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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

Nadja Verena Marcin

Works


Statement

Marcin’s works, which include, besides videos and live performances, performance-based photographs, use her own identity and personality to explore the depths and limits of our social behaviour, trusted rites, and the resulting vulnerabilities. Seemingly unchangeable conditions are shattered in surprising ways, and freshly and playfully reconstituted on several levels.

The viewer, as a pure observer in a deceptive state of safety, is confronted with an apparently trustworthy situation that Marcin, bit by bit, exposes as a social construct and humorously questions. The enduring emotional intensity of the work opens-up the (frequently bewildered) observer to new ways of viewing customary systems and connections.

Nadja Verena Marcin studied at SoA, Columbia University, New York. She has won numerous prizes, amongst others:

International Artist Career Development Grant, ARTworks Int. Inc., Fulbright, DAAD and exhibited her works in international exhibitions, biennials, and galleries such as

"Qui Vive?" 'Moscow International Biennale for Young Art, Moscow MOMA, 2010;
Salon/Screening, ICA Philadelphia, 2010;
"Uncontrollable Flesh", Berkley Art Museum, 2010;
"Short-Term Deviation"', Elizabeth Foundation for the Arts, New York; Kaunas Biennale, National Museum, 2009;
Videonale 11 & 10, Kunstmuseum, Bonn; "Mediations Biennale", Poznan, 2008;
"European Attitude", Zendai Moma, Shanghai, 2008;
EJECT-Ex teresa arte actual, Mexico City; "Jumpnights", Museum Ludwig, Cologne, 2007


Biography

Born 1982 in Würzburg, Germany
Living and working in New York, USA and North Rhine-Westphalia, Germany

Education
2010 MFA, School of the Arts, Columbia University, New York, USA
2009 Independent Studies, John Bock, Berlin, Germany
2007 BFA, Academy of Fine Arts, Münster, Germany


Solo Exhibition
s
(Selection, P = included a Performance)

2019
OPHELIA, Stadtgalerie, Saarbrücken, Germany (P)
OPHELIA, SCHAUWERK Sindelfingen, Sindelfingen, Germany (P)
The Great Dictator, ZQM, Berlin, Germany

2018
OPHELIA, Moltkerei e. V., Cologne, Germany, curated by Angela Theisen (P)
OPHELIA, Nube Gallery, Santa Cruz, Bolivia, curated by Rodrigo Rada
OPHELIA, Minnesota Street Project, San Francisco, USA, curated by Amy Kisch (P)

2017
OPHELIA, CONTEXT Art Miami, 532 Gallery Thomas Jaeckel, New York, USA

2016
Cinema Pirata – How to Undress in Front of Your Husband, SOHO20 Gallery, Brooklyn, USA, curated by Rachel Vera Steinberg

2015
01111010 01100101 01110010 01101111 01100111 01110010 01100001 01110110 01101001 01110100 01111001, as part of Kino der Kunst, Esther Donatz Gallery, Munich, Germany, curated by Jürgen Dehm

2014
Zero Gravity, Kunstverein Unna, Unna, Germany

2013
Zero Gravity, 532 Gallery Thomas Jaeckel, New York, USA
Award for Art and Language, Kunststiftung Sparkasse Unna, Unna, Germany

2012
Action Manual Vol I, Dortmunder Kunstverein, Dortmund, Germany, curated by Sandra Dichtl
Action Manual Vol II, Orangerie Schloss Rheda/ Werkstatt Bleichhäuschen, Rheda Wiedenbrück, Germany, curated by Melanie Körkemeier

2011
Solo Exhibition, The-Solo-Project, Jens Fehring Gallery, Basel, Switzerland
Lost in translation, Jens Fehring Gallery, Frankfurt, Germany (P)

2009
Confessions of a donkey, Kunstverein Dorsten, Germany, curated by Greta Gesenberg

2008
Loss of hearing, G727 Gallery, Los Angeles, USA

2006
Lend me your Doberman, Gallery Kapinos, Berlin, Germany, curated by Greta Gesenberg


Solo Performance
(Selection)

2018
OPHELIA as part of New Ear Festival, Fridman Gallery, New York, USA

2014
La Mujer, Goethe Institute, Santa Cruz de la Sierra, Bolivia

2012
Reise nach Ägypten, collaboration between Skulpturenmuseum Glaskasten, Marl/ Werkstatt Bleichhäuschen, Rheda Wiedenbrück/ Dortmunder Kunstverein, Dortmund, Germany

King Kong Theory as part of Stage the world – perform the floor, Momentum, Berlin, German


Solo Screenings

(Selection)

2018
Der Stinknormale Mann, Motorenhalle, Dresden, Germany, curated by Sophia and Franziska Hoffmann

2017
YES: Nadja Verena Marcin/ Rachelle Beaudoin, Microscope Gallery, Brooklyn, USA (2 persons)

2012
Premiere of //KIDS//, ZKM-Museum for Art and Media, Karlsruhe, Germany, curated by Peter Weibel


Biennales

(Selection, P = included a Performance)

2019
Every Woman Biennial, La MaMa La Galeria, New York, USA
24th Biennial of Humor and Satire, House of Humor and Satire, Gabrovo, Bulgaria

2018
V BIENAL CONTEXTOS, Museo Nacional de Arte, La Paz/ Centro Pedagogico y Cultural Simon I. Patino, Cochabamba, Bolivia, curated by Rodrigo Rada
Greatest Love of All – Whitney Houston Biennial, New York

2016
Deep Inside – 5th Moscow International Biennale for Young Art, Trekhgornaya Manufactory, Moscow, Russia, curated by Nadim Samman

2014
The Last Bruciennale, 837 Washington Street, New York, USA, curated by BHQFU and Julian Schnabel

2010
Qui Vive? 2nd Moscow International Biennale for Young Art, Garage Museum of Contemporary Art, Russia, curated by Karina Karaeva

2009
Kauno Biennal TEXTILE’09, Picture Gallery, National Museum, Kaunas, Lithuania, curated by Virginija Vitkiene (P)

2008
Mediations Biennale – Camouflashed/ Videoperformance, National Museum, Poznan, Poland, curated by Dr. Aurelia Mandziuk


Group Exhibitions

(Selection, P = included a Performance)

2019
Performance Is Alive, Satellite Art Show, Brooklyn, USA, curated by Quinn Dukes
Staring at the Sun, Mile End Art Pavilion, London, United Kingdom, curated by Giulia Casalini and Diana Georgiou
Looking for Dick, Schaufenster, Berlin, Germany, curated by Hansa Wisskirchen and Jan Kage

2018
Art in Odd Places, Westbesth Gallery, New York, USA, curated by Katya Grokhovsky (P)
Object Action: The “F” Word in a Post-Truth Era, state, San Francisco, USA, curated by Amy Kisch, Heather Zises and state
Test Bed, Parsons – New School, Aronson Gallery, New York, USA, curated by Pillow Culture

2017
Meaning and Difference, a collaborative project by Darren Bader, The Power Station, Dallas, USA
Todos los ojos en Bolivia, Museo National de Arte, La Paz/ Palacio Portales Cochabamba/ Manzana Uno & Centro Cultural Simon I. Patino, Bolivia, curated by Rodrigo Rada
Space Odyssey – beyond Material Confinements, Radiator Gallery, Brooklyn, USA
Aesthetica Art Prize, York Art Gallery, United Kingdom

2016
Così fan tutte, ossia la scuola degli amanti (Thus Do They All, or The School for Lovers), Biblioteca Civica del Comune di Verona (Veneto Videoart Archive Headquarters), Verona, Italy, curated by Giulia Casalini
Video Shop, NADA Art Fair, Kunstraum LLC, New York, USA
4to Festival de Performance Cimientos, Centro Patino, Cochabamba, Bolivia, curated by Rodrigo Rada und Alejandra Dorado (P)

2015
Le Fruit Defendu, Galerie du Beffroi, Namur, Belgium
Call of the Wild: Pioneers, Rebels and Heroines, Vox Populi, Philadelphia, USA
GlobalDrawProject, Oude Stadsgalerij in Heerlen, Netherlands, curated by Zinze Siegerink

2014
FEARFULAWESOME – Ecstasy, death and rebirth of a male painter, TEMP Art Space, New York, USA, curated by S. A.N.E.
DEW21 Kunstpreis, Museum für Kunst und Kulturgeschichte, Dortmund, Germany

2013
Middle Gate Geel’13, Kunstenhuis Yellow Art, Geel, Belgium, curated by Jan Hoet (P)
Coup de Ville 2013, Sint Niklaas, Belgium, curated by Stef Van Bellingen
Dream Extension – Photographs from Germany, Gallery On, Seoul
Peekskill Project, Hudson Valley Center for Contemporary Art, Peekskill, USA

2012
80WSE presents …, 80WSE Gallery, NYU Steinhardt University, New York, curated by Michael Cohen
Spring Show, 532 Thomas Jaeckel Gallery, New York, USA
tina b. – The Prague Festival of Contemporary Art, Prague, Czech Republic

2011
German Photography Now – Emotion, Drama and Narration, Jinsun Gallery, Seoul, Korea, curated by Sun-Jung Kim
Queering Sex, Human Resources, Los Angeles, USA, curated by Sarvia Jasso
The days of this society are numbered, Abrons Arts Center, New York, USA, curated by Miguel Amado
WE ARE: Live and Let Die, Nuture Art, Brooklyn, USA, curated by Guillermo Creus

2010
Short-term deviation, Elizabeth Foundation for the Arts, New York, curated by Jie Liang Lin (P)
As you like it II, Heidi Cho Gallery, New York, USA

2009
Monitoring, Fridericianum, Kasseler Dokumentarfilm- und Videofestival, Kassel, Germany
MONA Collection, Kunsthalle Faust, Hannover, Germany, curated by Thomasz Wendlandt
I am my own private dancer, Gallery Jens Fehring, Frankfurt, Germany, curated by David Buob
Women’s Voices/ Women’s Visions, St. Mark’s Church, New York, USA, curated by Dawn Chan

2008
Video Performance – Models of Self-Reflection, AZKM, Münster, Germany, curated by Georg Elben
European Attitude, Zendai MOMA, Shanghai, China, curated by Thomasz Wendlandt

2007
Videonale 11, Kunstmuseum Bonn, Germany, curated by Georg Elben
Shelf Life, Pawnshop Gallery, Los Angeles, USA, curated by Courtney Shermer (P)
Asian European Mediations, Kunsthalle Faust, Hannover/ Museum of Modern Art, Poznan, Poland
Grosse Kunstausstellung, Haus der Kunst, Munich, Germany

2006
Through the looking glass, Haus der Kunst, Munich, Germany (P)
Vorfahrt, Gallery Wolfgang Seitz, Stuttgart, Germany (P)
Stufo, European Media Art Festival, Osnabrück, Germany

2005
Videonale 10, Kunstmuseum Bonn, Germany, curated by Georg Elben
Stadt Kunst, Bonn, Germany, curated by Georg Elben


Screenings
(Selection)

2018
Dream Machines, Parsons – New School, Kellen Auditorium, New York, USA, curated by Pillow Culture

2017
The Border Pavilion at The Research Pavilion, Venice Biennale, Italy, curated by Raul Zamudio
Mythic Age, acinema, Milwaukee, USA, curated by Janelle VanderKelen and Takahiro Suzuki

2015
Woman. Equal and Different, Festarte Videoart Festival, Space On Art, Rome, Italy

2014
Dirty Minds – Reading below the frame, Rooster Gallery, New York, curated by Susanne Boswell

2013
Aesthetica, Film Festival, York, United Kingdom

2012
AIVA Festival, Angelholm, Sweden, curated by Andres Weberg
29. Kasseler Dokumentarfilm- und Videofest, Kassel, Germany

2011
Busan International Video Festival, Media Center, Busan, South Korea, curated by Seong Youn Kim
Female Cut – made in U.S.A, US Embassy/ FestArt VideoArt Festival, Circolo degli Artisti, Rome, Italy, curated by Manuela Contino

2010
Collective Show, Participant Inc., New York, USA
Uncontrollable Flesh, Berkeley Art Museum, Berkeley, USA, curated by Sarvia Jasso
SCREENING/ SALON/ CABARET/ DISCO, ICA Philadelphia, USA, curated by Sarvia Jasso

2009
INDISCIPLINES, Villa Arson, Nice, France
Brooklyn is burning, IMPRENTA, Los Angeles/ Santos Partyhouse, New York, USA, curated by Sarvia Jasso and Andres Bedoya

2008
EJECT – Performance Festival, Ex teresa arte actual, Mexico City, Mexico
International Video Art Festival, Athens, Greek
FIFA, Festival pour film sur l’art, Montreal, Canada

2007
New Beijing International Film Festival, Beijing, China
European Media Art Festival, Film Festival, Osnabrück, Germany

2006
Jumpnights, Museum Ludwig, Cologne, Germany, curated by Georg Elben
Fish’06, Film Festival, Rostock, Germany

2005
Media Art Friesland, Film Festival, Academy of Pop Culture, Leeuwarden, Netherlands
Stuttgarter Filmwinter, Film Festival, Stuttgart, Germany
European Media Art Festival, Osnabrück, Germany
Vienna Shorts, Film Festival, Vienna, Germany

2004
15th International Videofestival, Film Festival, Bochum, Germany
Deutscher Jugendvideopreis, Bundesfestival Video, Film und Multimedia, Dresden, Germany


Grants | Awards | Stipends
(Selection)

2019
Individual Artist’s Grant in Electronic Media & Film for Pocahontas Returns, New York Council for the Arts, New York, USA

2018
Exhibition Grant for OPHELIA, Kulturamt Köln, Cologne, Germany
Project Grant for OPHELIA, Puffin Foundation, Teaneck, USA

2016
Franklin Furnace Grant, Franklin Furnace Archive, New York, USA
Foundation for Contemporary Arts Emergency Grant, New York, USA
Art Fair Goers Award, Artspace, NADA Art Fair, New York, USA

2014
Arbeitsstipendium, Stiftung Kunstfonds, Bonn, Germany

2013
Production Grant for Triple F, Film und Medienstiftung NRW, Düsseldorf, Germany
Award for Art and Language, Kunststiftung Sparkasse Unna, Unna, Germany
Stipend for Artistic Research Abroad, Ministry of Culture of North Rhine-Westphalia, Düsseldorf, Germany

2012
Grant for King Kong Theory, Puffin Foundation, Teaneck, USA

2011
DAAD Scholarship for Artistic Research Abroad, German Academic Exchange Service, Bonn, Germany
Stipend for Artistic Research Abroad, Ministry of Culture of North Rhine-Westphalia, Düsseldorf, Germany

2010
Stipend for Artistic Research Abroad, Ministry of Culture of North Rhine-Westphalia, Düsseldorf, Germany
Artist Business Career Development Grant, ARTWORKinternational, Inc., Santa Fe, USA

2009
1st Price Women’s Voices, juried by Katherine Brinson, St. Mark’s Church, New York, USA
MFA Tuition Stipend, Falckenberg Collection, Hamburg, Germany
Merit Scholarship, School of the Arts, Columbia University, New York, USA
SoA Fellowship, School of the Arts, Columbia University, New York, USA

2007
Fulbright Award, Fulbright Commission, Berlin, Germany

2006
DAAD Freemover Award, German Academic Exchange Service, Bonn, Germany

2004
Young Media Award for Losing Virginity, Deutscher Jugendfilmpreis, Dresden


Residencies

2018
The Growlery – Artist Residency, San Francisco, USA

2017
Seminar: Denniston Hill, Denniston Hill Residency, Glen Wild, USA
Wassaic Artist Residency, Wassaic, USA

2014
Residency Program, KIOSKO Galeria, Santa Cruz, Bolivia

2012
Prattsville Artist Residency, Prattsville, USA
International Artist Village, WARP at C-Mine, Genk, Belgium

2011
Deutsche Boerse Residency Program, Frankfurter
Kunstverein, Frankfurt, Germany

2010
International Studio & Curatorial Program (ISCP) Residency, New York, USA


Art Fairs
VOLTA Basel, NADA New York, CONTEXT Art Miami, NEXT Art Fair Chicago


Collections
THE SCHAUFLER FOUNDATION, SCHAUWERK Sindelfingen, Germany
MONA Collection, National Museum, Poznan, Poland
Kunststiftung Sparkasse Unna, Unna, Germany
Private collections in New York, Brooklyn, New Jersey, Chapel Hill, Dothan, San Francisco, Athens, Paris, Lyon, Annecy, Berlin, Munich, Frankfurt, Würzburg, Rheda- Wiedenbrück, Marl, Dorsten, Duisburg, Essen, Cologne


Teaching

2019
Founder/ CEO, Kunstraum LLC, New York, USA (since 2015)
Portfolio Reviews, International Center for Photography, New York, USA
Lecture/ Critic, Wellesley College, Wellesley, USA
Founder/ Organizer, Künstlerstammtisch, Goethe Institute, New York, USA

2018
Workshop OPHELIA: Rebel Meme to Systems of Power & Oppression, Centro Simon I. Patino, Santa Cruz, Bolivia
Masterclass OPHELIA: How to Make a Performance, Faculty of Arts, UAGRM State University, Santa Cruz, Bolivia
Adjunct Faculty, Video and Performance Art, P. I. Art Center, New York (since 2015)

2013
Lecture/ Critic, MFA DIAP – Digital and Interdisciplinary Art Practice, City College of New York, New York, USA

2011
Lecture/ Critic, MFA PIMA – Performance and Interactive Media Arts, Brooklyn College, New York, USA

2010
Lecture/ Teaching Assistant of Shelly Silver, one-time class on Video-Performance as part of Video I, School of the Arts, Columbia University, New York, USA


Bibliography

Monograph
Greta Gesenberg, Nadja Marcin – Confessions of a donkey, Berlin, 2009


Group Catalogs
(Selection)

Kathy Battista, New York New Wave: The Legacy of Feminist Art in Emerging Practice, I. B. Tauris, New York, 2019, p. 77–79

24. Gabrovo Biennial of Humor and Satire in Art – Dimensions of Publicness, Museum House of Humor and Satire, Sofia, 2019, p. 178–179

Future Now – 100 Contemporary Artists From The Aesthetica Art Prize, Aesthetica Magazine Ltd, York, 2017, p. 180–181

5th Moscow International Biennale for Young Art, Moscow Museum of Modern Art, Moscow, 2016, p. 34, 191

John A. Parks, Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing, and Practicing Art, Rockport Publishers, Beverly, 2015, p. 126–127

Emergency Index: an annual documentation of performance practice – Vol 4., Ugly Duckling Press, Brooklyn, 2016, p. 110–111

Peter Gregorio, VECTOR 3, VECTOR, New York, 8 Feb 2014, p. 146–152

Middle Gate Geel 13, Agora/ Tempus, Brussels, 2013, p. 184, 228

Coup de Ville – Attracted by another level, Borgerhoff & Lamberigts/ WARP/ participating artists, Gent/ Sint Niklaas, 2013, p. 140–145

2. Ruhrbiennale, Aorta Kunst & Kulturverein, Duisburg, 2012, p. 70–73

tina b. – The Prague Contemporary Art Festival, Galerie Vernon, Prague, 2012, p. 138–139

German Photography Now – Emotion, Drama and Narration in the stylistic variety, Jinsun Gallery, Seoul, 2011, p. 5–7

WE ARE:…, Nuture Art, Brooklyn, 2011, p. 15, 17 The-Solo-Project – Solo Shows by 50 Selected Galleries, The-Solo-Project, Basel, 2011, p. 78–81

Qui Vive? 2nd Moscow International Biennale for Young Art, Museum of Modern Art, Moscow, 2010

Georg Elben, Gail B. Kirkpatrick, Videoperformance – Modelle der Selbstbetrachtung, Münster, 2010, p. 97–99, 123–124

USA/MFA@Bezalel – Bezalel hosts USA MFA Graduates of 2010, Bezalel Academy of Arts and Design Jerusalem, Tel Aviv, 2010, p. 10–15

Kauno Bienalé TEXTILE 09, Kauno Dailiniku Paramos Fondas, Kaunas, 2009, p. 48–49

Mediations Biennale – Poznan 2008, Centrum Kultury Zamek, Poznan, 2008, p. 388, 457

Courtney Shermer, Shelf Life, Pawnshop Gallery, Los Angeles, 2007, p. 3

Asia – Europe Mediations – Contemporary Asian and European Art, Stowarzyszenie Kontekst Sztuki, Poznan, 2007, p. 150–151

Große Kunstausstellung Haus der Kunst München, Munich, 2007, p. 46, 143

Videonale 11, Videonale e. V. (Georg Elben), Bonn/ Walter K.nig Verlag, K.ln, 2007, p. 7, 62–63

Vorfahrt, Kunstprojekt Vorfahrt (Wolfgang Seitz)/ ARNOLDSCHE Art Publishers, Stuttgart, 2006, p. 4, 69, 137

Große Kunstausstellung 2006 – through the looking glass, Munich, 2006, p. 95, 159

Videonale 10, Videonale e. V. (Georg Elben), Bonn/ Walter K.nig Verlag, K.ln, 2005, p. 62–63


Interviews
(Selection)

Andreas Langen, Ophelia-Performance – Nadja Verena Marcin feiert die rebellische Frau in Sindelfingen, SWR Radio, Stuttgart, 8 Feb 2019

Jana Gührer, Kunst im Aquarium? – Die Performance Ophelia im Schauwerk Sindelfingen, in: Kunscht!, SWR Television, Stuttgart, 2 Feb 2019

Nora H.glinger, Wie ein Schwarm Bienen um den Wassertank – Über das Abtauchen, Umweltschutz und das Wesen der Performancekunst, Art In Words, Vienna, 17 Oct 2018

Mascha Schlubach, Mit OPHELIA im Glassarkophag unserer Zeit – Performancekunst zwischen (selbst)zerstörerischer Subjektivität und fragiler Natur, Barton Magazine, Berlin, 3 Sep 2018

Women Cinemakers – Special Edition, Cinemakers Women, Berlin, Mar 2018

Priscilla Son, Conversations | Nadja Verena Marcin’s OPHELIA World Tour, New York Foundation for the Art, New York, 24 May 2018


Article
(Selection)

Kat, Künstlerischer Tauchgang der Ophelia – Performance im Schauwerk in Sindelfingen, Stuttgarter Zeitung/ Stuttgarter Nachrichten, Stuttgart, 10 Feb 2019

Thomas Volkmann, Taucherbrille und Kaktusschwert – Nadja Verena Marcin beschäftigt sich mit Frauenbildern / Live-Performance im Schauwerk, Sindelfinger Zeitung/ Boeblinger Zeitung, Sindelfingen, 9 Feb 2019

Charles Desmarais, Ophelia returns after 400 years with new message, San Francisco Chronicle/ SF Gate/ Murack.com/ USA, Breaking News, San Francisco, 27 Mar 2018

Anna Volpicelli, Nadja Verena Marcin’s Ophelia goes on a World Tour, Cultured Magazine, New York, 11 Mar 2018

Sarah Cascone, Everything You need to Know about all 23 Artfairs at Art Basel Miami Beach, Art Net, New York, 5 Dec 2017

Monica Uszerowicz,Your Concise Guide to Art Basel Miami 2017, Hyperallergic, New York, 4 Dec 2017

Priscilla Frank, Feminist Artist’s How To Undress in Front Of Your Husband Skewers Retro Mansplaining, Huffington Post, New York, 24 Mar 2017

Jillian Steinhauer, The Greatest Biennial of All, Hyperallergic, New York, 24 Mar 2017

Rachel Bishop, Sarah Francis, Incredibly sexist 1930s reconstructions instruct women how to ‘UNDRESS PROPERLY’ for their husbands, Mirror/ Birmingham Mail/ World News Live/ Microsoft, London/ Birmingham, 4 Apr 2017

Andrew Nunes, A Sexist 1960s Film Remake Rewrites Cinema, VICE Creator’s Project, New York, 23 Sep 2016

Arielle Bier, Young and the Restless, Artforum, New York, 12 Jul 2016

Hettie Judah, The 5th Moscow Biennale for Young Art Signals Millennials’ Deepest Anxieties, artnet, New York, 7 Jul 2016

Andrew Nunes, Finally, the Art World Gets a Bootleg Video Store, The Creator’s Project, New York, 16 May 2016

Brian Boucher, 11 Booths I could hardly tear myself away from at NADA New York, artnet News, New York, 6 May 2016

Das Münchner Wochenende – Wenn die Musen durchmachen, Süddeutsche Zeitung, Munich, 8 May 2015

Surreale Schwerelosigkeit: Nadja Verena Marcin, In München – Das Stadtmagazin, Munich, Apr 2015

Claude Lorent, Le fruit trop savoureux du jardin d’Eden, La Libre Culture, Namur, 18 Mar 2015

Le Fruit Defendu, Capital, Namur, Mar 2015

Schwerelos über den grossen Teich, Hellweger Anzeiger, Unna, Oct 2014

Michael Miller, Ladies’ Night: On the BHQF’s Record-Breaking Last Brucennial, Gallerist NY, New York, 20 Mar 2014

Sarah Corona, FEARFULAWESOME – Ecstasy, death and rebirth of a male painter, TEMP Art Space, Wallstreet International Magazine, New York, Jan 2014

Laurence Rickels, Before the Middle Gate, Texte zur Kunst/ Heft 92, Berlin, Dec 2013, p. 243

Sarah Corona, L’arte senza Gravita, Wallstreet International Magazine, New York, Dec 2013

Ashli Molina, Artist Nadja Verena Marcin Travels to Florida to Recite Nietzsche in Zero Gravity, Miami New Times, Miami, 30 Jul 2013

Ralph Wilms, Filmstiftung NRW fördert Nadja Marcin’s Videokunst, WAZ, Dorsten, 18 May 2013

Katy Diamond Hamer, 80WSE presents: Annual Group Show, Eyes-Towards-The-Dove, New York, 2 Dec 2012

Tilman Abegg, Die Gefahrensucherin, Ruhrnachrichten, Dortmund, Nov 2012

Marion Gay, Aktionskünstlerin Nadja Verena Marcin in Dortmund, WA.de, Hamm, Nov 2012

Gail Victoria Braddock, The days of this society are numbered, The Brooklyn Rail, New York, 16 Apr 2011

Ruth Reader, WE ARE: Cash, Guns, and Feminism, Bushwick BK, Brooklyn, 4 Aug 2011

Lost in translation, Art Agenda, New York, Jan 2011

Keith Garth, Zines, Zombies, and Rackets: Short-Term Deviation Opens at EFA, The Faster Times, New York, 12 Oct 2010

Katherina Schwarz, Aktuelle Positionen in der Medienkunst, Arte.Fact, Kassel, 31 Dec 2009

Michael Klein, Emotionale Gästebuch-Einträge zur Werkschau von Nadja Marcin, Dorstener Zeitung, Dorsten, Jun 2009

Patricia König-Stach, Ausstellung – Konfrontation mit Tabus, WAZ, Dorsten, May 2009

Michael Klein, Nadja Marcins Konstante sind bewegte Bilder, Dorstener Zeitung, Dorsten, May 2009

Meditation on Mediations – An East West Cultural Exchange: Dialogue, Misunderstanding, Growing Pains and an Evolution of Artists Before Egos, Artist Organized Art, Lodz, 2 Oct 2008

Video Performance: Mediale Authentizität – exhibitionistische Einsamkeit – ironische Intimität, Echo-Münster, Münster, 30 Oct 2008

European Attitude, Chinaculture.org, Beijing, Jan 2008

Su¨./Sauer angemacht, Gütersloher Zeitung, Gütersloh, 2005


Other Publications

Lotte Allen, Stand-In: Self & Subjectivity as Performing Artist, Participatory Research & Social Inquiry, The New School, New York, 15 May 2014, p. 3, 12–19, 22 (academic paper


Nadja Verena Marcin
Born 1982 in Würzburg, GermanyLiving and working in New York, USA and North Rhine-Westphalia, Germany Education2010 MFA, School of the Arts, Columbia University, New York, USA2009 Independent Studies, John Bock, Berlin, Germany2007 BFA, Academy of Fine Arts, Münster, Germany Solo Exhibitions(Selection, P = included a Performance) 2019OPHELIA, Stadtgalerie, Saarbrücken, Germany (P)OPHELIA, SCHAUWERK Sindelfingen, Sindelfingen, Germany (P)The Great Dictator, ZQM, Berlin, Germany 2018OPHELIA, Moltkerei e. V., Cologne, Germany, curated by Angela Theisen (P)OPHELIA, Nube Gallery, Santa Cruz, Bolivia, curated by Rodrigo RadaOPHELIA, Minnesota Street Project, San Francisco, USA, curated by Amy Kisch (P) 2017OPHELIA, CONTEXT Art Miami, 532 Gallery Thomas Jaeckel, New York, USA 2016Cinema Pirata – How to Undress in Front of Your Husband, SOHO20 Gallery, Brooklyn, USA, curated by Rachel Vera Steinberg 201501111010 01100101 01110010 01101111 01100111 01110010 01100001 01110110 01101001 01110100 01111001, as part of Kino der Kunst, Esther Donatz Gallery, Munich, Germany, curated by Jürgen Dehm 2014Zero Gravity, Kunstverein Unna, Unna, Germany 2013Zero Gravity, 532 Gallery Thomas Jaeckel, New York, USAAward for Art and Language, Kunststiftung Sparkasse Unna, Unna, Germany 2012Action Manual Vol I, Dortmunder Kunstverein, Dortmund, Germany, curated by Sandra DichtlAction Manual Vol II, Orangerie Schloss Rheda/ Werkstatt Bleichhäuschen, Rheda Wiedenbrück, Germany, curated by Melanie Körkemeier 2011Solo Exhibition, The-Solo-Project, Jens Fehring Gallery, Basel, SwitzerlandLost in translation, Jens Fehring Gallery, Frankfurt, Germany (P) 2009Confessions of a donkey, Kunstverein Dorsten, Germany, curated by Greta Gesenberg 2008Loss of hearing, G727 Gallery, Los Angeles, USA 2006Lend me your Doberman, Gallery Kapinos, Berlin, Germany, curated by Greta Gesenberg Solo Performance(Selection) 2018OPHELIA as part of New Ear Festival, Fridman Gallery, New York, USA 2014La Mujer, Goethe Institute, Santa Cruz de la Sierra, Bolivia 2012Reise nach Ägypten, collaboration between Skulpturenmuseum Glaskasten, Marl/ Werkstatt Bleichhäuschen, Rheda Wiedenbrück/ Dortmunder Kunstverein, Dortmund, GermanyKing Kong Theory as part of Stage the world – perform the floor, Momentum, Berlin, GermanSolo Screenings(Selection)2018Der Stinknormale Mann, Motorenhalle, Dresden, Germany, curated by Sophia and Franziska Hoffmann 2017YES: Nadja Verena Marcin/ Rachelle Beaudoin, Microscope Gallery, Brooklyn, USA (2 persons) 2012Premiere of //KIDS//, ZKM-Museum for Art and Media, Karlsruhe, Germany, curated by Peter Weibel Biennales(Selection, P = included a Performance) 2019Every Woman Biennial, La MaMa La Galeria, New York, USA24th Biennial of Humor and Satire, House of Humor and Satire, Gabrovo, Bulgaria 2018V BIENAL CONTEXTOS, Museo Nacional de Arte, La Paz/ Centro Pedagogico y Cultural Simon I. Patino, Cochabamba, Bolivia, curated by Rodrigo RadaGreatest Love of All – Whitney Houston Biennial, New York 2016Deep Inside – 5th Moscow International Biennale for Young Art, Trekhgornaya Manufactory, Moscow, Russia, curated by Nadim Samman 2014The Last Bruciennale, 837 Washington Street, New York, USA, curated by BHQFU and Julian Schnabel 2010Qui Vive? 2nd Moscow International Biennale for Young Art, Garage Museum of Contemporary Art, Russia, curated by Karina Karaeva 2009Kauno Biennal TEXTILE’09, Picture Gallery, National Museum, Kaunas, Lithuania, curated by Virginija Vitkiene (P) 2008Mediations Biennale – Camouflashed/ Videoperformance, National Museum, Poznan, Poland, curated by Dr. Aurelia Mandziuk Group Exhibitions(Selection, P = included a Performance) 2019Performance Is Alive, Satellite Art Show, Brooklyn, USA, curated by Quinn DukesStaring at the Sun, Mile End Art Pavilion, London, United Kingdom, curated by Giulia Casalini and Diana GeorgiouLooking for Dick, Schaufenster, Berlin, Germany, curated by Hansa Wisskirchen and Jan Kage 2018Art in Odd Places, Westbesth Gallery, New York, USA, curated by Katya Grokhovsky (P)Object Action: The “F” Word in a Post-Truth Era, state, San Francisco, USA, curated by Amy Kisch, Heather Zises and stateTest Bed, Parsons – New School, Aronson Gallery, New York, USA, curated by Pillow Culture 2017Meaning and Difference, a collaborative project by Darren Bader, The Power Station, Dallas, USATodos los ojos en Bolivia, Museo National de Arte, La Paz/ Palacio Portales Cochabamba/ Manzana Uno & Centro Cultural Simon I. Patino, Bolivia, curated by Rodrigo RadaSpace Odyssey – beyond Material Confinements, Radiator Gallery, Brooklyn, USAAesthetica Art Prize, York Art Gallery, United Kingdom 2016Così fan tutte, ossia la scuola degli amanti (Thus Do They All, or The School for Lovers), Biblioteca Civica del Comune di Verona (Veneto Videoart Archive Headquarters), Verona, Italy, curated by Giulia CasaliniVideo Shop, NADA Art Fair, Kunstraum LLC, New York, USA4to Festival de Performance Cimientos, Centro Patino, Cochabamba, Bolivia, curated by Rodrigo Rada und Alejandra Dorado (P) 2015Le Fruit Defendu, Galerie du Beffroi, Namur, BelgiumCall of the Wild: Pioneers, Rebels and Heroines, Vox Populi, Philadelphia, USAGlobalDrawProject, Oude Stadsgalerij in Heerlen, Netherlands, curated by Zinze Siegerink 2014FEARFULAWESOME – Ecstasy, death and rebirth of a male painter, TEMP Art Space, New York, USA, curated by S. A.N.E.DEW21 Kunstpreis, Museum für Kunst und Kulturgeschichte, Dortmund, Germany 2013Middle Gate Geel’13, Kunstenhuis Yellow Art, Geel, Belgium, curated by Jan Hoet (P)Coup de Ville 2013, Sint Niklaas, Belgium, curated by Stef Van BellingenDream Extension – Photographs from Germany, Gallery On, SeoulPeekskill Project, Hudson Valley Center for Contemporary Art, Peekskill, USA 201280WSE presents …, 80WSE Gallery, NYU Steinhardt University, New York, curated by Michael CohenSpring Show, 532 Thomas Jaeckel Gallery, New York, USAtina b. – The Prague Festival of Contemporary Art, Prague, Czech Republic 2011German Photography Now – Emotion, Drama and Narration, Jinsun Gallery, Seoul, Korea, curated by Sun-Jung KimQueering Sex, Human Resources, Los Angeles, USA, curated by Sarvia JassoThe days of this society are numbered, Abrons Arts Center, New York, USA, curated by Miguel AmadoWE ARE: Live and Let Die, Nuture Art, Brooklyn, USA, curated by Guillermo Creus 2010Short-term deviation, Elizabeth Foundation for the Arts, New York, curated by Jie Liang Lin (P)As you like it II, Heidi Cho Gallery, New York, USA 2009Monitoring, Fridericianum, Kasseler Dokumentarfilm- und Videofestival, Kassel, GermanyMONA Collection, Kunsthalle Faust, Hannover, Germany, curated by Thomasz WendlandtI am my own private dancer, Gallery Jens Fehring, Frankfurt, Germany, curated by David BuobWomen’s Voices/ Women’s Visions, St. Mark’s Church, New York, USA, curated by Dawn Chan 2008Video Performance – Models of Self-Reflection, AZKM, Münster, Germany, curated by Georg ElbenEuropean Attitude, Zendai MOMA, Shanghai, China, curated by Thomasz Wendlandt 2007Videonale 11, Kunstmuseum Bonn, Germany, curated by Georg ElbenShelf Life, Pawnshop Gallery, Los Angeles, USA, curated by Courtney Shermer (P)Asian European Mediations, Kunsthalle Faust, Hannover/ Museum of Modern Art, Poznan, PolandGrosse Kunstausstellung, Haus der Kunst, Munich, Germany 2006Through the looking glass, Haus der Kunst, Munich, Germany (P)Vorfahrt, Gallery Wolfgang Seitz, Stuttgart, Germany (P)Stufo, European Media Art Festival, Osnabrück, Germany 2005Videonale 10, Kunstmuseum Bonn, Germany, curated by Georg ElbenStadt Kunst, Bonn, Germany, curated by Georg Elben Screenings(Selection) 2018Dream Machines, Parsons – New School, Kellen Auditorium, New York, USA, curated by Pillow Culture 2017The Border Pavilion at The Research Pavilion, Venice Biennale, Italy, curated by Raul ZamudioMythic Age, acinema, Milwaukee, USA, curated by Janelle VanderKelen and Takahiro Suzuki 2015Woman. Equal and Different, Festarte Videoart Festival, Space On Art, Rome, Italy 2014Dirty Minds – Reading below the frame, Rooster Gallery, New York, curated by Susanne Boswell 2013Aesthetica, Film Festival, York, United Kingdom 2012AIVA Festival, Angelholm, Sweden, curated by Andres Weberg29. Kasseler Dokumentarfilm- und Videofest, Kassel, Germany 2011Busan International Video Festival, Media Center, Busan, South Korea, curated by Seong Youn KimFemale Cut – made in U.S.A, US Embassy/ FestArt VideoArt Festival, Circolo degli Artisti, Rome, Italy, curated by Manuela Contino 2010Collective Show, Participant Inc., New York, USAUncontrollable Flesh, Berkeley Art Museum, Berkeley, USA, curated by Sarvia JassoSCREENING/ SALON/ CABARET/ DISCO, ICA Philadelphia, USA, curated by Sarvia Jasso 2009INDISCIPLINES, Villa Arson, Nice, FranceBrooklyn is burning, IMPRENTA, Los Angeles/ Santos Partyhouse, New York, USA, curated by Sarvia Jasso and Andres Bedoya 2008EJECT – Performance Festival, Ex teresa arte actual, Mexico City, MexicoInternational Video Art Festival, Athens, GreekFIFA, Festival pour film sur l’art, Montreal, Canada 2007New Beijing International Film Festival, Beijing, ChinaEuropean Media Art Festival, Film Festival, Osnabrück, Germany 2006Jumpnights, Museum Ludwig, Cologne, Germany, curated by Georg ElbenFish’06, Film Festival, Rostock, Germany 2005Media Art Friesland, Film Festival, Academy of Pop Culture, Leeuwarden, NetherlandsStuttgarter Filmwinter, Film Festival, Stuttgart, GermanyEuropean Media Art Festival, Osnabrück, GermanyVienna Shorts, Film Festival, Vienna, Germany 200415th International Videofestival, Film Festival, Bochum, GermanyDeutscher Jugendvideopreis, Bundesfestival Video, Film und Multimedia, Dresden, Germany Grants | Awards | Stipends(Selection) 2019Individual Artist’s Grant in Electronic Media & Film for Pocahontas Returns, New York Council for the Arts, New York, USA 2018Exhibition Grant for OPHELIA, Kulturamt Köln, Cologne, GermanyProject Grant for OPHELIA, Puffin Foundation, Teaneck, USA 2016Franklin Furnace Grant, Franklin Furnace Archive, New York, USAFoundation for Contemporary Arts Emergency Grant, New York, USAArt Fair Goers Award, Artspace, NADA Art Fair, New York, USA 2014Arbeitsstipendium, Stiftung Kunstfonds, Bonn, Germany 2013Production Grant for Triple F, Film und Medienstiftung NRW, Düsseldorf, GermanyAward for Art and Language, Kunststiftung Sparkasse Unna, Unna, GermanyStipend for Artistic Research Abroad, Ministry of Culture of North Rhine-Westphalia, Düsseldorf, Germany 2012Grant for King Kong Theory, Puffin Foundation, Teaneck, USA 2011DAAD Scholarship for Artistic Research Abroad, German Academic Exchange Service, Bonn, GermanyStipend for Artistic Research Abroad, Ministry of Culture of North Rhine-Westphalia, Düsseldorf, Germany 2010Stipend for Artistic Research Abroad, Ministry of Culture of North Rhine-Westphalia, Düsseldorf, GermanyArtist Business Career Development Grant, ARTWORKinternational, Inc., Santa Fe, USA 20091st Price Women’s Voices, juried by Katherine Brinson, St. Mark’s Church, New York, USAMFA Tuition Stipend, Falckenberg Collection, Hamburg, GermanyMerit Scholarship, School of the Arts, Columbia University, New York, USASoA Fellowship, School of the Arts, Columbia University, New York, USA 2007Fulbright Award, Fulbright Commission, Berlin, Germany 2006DAAD Freemover Award, German Academic Exchange Service, Bonn, Germany 2004Young Media Award for Losing Virginity, Deutscher Jugendfilmpreis, DresdenResidencies 2018The Growlery – Artist Residency, San Francisco, USA 2017Seminar: Denniston Hill, Denniston Hill Residency, Glen Wild, USAWassaic Artist Residency, Wassaic, USA 2014Residency Program, KIOSKO Galeria, Santa Cruz, Bolivia 2012Prattsville Artist Residency, Prattsville, USAInternational Artist Village, WARP at C-Mine, Genk, Belgium 2011Deutsche Boerse Residency Program, FrankfurterKunstverein, Frankfurt, Germany 2010International Studio & Curatorial Program (ISCP) Residency, New York, USA Art FairsVOLTA Basel, NADA New York, CONTEXT Art Miami, NEXT Art Fair Chicago CollectionsTHE SCHAUFLER FOUNDATION, SCHAUWERK Sindelfingen, GermanyMONA Collection, National Museum, Poznan, PolandKunststiftung Sparkasse Unna, Unna, GermanyPrivate collections in New York, Brooklyn, New Jersey, Chapel Hill, Dothan, San Francisco, Athens, Paris, Lyon, Annecy, Berlin, Munich, Frankfurt, Würzburg, Rheda- Wiedenbrück, Marl, Dorsten, Duisburg, Essen, Cologne Teaching 2019Founder/ CEO, Kunstraum LLC, New York, USA (since 2015)Portfolio Reviews, International Center for Photography, New York, USALecture/ Critic, Wellesley College, Wellesley, USAFounder/ Organizer, Künstlerstammtisch, Goethe Institute, New York, USA 2018Workshop OPHELIA: Rebel Meme to Systems of Power & Oppression, Centro Simon I. Patino, Santa Cruz, BoliviaMasterclass OPHELIA: How to Make a Performance, Faculty of Arts, UAGRM State University, Santa Cruz, BoliviaAdjunct Faculty, Video and Performance Art, P. I. Art Center, New York (since 2015) 2013Lecture/ Critic, MFA DIAP – Digital and Interdisciplinary Art Practice, City College of New York, New York, USA 2011Lecture/ Critic, MFA PIMA – Performance and Interactive Media Arts, Brooklyn College, New York, USA 2010Lecture/ Teaching Assistant of Shelly Silver, one-time class on Video-Performance as part of Video I, School of the Arts, Columbia University, New York, USABibliography MonographGreta Gesenberg, Nadja Marcin – Confessions of a donkey, Berlin, 2009 Group Catalogs(Selection) Kathy Battista, New York New Wave: The Legacy of Feminist Art in Emerging Practice, I. B. Tauris, New York, 2019, p. 77–79 24. Gabrovo Biennial of Humor and Satire in Art – Dimensions of Publicness, Museum House of Humor and Satire, Sofia, 2019, p. 178–179 Future Now – 100 Contemporary Artists From The Aesthetica Art Prize, Aesthetica Magazine Ltd, York, 2017, p. 180–181 5th Moscow International Biennale for Young Art, Moscow Museum of Modern Art, Moscow, 2016, p. 34, 191 John A. Parks, Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing, and Practicing Art, Rockport Publishers, Beverly, 2015, p. 126–127 Emergency Index: an annual documentation of performance practice – Vol 4., Ugly Duckling Press, Brooklyn, 2016, p. 110–111 Peter Gregorio, VECTOR 3, VECTOR, New York, 8 Feb 2014, p. 146–152 Middle Gate Geel 13, Agora/ Tempus, Brussels, 2013, p. 184, 228 Coup de Ville – Attracted by another level, Borgerhoff & Lamberigts/ WARP/ participating artists, Gent/ Sint Niklaas, 2013, p. 140–145 2. Ruhrbiennale, Aorta Kunst & Kulturverein, Duisburg, 2012, p. 70–73 tina b. – The Prague Contemporary Art Festival, Galerie Vernon, Prague, 2012, p. 138–139 German Photography Now – Emotion, Drama and Narration in the stylistic variety, Jinsun Gallery, Seoul, 2011, p. 5–7 WE ARE:…, Nuture Art, Brooklyn, 2011, p. 15, 17 The-Solo-Project – Solo Shows by 50 Selected Galleries, The-Solo-Project, Basel, 2011, p. 78–81 Qui Vive? 2nd Moscow International Biennale for Young Art, Museum of Modern Art, Moscow, 2010 Georg Elben, Gail B. Kirkpatrick, Videoperformance – Modelle der Selbstbetrachtung, Münster, 2010, p. 97–99, 123–124 USA/MFA@Bezalel – Bezalel hosts USA MFA Graduates of 2010, Bezalel Academy of Arts and Design Jerusalem, Tel Aviv, 2010, p. 10–15 Kauno Bienalé TEXTILE 09, Kauno Dailiniku Paramos Fondas, Kaunas, 2009, p. 48–49 Mediations Biennale – Poznan 2008, Centrum Kultury Zamek, Poznan, 2008, p. 388, 457 Courtney Shermer, Shelf Life, Pawnshop Gallery, Los Angeles, 2007, p. 3 Asia – Europe Mediations – Contemporary Asian and European Art, Stowarzyszenie Kontekst Sztuki, Poznan, 2007, p. 150–151 Große Kunstausstellung Haus der Kunst München, Munich, 2007, p. 46, 143 Videonale 11, Videonale e. V. (Georg Elben), Bonn/ Walter K.nig Verlag, K.ln, 2007, p. 7, 62–63 Vorfahrt, Kunstprojekt Vorfahrt (Wolfgang Seitz)/ ARNOLDSCHE Art Publishers, Stuttgart, 2006, p. 4, 69, 137 Große Kunstausstellung 2006 – through the looking glass, Munich, 2006, p. 95, 159 Videonale 10, Videonale e. V. (Georg Elben), Bonn/ Walter K.nig Verlag, K.ln, 2005, p. 62–63 Interviews(Selection) Andreas Langen, Ophelia-Performance – Nadja Verena Marcin feiert die rebellische Frau in Sindelfingen, SWR Radio, Stuttgart, 8 Feb 2019 Jana Gührer, Kunst im Aquarium? – Die Performance Ophelia im Schauwerk Sindelfingen, in: Kunscht!, SWR Television, Stuttgart, 2 Feb 2019 Nora H.glinger, Wie ein Schwarm Bienen um den Wassertank – Über das Abtauchen, Umweltschutz und das Wesen der Performancekunst, Art In Words, Vienna, 17 Oct 2018 Mascha Schlubach, Mit OPHELIA im Glassarkophag unserer Zeit – Performancekunst zwischen (selbst)zerstörerischer Subjektivität und fragiler Natur, Barton Magazine, Berlin, 3 Sep 2018 Women Cinemakers – Special Edition, Cinemakers Women, Berlin, Mar 2018 Priscilla Son, Conversations | Nadja Verena Marcin’s OPHELIA World Tour, New York Foundation for the Art, New York, 24 May 2018 Article(Selection) Kat, Künstlerischer Tauchgang der Ophelia – Performance im Schauwerk in Sindelfingen, Stuttgarter Zeitung/ Stuttgarter Nachrichten, Stuttgart, 10 Feb 2019 Thomas Volkmann, Taucherbrille und Kaktusschwert – Nadja Verena Marcin beschäftigt sich mit Frauenbildern / Live-Performance im Schauwerk, Sindelfinger Zeitung/ Boeblinger Zeitung, Sindelfingen, 9 Feb 2019 Charles Desmarais, Ophelia returns after 400 years with new message, San Francisco Chronicle/ SF Gate/ Murack.com/ USA, Breaking News, San Francisco, 27 Mar 2018 Anna Volpicelli, Nadja Verena Marcin’s Ophelia goes on a World Tour, Cultured Magazine, New York, 11 Mar 2018 Sarah Cascone, Everything You need to Know about all 23 Artfairs at Art Basel Miami Beach, Art Net, New York, 5 Dec 2017 Monica Uszerowicz,Your Concise Guide to Art Basel Miami 2017, Hyperallergic, New York, 4 Dec 2017 Priscilla Frank, Feminist Artist’s How To Undress in Front Of Your Husband Skewers Retro Mansplaining, Huffington Post, New York, 24 Mar 2017 Jillian Steinhauer, The Greatest Biennial of All, Hyperallergic, New York, 24 Mar 2017 Rachel Bishop, Sarah Francis, Incredibly sexist 1930s reconstructions instruct women how to ‘UNDRESS PROPERLY’ for their husbands, Mirror/ Birmingham Mail/ World News Live/ Microsoft, London/ Birmingham, 4 Apr 2017 Andrew Nunes, A Sexist 1960s Film Remake Rewrites Cinema, VICE Creator’s Project, New York, 23 Sep 2016 Arielle Bier, Young and the Restless, Artforum, New York, 12 Jul 2016 Hettie Judah, The 5th Moscow Biennale for Young Art Signals Millennials’ Deepest Anxieties, artnet, New York, 7 Jul 2016 Andrew Nunes, Finally, the Art World Gets a Bootleg Video Store, The Creator’s Project, New York, 16 May 2016 Brian Boucher, 11 Booths I could hardly tear myself away from at NADA New York, artnet News, New York, 6 May 2016 Das Münchner Wochenende – Wenn die Musen durchmachen, Süddeutsche Zeitung, Munich, 8 May 2015 Surreale Schwerelosigkeit: Nadja Verena Marcin, In München – Das Stadtmagazin, Munich, Apr 2015 Claude Lorent, Le fruit trop savoureux du jardin d’Eden, La Libre Culture, Namur, 18 Mar 2015 Le Fruit Defendu, Capital, Namur, Mar 2015 Schwerelos über den grossen Teich, Hellweger Anzeiger, Unna, Oct 2014 Michael Miller, Ladies’ Night: On the BHQF’s Record-Breaking Last Brucennial, Gallerist NY, New York, 20 Mar 2014 Sarah Corona, FEARFULAWESOME – Ecstasy, death and rebirth of a male painter, TEMP Art Space, Wallstreet International Magazine, New York, Jan 2014 Laurence Rickels, Before the Middle Gate, Texte zur Kunst/ Heft 92, Berlin, Dec 2013, p. 243 Sarah Corona, L’arte senza Gravita, Wallstreet International Magazine, New York, Dec 2013 Ashli Molina, Artist Nadja Verena Marcin Travels to Florida to Recite Nietzsche in Zero Gravity, Miami New Times, Miami, 30 Jul 2013 Ralph Wilms, Filmstiftung NRW fördert Nadja Marcin’s Videokunst, WAZ, Dorsten, 18 May 2013 Katy Diamond Hamer, 80WSE presents: Annual Group Show, Eyes-Towards-The-Dove, New York, 2 Dec 2012 Tilman Abegg, Die Gefahrensucherin, Ruhrnachrichten, Dortmund, Nov 2012 Marion Gay, Aktionskünstlerin Nadja Verena Marcin in Dortmund, WA.de, Hamm, Nov 2012 Gail Victoria Braddock, The days of this society are numbered, The Brooklyn Rail, New York, 16 Apr 2011 Ruth Reader, WE ARE: Cash, Guns, and Feminism, Bushwick BK, Brooklyn, 4 Aug 2011 Lost in translation, Art Agenda, New York, Jan 2011 Keith Garth, Zines, Zombies, and Rackets: Short-Term Deviation Opens at EFA, The Faster Times, New York, 12 Oct 2010 Katherina Schwarz, Aktuelle Positionen in der Medienkunst, Arte.Fact, Kassel, 31 Dec 2009 Michael Klein, Emotionale Gästebuch-Einträge zur Werkschau von Nadja Marcin, Dorstener Zeitung, Dorsten, Jun 2009 Patricia König-Stach, Ausstellung – Konfrontation mit Tabus, WAZ, Dorsten, May 2009 Michael Klein, Nadja Marcins Konstante sind bewegte Bilder, Dorstener Zeitung, Dorsten, May 2009 Meditation on Mediations – An East West Cultural Exchange: Dialogue, Misunderstanding, Growing Pains and an Evolution of Artists Before Egos, Artist Organized Art, Lodz, 2 Oct 2008 Video Performance: Mediale Authentizität – exhibitionistische Einsamkeit – ironische Intimität, Echo-Münster, Münster, 30 Oct 2008 European Attitude, Chinaculture.org, Beijing, Jan 2008 Su¨./Sauer angemacht, Gütersloher Zeitung, Gütersloh, 2005 Other Publications Lotte Allen, Stand-In: Self & Subjectivity as Performing Artist, Participatory Research & Social Inquiry, The New School, New York, 15 May 2014, p. 3, 12–19, 22 (academic paper

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