2019 Biennial
Floor 3

Solo en Inglès

“It's a snapshot of contemporary art making in the United States today.”—Jane Panetta, 2019 Biennial co-curator

Hear from the artists and curators about works in the exhibition.

Curran Hatleberg

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Curran Hatleberg: Chance is the methodology of my whole practice.

Narrator: Curran Hatleberg discusses the photographs on view.

Curran Hatleberg: When I set out, I don't really know where I'm going in the sense that I just get in the car and drive, and I'm following intuition, rather than intention. So I drive around, which feels endless at times, just waiting to meet somebody who's going to be open to a connection.

Often the person that I find, a kind of curiosity that I have for them is met in kind and we sort of develop a trust and relationship from that point.

I think the best way to override these biases that we all carry around with us is through direct interaction and exchange with somebody. Ultimately I think photographs of people sort of force this interest in lives other than our own, and when this works, we feel ourselves reflected in somebody else, and thereby remove some kind of indifference that we have about them. But really it's only through others that I think we'll understand ourselves, our country, and our current moment.

A red Camaro suspended on top of two garbage dumps in a wooded area.

Curran Hatleberg: Chance is the methodology of my whole practice.

Narrator: Curran Hatleberg discusses the photographs on view.

Curran Hatleberg: When I set out, I don't really know where I'm going in the sense that I just get in the car and drive, and I'm following intuition, rather than intention. So I drive around, which feels endless at times, just waiting to meet somebody who's going to be open to a connection.

Often the person that I find, a kind of curiosity that I have for them is met in kind and we sort of develop a trust and relationship from that point.

I think the best way to override these biases that we all carry around with us is through direct interaction and exchange with somebody. Ultimately I think photographs of people sort of force this interest in lives other than our own, and when this works, we feel ourselves reflected in somebody else, and thereby remove some kind of indifference that we have about them. But really it's only through others that I think we'll understand ourselves, our country, and our current moment.


Curran Hatleberg, Untitled (Camaro), 2017. Inkjet print, 19 × 23 1/2 in. (48.3 × 59.7 cm). Image courtesy the artist and Higher Pictures, New York