Mexico City. Originally trained in printmaking, her practice spans painting, drawing, photography, assemblage, video, installation, public art, and, more recently, theater, the latter often developed in collaboration with artist Ana Tiscornia. In 1964, Porter moved to New York where she co-founded the New York Graphic Workshop with artists Luis Camnitzer and José Guillermo Castillo. In the city, her work was first shown in institutions such as the Jewish Museum in 1964; Pratt Graphic Art Center in 1967; and the Museum of Modern Art in 1973. Between 1991 and 2007, Porter was a professor at Queens College, City University of New York. In 2017, her work was included in the 57th Venice Biennale: Viva Arte Viva and in Radical Women: Latin American Art, 1960–1985, at the Hammer Museum, Los Angeles, which traveled in 2018 to the Brooklyn Museum, New York, and the Pinacoteca, São Paulo. Recent surveys of her work have been presented at Artium Museoa, Museo de Arte Contemporáneo del País Vasco, Vitoria-Gasteiz, Spain (2017); Savannah College of Art and Design (2017–18) and traveling to El Museo del Barrio, New York (2018–19); and Les Abattoirs, Toulouse, France (2023). Porter lives in Rhinebeck, New York.

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COCO FUSCO

Coco Fusco is an interdisciplinary artist and writer. She is a recipient of numerous awards, including a Guggenheim fellowship, an American Academy of Arts and Letters Award, Latinx Art Award, a Fulbright fellowship and a Herb Alpert Award in the Arts. Her works are in the permanent collections of the Museum of Modern Art, The Art Institute of Chicago, The Walker Art Center, the Centre Pompidou, the Imperial War Museum, and the Museum of Contemporary Art of Barcelona. She is the author of four books and a Professor of Art at Cooper Union. Fusco is represented by Mendes Wood DM.

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INÉS KATZENSTEIN

Inés Katzenstein joined The Museum of Modern Art in 2018 as Curator of Latin American Art and the inaugural Director of the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America. In her role as curator, she helps conceive the Museum’s collection displays, and heads the Latin American and Caribbean Fund, which is dedicated to acquisitions from the region. She has organized two major exhibitions based on the Patricia Phelps de Cisneros Gift: Sur moderno: Journeys of Abstraction (2019, with Maria Amalia García) and Chosen Memories (2023). In 2021 she was part of the curatorial team for Greater New York at MoMA PS1.

As director of the Cisneros Institute, she oversees research projects on modern and contemporary Latin American art and a fellowship program. Since its inauguration, the Cisneros Institute has developed a multiyear research project on issues of art and ecology in contemporary Latin America, and it recently began a second project dedicated to studying the relationships between modernity and spirituality in the 20th century.

Prior to joining the Museum, from 2008 to 2018, she was the founding director of the Art Department at Universidad Torcuato Di Tella in Buenos Aires, where she created and oversaw an educational program for artists and curators, as well as an exhibition program. Previously, she was Curator at Malba-Fundación Costantini, and the editor of Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, published by The Museum of Modern Art in 2004. She holds a master’s degree from the Center for Curatorial Studies at Bard College and a BA from the Universidad de Buenos Aires.

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DIA ART FOUNDATION

Taking its name from the Greek word meaning “through,” Dia was established in 1974 with the mission to serve as a conduit for artists to realize ambitious new projects, unmediated by overt interpretation and uncurbed by the limitations of more traditional museums and galleries. Dia’s programming fosters contemplative and sustained consideration of a single artist’s body of work and its collection is distinguished by the deep and longstanding relationships that the nonprofit has cultivated with artists whose work came to prominence particularly in the 1960s and ’70s.
In addition to Dia Beacon, Dia Bridgehampton, and Dia Chelsea, Dia maintains and operates a constellation of commissions, long-term installations, and site-specific projects, notably focused on Land art, nationally and internationally. These include:

Walter De Maria’s The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus’s Times Square (1977), and Joseph Beuys’s 7000 Eichen (7000 Oaks, inaugurated in 1982 and ongoing), all located in New York
De Maria’s The Lightning Field (1977), in western New Mexico
Robert Smithson’s Spiral Jetty (1970), in the Great Salt Lake, Utah
Nancy Holt’s Sun Tunnels (1973–76), in the Great Basin Desert, Utah
De Maria’s The Vertical Earth Kilometer (1977), in Kassel, Germany
Cameron Rowland’s Depreciation (2018)

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(View the events calendar here) The Church was established in 2019 by artists Eric Fischl and April Gornik. Housed in a deconsecrated 19th-century church, its doors were opened in April 2021. Our mission is to foster creativity and to honor the living history of Sag Harbor as a maker village. The East End represents an exceptional artistic legacy, spanning the practices of Indigenous art of several centuries ago, Abstract Expressionists of the mid-20th Century, and the many celebrated writers, makers, musicians, and visual artists of the recent past and current moment. Core programming includes visual art exhibitions, concerts and events, educational programming, workshops, lectures, and an artist’s residency.

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