Claire Tancons

In her early years in New York City, following the Whitney fellowship, Tancons worked as a personal assistant and curatorial research assistant for artist Coco Fusco on the exhibition Only Skin Deep: Changing Visions of the American Self (2003). She also became involved with Lorna Simpson, with the artist featuring Tancons in her video work 31 (2002). She subsequently did a one-year curatorial fellowship at the Walker Art Center, where she assisted with the major exhibition How Latitudes Become Forms: Art in a Global Age, curated by Philippe Vergne, Douglas Fogle, and Kemi Ilesanmi.[1]

Increasingly interested in performance art, Tancons curated the first solo exhibitions in New York City for South African artist Robin Rhode and choreographer Ralph Lemon, both of whom she met while at the Walker Art Center: Robin Rhode: The Score (Artists Space, New York City, 2004),[2] and Ralph Lemon: (The efflorescence of) Walter (The Kitchen, New York City, 2007), co-curated with Anthony Allen and later traveling in expanded form to the Contemporary Arts Center (New Orleans).[3] During this time, Tancons also did a brief stint at Paula Cooper Gallery, where she curated the Paul D. Miller (DJ Spooky) exhibition Path is Prologue (2004), based on his multimedia performance piece DJ Spooky's Rebirth of a Nation.[4]

Tancons' work of the past decade has focused on histories and contemporary practices of carnival and processional performance – particularly among the African diaspora – as well as public ceremonial culture, civic ritual, and popular protest movements. Tancons has notably postulated an alternative genealogy of performance art that is routed in Africa, its diaspora, and the legacy of slavery rather than in the European avant-garde.[5] Her curatorial work has gained recognition for exploring ways of curating outside traditional exhibitionary modes - namely, procession, carnival, the second line, walking, marching, parading, and other forms of public ceremony - and for popularizing the term and practice of processional performance.[6] She has also contributed to the anti-capitalism discourse following the Occupy movement and other protest movements, incorporating protest into her curatorial approach and reclaiming, in her words, the "rebellious potential" of the carnavalesque - "as a medium of emancipation and a catalyst for civil disobedience" - in writings such as "Occupy Wall Street: Carnival Against Capital? Carnivalesque as Protest Sensibility."[7]

During a 2004 residency at the Trinidadian contemporary arts center CCA7, which led to the exhibition Lighting the Shadow: Trinidad In and Out of Light, Tancons began to explore carnival as a contemporary art practice. The residency led to Tancons' collaborations with Trinidadian contemporary artist Marlon Griffith, as well as famed carnival artist, or mas-man, Peter Minshall and his carnival production team The Callaloo Company. A subsequent engagement with carnival and procession was the exhibition Mas': From Process to Procession? Caribbean Carnival as Art Practice, which Tancons curated in 2007 at the BRIC Rotunda Gallery, New York. The exhibition featured artists with ties to the Caribbean whose work recognized carnival as a vital contemporary art form.[8] In 2014 she organized Up Hill Down Hall: An Indoor Carnival as part of the BMW Tate Live Series at Tate Modern. Described by Tancons as "a mass public processional performance," the project drew on carnival as a ritual of resistance.[9] Performances by artists Marlon Griffith and Hew Locke, along with hundreds of participants, were staged in Tate Modern's Turbine Hall. In 2015, the exhibition EN MAS': Carnival and Performance Art of the Caribbean, which Tancons initiated and curated with art historian Krista Thompson, opened at the Contemporary Arts Center (New Orleans), before traveling to various locations in the Caribbean and the United States with Independent Curators International.[10] EN MAS' had won the Emily Hall Tremaine Exhibition Award in 2012. Tancons has also collaborated with New Orleans Airlift Artistic Director Delaney Martin to organize the performances Public Practice: An Anti-Violence Community Ceremony (2014) and Rally Under the Bridge (2014) in New Orleans, Louisiana.

Active in the field of international contemporary art biennials, Tancons is currently a curator for Sharjah Biennial 14: Leaving the Echo Chamber (with Zoe Butt and Omar Kholeif) for which she is curating the "Look for Me All Around You", a platform dedicated to problematizing the politics of performance under globalizing conditions of dispossession and diasporization. She was Associate Curator for the first iteration of Prospect New Orleans, from 2007-2009. In 2008, she organized the processional performance SPRING for the 7th Gwangju Biennial, under the direction of Okwui Enwezor,[11] which received numerous positive reviews.[12] SPRING merged the forms of carnival parade, political demonstration, and funeral procession with performances in the streets of Gwangju by Mario Benjamin, Marlon Griffith, Jin Won Lee, Jarbas Lopes, MAP Office, Karyn Olivier, and Caecilia Tripp.[13] Additionally, Tancons was a guest curator for CAPE 09 in 2009, a research curator for the Biennale Bénin in 2012, and a curator for the 2013 Göteborg International Biennial for Contemporary Art.

In 2012-2013, with a group of students formed during her summer curatorial intensive courses at IUAV, Tancons conceived FAR FESTA: Nuove Festa Veneziane, a project inspired by the civic rituals of the former Venice Republic, and co-curated Corteo de Casteo I and II during the 55th Venice Biennale.[14]

etcetera: un rituel civique, under the artistic direction of Claire Tancons with Mohamed Bourouissa and Christophe Chassol

Recently, Tancons was guest curator for the 2017 Printemps de Septembre in Toulouse, France, and the Artistic Director of etcetera: un rituel civique with artist Mohamed Bourouissa and composer Christophe Chassol. She was also the Artistic Director of Tide by Side, a processional performance celebrating the opening of the Faena District (Miami Beach), in collaboration with Arto Lindsay as musical director and Gia Wolff as architectural director. The performance featured the work of Cuban artist collective Los Carpinteros, artists Carlos Betancourt, Marinella Senatore, Miralda and Carnival Arts with special guest appearance by Ernesto Neto alongside Miami-based artists and collectives.[15]

The Last Ingredients by Miralda as part of Tide by Side under the artistic direction of Claire Tancons, opening processional performance, Faena District Miami Beach, November 27, 2016