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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

Suara Welitoff

Works


Galleries

Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de




Biography

Solo exhibitions


2019
Right Now This Moment, School of the Museum of Fine Arts at Tufts, The Fenway, Boston


2018

The Feeling of a Feeling, Anthony Greaney Projects, Somerville
One Wall, One Work, Krakow Witkin Gallery, Boston

2017

Kunstgespraeche podcast, Berlin

2016

What Time This Feels, 186 Carpenter, Providence

2014

Sometimes Time Trembles, Barbara Krakow Gallery, Boston

2013

Anyone who's Everyone, Document, Chicago
Everything's happening all the time, James Harris Gallery, Seattle
Every thing becomes another, AMP: Art Market Provincetown, Provincetown

2012

Things like time, Upside Down, LaRete Projects with Galleria Bianconi, Milan

Things like time, AMP: Art Market Provincetown, Provincetown

2011
Here Comes the Sun, Barbara Krakow Gallery, Boston

2010
Video Wall, Museum of Fine Arts, Boston

2008
Anonymous, Allston Skirt Gallery, Boston
Studio Visit / Interview, Flash Art online

2007
SCREEN, Visual Arts Program, Massachusetts Institute of Technology, Cambridge

2006
ICA Theater, Institute of Contemporary Art, Boston
A Million Sunsets, Allston Skirt Gallery, Boston
Mass Art Film Society, Massachusetts College of Art, Boston

2005
Performa 05, Collaboration w/ Thalia Zedek, Participant Inc., NYC
Live music and video collaboration w/ Thalia Zedek, Museum of Fine Arts, Boston

2003
Collective Unconscious, Robert Beck Memorial Cinema, NYC
Then Something Happens, Roger Williams University, Bristol
Pretty Please, Allston Skirt Gallery, Boston

Group exhibitions/screenings


2018
Under A Dismal Boston Skyline, Boston University, Boston
Time Talks, Krakow Witkin Gallery, Boston

2017
Summer Screening, H Space, Cleveland

2016
Six, Regina Rex Gallery, NYC

2015

Works on Floor, Document at Heaven Gallery, Chicago
Bewegte Bilder, Marburger Kunstverein, Marburg

2014
Art Miami, Galerie Anita Beckers (Frankfurt), Miami
Far From Now, Regina Rex Gallery at Bunker 259, Brooklyn

2013
deCordova Biennial, de Cordova Sculpture Park and Museum, Lincoln, MA
Blues, Barbara Krakow Gallery, Boston

2012
Moves, Thinks, Repeats, Pauses, Tony Wight Gallery, Chicago
Pulse Art Fair, Miami, Galerie Anita Beckers (Frankfurt)
On/sincerity, Boston University School of Visual Arts, Boston
Sending and Sanding, Barbara Krakow Gallery, Boston

2011
Zooom-Decoding Common Practice, Curated by Julia Draganovic, LaRete Projects,
Art Miami
De Cordova Sculpture Park and Museum, Special Project: “Nature Special”, Boston
ART FIRST, Bologna, Galerie Anita Beckers (Frankfurt)
Shifting Terrain: Landscape Video, Currier Museum of Art, Manchester

2010
Pulse Art Fair, Miami, Galerie Anita Beckers (Frankfurt)
Phenomenal: Selections from the Manuel de Santaren Collection, Young Projects, Los Angeles
In On Under Above and With, Barbara Krakow Gallery, Boston
2009
Human Nature(s), Worcester Art Museum, Worcester
Project/Protect, Galerie Anita Beckers (Frankfurt), Pulse Art Fair, NYC

2008
Worlds on Video, Strozzina CCC, Florence
The Sum of Its Parts, Barbara Krakow Gallery, Boston
Multiplex, Western Bridge, Seattle
Uovo/15 Magazine, Artists Collaborate, Turin

2007
War and Discontent, Museum of Fine Arts, Boston
The Show’s So Nice, Monya Rowe Gallery, NYC
E-flux Video Rental, Sert Gallery, Harvard University, Cambridge

2006
NADA Art Fair, Participant Inc. (NYC), Miami
Scope Art Fair, Allston Skirt Gallery, London

2005
Longplaying, Barbara Krakow Gallery, Boston

2004
Rear Window, NGBK, Berlin
New Acquisitions, Museum of Fine Arts, Boston, 2003-4
Invisible Film Series, Millennium Film Workshop, NYC

2003
Ocularis (Scratch, Sniff, Pet), Galapagos Art & Performance Space, Brooklyn

2001
Between Fantasy and Pleasure, Joseph Gross Gallery, University of Arizona, Tucson

1999
Mr. Fascination, Threadwaxing Space, NYC

1998
Transience & Sentimentality, Institute of Contemporary Art, Boston

Bibliography

Pyper, John, “Suara Welitoff: Right Now This Moment”, Delicious Line, Mar 15, 2019.

McQuaid, Cate, “Videos between time and timelessness”, Boston Globe, March 6, 2019.

Mitchell, Theresa, “Not Time, But Feeling is Presented in Suara Welitoff’s Right Now This Moment”, Boston Art Review, February 22, 2019.

Bergmann, Sofia. “Suara Welitoff’s Failed Narratives Reimagine the Present”, Berlin Art Link, February 12, 2019.

Swenson, Kirsten, “Under A Dismal Boston Skyline,” Art in America, Nov 1, 2018.

Simon, Wesley, “Suara Welitoff’s The Feeling of a Feeling at Anthony Greaney”, Boston Art Review, June 20, 2018.

McQuaid, Cate, “Revealing what’s present that you don’t see”, Boston Globe, May 30, 2018.

Pyper, John, “Suara Welitoff: The Feeling of a Feeling”, Delicious Line, May 2, 2018

Banai, Nuit, Suara Welitoff, Artforum, May 2014.

Howard, Christopher, Critics' Picks, Suara Welitoff, Artforum online, March 11, 2014.

McQuaid, Cate, "Rewind, rework", Boston Globe, February 19, 2014.

2013 DeCordova Biennial (exhibition catalog) Lincoln: deCordova Sculpture Park and Museum.

McQuaid, Cate, "Cartoony geometrics, 3-D 'paintings' stand out at the deCordova Biennial," October 12, 2013.

Forin, Elena, ed. Suara Welitoff: Upside Down, Milan. digital catalog. Italian/ English October, 2012.

The Editors. "2012 Rappaport Prize: Suara Welitoff", Big Red and Shiny, October 12, 2012.

McQuaid, Cate. “Landscapes that live and breathe.” Boston Globe, August 13, 2011.

Worlds on Video (exhibition catalogue) Florence: Strozzina CCC, Palazzo Strozzi, 2008.

Cook, Greg, “Suara Welitoff.” The New England Journal of Aesthetic Research, March 15, 2008.

Roselee Goldberg, ed. Performa: New Visual Art Performance. New York: PERFORMA, 2007.

Johnson, Ken. “In two exhibits, politics and war are held up for scrutiny.” Boston Globe, May 16, 2007.

Silver, Joanne. “War and Discontent.” ARTnews, Summer 2007.

Brokaw, Leslie. “MFA has new take on the art of war.” Boston Globe, April 8, 2007.

Brokaw, Leslie. “Her experiments take a new direction.” Boston Globe, April 9, 2006.

McQuaid, Cate. “Beauty in tiny moments.” Boston Globe, January 12, 2006.

Holland, Christian. “Suara Welitoff @ Allston Skirt.” Big RED & Shiny: An Online Arts Journal 2006.
Issue 35.

e-flux video (rental catalogue) New York, Frankfurt: REVOLVER, 2005.

Temin, Christine. “In Mere Minutes, Her Fragmented Films Render Heartfelt Images.” Boston Globe,
December, 2002. p.N8.

Sherman, Mary. “Impressionist Mood Colors Welitoff Films.” Boston Herald, December, 2002. p.65.

Gangitano, Lia. “Dangerous Corners.” TRANS#8, 2000.

Gangitano, Lia. “Mr. Fascination.” TRANS#6, 1999.

Bright, Deborah, ed. The Passionate Camera: Photography and Bodies of Desire.
London,
New York: Routledge, 1998.

Transience and Sentimentality. (exhibition catalogue) Boston: The Institute of Contemporary Art, 1998.

Awards

2012 Rappaport Prize, DeCordova Sculpture Park and Museum, Lincoln, MA
2009 Louis Comfort Tiffany Award, New York
2005 Artist's Resource Trust, Berkshire Taconic Foundation
Louis Comfort Tiffany Award finalist
Film/video finalist, Massachusetts Cultural Council
2002 Maud Morgan Prize, Boston Museum of Fine Arts

Permanent Collections

Barr Foundation, 2017
Fidelity Investments, 2014
Dana Farber Institute, 2014
DeCordova Sculpture Park and Museum, 2013
Deutsche Bank, Boston, 2010
Boston Museum of Fine Arts, 2010
Worcester Art Museum, Worcester, 2008
Western Bridge, Seattle, 2008
List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, 2006
Boston Museum of Fine Arts, 2002

Suara Welitoff
Solo exhibitions 2019 Right Now This Moment, School of the Museum of Fine Arts at Tufts, The Fenway, Boston 2018The Feeling of a Feeling, Anthony Greaney Projects, Somerville One Wall, One Work, Krakow Witkin Gallery, Boston 2017Kunstgespraeche podcast, Berlin 2016What Time This Feels, 186 Carpenter, Providence2014Sometimes Time Trembles, Barbara Krakow Gallery, Boston2013Anyone who's Everyone, Document, Chicago Everything's happening all the time, James Harris Gallery, Seattle Every thing becomes another, AMP: Art Market Provincetown, Provincetown2012Things like time, Upside Down, LaRete Projects with Galleria Bianconi, Milan Things like time, AMP: Art Market Provincetown, Provincetown 2011 Here Comes the Sun, Barbara Krakow Gallery, Boston 2010 Video Wall, Museum of Fine Arts, Boston 2008 Anonymous, Allston Skirt Gallery, Boston Studio Visit / Interview, Flash Art online 2007 SCREEN, Visual Arts Program, Massachusetts Institute of Technology, Cambridge 2006 ICA Theater, Institute of Contemporary Art, Boston A Million Sunsets, Allston Skirt Gallery, Boston Mass Art Film Society, Massachusetts College of Art, Boston 2005 Performa 05, Collaboration w/ Thalia Zedek, Participant Inc., NYC Live music and video collaboration w/ Thalia Zedek, Museum of Fine Arts, Boston 2003 Collective Unconscious, Robert Beck Memorial Cinema, NYC Then Something Happens, Roger Williams University, Bristol Pretty Please, Allston Skirt Gallery, Boston Group exhibitions/screenings 2018Under A Dismal Boston Skyline, Boston University, Boston Time Talks, Krakow Witkin Gallery, Boston 2017Summer Screening, H Space, Cleveland 2016Six, Regina Rex Gallery, NYC 2015Works on Floor, Document at Heaven Gallery, Chicago Bewegte Bilder, Marburger Kunstverein, Marburg 2014 Art Miami, Galerie Anita Beckers (Frankfurt), Miami Far From Now, Regina Rex Gallery at Bunker 259, Brooklyn 2013 deCordova Biennial, de Cordova Sculpture Park and Museum, Lincoln, MA Blues, Barbara Krakow Gallery, Boston 2012 Moves, Thinks, Repeats, Pauses, Tony Wight Gallery, Chicago Pulse Art Fair, Miami, Galerie Anita Beckers (Frankfurt) On/sincerity, Boston University School of Visual Arts, Boston Sending and Sanding, Barbara Krakow Gallery, Boston 2011 Zooom-Decoding Common Practice, Curated by Julia Draganovic, LaRete Projects, Art Miami De Cordova Sculpture Park and Museum, Special Project: “Nature Special”, Boston ART FIRST, Bologna, Galerie Anita Beckers (Frankfurt) Shifting Terrain: Landscape Video, Currier Museum of Art, Manchester 2010 Pulse Art Fair, Miami, Galerie Anita Beckers (Frankfurt) Phenomenal: Selections from the Manuel de Santaren Collection, Young Projects, Los Angeles In On Under Above and With, Barbara Krakow Gallery, Boston 2009 Human Nature(s), Worcester Art Museum, Worcester Project/Protect, Galerie Anita Beckers (Frankfurt), Pulse Art Fair, NYC 2008 Worlds on Video, Strozzina CCC, Florence The Sum of Its Parts, Barbara Krakow Gallery, Boston Multiplex, Western Bridge, Seattle Uovo/15 Magazine, Artists Collaborate, Turin 2007 War and Discontent, Museum of Fine Arts, Boston The Show’s So Nice, Monya Rowe Gallery, NYC E-flux Video Rental, Sert Gallery, Harvard University, Cambridge 2006 NADA Art Fair, Participant Inc. (NYC), Miami Scope Art Fair, Allston Skirt Gallery, London 2005 Longplaying, Barbara Krakow Gallery, Boston 2004 Rear Window, NGBK, Berlin New Acquisitions, Museum of Fine Arts, Boston, 2003-4 Invisible Film Series, Millennium Film Workshop, NYC 2003 Ocularis (Scratch, Sniff, Pet), Galapagos Art & Performance Space, Brooklyn 2001 Between Fantasy and Pleasure, Joseph Gross Gallery, University of Arizona, Tucson 1999 Mr. Fascination, Threadwaxing Space, NYC 1998 Transience & Sentimentality, Institute of Contemporary Art, Boston BibliographyPyper, John, “Suara Welitoff: Right Now This Moment”, Delicious Line, Mar 15, 2019. McQuaid, Cate, “Videos between time and timelessness”, Boston Globe, March 6, 2019. Mitchell, Theresa, “Not Time, But Feeling is Presented in Suara Welitoff’s Right Now This Moment”, Boston Art Review, February 22, 2019.Bergmann, Sofia. “Suara Welitoff’s Failed Narratives Reimagine the Present”, Berlin Art Link, February 12, 2019. Swenson, Kirsten, “Under A Dismal Boston Skyline,” Art in America, Nov 1, 2018. Simon, Wesley, “Suara Welitoff’s The Feeling of a Feeling at Anthony Greaney”, Boston Art Review, June 20, 2018. McQuaid, Cate, “Revealing what’s present that you don’t see”, Boston Globe, May 30, 2018. Pyper, John, “Suara Welitoff: The Feeling of a Feeling”, Delicious Line, May 2, 2018 Banai, Nuit, Suara Welitoff, Artforum, May 2014. Howard, Christopher, Critics' Picks, Suara Welitoff, Artforum online, March 11, 2014. McQuaid, Cate, Rewind, rework, Boston Globe, February 19, 2014. 2013 DeCordova Biennial (exhibition catalog) Lincoln: deCordova Sculpture Park and Museum. McQuaid, Cate, Cartoony geometrics, 3-D 'paintings' stand out at the deCordova Biennial, October 12, 2013. Forin, Elena, ed. Suara Welitoff: Upside Down, Milan. digital catalog. Italian/ English October, 2012. The Editors. 2012 Rappaport Prize: Suara Welitoff, Big Red and Shiny, October 12, 2012. McQuaid, Cate. “Landscapes that live and breathe.” Boston Globe, August 13, 2011. Worlds on Video (exhibition catalogue) Florence: Strozzina CCC, Palazzo Strozzi, 2008. Cook, Greg, “Suara Welitoff.” The New England Journal of Aesthetic Research, March 15, 2008. Roselee Goldberg, ed. Performa: New Visual Art Performance. New York: PERFORMA, 2007. Johnson, Ken. “In two exhibits, politics and war are held up for scrutiny.” Boston Globe, May 16, 2007. Silver, Joanne. “War and Discontent.” ARTnews, Summer 2007. Brokaw, Leslie. “MFA has new take on the art of war.” Boston Globe, April 8, 2007. Brokaw, Leslie. “Her experiments take a new direction.” Boston Globe, April 9, 2006. McQuaid, Cate. “Beauty in tiny moments.” Boston Globe, January 12, 2006. Holland, Christian. “Suara Welitoff @ Allston Skirt.” Big RED & Shiny: An Online Arts Journal 2006. Issue 35. e-flux video (rental catalogue) New York, Frankfurt: REVOLVER, 2005. Temin, Christine. “In Mere Minutes, Her Fragmented Films Render Heartfelt Images.” Boston Globe, December, 2002. p.N8. Sherman, Mary. “Impressionist Mood Colors Welitoff Films.” Boston Herald, December, 2002. p.65. Gangitano, Lia. “Dangerous Corners.” TRANS#8, 2000. Gangitano, Lia. “Mr. Fascination.” TRANS#6, 1999. Bright, Deborah, ed. The Passionate Camera: Photography and Bodies of Desire. London, New York: Routledge, 1998. Transience and Sentimentality. (exhibition catalogue) Boston: The Institute of Contemporary Art, 1998. Awards 2012 Rappaport Prize, DeCordova Sculpture Park and Museum, Lincoln, MA 2009 Louis Comfort Tiffany Award, New York 2005 Artist's Resource Trust, Berkshire Taconic Foundation Louis Comfort Tiffany Award finalist Film/video finalist, Massachusetts Cultural Council 2002 Maud Morgan Prize, Boston Museum of Fine ArtsPermanent CollectionsBarr Foundation, 2017Fidelity Investments, 2014Dana Farber Institute, 2014DeCordova Sculpture Park and Museum, 2013Deutsche Bank, Boston, 2010Boston Museum of Fine Arts, 2010Worcester Art Museum, Worcester, 2008Western Bridge, Seattle, 2008List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, 2006Boston Museum of Fine Arts, 2002

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