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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

Keren Cytter

Works


Galleries

Galerie Nagel Draxler
Saskia Draxler
Weydingerstr. 2/4
10178 Berlin
Germany

Phone: +49-(0)30-40042641
E-Mail: berlin@nagel-draxler.de




Statement

Keren Cytter was born 1977 in Tel Aviv, Israel. She studied visual art at Avni Institute for Art, Tel Aviv and
later moved to Amsterdam on a scholarship from De Ateliers. Today, she lives and works in Berlin and
New York.

Keren Cytter is best known for her experimental video works that illuminate the interpersonal and the
private, works that are often based on templates of literary or cinematic classics, simultaneously reflecting
the influence of the media. The artist is also concerned with drawing, theater production, performance,
dance, and even writes her own screenplays and novels. In 2008, Keren Cytter formed the dance theater
group Dance International Europe Now (D.I.E. Now).

Among the recurring stylistic elements in Cytter’s videos – in addition to extensive references to cinema and
television – are long monologues and numerous vocal overlays, with sound and image usually not
synchronized. The image of a male actor can be superimposed with a female voice; a simultaneous subtitle
in turn refers to another thing entirely. Cytter, who writes all the scripts herself, uses language according to
the particular mood or atmosphere that she would like to generate: French is used for example as the
language of love, and English as a pragmatic language. At times, notes or stage directions on the particular
filmic work find a self-referential way into the spoken language. A further separate level of language consists
of the subtitles that appear to coincide with what is said, though the content may actually differ. Shorter
loops and both verbal and visual repetition may appear within the usually not longer than ten-minute films.

The artist decomposes the film into its (normally fixed) single components in order to independently
reassemble them again: (amateur) actor, role, voice, spoken word, listened text, language and subtitles are
put together in an unusual mix, mostly asynchronous to each other. With her strategy of deconstruction
Cytter points out how our perception is dependent on certain speech and image structures and shows that
there is a kind of intentional perception that delivers content by using "nuances."

Keren Cytter’s videos were shown in several solo exhibitions: Frankfurter Kunstverein and Kunsthalle
Zurich (both 2005), Kunst-Werke Berlin (2006), MUMOK Vienna (2007), Witte de With, Rotterdam (2008),
Le Plateau Paris and Hammer Museum LA (both 2009), Kunsthaus Baselland and Moderna Museet,
Stockholm (both 2010), Kunstverein Munich and Stedelijk Museum Amsterdam (both 2011), Oakville
Galleries Canada (2012). Cytter’s work has also been exhibited in numerous group exhibitions and film
festivals worldwide (including “Making Worlds” curated by Daniel Birnbaum at Venice Biennial 2009). In
2006, Keren Cytter won the Baloise Art Statement Award at Art Basel and in 2009 the Absolut Art Award.
In the same year, she was nominated for the prestigious “Preis der Nationalgalerie für junge Kunst” in
Berlin.


Biography

born 1977, Tel Aviv, Israel
Lives and works in New York

Education

de Ateliers, Amsterdam, The Netherlands, 2002-2004
The Avni Institute, Tel-Aviv, Israel, 1997-1999

Solo exhibitions

2013
Keren Cytter: Tutorial, Deweer Gallery, Otegem

2012
Video Art Manual, DiverseWorks, Houston, Texas
Video Art Manual, Noga Gallery, Tel Aviv
Don't trust Americans, SCHAU ORT Zürich
Oakville Galleries, Oakville, Canada
Tina is gone, Image Festival, Toronto, Canada
Walter Phillips Gallery at the Banff Centre for the Arts in Alberta, Canada

2011
Video Art Manual, Zach Feuer Gallery, New York
Galleria Raffaella Cortese, Milan, Italy
Keren Cytter – Avalanche Stedelijk Museum, Amsterdam
Fear, Fun and Fire, Deutsche Bank Towers, Frankfurt am Main, Germany
The hottest day of the year, k.m Kunstverien Munich, Germany
Avalanche, The David Roberts Art Foundation, London, UK
Avalanche, Pilar Corrias, London, UK

2010
Konstruktion, Galerie Christian Nagel, Berlin, Germany
Repulsion, Kunsthaus Baselland, Muttenz/Basel, Switzerland
Morality, SCHAU ORT - Elisabeth Kaufmann + Christiane Büntgen, Zurich, Switzerland
Moderna Museet, Stockholm, Sweden
Project Series, Hammer Museum, Los Angeles, CA
History in the Making. If I can‘t dance I don‘t want to be part of your revolution (D.I.E Now), Hebbel am Ufer,
Berlin, Germany; Van Abbemuseum, Eindhofen, The Netherlands

2009
Frac Ile-de-France/Le Plateau, Paris, France
History in the Making. If I can‘t dance I don‘t want to be part of your revolution (D.I.E Now), Tate Modern Turbine
Hall, London, UK
Galeria Estrany de la Mota, Barcelona, Spain
The Mysterious Series, X Initiative, New York, NY
Noga Gallery of Contemporary Art, Tel Aviv, Israel
CCA Center for Contemporary Art, Kitakyushu, Japan
Domestics, Pilar Corrias Gallery, London, UK
Les Ruissellements du Diable, Thierry Goldberg Projects, New York, NY
SCHAU ORT
Page 2 / 6
ScalaMata Gallery, Four Seasons, Venice, Italy

2008
Witte de With, Rotterdam, The Netherlands
Centro Huarte de Arte Contemporáneo, Huarte, Spain
Les Ruisellements du diable, Luettgenmeijer, Berlin, Germany
Les Ruisellements du diable, St. Pauli Kunstverein, Hamburg, Germany
Drawings, Kunstforum Baloise, Basel, Switzerland
CCA Center for Contemporary Art, Kitakyushu, Japan

2007
STUK Kunstcentrum, Leuven, Belgium
Something Happened, CUBITT Artists, London, UK
Dreamtalk, Thierry Goldberg Projects, New York, NY
Something Happened, Elisabeth Kaufmann, Zurich, Switzerland
The Victim, MUMOK, Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria
Collective Gallery, Edinburgh, Ireland

2006
Contemporary Neuromythological Stories, Ellen de Bruijne Projects, Amsterdam, The Netherlands
REPULSION, Noga Gallery, Tel Aviv, Israel Continuity, Elisabeth Kaufmann, Zurich, Switzerland
Atmosphere, GAMeC, Galleria D’arte Moderna e Contemporanea di Bergamo, Bergamo, Italy
I was the good and he was the bad and the ugly, KW, Kunst Werke, Berlin, Germany
The Victim, ART 37 Basel, Statements, Elisabeth Kaufmann, Zurich, Switzerland
'I can never get people to understand that poetry is the expression of excited passion, and that there is no such thing
as a life of passion any more than a continuous earthquake, or an eternal fever. Besides, who would ever shave
themselves in such a state?' Lord Byron, Artis, Den Bosch, The Netherlands

2005
Kunsthalle Zurich, Zurich, Switzerland
Frankfurter Kunstverein, Frankfurt am Main, Germany

2004
the friends series, Dolores; Ellen de Bruijne Projects (with Mark Kent), Amsterdam, The Netherlands
My brain is in the wall, Stedelijk Museum Bureau, Amsterdam, The Netherlands

2003
Videos, Rozenfeld Gallery, Tel Aviv, Israel

2002
Drawings, Rozenfeld Gallery, Tel Aviv, Israel

Selected group exhibitions

2012
Fremde überall – Foreigners everywhere, Jüdisches Museum,Wien
MADE IN GERMANY ZWEI, Sprengel Museum und Kestnergesellschaft, Hannover
Big Picture III (Szenen/Figuren), Kunstsammlung im Ständehaus, Düsseldorf
Images Festival 2012, The Images Festival, Toronto
Found in Translation, Solomon R. Guggenheim Museum, New York, NY
SCHAU ORT
Page 3 / 6

2011
Gareth Moore. CHILDREN´S FILMS, Kunstverein Bielefeld
No Sense of Place, Bergen Kunsthall
The Israeli Center for Digital Art/Mobile Archive, Kunsthaus Baselland, Muttenz
3rd Thessaloniki Biennale of Contemporary Art, State Museum of Contemporary Art, Thessaloniki
Spectrums of Light, Temporary Gallery Cologne, Köln
NUMBER FIVE: Cities of Gold and Mirrors, JULIA STOSCHEK COLLECTION Düsseldorf
Parallel Worlds, Arsenal, Berlin, Germany
Based in Berlin, Berlin, Germany
Videonale 13, Kunstmuseum Bonn
Expended Cinema – Moscow museum of modern art – MMOMA, Moscow
East Ex East – Brand New Gallery, Milan, Italy
Small Fires - Sint-Lukasgalerie, Brussels
The plot, Power plant, Toronto, Canada
3rd Thessaloniki Biennial of Contemporary Art. Greece
'Cinema for Exhibitions', at Fundacion CIAC AC Mexico.

2010
Future Generation Art Prize: 20 Shortlisted Artists, PinchukArtCentre Kiev, Ukraine
8th Gwangju Biennale, Gwangju, Korea
Epilogue (1), Maisterra Valbuena Gallery, Madrid, Spain
curated by_vienna Marko Lulic, Gabriele Senn Galerie, Vienna, Austria
Overview: Israeli Video 2000-2010, Haifa Museum of Art, Haifa
Videozone V: The 5th International Video Art Biennale in Israel, Tel -Aviv
PORTRAITS DE COLLECTIONNEURS - Jocelyne et Fabrice Petignat, MURO Genf
More Pricks Than Kicks, The David Roberts Art Foundation, London
Face your Demons, Milliken Gallery, Stockholm, Sweden
Not Necessarily In That Order, Presentation House Gallery, Vancouver, Canada
Michael Beutler & Friends, Galerie Christian Nagel, Antwerp, Belgium
Tramway, Glasgow International Festival, Glasgow, UK
Paradise Lost Holidays in Hell, CCA Andratx, Spain
Make the Most of Now, Kunsthalle Exnergasse, Vienna, Austria
In Full Bloom, Galleria Raffaella Cortese, Milan, Italy
Tell-Tale Heart, James Cohan Gallery, New York, NY
Morality, Witte de With, Rotterdam, The Netherlands

2009
Nationalgalerie Prize for Young Art, Hamburger Bahnhof, Berlin, Germany
Golden Agers – Silver Surfers, Kunsthaus Baselland, Muttenz, Switzerland
Fare Mondi/Making Worlds: 53rd International Art Exhibition, The Venice Biennial, Venice, Italy
The Generational: Younger Than Jesus, New Museum, New York, NY
KunstFilmBiennale Köln, Cologne, Germany
If I can’t dance I don‘t want to be part of your revolution, Art Center, Dublin, Ireland Rotterdam Film Festival,
Rotterdam, The Netherlands
Highlights from KunstFilmBiennale Köln, KW Institute for Contemporary Art, Berlin, Germany;
Center Pompidu, Paris, France
Shifting Identities, CAC, Vilnius, Lithuania
ars viva 08/09 – Inszenierung / Mise en scène, Museum Abteiberg, Mönchengladbac, Germany; Atelier Augarten,
Vienna, Austria
Time Out of Joint: Recall and Evocation in Recent Art, Whitney Museum, New York Performa 09, New York, NY
SCHAU ORT
Page 4 / 6

2008
Television Delivers People, The Whitney Museum of American Art, New York, NY
The Leisure Suite, The LeRoy Neiman Gallery, Columbia University, New York. NY
Work from the Video & Film Collection of Jean-Conrad & Isabelle Lemaitre, Kunsthalle zu Kiel der Christian-
Albrecht-Universität, Kiel, Germany
Manifesta 7, Trento, Italy
Yokohama Triennale, Yokohama, Japan
Berlin International Film Festival, Expended Forum, Filmhuis, Berlin, Germany
Konzepte der Liebe, Kölner Kunstverein, Cologne, Germany
Narratives in space // Spatial narrations, ACEC Dok, Gent, Belgium Shifting Identities, Kunsthaus Zurich,
Switzerland
Oberhausen Film Festival, Oberhausen, Germany
If I can’t dance I don’t want to join your revolution, De Appel, Amsterdam, The Netherlands; Sala Rekalde, Bilbao,
Spain
Italia Italie Italien Italy, Museo Arcos, Benevento, Italy
Keren Cytter / Knut Klaßen, Galerie Olaf Stüber, Berlin, Germany
2MOVE / Migratory Aesthetics, Stenersenmuseet, Oslo, Norway
50 Moons of Saturn, Turin Triennale, Turin, Italy
Bolzano Short Film Festival, Bolzano, Italy
Notorious, Frac le de France, Le Plateau, Paris, France
Bangkok World Film Festival, Bangkok, Thailand BEFF, Bangkok
Experimental Film Festival, Bangkok, Thailand
ARTLV – Tel Aviv Biennale, Tel Aviv, Israel
ARTFOCUS, Jerusalem, Israel VideoZone, Video Biennale, Tel Aviv, Israel

2007
Cut, Thierry Goldberg Projects, New York, NY
The Lyon Biennial, The History of a Decade That Has Not Yet Been Named, Lyon, France BoundLES, The Henry
Street Settlement, New York, NY If water crystal, crystal water..., Ingalls & Associates, Miami, FL Pawnshop, e-flux,
New York, NY The First Hertzelia Biennial, Hertzelia, Israel The Second Moscow Biennial of Contemporary Art,
Moscow Russia The Floating Feather, Daniel Buchholz Gallery, Cologne, Germany Self fashion Show, Extra City –
Center for Contemporary Art, Antwerp, The Netherlands On the Marriage Broker Joke, Office Baroque Gallery,
Antwerp, The Netherlands
There have to be many and they do(n’t) need to be reconciled with one another, Kunstverein Braunschweig e.V.,
Brunswick, Germany The Shadow Cabinet: ‘Distorted Fabric’, de Appel, Amsterdam, The Netherlands Fake
Movement, Campobase Gallery, Bologna, Italy
Depiction Perversion Repulsion Obsession, Witte de With, Rotterdam, The Netherlands House Trip, ArtForum
Berlin, Germany
Berlin International Film Festival, Expended Forum, BueroFriedrich, Berlin, Germany Zwischenbilanz II, Baloise Art
Forum, Basel, Switzerland
Talking Pictures, K21 Kunstsammlung Nordrhein-Westfalen, Duesseldorf, Germany
CCA/MAP Magazine/Glasgow Film Festival, Glasgow, Ireland

2006
The Floating Feather, Chantal Crousel Gallery, Paris, France
All Hawaii Entrees/ Lunar Reggea, IMMA, Irish Museum of Modern Art, Dublin, Ireland
City Lab, Art Forum, Berlin, Germany
Open Space, Art Cologne, Ellen de Bruijne Projects, Cologne, Germany
The World State, Erik Steen Gallery, Oslo, Norway
Satellite of Love, Witte de With, exploding television, Rotterdam, The Netherland Across.Videos, Rome, Italy

2005
Filmblik Program, Filmhuis, Den HaagDutch open, De Balie, Amsterdam, The Netherlands
SCHAU ORT
Page 5 / 6
Fabrikaat-Avond, Artis, Den Bosch, The Netherlands Disclosed, de Ateliers, Amsterdam, The Netherlands
6th Republic, Eastarea Gallery, Amsterdam, The Netherlands
Short Circuit, Motive Gallery, Amsterdam, The Netherlands
Pilot:2, London, UK Pek Festival, Retrospective, Den Haag, The Netherlands

2004
Videozone, Video Biannale, Tel Aviv, Israel
F&N Tel Aviv, Tel Aviv City Hall, Israel
Interior painting after Richard Hamilton, Kav 16, Tel Aviv, Israel
A4 – 5, Overtoom 301, Amsterdam, The Netherlands

2003
Eeehh..., Overtoom 301, Amsterdam, The Netherlands
Horse Hospital, London, UK
Good Question, Studiokatendrechtstraat 66 Rotterdam, The Netherlands
Wonderyears, Kino, Arsenal, Berlin, Germany
Rshvusvaheline Parnu Filmi, Estonia.

2002
Videozone - Video Biennale, Tel-Aviv, Israel
Wall Painting, Yanko Dada Museum, Ein Hod, The Netherlands

2001
Shoes, Left Side, Tel Aviv, Israel

1998
Nice Plant, Gross Gallery, Tel Aviv, Israel

Awards

Balôise Art Prize, Art Basel, Switzerland, 2006
Ars Viva Prize, Kulturkeis der deutschen Wirschaft, Berlin, 2008
Experimental short film, Bolzano short film festival, 2008
Short-listed for the Preis der Nationalgalerie für junge Kunst, 2009
Absolut Art Award, 2009

Writings and monographs

2012
D.I.E. Now, The True Story of John Webber and His Endless Struggle with the Table of Content, Edited by
Frédérique Bergholtz and Maaike Gouwenberg; Contributions by Catherine Wood, Keren Cytter, Andrew
Kerton, Dafna Maimon.

2010
White Diaries, CCA, kitakyushu
“Keren Cytter – Stockholm, Moderna Museet” – Catalogue, Stockholm. Authors: Magnus af Petersens.

2009
The Amazing True Story of Moshe Klinberg – A Media Star. Read it to believe it. Onestar Press, Paris

2008
The seven most exciting hours of Mr Trier‘s life in twenty-four chapters, Witte de With and STUK
Kunstcentrum, Sternberg Press, Berlin

2007
“Keren Cytter”, Mumok, Vienna, Austria Authors: Marlene Dumas, Rainer Fuchs, Bart van der Heide
SCHAU ORT
Page 6 / 6

2006
“Keren Cytter, I was the good and he was the bad and the ugly,” Authors: Diedrich Diederichsen, Avi
Pitchon, Hila Peleg (Ed), KW Institute for Contemporary Art Berlin u. Revolver.

2005
“The man who climbed the stairs of life and found out they were cinema seats,” Epilog by Beatrix Ruf,
Kunsthalle Zurich, and Nicolaus Schafhausen, Frankfurter Kunstverein (Eds.) Maayan Literature Magazine,
Israel, Novel-Catalog for Published by Lukas & Sternberg.

Collections

Guggenheim, New York
Tate Collection, London
Moderna Museet, Stockholm
FRAC Ile de France, Paris
Hammer Museum, Los Angeles
Fondazione Piemonte
FRAC PACA Marseille
Collection ARCO Madrid
The David Roberts Collection, London
Robert and Renee Drake Collection, The Netherlands
Kadist Art Foundation, Paris
Fondazione per L’Arte Moderna e Contemporanea, Turin
Collection Luciano Russo, Turin
MUMOK, Vienna
Wesman Collection, New York
Goetz collection, Munich
Collection Ringier, Zurich
Kunsthaus Zürich, Zurich
Moderna Museet, Stockholm
Louis Vuitton Foundation
Baloise Collection, Basel
Fondazione Morra Greco, Neaples
Collection Elisabeth Kaufmann, Zurich
Collection Petignat, Geneva

Keren Cytter
born 1977, Tel Aviv, Israel Lives and works in New York Education de Ateliers, Amsterdam, The Netherlands, 2002-2004 The Avni Institute, Tel-Aviv, Israel, 1997-1999 Solo exhibitions 2013 Keren Cytter: Tutorial, Deweer Gallery, Otegem 2012 Video Art Manual, DiverseWorks, Houston, Texas Video Art Manual, Noga Gallery, Tel Aviv Don't trust Americans, SCHAU ORT Zürich Oakville Galleries, Oakville, Canada Tina is gone, Image Festival, Toronto, Canada Walter Phillips Gallery at the Banff Centre for the Arts in Alberta, Canada 2011 Video Art Manual, Zach Feuer Gallery, New York Galleria Raffaella Cortese, Milan, Italy Keren Cytter – Avalanche Stedelijk Museum, Amsterdam Fear, Fun and Fire, Deutsche Bank Towers, Frankfurt am Main, Germany The hottest day of the year, k.m Kunstverien Munich, Germany Avalanche, The David Roberts Art Foundation, London, UK Avalanche, Pilar Corrias, London, UK 2010 Konstruktion, Galerie Christian Nagel, Berlin, Germany Repulsion, Kunsthaus Baselland, Muttenz/Basel, Switzerland Morality, SCHAU ORT - Elisabeth Kaufmann + Christiane Büntgen, Zurich, Switzerland Moderna Museet, Stockholm, Sweden Project Series, Hammer Museum, Los Angeles, CA History in the Making. If I can‘t dance I don‘t want to be part of your revolution (D.I.E Now), Hebbel am Ufer, Berlin, Germany; Van Abbemuseum, Eindhofen, The Netherlands 2009 Frac Ile-de-France/Le Plateau, Paris, France History in the Making. If I can‘t dance I don‘t want to be part of your revolution (D.I.E Now), Tate Modern Turbine Hall, London, UK Galeria Estrany de la Mota, Barcelona, Spain The Mysterious Series, X Initiative, New York, NY Noga Gallery of Contemporary Art, Tel Aviv, Israel CCA Center for Contemporary Art, Kitakyushu, Japan Domestics, Pilar Corrias Gallery, London, UK Les Ruissellements du Diable, Thierry Goldberg Projects, New York, NY SCHAU ORT Page 2 / 6 ScalaMata Gallery, Four Seasons, Venice, Italy 2008 Witte de With, Rotterdam, The Netherlands Centro Huarte de Arte Contemporáneo, Huarte, Spain Les Ruisellements du diable, Luettgenmeijer, Berlin, Germany Les Ruisellements du diable, St. Pauli Kunstverein, Hamburg, Germany Drawings, Kunstforum Baloise, Basel, Switzerland CCA Center for Contemporary Art, Kitakyushu, Japan 2007 STUK Kunstcentrum, Leuven, Belgium Something Happened, CUBITT Artists, London, UK Dreamtalk, Thierry Goldberg Projects, New York, NY Something Happened, Elisabeth Kaufmann, Zurich, Switzerland The Victim, MUMOK, Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria Collective Gallery, Edinburgh, Ireland 2006 Contemporary Neuromythological Stories, Ellen de Bruijne Projects, Amsterdam, The Netherlands REPULSION, Noga Gallery, Tel Aviv, Israel Continuity, Elisabeth Kaufmann, Zurich, Switzerland Atmosphere, GAMeC, Galleria D’arte Moderna e Contemporanea di Bergamo, Bergamo, Italy I was the good and he was the bad and the ugly, KW, Kunst Werke, Berlin, Germany The Victim, ART 37 Basel, Statements, Elisabeth Kaufmann, Zurich, Switzerland 'I can never get people to understand that poetry is the expression of excited passion, and that there is no such thing as a life of passion any more than a continuous earthquake, or an eternal fever. Besides, who would ever shave themselves in such a state?' Lord Byron, Artis, Den Bosch, The Netherlands 2005 Kunsthalle Zurich, Zurich, Switzerland Frankfurter Kunstverein, Frankfurt am Main, Germany 2004 the friends series, Dolores; Ellen de Bruijne Projects (with Mark Kent), Amsterdam, The Netherlands My brain is in the wall, Stedelijk Museum Bureau, Amsterdam, The Netherlands 2003 Videos, Rozenfeld Gallery, Tel Aviv, Israel 2002 Drawings, Rozenfeld Gallery, Tel Aviv, Israel Selected group exhibitions 2012 Fremde überall – Foreigners everywhere, Jüdisches Museum,Wien MADE IN GERMANY ZWEI, Sprengel Museum und Kestnergesellschaft, Hannover Big Picture III (Szenen/Figuren), Kunstsammlung im Ständehaus, Düsseldorf Images Festival 2012, The Images Festival, Toronto Found in Translation, Solomon R. Guggenheim Museum, New York, NY SCHAU ORT Page 3 / 6 2011 Gareth Moore. CHILDREN´S FILMS, Kunstverein Bielefeld No Sense of Place, Bergen Kunsthall The Israeli Center for Digital Art/Mobile Archive, Kunsthaus Baselland, Muttenz 3rd Thessaloniki Biennale of Contemporary Art, State Museum of Contemporary Art, Thessaloniki Spectrums of Light, Temporary Gallery Cologne, Köln NUMBER FIVE: Cities of Gold and Mirrors, JULIA STOSCHEK COLLECTION Düsseldorf Parallel Worlds, Arsenal, Berlin, Germany Based in Berlin, Berlin, Germany Videonale 13, Kunstmuseum Bonn Expended Cinema – Moscow museum of modern art – MMOMA, Moscow East Ex East – Brand New Gallery, Milan, Italy Small Fires - Sint-Lukasgalerie, Brussels The plot, Power plant, Toronto, Canada 3rd Thessaloniki Biennial of Contemporary Art. Greece 'Cinema for Exhibitions', at Fundacion CIAC AC Mexico. 2010 Future Generation Art Prize: 20 Shortlisted Artists, PinchukArtCentre Kiev, Ukraine 8th Gwangju Biennale, Gwangju, Korea Epilogue (1), Maisterra Valbuena Gallery, Madrid, Spain curated by_vienna Marko Lulic, Gabriele Senn Galerie, Vienna, Austria Overview: Israeli Video 2000-2010, Haifa Museum of Art, Haifa Videozone V: The 5th International Video Art Biennale in Israel, Tel -Aviv PORTRAITS DE COLLECTIONNEURS - Jocelyne et Fabrice Petignat, MURO Genf More Pricks Than Kicks, The David Roberts Art Foundation, London Face your Demons, Milliken Gallery, Stockholm, Sweden Not Necessarily In That Order, Presentation House Gallery, Vancouver, Canada Michael Beutler & Friends, Galerie Christian Nagel, Antwerp, Belgium Tramway, Glasgow International Festival, Glasgow, UK Paradise Lost Holidays in Hell, CCA Andratx, Spain Make the Most of Now, Kunsthalle Exnergasse, Vienna, Austria In Full Bloom, Galleria Raffaella Cortese, Milan, Italy Tell-Tale Heart, James Cohan Gallery, New York, NY Morality, Witte de With, Rotterdam, The Netherlands 2009 Nationalgalerie Prize for Young Art, Hamburger Bahnhof, Berlin, Germany Golden Agers – Silver Surfers, Kunsthaus Baselland, Muttenz, Switzerland Fare Mondi/Making Worlds: 53rd International Art Exhibition, The Venice Biennial, Venice, Italy The Generational: Younger Than Jesus, New Museum, New York, NY KunstFilmBiennale Köln, Cologne, Germany If I can’t dance I don‘t want to be part of your revolution, Art Center, Dublin, Ireland Rotterdam Film Festival, Rotterdam, The Netherlands Highlights from KunstFilmBiennale Köln, KW Institute for Contemporary Art, Berlin, Germany; Center Pompidu, Paris, France Shifting Identities, CAC, Vilnius, Lithuania ars viva 08/09 – Inszenierung / Mise en scène, Museum Abteiberg, Mönchengladbac, Germany; Atelier Augarten, Vienna, Austria Time Out of Joint: Recall and Evocation in Recent Art, Whitney Museum, New York Performa 09, New York, NY SCHAU ORT Page 4 / 6 2008 Television Delivers People, The Whitney Museum of American Art, New York, NY The Leisure Suite, The LeRoy Neiman Gallery, Columbia University, New York. NY Work from the Video & Film Collection of Jean-Conrad & Isabelle Lemaitre, Kunsthalle zu Kiel der Christian- Albrecht-Universität, Kiel, Germany Manifesta 7, Trento, Italy Yokohama Triennale, Yokohama, Japan Berlin International Film Festival, Expended Forum, Filmhuis, Berlin, Germany Konzepte der Liebe, Kölner Kunstverein, Cologne, Germany Narratives in space // Spatial narrations, ACEC Dok, Gent, Belgium Shifting Identities, Kunsthaus Zurich, Switzerland Oberhausen Film Festival, Oberhausen, Germany If I can’t dance I don’t want to join your revolution, De Appel, Amsterdam, The Netherlands; Sala Rekalde, Bilbao, Spain Italia Italie Italien Italy, Museo Arcos, Benevento, Italy Keren Cytter / Knut Klaßen, Galerie Olaf Stüber, Berlin, Germany 2MOVE / Migratory Aesthetics, Stenersenmuseet, Oslo, Norway 50 Moons of Saturn, Turin Triennale, Turin, Italy Bolzano Short Film Festival, Bolzano, Italy Notorious, Frac le de France, Le Plateau, Paris, France Bangkok World Film Festival, Bangkok, Thailand BEFF, Bangkok Experimental Film Festival, Bangkok, Thailand ARTLV – Tel Aviv Biennale, Tel Aviv, Israel ARTFOCUS, Jerusalem, Israel VideoZone, Video Biennale, Tel Aviv, Israel 2007 Cut, Thierry Goldberg Projects, New York, NY The Lyon Biennial, The History of a Decade That Has Not Yet Been Named, Lyon, France BoundLES, The Henry Street Settlement, New York, NY If water crystal, crystal water..., Ingalls & Associates, Miami, FL Pawnshop, e-flux, New York, NY The First Hertzelia Biennial, Hertzelia, Israel The Second Moscow Biennial of Contemporary Art, Moscow Russia The Floating Feather, Daniel Buchholz Gallery, Cologne, Germany Self fashion Show, Extra City – Center for Contemporary Art, Antwerp, The Netherlands On the Marriage Broker Joke, Office Baroque Gallery, Antwerp, The Netherlands There have to be many and they do(n’t) need to be reconciled with one another, Kunstverein Braunschweig e.V., Brunswick, Germany The Shadow Cabinet: ‘Distorted Fabric’, de Appel, Amsterdam, The Netherlands Fake Movement, Campobase Gallery, Bologna, Italy Depiction Perversion Repulsion Obsession, Witte de With, Rotterdam, The Netherlands House Trip, ArtForum Berlin, Germany Berlin International Film Festival, Expended Forum, BueroFriedrich, Berlin, Germany Zwischenbilanz II, Baloise Art Forum, Basel, Switzerland Talking Pictures, K21 Kunstsammlung Nordrhein-Westfalen, Duesseldorf, Germany CCA/MAP Magazine/Glasgow Film Festival, Glasgow, Ireland 2006 The Floating Feather, Chantal Crousel Gallery, Paris, France All Hawaii Entrees/ Lunar Reggea, IMMA, Irish Museum of Modern Art, Dublin, Ireland City Lab, Art Forum, Berlin, Germany Open Space, Art Cologne, Ellen de Bruijne Projects, Cologne, Germany The World State, Erik Steen Gallery, Oslo, Norway Satellite of Love, Witte de With, exploding television, Rotterdam, The Netherland Across.Videos, Rome, Italy 2005 Filmblik Program, Filmhuis, Den HaagDutch open, De Balie, Amsterdam, The Netherlands SCHAU ORT Page 5 / 6 Fabrikaat-Avond, Artis, Den Bosch, The Netherlands Disclosed, de Ateliers, Amsterdam, The Netherlands 6th Republic, Eastarea Gallery, Amsterdam, The Netherlands Short Circuit, Motive Gallery, Amsterdam, The Netherlands Pilot:2, London, UK Pek Festival, Retrospective, Den Haag, The Netherlands 2004 Videozone, Video Biannale, Tel Aviv, Israel F&N Tel Aviv, Tel Aviv City Hall, Israel Interior painting after Richard Hamilton, Kav 16, Tel Aviv, Israel A4 – 5, Overtoom 301, Amsterdam, The Netherlands 2003 Eeehh..., Overtoom 301, Amsterdam, The Netherlands Horse Hospital, London, UK Good Question, Studiokatendrechtstraat 66 Rotterdam, The Netherlands Wonderyears, Kino, Arsenal, Berlin, Germany Rshvusvaheline Parnu Filmi, Estonia. 2002 Videozone - Video Biennale, Tel-Aviv, Israel Wall Painting, Yanko Dada Museum, Ein Hod, The Netherlands 2001 Shoes, Left Side, Tel Aviv, Israel 1998 Nice Plant, Gross Gallery, Tel Aviv, Israel Awards Balôise Art Prize, Art Basel, Switzerland, 2006 Ars Viva Prize, Kulturkeis der deutschen Wirschaft, Berlin, 2008 Experimental short film, Bolzano short film festival, 2008 Short-listed for the Preis der Nationalgalerie für junge Kunst, 2009 Absolut Art Award, 2009 Writings and monographs 2012 D.I.E. Now, The True Story of John Webber and His Endless Struggle with the Table of Content, Edited by Frédérique Bergholtz and Maaike Gouwenberg; Contributions by Catherine Wood, Keren Cytter, Andrew Kerton, Dafna Maimon. 2010 White Diaries, CCA, kitakyushu “Keren Cytter – Stockholm, Moderna Museet” – Catalogue, Stockholm. Authors: Magnus af Petersens. 2009 The Amazing True Story of Moshe Klinberg – A Media Star. Read it to believe it. Onestar Press, Paris 2008 The seven most exciting hours of Mr Trier‘s life in twenty-four chapters, Witte de With and STUK Kunstcentrum, Sternberg Press, Berlin 2007 “Keren Cytter”, Mumok, Vienna, Austria Authors: Marlene Dumas, Rainer Fuchs, Bart van der Heide SCHAU ORT Page 6 / 6 2006 “Keren Cytter, I was the good and he was the bad and the ugly,” Authors: Diedrich Diederichsen, Avi Pitchon, Hila Peleg (Ed), KW Institute for Contemporary Art Berlin u. Revolver. 2005 “The man who climbed the stairs of life and found out they were cinema seats,” Epilog by Beatrix Ruf, Kunsthalle Zurich, and Nicolaus Schafhausen, Frankfurter Kunstverein (Eds.) Maayan Literature Magazine, Israel, Novel-Catalog for Published by Lukas & Sternberg. Collections Guggenheim, New York Tate Collection, London Moderna Museet, Stockholm FRAC Ile de France, Paris Hammer Museum, Los Angeles Fondazione Piemonte FRAC PACA Marseille Collection ARCO Madrid The David Roberts Collection, London Robert and Renee Drake Collection, The Netherlands Kadist Art Foundation, Paris Fondazione per L’Arte Moderna e Contemporanea, Turin Collection Luciano Russo, Turin MUMOK, Vienna Wesman Collection, New York Goetz collection, Munich Collection Ringier, Zurich Kunsthaus Zürich, Zurich Moderna Museet, Stockholm Louis Vuitton Foundation Baloise Collection, Basel Fondazione Morra Greco, Neaples Collection Elisabeth Kaufmann, Zurich Collection Petignat, Geneva

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