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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.


blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Jeremy Shaw

Works


Galleries

Johann König Gallery
Erika Weiß
Dessauer Straße 6-7
10963 Berlin
Germany

Phone: +49.30.2610 308-28
E-Mail: erika@johannkoenig.de




Biography

Born 1977 in North Vancouver, Canada
Lives and works in Berlin

Education

2000 Emily Carr Institute of Art and Design, Vancouver BC, CA

Solo exhibitions

2014
Quickeners, Johann König, Berlin

2013
Variation FQ, Schinkel Pavillon, Berlin
Transcendental Capacity, Macauley Fine Arts, Vancouver, CA

2011
Best Minds, MoMA PS1, New York, NY, USA
Storming Heaven (From Home), Fondation Gutzwiller, Zurich, CH

2010
Single Channel Higher States, SAMSA, Berlin, DE
Lot #422, Every Letter in the Alphabet (Geoffrey Farmer), Vancouver, CA

2009
This Transition Will Never End #6, Toronto International Film Festival, Future Projections, Toronto, CA
Something’s Happening Here! Presentation House Gallery/Vancouver Cultural Olympiad, Vancouver, CA

2008
This Transition Will Never End, Blanket Contemporary, Vancouver, CA

2006
DMT, Museum of Contemporary Canadian Art, Toronto, CA
7 Minutes, Associacio per a les Arts Contemporanies, Vic, ES

2005
Anti-Psych, Tracey Lawrence Gallery, Vancouver, CA
DMT, Cherry and Martin Gallery, Los Angeles, US

2004
DMT, Presentation House Gallery, Vancouver, CA

2003
The Theme For Tonight, Tracey Lawrence Galley, Vancouver, CA

Group exhibitions (selection)

2014
Shine A Light: Canadian Biennial 2014, National Gallery of Canada, Ottawa, CA
Surface Modelling (curated by Carson Chan), Kerstin Engholm Galerie, Vienna, AU
Re-Discovery II (curated by Janneke Devries), Autocenter, Berlin, DE
Biennale of Moving Image, Centre Art Contemporair, Geneva, CH
Altered States, Macaulay & Co. Fine Arts, Vancouver, CA
Manifest Destiny (L.A.N.D Public Project), Interstate 10 Freeway, US

2013
David Cronenberg: Transformation, Museum of Contemporary Canadian Art, Toronto, CA
12th Biennale de Lyon (with Palais de Tokyo), Lyon, FR
Contemporary Art Club #2, Stedelijk Museum (off-site), Amsterdam, NL
The Biennial of The Americas, Denver, US
Love to Love You, Massachusetts Museum of Contemporary Art, MA, US
Girls Can Tell, GAK Gesellschaft für aktuelle Kunst, Bremen, DE
David Cronenberg: Transformation, Museum of Canadian Contemporary Art, Toronto, CA
Gegenwelten, Römer und Pelizaeus Museum, Hildesheim, DE

2012
Contemporary Art Club, Stedelijk Museum, Amsterdam, NL
One on One, KW Institute for Contemporary Art, Berlin, DE
The Dark Cube, Palais De Tokyo, Paris, FR
The Human Senses and Perception in Contemporary Art, Kunsthalle zu Kiel, DE
State of the Art Photography, NRW Forum, Dusseldorf, DE

2011
Based in Berlin, KW Institute for Contemporary Art, Berlin, DE
Montreal Biennale 2011, “Elements of Chance”, Montreal, CA
Cities of Gold and Mirrors, Julia Stoschek Collection, Dusseldorf, DE
FotoFestival4 – The Eye is a Lonely Hunter, Mannheim, DE
Skeletons in the Closet, Heidelberger Kunstverein, Heidelberg, DE
You Are Free, Kunsthalle Exnergasse, Vienna, AT
The New Psychedelica, MU, Eindhoven, NE
Metrospective 1.0, Program, Berlin, DE

2010
Auto-Kino! (curated by Phil Collins), Temporäre Kunsthalle, Berlin, DE
CUE, Vancouver Art Gallery, Vancouver, CA
Gewalt (Violence), Kunstverein Wolfsburg, Wolfsburg, DE
Field Trip #2, Kleine Humboldt Galerie, Berlin, DE
Videodrome (curated by Aaron Moulton), Autocenter, Berlin, DE
My Brother, My Killer, Freymond-Guth Fine Arts, Zurich, CH
Here You Are: An Exhibition in Six Parts (site-specific public projection curated by Cate Rimmer), Vancouver, BC

2009
Back to the Future (Curated by Carson Chan), Coma, Berlin, DE
Nite Flights (Curated by Sabine Schaschl and Bettina Steinbrügge), Kunsthaus Baselland, Basel, CH. Art Today Association, Plovdiv, BG

2008
Thermostat: Video and the Pacific Northwest (curated by Michael Darling), Seattle Art Gallery, Seattle, US
E.M.A.F – Young Identities, Kunsthalle Dominikanerkirche, Osnabruek, DE
Moodyville, Presentation House Gallery, North Vancouver, CA
Berlinale – Forum Expanded, Kino Arsenale, Berlin, DE
Generations, Art Gallery of Alberta, Edmonton, CA

2007
Depiction Perversion Repulsion Obsession Subversion (curated by Nicolaus
Schafhausen, Witte de With, Rotterdam, NL
Mouth Open, Teeth Showing: Major Works from the True Collection, The Henry Art Gallery, Seattle, US
9 or 10 works I used to like in no order, Monitor Gallery, Rome, IT

2006
Canada Dreaming, Kunstverein Wolfsburg, Wolfsburg, DE
La Boum I, Galerie Ben Kaufman, Munich, DE
La Boum II, Sies and Hoke, Düsseldorf, DE

2005
I really should… (curated by Stefan Kalmar), Lisson Gallery, London, UK

2004
Video Hero(e)s, Saidye Bronfman Center For The Arts, Montreal, CA

2003
I Am A Curator, Chisenhale Gallery, London, UK.

2002
K48 Teenage Rebel: The Bedroom Show, John Connelly Presents, NYC, USA,
Voir Grand/ Think Big, Saidye Bronfmam Center For The Arts, Montreal, PQ
Nobody In Vancouver Buys Art: They’re Not Interested in Painting, Electra Basement, Vancouver, BC.

2001
Surround, Charles H. Scott Gallery, Vancouver, CA

2000
Sound Separation, Western Front Gallery, Vancouver, CA

Solo performances

2011
Sleepwalk (Versions)
- HAU 2, Berlin, DE
I Am a Laser/Scream Like a Baby
- Art Salons, Art Basel 42, Basel, CH
- Based in Berlin, Monbijou Park, Berlin, DE
2010
I Am a Laser/Scream Like a Baby
- Emily Carr University (with Contemporary Art Gallery), Vancouver, CA
- Program, Berlin, DE (as part of Sender, Carrier, Receiver with Triple Canopy)
- Witte De With, Rotterdam, NE (as part of Let’s Compare
Mythologies – curated by Reneske Jansen and Dorothea Jendricke)
- Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz, Berlin, DE
- Caribic Residency, Hamburg, DE
The Artist Will Be Hypnotized
- Samsa, Berlin, DE.
2009
Best Minds Part Two
- The Office (Moabit Temporary Space), Berlin, DE



Jeremy Shaw
Born 1977 in North Vancouver, Canada Lives and works in Berlin Education 2000 Emily Carr Institute of Art and Design, Vancouver BC, CA Solo exhibitions 2014 Quickeners, Johann König, Berlin 2013 Variation FQ, Schinkel Pavillon, Berlin Transcendental Capacity, Macauley Fine Arts, Vancouver, CA 2011 Best Minds, MoMA PS1, New York, NY, USA Storming Heaven (From Home), Fondation Gutzwiller, Zurich, CH 2010 Single Channel Higher States, SAMSA, Berlin, DE Lot #422, Every Letter in the Alphabet (Geoffrey Farmer), Vancouver, CA 2009 This Transition Will Never End #6, Toronto International Film Festival, Future Projections, Toronto, CA Something’s Happening Here! Presentation House Gallery/Vancouver Cultural Olympiad, Vancouver, CA 2008 This Transition Will Never End, Blanket Contemporary, Vancouver, CA 2006 DMT, Museum of Contemporary Canadian Art, Toronto, CA 7 Minutes, Associacio per a les Arts Contemporanies, Vic, ES 2005 Anti-Psych, Tracey Lawrence Gallery, Vancouver, CA DMT, Cherry and Martin Gallery, Los Angeles, US 2004 DMT, Presentation House Gallery, Vancouver, CA 2003 The Theme For Tonight, Tracey Lawrence Galley, Vancouver, CA Group exhibitions (selection) 2014 Shine A Light: Canadian Biennial 2014, National Gallery of Canada, Ottawa, CA Surface Modelling (curated by Carson Chan), Kerstin Engholm Galerie, Vienna, AU Re-Discovery II (curated by Janneke Devries), Autocenter, Berlin, DE Biennale of Moving Image, Centre Art Contemporair, Geneva, CH Altered States, Macaulay & Co. Fine Arts, Vancouver, CA Manifest Destiny (L.A.N.D Public Project), Interstate 10 Freeway, US 2013 David Cronenberg: Transformation, Museum of Contemporary Canadian Art, Toronto, CA 12th Biennale de Lyon (with Palais de Tokyo), Lyon, FR Contemporary Art Club #2, Stedelijk Museum (off-site), Amsterdam, NL The Biennial of The Americas, Denver, US Love to Love You, Massachusetts Museum of Contemporary Art, MA, US Girls Can Tell, GAK Gesellschaft für aktuelle Kunst, Bremen, DE David Cronenberg: Transformation, Museum of Canadian Contemporary Art, Toronto, CA Gegenwelten, Römer und Pelizaeus Museum, Hildesheim, DE 2012 Contemporary Art Club, Stedelijk Museum, Amsterdam, NL One on One, KW Institute for Contemporary Art, Berlin, DE The Dark Cube, Palais De Tokyo, Paris, FR The Human Senses and Perception in Contemporary Art, Kunsthalle zu Kiel, DE State of the Art Photography, NRW Forum, Dusseldorf, DE 2011 Based in Berlin, KW Institute for Contemporary Art, Berlin, DE Montreal Biennale 2011, “Elements of Chance”, Montreal, CA Cities of Gold and Mirrors, Julia Stoschek Collection, Dusseldorf, DE FotoFestival4 – The Eye is a Lonely Hunter, Mannheim, DE Skeletons in the Closet, Heidelberger Kunstverein, Heidelberg, DE You Are Free, Kunsthalle Exnergasse, Vienna, AT The New Psychedelica, MU, Eindhoven, NE Metrospective 1.0, Program, Berlin, DE 2010 Auto-Kino! (curated by Phil Collins), Temporäre Kunsthalle, Berlin, DE CUE, Vancouver Art Gallery, Vancouver, CA Gewalt (Violence), Kunstverein Wolfsburg, Wolfsburg, DE Field Trip #2, Kleine Humboldt Galerie, Berlin, DE Videodrome (curated by Aaron Moulton), Autocenter, Berlin, DE My Brother, My Killer, Freymond-Guth Fine Arts, Zurich, CH Here You Are: An Exhibition in Six Parts (site-specific public projection curated by Cate Rimmer), Vancouver, BC 2009 Back to the Future (Curated by Carson Chan), Coma, Berlin, DE Nite Flights (Curated by Sabine Schaschl and Bettina Steinbrügge), Kunsthaus Baselland, Basel, CH. Art Today Association, Plovdiv, BG 2008 Thermostat: Video and the Pacific Northwest (curated by Michael Darling), Seattle Art Gallery, Seattle, US E.M.A.F – Young Identities, Kunsthalle Dominikanerkirche, Osnabruek, DE Moodyville, Presentation House Gallery, North Vancouver, CA Berlinale – Forum Expanded, Kino Arsenale, Berlin, DE Generations, Art Gallery of Alberta, Edmonton, CA 2007 Depiction Perversion Repulsion Obsession Subversion (curated by Nicolaus Schafhausen, Witte de With, Rotterdam, NL Mouth Open, Teeth Showing: Major Works from the True Collection, The Henry Art Gallery, Seattle, US 9 or 10 works I used to like in no order, Monitor Gallery, Rome, IT 2006 Canada Dreaming, Kunstverein Wolfsburg, Wolfsburg, DE La Boum I, Galerie Ben Kaufman, Munich, DE La Boum II, Sies and Hoke, Düsseldorf, DE 2005 I really should… (curated by Stefan Kalmar), Lisson Gallery, London, UK 2004 Video Hero(e)s, Saidye Bronfman Center For The Arts, Montreal, CA 2003 I Am A Curator, Chisenhale Gallery, London, UK. 2002 K48 Teenage Rebel: The Bedroom Show, John Connelly Presents, NYC, USA, Voir Grand/ Think Big, Saidye Bronfmam Center For The Arts, Montreal, PQ Nobody In Vancouver Buys Art: They’re Not Interested in Painting, Electra Basement, Vancouver, BC. 2001 Surround, Charles H. Scott Gallery, Vancouver, CA 2000 Sound Separation, Western Front Gallery, Vancouver, CA Solo performances 2011 Sleepwalk (Versions) - HAU 2, Berlin, DE I Am a Laser/Scream Like a Baby - Art Salons, Art Basel 42, Basel, CH - Based in Berlin, Monbijou Park, Berlin, DE 2010 I Am a Laser/Scream Like a Baby - Emily Carr University (with Contemporary Art Gallery), Vancouver, CA - Program, Berlin, DE (as part of Sender, Carrier, Receiver with Triple Canopy) - Witte De With, Rotterdam, NE (as part of Let’s Compare Mythologies – curated by Reneske Jansen and Dorothea Jendricke) - Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz, Berlin, DE - Caribic Residency, Hamburg, DE The Artist Will Be Hypnotized - Samsa, Berlin, DE. 2009 Best Minds Part Two - The Office (Moabit Temporary Space), Berlin, DE

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  • United Arab Emirates
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  • United States Minor Outlying Islands
  • Uruguay
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  • Virgin Islands
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  • West Bank
  • Western Sahara
  • Yemen
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