Allie Tepper is a curator and writer, and the Mellon Interdisciplinary Fellow at the Walker Art Center (2018–2020). She has held curatorial positions previously at the Whitney Museum of American Art, SculptureCenter, and the Museum of Modern Art, New York. She is also the former Assistant Director of the magazine and arts venue Triple Canopy. Her recent exhibitions include Rabih Mroué: Again we are defeated (Walker Art Center, 2019), Not for Everybody: Hadi Fallahpisheh, Baseera Khan, and Gloria Maximo (Simone Subal Gallery, 2018), Derek Fordjour: Half Mast (Whitney Museum of American Art, 2018), Running Towards the Sun: Guadalupe Maravilla, Grace Rosario Perkins, & Efraín Rozas (315 Gallery, 2018), and In Practice: Another Echo (SculptureCenter, 2018). Allie is the co-editor of the third volume of the Walker’s Living Collections Catalogue, entitled Side by Side: Collaborative Artistic Practices in the United States, 1960s–1980s.
Allie Tepper
Sites of Invention: 13 Interdisciplinary Exhibitions at the Walker
A sampling of key interdisciplinary exhibitions at the Walker from the 1980s to today—from Tokyo: Form and Spirit to Merce Cunningham: Common Time, that reflect on the Walker’s long legacy of presenting hybrid artistic practices and performance in the galleries.
Sad Songs to Euphoria: Jompet Kuswidananto on the Making of Celestial Sorrow
Celestial Sorrow arose from multiple origins, recalls Indonesian visual artist, theater maker, and musician Jompet Kuswidananto of the performative installation he made in collaboration with choreographer Meg Stuart, “from personal memory to social trauma, from a flood of cat pics to banned sad songs, from sound healing to trance dance. In the end the experience felt like being in a long and random dream.” In a wide-ranging interview, he discusses his collaborative artistic practice and the influences that drove the making of the piece.
Rabih Mroué: Life, Death, and the Digestive System
“It’s not about remembering or forgetting. It is about both together, and how they work together—how we remember, how we forget, what we invent, what we remember.” Rabih Mroué discusses his three-part series: his cycle of artworks, Again we are defeated; the “non-academic lecture” Sand in the Eyes, and Borborygmous, a Walker-commissioned performance that takes its title from the name for the rumbling of the stomach.