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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.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

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

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

JEN Liu

Works


Statement

Jen Liu's paintings on paper, videos and installations draw on diverse histories to construct fictions that connect with and interrogate contemporary society. For each inter-related series Liu develops texts that begin with a single line of enquiry, such as 'the environment gets worse', which metamorphosise into giant, abstract, dazzlingly seductive watercolours, shot through with sampling, salvaging and recycling from modernism to constructivism. In association with these she devises and produces all aspects of her films (rarely featuring dialogue), resulting in dream-like non-linear narratives with fantastical props and costumes, infused with a delicious reverie of music and the absurd, but which always retain a melancholia that subverts and enhances our observations in the work and the worlds we inhabit.


Biography

Lives: Brooklyn, New York, USA

Selected one- and two-person exhibitions

2011
SIX COLORFUL TALES: FROM THE EMOTIONAL SPECTRUM (WOMEN), Ceri Hand Gallery, Liverpool, UK

2010
Brody Condon and Jen Liu, On Stellar Rays, New York, USA

2009
The Last Alphabet/Pasta Belt Health, Upstream Gallery, Amsterdam, The Netherlands

2008
Drastic Measures, Unknown Pleasures, Ceri Hand Gallery, Liverpool, UK
Insurrection for a Million or One, Upstream Gallery, Amsterdam, The Netherlands

2007
An Innocent Revolution, DePauw University, Greencastle, IN
New Dawn Fades, Lizbeth Oliveria Gallery, Los Angeles
DM.0086: A Local Map of Broken Glass, Division Museum of Ceramics and Glassware, New York, in collaboration with Barb Choit

2006
Rotterdam Art Fair, solo booth (Upstream Gallery)
The Last Four Seasons, Upstream Gallery, Amsterdam, The Netherlands
Ready To Die!, Lizbeth Oliveria Gallery, Los Angeles
Friends Electric!: Jen Liu, Andrea Thal, Binz39 Foundation, Zurich
Videos van Jen Liu, Melkweg Media, Amsterdam, The Netherlands

2004
Jen Liu, Folkert de Jong, Upstream Gallery, Amsterdam

2001
Jen Liu, Katrin Jurati, Freezing Cold Gallery, Los Angeles, CA
World Domination Project: MFA Thesis Exhibition, California Institute for the Arts, Valencia, CA

Selected group exhibitions

2011
ESLOV WIDE SHUT, Blomsterberg’s Warehouse at Åkermans väg 17, Eslöv, Sweden
LOCALHOST, AZKM Contemporary Art Space, Mu¨nster, Germany
Memory of a Hope, Ceri Hand Gallery, Liverpool, UK
Space. About a Dream, Kunsthalle Wien, Switzerland
Utopian Structures, ALTEFABRIK, Berlin, Germany

2010
You Can Heal Your Life!, curated by Emma Gray, Circus Gallery, LA, USA
Never Can Say Goodbye (film programme), No Longer Empty, New York, USA
Black Hole Hums B Flat, Ceri Hand Gallery, London, UK

2009
The Fruits of Traumata, with Olaf Brzeski, Theresa Frolich, Czarna Gallery, Warsaw, Poland
Building Paradise, 7+Fig Art Space, LA, USA
NEWAGERIOT': Temporal, spatial, emotional and spiritual dislocation..., COUNTRY CLUB, LA, USA

2008
Agrifashionistas, Royal Academy, London
New Collections III, Centre PasquART, Biel/Bienne, Switzerland
Shifting Identities, Kunsthaus Zurich, Switzerland
The Violet Hour: Matthew Day Jackson, Jen Liu, and David Maljkovic, Henry Art Gallery, Seattle, WA
The Golden Record, Collective Gallery/Edinburgh Festival, Edinburgh, UK

2007
Dream of Today, curated by Amy Smith-Stewart, Steve Turner Contemporary, Los Angeles
An Aside, special exhibition of Zoo Art Fair 2007, London
NADA Art Fair (Upstream Gallery & Lizbeth Oliveria Gallery), Miami, FL
The Present Order is the Disorder of the Future, De Hallen Museum, curated by Xander Karstens, Haarlem, The Netherlands
Mind Hacking II, organized by Theresa Frölich and Antonia Lotz, Wewerka Pavilion, Münster, Germany, traveling
Artist Pension Trust, Today Art Museum, Beijing, China
Paper Bombs, curated by Bart Exposito, Jack Hanley Gallery, Los Angeles
M*A*S*H, curated by Amy Smith-Stewart and Omar Lopez-Chahoud, The Helena, New York
The Fit/Turtle, Nueans in collaboration with Michael Shamberg, Dusseldorf, DE
The Return of the Seven Samurai, Galerie Lucy Mackintosh, Lausanne, Switzerland

2006
Romer II, Akademie Schloss Solitude Romerstrasse Gallery, Stuttgart, DE
Flood Lit Wendy House, New York Rio Tokyo Gallery, Berlin
NADA Artfair (Upstream Gallery and Lizbeth Oliveria Gallery), Miami, FL
View (Eleven): Upstate, curated by Amy Smith-Stewart, Mary Boone Gallery, New York
Liverpool Biennial: Virtual Grizedale, A Foundation, Liverpool, UK
Big City Lab, Art Forum Berlin
Experiments in Pop, curated by Laura Hoptman, Zentrum Paul Klee, Bern, Switzerland
Liste Artfair Basel (Upstream Gallery), Basel, Switzerland
Peekskill Project 2006, Hudson Valley Center for Contemporary Art, Peekskill, NY
Trial Balloons, Museo de Arte Contemporaneo de Castilla y Leon, Leon, Spain
Jen Liu + Bjorn Melhus + Claire Rojas, Lizbeth Oliveria Gallery, Los Angeles
Things We Saw in Holland, Kravets/Wehby Gallery, New York, NY

2005
Carlos Aires / Jen Liu / Melvin Moti / Elodie Pong, Galleria Laurin, Zurich, Switzerland
Explosive Compulsive: Reed Anderson, Adrianne Colburn & Jen Liu, Luggage Store Gallery, San Francisco
NADA Artfair Miami (Lizbeth Oliveria Gallery and Upstream Gallery), Miami, FL
Liste Artfair Basel (Upstream Gallery), Basel, Switzerland
Futurism, Melkweg, Amsterdam, The Netherlands
Fast Forward: A Passion for the New, curated by Scenic in affiliation with MOCA LA, House of Campari, Venice, CA
Videonale 10, Kunstmuseum Bonn, Germany
Open Video Call, Artists Space, New York

2004
100 Artists See God, Institute of Contemporary Art, London. Travelling exhibition through Independent Curators International. Jewish Museum, San Francisco; Laguna Beach Art Museum, California and Memorial Art Gallery, Rochester, NY; tours through

2006
LA Freewaves: Karaoke Boat, Los Angeles
Biennale Bonn: New York State of Mind, Bonn, Germany
Through the Gates: Brown vs. Board of Education, California African American Museum, Los Angeles
Futureways: The Middelburg Triennial 2304, curated by Rita McBride, Glen Rubsamen, and Rutger Wolfson, de Vleeshal, Middelburg, The Netherlands.
Homies, DianePruess Gallery, Los Angeles

2003
Nueva 2003 Tokyo, Laforet Museum Harajuku, Tokyo
Filmstock, Luton, England. Travelling to Oulu International Film Festival, Finland
An Interest in Life, curated by John Baldessari and Meg Cranston, Apex Art, New York2002 Selected Works on Paper, 4-F Gallery, Los Angeles
LA Freewaves: All You Can Eat, C-Level, Los Angeles
Sometimes It’s Dark, Practice Space, Los Angeles
2001
Cyberfem Spirit: The Spirit of Data, Edith-Russ Haus fur Medienkunst, Oldenburg, Germany
Have a Cool Summer, Keep in Touch, Track 16 Gallery, Santa Monica, CA
Ars Moralis, Galerie fur Gegenwartskunst, Bremen, Germany

Selected bibliography

2007
“Emma Gray on Jen Liu at Lizbeth Oliveria Gallery, LA”, Saatchi Online, November 10
“Top 10 Shows in Los Angeles This Month”, Saatchi Online, November 3

2006
“L.A. Confidential,” Emma Baker. Artnet¬, May 19, http://www.artnet.com/magazineus/reviews/gray/gray5-19- 06.asp
“Review: Globos Sondas”, Max Andrews. Frieze Online
“Explosive Compulsive at the Luggage Store”, Colin Berry, Artweek, February 2006. p13-14, illus.
“Focus Los Angeles: Jen Liu.” Flash Art, January-February 2006, p.72, illus.
“Who Are These People Showing So Much, And Why Do They Feel The Need To Be Seen?” Kenneth Baker. San Francisco Chronicle, January 7

2005
“Explosive ‘Compulsive’,” Hiya Swanhuyser, San Francisco Weekly, December 8
“20 Bright Young Things: Jen Liu,” ArtReview, December, illus.
"Jen Liu at Lizabeth Oliveria Gallery," Christopher Miles, Artforum, September, p. 312
“Jen Liu at Lizabeth Oliveria Gallery,” Shana Nys Dambrot, Artweek, June,
Volume 36, Issue 5, pg. 17, (cover image: detail of “Light as Air, Light As Love: Diamonds of the Earth”)
Knight, Christopher. “A Harsh Yet Enchanting World,” Los Angeles Times, May 6
2004
“A Powerful Atmosphere for New Ideas,” Los Angeles Times, Los Angeles, February 9 “Toekomst werpt licht op heden,” Provinciale Zeewuse Courant, The Netherlands, January 30

2003
“Highlight: 100 Artists See God,” Contemporary Magazine, Issue 57, December, p 24-25, illus.

2001
Reindl, Uta Maria “Cyberfem Spirit – Spirit of Data,” Kunstforum International, December 2001, p 326-327
Dogramaci, Burcu “Frauen, bits und bytes,” Suddeautsche Zeitung, Nr. 295, December 22/23
Gardill, Von Ingrid “Frauen und die Kunst im Netz,” Nordwest-Zeitung, Decmber 12

Catalogues

2007
“PROP” Proud to be a V.I.P., Nueans, Dusseldorf, Germany
Sommerakademie 2006 im Zentrum Paul Klee: Experiments in Pop, Zentrum Paul Klee, Bern, Switzerland

2006
Globos Sondas, Museo de Arte Contemporaneo de Castilla y Leon, Leon, Spain
Art Forum Berlin: Big City Lab

2005
Videonale 10 Kunstmuseum Bonn, Bonn Germany Friends Electric! Binz39 Foundation, Zurich, Switzerland
2004
100 Artists See God Independent Curators International (ICI), New York, 2004, p 14, illus.

2003
Futureways. Printed Matter, Inc., and Whitney Museum of American Art, 2003, p 64, illus.
Cyberfem Spirit: Spirit of Data. Helen von Oldenburg and Rosanne Altstatt (eds.), Edith-Russ-Haus fur Medienkunst, Oldenburg, pp 30-33, illus.Curatorial Projects
2008
The Others, Lizabeth Oliveria Gallery, Los Angeles, USA2007
I Could Be You, co-curated with Alexandra Blattler, in collaboration with Akademie Schloss Solitude, Fluctuating Images Galerie, and The Stuttgarter Filmwinter Film Festival, Germany

Grants / residencies

2008
Pollock-Krasner Grant

2007
ISCP, New York, USA
2006
Akademie Schloss Solitude, Stuttgart, Germany
Sommerakademie im Zentrum Paul Klee, Bern, Switzerland

2005
Grizedale Arts, Cumbria, UK

2003
De Ateliers, Amsterdam, The Netherlands

Education
1999 – 2001
MFA Fine Arts and Integrated Media, California Institute of the Arts, Valencia,

1994 – 1998
BA Creative Writing, BA Studio Art High Honors, Oberlin College, Oberlin Ohio.

JEN Liu
Lives: Brooklyn, New York, USASelected one- and two-person exhibitions2011SIX COLORFUL TALES: FROM THE EMOTIONAL SPECTRUM (WOMEN), Ceri Hand Gallery, Liverpool, UK2010Brody Condon and Jen Liu, On Stellar Rays, New York, USA2009The Last Alphabet/Pasta Belt Health, Upstream Gallery, Amsterdam, The Netherlands2008Drastic Measures, Unknown Pleasures, Ceri Hand Gallery, Liverpool, UKInsurrection for a Million or One, Upstream Gallery, Amsterdam, The Netherlands2007An Innocent Revolution, DePauw University, Greencastle, INNew Dawn Fades, Lizbeth Oliveria Gallery, Los AngelesDM.0086: A Local Map of Broken Glass, Division Museum of Ceramics and Glassware, New York, in collaboration with Barb Choit2006Rotterdam Art Fair, solo booth (Upstream Gallery)The Last Four Seasons, Upstream Gallery, Amsterdam, The NetherlandsReady To Die!, Lizbeth Oliveria Gallery, Los AngelesFriends Electric!: Jen Liu, Andrea Thal, Binz39 Foundation, ZurichVideos van Jen Liu, Melkweg Media, Amsterdam, The Netherlands2004Jen Liu, Folkert de Jong, Upstream Gallery, Amsterdam2001Jen Liu, Katrin Jurati, Freezing Cold Gallery, Los Angeles, CAWorld Domination Project: MFA Thesis Exhibition, California Institute for the Arts, Valencia, CASelected group exhibitions2011ESLOV WIDE SHUT, Blomsterberg’s Warehouse at Åkermans väg 17, Eslöv, SwedenLOCALHOST, AZKM Contemporary Art Space, Mu¨nster, GermanyMemory of a Hope, Ceri Hand Gallery, Liverpool, UKSpace. About a Dream, Kunsthalle Wien, SwitzerlandUtopian Structures, ALTEFABRIK, Berlin, Germany2010You Can Heal Your Life!, curated by Emma Gray, Circus Gallery, LA, USANever Can Say Goodbye (film programme), No Longer Empty, New York, USABlack Hole Hums B Flat, Ceri Hand Gallery, London, UK2009The Fruits of Traumata, with Olaf Brzeski, Theresa Frolich, Czarna Gallery, Warsaw, PolandBuilding Paradise, 7+Fig Art Space, LA, USANEWAGERIOT': Temporal, spatial, emotional and spiritual dislocation..., COUNTRY CLUB, LA, USA2008Agrifashionistas, Royal Academy, LondonNew Collections III, Centre PasquART, Biel/Bienne, SwitzerlandShifting Identities, Kunsthaus Zurich, SwitzerlandThe Violet Hour: Matthew Day Jackson, Jen Liu, and David Maljkovic, Henry Art Gallery, Seattle, WAThe Golden Record, Collective Gallery/Edinburgh Festival, Edinburgh, UK2007Dream of Today, curated by Amy Smith-Stewart, Steve Turner Contemporary, Los AngelesAn Aside, special exhibition of Zoo Art Fair 2007, LondonNADA Art Fair (Upstream Gallery & Lizbeth Oliveria Gallery), Miami, FLThe Present Order is the Disorder of the Future, De Hallen Museum, curated by Xander Karstens, Haarlem, The NetherlandsMind Hacking II, organized by Theresa Frölich and Antonia Lotz, Wewerka Pavilion, Münster, Germany, travelingArtist Pension Trust, Today Art Museum, Beijing, ChinaPaper Bombs, curated by Bart Exposito, Jack Hanley Gallery, Los AngelesM*A*S*H, curated by Amy Smith-Stewart and Omar Lopez-Chahoud, The Helena, New YorkThe Fit/Turtle, Nueans in collaboration with Michael Shamberg, Dusseldorf, DEThe Return of the Seven Samurai, Galerie Lucy Mackintosh, Lausanne, Switzerland2006Romer II, Akademie Schloss Solitude Romerstrasse Gallery, Stuttgart, DEFlood Lit Wendy House, New York Rio Tokyo Gallery, BerlinNADA Artfair (Upstream Gallery and Lizbeth Oliveria Gallery), Miami, FLView (Eleven): Upstate, curated by Amy Smith-Stewart, Mary Boone Gallery, New YorkLiverpool Biennial: Virtual Grizedale, A Foundation, Liverpool, UKBig City Lab, Art Forum BerlinExperiments in Pop, curated by Laura Hoptman, Zentrum Paul Klee, Bern, SwitzerlandListe Artfair Basel (Upstream Gallery), Basel, SwitzerlandPeekskill Project 2006, Hudson Valley Center for Contemporary Art, Peekskill, NYTrial Balloons, Museo de Arte Contemporaneo de Castilla y Leon, Leon, SpainJen Liu + Bjorn Melhus + Claire Rojas, Lizbeth Oliveria Gallery, Los AngelesThings We Saw in Holland, Kravets/Wehby Gallery, New York, NY2005Carlos Aires / Jen Liu / Melvin Moti / Elodie Pong, Galleria Laurin, Zurich, Switzerland Explosive Compulsive: Reed Anderson, Adrianne Colburn & Jen Liu, Luggage Store Gallery, San FranciscoNADA Artfair Miami (Lizbeth Oliveria Gallery and Upstream Gallery), Miami, FLListe Artfair Basel (Upstream Gallery), Basel, SwitzerlandFuturism, Melkweg, Amsterdam, The NetherlandsFast Forward: A Passion for the New, curated by Scenic in affiliation with MOCA LA, House of Campari, Venice, CAVideonale 10, Kunstmuseum Bonn, Germany Open Video Call, Artists Space, New York2004100 Artists See God, Institute of Contemporary Art, London. Travelling exhibition through Independent Curators International. Jewish Museum, San Francisco; Laguna Beach Art Museum, California and Memorial Art Gallery, Rochester, NY; tours through2006 LA Freewaves: Karaoke Boat, Los Angeles Biennale Bonn: New York State of Mind, Bonn, GermanyThrough the Gates: Brown vs. Board of Education, California African American Museum, Los AngelesFutureways: The Middelburg Triennial 2304, curated by Rita McBride, Glen Rubsamen, and Rutger Wolfson, de Vleeshal, Middelburg, The Netherlands.Homies, DianePruess Gallery, Los Angeles2003Nueva 2003 Tokyo, Laforet Museum Harajuku, TokyoFilmstock, Luton, England. Travelling to Oulu International Film Festival, FinlandAn Interest in Life, curated by John Baldessari and Meg Cranston, Apex Art, New York

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