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Tutor:Marina Abramović

Tutor: Walead Beshty

Tutor:Sanford Biggers

Tutor:Dara Birnbaum

Tutor:Carol Bove

Tutor:Tania Bruguera

Tutor:Mark Dion

Tutor:Ólafur Elíasson

Tutor:Harrell Fletcher

Tutor:Charles Gaines

Tutor:Liam Gillick

Tutor:Piero Golia

Tutor:Michelle Grabner

Tutor: Dan Graham

Tutor:Katharina Grosse

Tutor:Joan Jonas

Tutor:Miranda July

Tutor:Chris Kraus

Tutor:Thomas Lawson

Tutor: Dinh Q. Lê

Tutor:Won Ju Lim

Tutor:Jonas Mekas

Tutor:Carrie Moyer

Tutor:Wangechi Mutu

Tutor:Bob Nickas

Tutor:Raqs Media Collective

Tutor: Neo Rauch

Tutor:Tim Rollins

Tutor:Michael Smith

Tutor:John Stezaker

Tutor:Stephanie Syjuco

Tutor:Shirley Tse

Tutor:James Welling

Tutor:Richard Wentworth

Tutor:Christopher Williams

Tutor:Krzysztof Wodiczko

2 3 2 3

01 01 Tutor:Marina Abramović

Tutor:Marina Abramović

BORN / LIVES AND WORKS:

TRAINING:

TEACHING POSTS:

KEY WORKS:

AWARDS:

RECENT SOLO EXHIBITIONS:

RECENT GROUP EXHIBITIONS:

Belgrade, Serbia, (former Yugoslavia), 1946 / New York

Honorary doctorates:• Instituto Superior de Arte, Havana, 2012• Williams College, Williamstown, MA, 2011• University of Plymouth, UK, 2009• Art Institute of Chicago, IL, 2004 MA, Academy of Fine Arts in Zagreb, 1972BA, Academy of Fine Arts in Belgrade, 1970

• Founder, Marina Abramović Institute, New York• Professor at the Hochschule für Bildende Kunst, Hamburg, Germany, 1992–96• Visiting Professor, Hochschule der Kunst, Berlin, 1990–91• Visiting Professor, Académie des Beaux-Arts, Paris, 1990–91 • Teacher at the Academy of Fine Arts, Novi Sad, Serbia, 1973–77

• Places of Power, Waterfall, 2013• Art Must Be Beautiful, Artist Must Be Beautiful, 1975-2010• The Artist is Present, 2010• Seven Easy Pieces, 2005• Balkan Baroque, 1997• Works with Ulay, 1976–88• Rhythm series, 1973–74

• Ordre des Arts et des Lettres Officier, for work in Bolero, Paris, 2013• The Diaghilev Award for Marina Abramović, The Artist is Present at The Diaghilev Festival, Perm, Russia, 2012• The Austrian Decoration of Honor for Science and Art, Vienna, 2008• AECA Gran Premio Award, Madrid, 2007 • International Association of Art Critics, 2007 • AICA-USA Award for Seven Easy Pieces, New York, 2007 • Guggenheim Museum Award for Best Exhibition of Time Based Art (Vi deo, Film or Performance) for Seven Easy Pieces, New York, 2006• Golden Lion Award for Best Artist, Balkan Baroque (Performance) 47th Venice Biennale, Italy, 1997

2014: Entering the Other Side, Kistefos-Museet, Jevnaker, Norway // Marina Abramović: 512 Hours Serpentine Gallery, London // 2013: Holding Emptiness, Centro de Arte Contemporáneo de Málaga, Spain // 2012: Marina Abramović, Galerie Krinzinger, Vienna, Austria // Balkan Stories, Kunsthalle Vienna // 2011: The Artist is Present, Garage Center for Contemporary Culture, Moscow // Marina Abramović, Pinnacle Gallery, Savannah, GA // 2010: Personal Archaeology, Sean Kelly Gallery, New York // Marina Abramović, Lisson Gallery, London // The Artist is Present, MoMA, New York //

2013: The Temptation of AA Bronson, Witte de With Contemporary Art, Rotterdam, Netherlands // Bad Girls, Fonds regional d’art contemporain de Lorraine, Metz, France // 2012: Feast: Radical Hospitality in Con tem porary Art, Smart Museum of Art, University of Chicago, IL // Faces: The Phenomen on of Faces in Video Art, Galerie Rudolfnum, Prague // dOCUMENTA (13): The Worldly House, Karlsaue Park, Kassel, Germany // Beyond Time: International Video Art Today, Kulturhuset, Stockholm // 2011: Eleven Rooms: The Life and Death of Marina Abramović, Manchester International Festival, UK // Heroinas, Museo Thyssen-Bornemisza y Fundacion Caja, Madrid // Publics and Counter-publics, Centro Andaluz de Arte Contemporaneo, Seville, Spain // 2010: 100 YEARS, MoMA PS1, Long Island City, NY //

4 5 4 5

01 01 Tutor:Marina Abramović

Tutor:Marina Abramović

← Rest Energy, 1980, performance/Polaroid, ROSC, Dublin/Amsterdam. Collaboration with Ulay

↙ Rhythm 4, 1974, performance, Galleria Diagramma, Milan, Italy

↓ Waiting for an Idea, 1991, Maraba, Brazil

→ The Artist is Present, 2010, three-month performance, Museum of Modern Art, New York

↘ Balkan Baroque, June 1997, performance-installation (detail), 47th Venice Biennale

Selected WorksSelected Works

← Beauty, 1993, spotlight, water, nozzles, wood, hose, pump, installation view, Minding the World exhibition, ARoS Århus Kunstmuseum, Denmark, 2004

↓ Your rainbow panorama, 2006–11, permanent installation at ARoS Århus Kunstmuseum, Denmark

↓↓ Green river, 1998, uranine, water, installation view, Stockholm, Sweden, 2000

→ The weather project, 2003, monofrequency lights, projection foil, haze machines, mirror foil, aluminium, scaffolding, installation view, Turbine Hall, Tate Modern, London (The Unilever Series)

08 08 Tutor:Ólafur Elíasson

Tutor:Ólafur Elíasson

Selected WorksSelected Works 83 82

← Eleven Sugar Cubes, 1970/2012, colour photograph, 24 parts, each 24 x 36 cm

↙ Two-Way Mirror Curve Bisected by Norwegian Wood Lattice, 2010

→ Lax/Relax, first performance at New York University Loeb Student Center, New York, May 1969

↘ Pavilion for Showing Rock Videos/Films, 2012, two-way mirror glass and stainless steel250 x 834 x 420 cm

14 14 Tutor:Dan Graham

Tutor:Dan Graham

Selected WorksSelected Works 135 134

14 14 Tutor:Dan Graham

Tutor:Dan Graham

Lesson:Art Schools at Their Best and Worst

Lesson:Art Schools at Their Best and Worst

use of the school’s facilities very limited, so I suggested that the school invite my friend Kasper König, and later Benjamin Buchloh, to oversee the NSCAD–NYU Press to make monographic books that would involve such artists, musicians and dancers as Simone Forti, Yvonne Rainer, Dara Birnbaum, Steve Reich, Michael Asher and myself, as well as re pub lishing the previously out-of-print early reviews and articles of Don Judd. The school had previously invited visiting artists to come for short stays of two or three days, so I initiated a course where I would do a three-week stint to be followed by three-week stints by a series of visiting artists who had never taught before. At the end of the year, I would do another three weeks of teaching (Jeff Wall, Michael Asher, Dara Birnbaum and Martha Rosler were the first artist-teachers I invited for this course). From the position of the visiting-artist teacher at an art school, I see teaching as both a great place to earn some cash and to have very focused conversations with young artist students, whose works are often more inspiring when in first bloom than when later refined in a gallery setting. I have also enjoyed talking about other shared passions like rock music. I especially enjoy learning from the cultural context and personal biography of foreign students. Finally, the art school setting is a way for artists who are friends but rarely see each other any more to spend fun time together again.

Assigned Reading

Benjamin, Walter. ‘Das Kunstwerk im Zeitalter Seiner Technischen Reproduzierbarkeit’ in Illuminationen: Ausgewahlte Schriften. Frankfurt am Main: Suhrkamp, 1961. Translated by Harry Zohn as ‘The Work of Art in the Age of Mechanical Reproduction’ in Illuminations. New York: Harcourt, Brace & World, Inc., 1968

Clark, T. J. Image of the People. London: Thames & Hudson, 1973

Dick, Philip K. Ubik. New York: Doubleday, 1969

Eshun, Kodwo. Dan Graham: Rock My Religion. Cambridge, MA: The MIT Press, 1994

Marcus, Greil. Mystery Train: Images in Rock and Roll Music. New York: E. P. Dutton, 1975

Rosenblum, Robert. Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. New York: Harper & Row, 1975

BEST

1.) Visiting artists: lectures and studio visits.2.) Class trips.3.) Availability of video, film and audio equipment with technicians.4.) Practical training in areas such as graphic design.5.) Good libraries.

WORST

1.) The emphasis, since the 1980s, on making art as a specialist professional ‘career’ rather than as a passionate experiment.2.) The obsession with the artist as a future ‘art star’. 3.) The obsession with making an academic rationale for art, a good example being the overuse of the word ‘problematize’. 4.) Teaching only the contemporary art that is found in the art magazines in the library.

My personal observation is that most of my favourite artists have either come out of areas other than art, or like myself, never went to either art school or university – being self-taught. In my case, I initially wanted to be a writer. When I accidentally started the John Daniels Gallery, I pursued being an artist-writer due to my admiration of ‘young’ artist-writers whom I showed in my gallery. These were Don Judd, who made his living writing art reviews, Dan Flavin, who had a monthly column in Artforum, and Sol LeWitt, who had studied architecture and then worked both in a major architect’s office and as a magazine graphic designer. He shared my love of literature and also wrote occasionally. After my gallery failed, I supported myself through writing about cultural phenomena such as rock music or television. Because of my published articles on art, art schools invited me to do lectures or limited teaching. I invited myself to a short residency at Nova Scotia College of Art (NSCAD) in Halifax in the late 1960s to try out video and performance art projects, utilizing the school’s film and video equipment and my students as participants in these projects. The shared communication and feedback in the small group setting in this art school facilitated the realization of those ideas. When I first started teaching at NSCAD I wanted the school to be placed into the local community. I used local cable television’s public-access stations for student projects. I first announced my Likes: A Computer Astrological Dating Service through my appearance as a guest on a local TV news programme. Although the school had done a limited edition of prints by three visiting artists including myself, I thought this

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16 16 Tutor:Joan Jonas

Tutor:Joan Jonas

Selected WorksSelected Works

← The Shape, the Scent, the Feel of Things, 2006, performance at Dia:Beacon, New York

↙ Organic Honey’s Vertical Roll, 1972, performance at Galleria Toselli, Milan, Italy

↓ Jones Beach Piece, 1970, performance at Jones Beach, New York

→ Reading Dante II, 2009, performance as part of Performa 09 at The Performing Garage, New York

↘ Lines in the Sand, 2002, performance at documenta 11, Kassel, Germany

151 150

17

17

Tutor:Miranda July

Lesson:In Mid-Air

Tutor:Miranda July

Lesson:In Mid-Air

Dear Reader

My plan was to write ten pieces of advice for you, ten helpful hints that would be universally useful. The first one was easy, but after that I stalled. It just seemed so unlikely that this would be a good way to teach anything. I’ve always learned best by watching how other people live: friends, the parents of friends, the woman with the giant handbag in line ahead of me. Everyone has some trick you can steal, or mistake you can avoid. I’ll tell you my origin story. Take what’s useful – never mind the rest. Mostly, the job of making things comes down to why – a very personal why that will never be completely understood, but surges through you, making you itchy and curious and nervous and wildly overconfident. You can feel it right now as you read this, humming in your chest, curling in your thighs. You might even want to skip this and just get to it. My parents ran a small independent publishing company. It was a family affair, and their hard-working, do-it-yourself ethic was imprinted on me for life. A giant mountain of empty cardboard boxes always filled one room; we packed them with books and lugged them to the post office. Having a career was no great

mystery – you just thought up what you wanted to do and then you did it. That it was difficult and risky was an obvious but irrelevant point. The point was freedom. When I was sixteen, I started a corres-pon dence with a man in prison, Franko Jones. He wasn’t anyone I knew – I found his name in the back of a magazine that listed ‘Prison Pen Pals’. I was the first person to write to him in twelve years, so he was very pleased to hear from me, a teenage prep-school student living in Berkeley, California. This was the first thing I had ever done that had nothing to do with my friends or family or anyone I knew. Our correspondence, which spanned three years, shook me up and scared me. It was exciting. I had to establish boundaries and explain who I was – and really see, for the first time, just how different a life could be from mine. But we had things in common. We were both lonely. We both daydreamed a lot and felt real life was happening elsewhere. We both thought the other was exotic and treasured each other’s letters and tapes. We both desperately wanted to be seen and understood. This relationship, this secret, was bur ning up inside me. I was desperate to descri be it in some new and better way. I felt

Myself aged 6 Flyer for

The Lifers

1 2

A birthday card

from Franko

Campion, Jane, dir. Passionless Moments, 1983, film stilll featuring Rebecca Stewart

like I might die of alienation if I couldn’t get it across. So I wrote a play about it. I was determined to make The Lifers ‘real’; I didn’t want it to be some embarrassing student production. I called up the local free weekly and placed an ad for auditions for ‘A New Play by Miranda July’, as if it were just the latest offering from a well-known cultural figure. I held the auditions in a reggae club. I awarded the role of Franko to a man in his thirties who was a drug and alcohol rehab counsellor. The part of me was played by a twenty-five-year-old Latina woman. We rehearsed in my parent’s attic and performed the play, twice, at 924 Gilman Street, the local all-ages punk club. The play itself was a bit conservative; I was influenced by local repertory theatre, and the sound design was somewhat elaborate for the scale of the production – I used lots of sound effects. One was a recording of prisoners banging their brooms against their cell doors during a prison riot; Franko had recorded it live. The sounds were played by a girl I had a crush on. A couple of months later, she would become my first love. At the actual performance, I watched the play with horror. It was terrible to have no control. In fact, I started to creep up to the side

of the stage to direct the play while it was happening, until I suddenly realized this was crazy. When the audience applauded, I knew that this was what I would do for the rest of my life – not write plays specifically, but go out on a limb like this, for an audience. I wrote two more plays and put them on at the same club. I started to act in them; this seemed healthier than creeping up along the side of the stage. They got weirder. I got punker – more experimental, less overtly nar-rative. But unlike really punk or arty girls, I always wanted to be understood. Each scene was very meaningful to me, and I wanted to do more than shock people or simply vent. In a scene from the (horribly named) Sink You Up, I leaned against the graffiti-covered wall of the club and chatted with another girl; we pretended to be punk kids, just hanging out – but every once in a while we abruptly screamed our real, anxious feelings to each other at the top of our lungs, talking double-time, before returning to the bored chatting. The two conversations ran parallel until the screaming friends agreed, on the count of three, to break out of the chitchat by touching each other. I liked to be very literal about abstract things.

161 160

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← The Desperate Edge of Now: The Documentary Films of Adam Curtis, e-flux, New York, 2012

↓ Prototype Conference Room (Whitechapel Version), 2002 and 2008, permanent installation, Whitechapel Gallery, London

→ Prototype Design for a Conference Room (with joke by Matthew Modine arranged by Markus Weisbeck), 1999, DAVID, Frankfurter Kunstverein, Frankfurt Am Main

↘ Edgar Schmitz, 2005, installation view, ICA, London

Selected WorksSelected Works 11

11 Tutor:Liam Gillick

Tutor:Liam Gillick

11 11 Tutor:Liam Gillick

Tutor:Liam Gillick

105 104

BORN / LIVES AND WORKS:

TRAINING:

TEACHING POSTS:

KEY WORKS:

AWARDS:

RECENT SOLOAND TWO-PERSON EXHIBITIONS:

RECENT GROUP EXHIBITIONS:

Aylesbury, Buckinghamshire, UK, 1964 / New York

• BA, Goldsmiths College, University of London, 1984–87• Diploma, Hertfordshire College of Art, UK, 1983–84

• Lecturer at Columbia University, New York, 1997–present• Lecturer at Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 2008–present

• Raised Laguna Discussion Platform (Job #1073), 2013• Complete Bin Development, 2012• Exterior Day Setting, 2012• Linked Projection, 2010• Aix Pavilion, Chateau la Coste, Aix-en-Provence, 2010• Fairmont Pacific Rim, Vancouver, 2009• Odradek Wall, 1998–2011

• Vincent Award, nomination, Stedelijk Museum, Amsterdam, Netherlands, 2008• Turner Prize, nomination, Tate Britain, London, 2002 • Paul Cassirer Kunstpreis, Berlin, 1998

2014: Esther Schipper, Berlin // 199A to 199B, Le Magasin, Grenoble, France // 2013: Taru Naso, Tokyo // November 1 – December 21 (Liam Gillick and Louise Lawler), Casey Kaplan, New York // For the Doors that are Welded Shut, Kerlin Gallery, Dublin // Margin Time 2 and Laguna Discussion Platform, Austin Museum of Art, TX // Highland Institute of Contemporary Art, Loch Ruthven, Scotland // Five Structures and a Shanty, Gallery IHN, Seoul, South Korea // 2012: From 199A to 199B: Liam Gillick, Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY // Casey Kaplan, New York // Scorpion or Felix, Galerie Eva Presenhuber, Zürich // Maureen Paley, London // 2011: Air de Paris // Galerie Micheline Szwajcer, Antwerp, Bel-gium // Museum Stzuki, Lodz, Poland // 2010: Esther Schipper, Berlin // Everything Good Goes, Meyer Kainer, Vienna // Discussion Bench Platforms/ A ‘Volvo’ Bar + Everything Good Goes, Casey Kaplan, New York // One long walk … Two short piers … , Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH, Bonn, Germany // 2009: How Will You Behave: A Kitchen Cat Speaks, 53rd Venice Biennale, Italy // Three Perspectives and a Short Scenario, MCA, Chicago // Wall Diagrams from the 1990s and early 2000s, Budweis House of Art, Czech Republic // Two Short Plays, Eastside Projects, Birmingham, UK // 2008: Three Perspectives and a Short Scenario, Witte de With, Rotterdam, Netherlands; Kunsthalle, Zürich, and Kunstverein, Munich, Germany // The State Itself Becomes a Super Whatnot, Casey Kaplan, New York // 2007: The State Itself as a Super Commune, Galerie Micheline Szwajcer, Antwerp, Belgium // 2006: Briannnnnn & Ferryyyyyy, Liam Gillick and Philippe Parreno, Kunsthalle Zürich // 2005: A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, Paris // Another 2004 Again, Baltimore Museum of Art, MD // 2004: Liam Gillick, Aspen Art Museum, CO // Övningskörning (Driving Practice), Milwaukee Art Museum, WI // 2003: Communes, Bars and Greenrooms, The Powerplant, Toronto, Canada // Projects 79: Literally, MoMA, New York // 2002: The Wood Way, Whitechapel Gallery, London //

2013: 9 Artists, Walker Art Center, Minneapolis, MN // One Foot in the Real World, Irish Museum of Modern Art (IMMA), Dublin // Unknown Forces, Tophane-i Amire, Istanbul // Contemporary Artists of the Donegal Diaspora, Regional Cultural Centre, Letterkenny, Ireland // 2012: Take Off Your Sil-ver Spurs and Help Me Pass the Time, Galerie Nikolaus Ruzicska, Salzburg, Austria // Abstract Possible: The Stockholm Synergies, Tensta Konstall, Stockholm // Busan Biennale, South Korea // Gesamtkunstwerk, 21er Haus, Belvedere, Vienna // 2011: Abstract Possible, Museo Tamayo, Mexico City, Mexico // Dublin Contemporary: Irish Biennale, IMMA, Dublin // Modern British Sculpture, Royal Academy of Arts, London, and Museum Stzuki, Lodz, Poland // 2010: 8th Shanghai Biennale, China // The Promises of the Past, Centre Pompidou, Paris // High Deals & Crazy Dreams, Vera Munro, Hamburg, Germany // Interference: Fields for listening and Praxis, The studio at Moderna Museet, Stockholm // It is it, Espacio 1414, Puerto Rico //

35 35 Tutor:Christopher Williams

Tutor:Christopher Williams

331 330

← Fig. 2: Loading the film (ORWO NP15 135-36 ASA 25, Manufactured by VEB Filmfabrik Wolfen, Wolfen, German Democratic Republic) Exakta Varex IIa 35 mm film SLR camera Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, German Democratic Republic Body serial no. 979625 (Production period: 1960–1963) Carl Zeiss Jena Tessar 50mm f/2.8 lens Manufactured by VEB Carl Zeiss Jena, Jena, German Democratic Republic Serial no. 8034351 (Production period: 1967–1970) Model: Christoph Boland Studio Thomas Borho, Oberkasseler Str. 39, Düsseldorf, Germany June 25, 2012, 2012 inkjet print on cotton rag paper, 44.5 x 55.9 cm ↑ Untitled (Study in Yellow and Green/East Berlin) Studio Thomas Borho, Oberkasseler Str. 39, Düsseldorf, Germany July 7, 2012, 2012 inkjet print on cotton rag paper, 36.4 x 45.7 cm ← Bergische Bauernscheune, Junkersholz, Leichlingen, September 29th, 2009, 2010 archival pigment print on cotton rag paper, 43.8 x 55.9 cm → Clockwise from Manufacturer Name (Outer Ring) Michelin zX Treadwear 200 Traction A Temperature B Clockwise from Tire Size (Inner Ring) 135 SR 15 723 E2 0177523 Tubeless Radial X Made In France TN 2148 20-2044 Tread: 1 Polyester Ply + 2 Steel Plies Sidewall: 1 Polyester Ply DOT FH PI AID X0607 Canada and U.S. Codes Only Max Load 355 Kg (780 Lbs) Max Press. 350 kPa (51 PSI) V-1 Photography by the Douglas M. Parker Studio, Glendale, California December 27, 2007 – January 2, 2008, 2008 gelatin silver print, 61 x 50.8 cm

Selected WorksSelected Works

35 35 Tutor:Christopher Williams

Tutor:Christopher Williams

329 328

BORN / LIVES AND WORKS:

TRAINING:

TEACHING POSTS:

KEY WORKS:

AWARDS:

RECENT SOLO AND TWO-PERSON EXHIBITIONS:

RECENT GROUP EXHIBITIONS:

Los Angeles, 1956 / Cologne & Düsseldorf, Germany, and Amsterdam, Netherlands

BA and MFA, California Institute of the Arts, Valencia, CA, 1978 and 1981

• Professor in Photography at the Kunstakademie Düsseldorf, Germany, 2008–present

• Bergische Bauernscheune, Junkersholz, Leichlingen September 29th, 2009, 2010• Untitled (Study in Brown) Dirk Schaper Studio, Berlin, April 30, 2009, 2009• Kodak Three Point Reflection Guide, © 1968, Eastman Kodak Company, 1968, (Meiko laughing), Vancouver, B.C., April 6, 2005, 2005• Tokuyo Yamada Hair designer Yukiko Saito Shinbiyo Shuppan Co., Ltd. Minami-Aoyama, Tokyo April 14, 1993 (Nr. 1), 1993, 1993• Guatemala (from Angola to Vietnam*) Blaschka Model 227, 1891 Genus no. 1660, Family, Orchidaceae Lycaste Skinneri (Batem.) Lindl., 1989, 1989

• Grant, John Simon Guggenheim Memorial Foundation, New York, 2005• Grant, J. Paul Getty Trust, Los Angeles, 2004

2014: Christopher Williams, Galerie Mezzanin, Vienna // The Production Line of Happiness, The Art Institute of Chicago, IL, and touring to MoMA, New York // Whitechapel Gallery, London // 2013: Christopher Williams, Volker Bradtke, Düsseldorf, Germany // For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 18), David Zwirner, London // ... (Revision 17), Galerie Gisela Capitain, Cologne, Germany // 2012: The Production Line of Happiness, Kabinett für aktuelle Kunst, Bremerhaven, Germany // 2011: ... (Revision 15), Museum Morsbroich, Leverkusen, Germany // ... (Revision 14), House of Art / Gallery of Contemporary Art, České Budějovice, Czech Repub-lic // ... (Revision 13), Museum Dhondt-Dhaenens, Deurle, Belgium // ... (Revision 12), David Zwirner, New York // 2010: Andrea Fraser/Christopher Williams, Galerie Christian Nagel, Antwerp, Belgium // ... (Revision 11), Staatliche Kunsthalle Baden-Baden, Germany // ... (Revision 10), Bergen Kun-sthall, Norway // 2009: ... (Revision 9), Galerie Gisela Capitain, Cologne, Germany // ... (Revision 8), Capitain Petzel, Berlin // Mathias Poledna, Christopher Williams, Bonner Kunstverein, Bonn, Germany // 2008: ... (Re-vision 7), David Zwirner, New York // 2007: ... (Revision 6), Kunsthalle Zürich // ... (Revision 5), Galleria d’Arte Moderna, Bologna, Italy // Take That, Haubrokshows, Berlin // 2006: ... (Revision 4), David Zwirner, New York // ... (Revision 3), Museu de Arte Contemporanea de Serralves, Porto //

2014: (Mis)Understanding Photography: Works and Manifestos, Museum Folkwang, Essen, Germany // Propaganda für die Wirklichkeit, Museum Mors-broich, Leverkusen, Germany // Take It or Leave it: Institution, Image, Ideology, The Hammer Museum, Los Angeles // What is a Photograph?, In-ternational Center of Photography, New York // 2013: Il Palazzo Enciclo-pedico/The Encyclopedic Palace, 55th Venice Biennale, Italy // Confusion in the Vault, Museo Jumex, Mexico City // Life with Pop: A Reproduction of Capitalist Realism, Kunsthalle Düsseldorf, Germany // Magnetic North, Ratio 3, San Francisco // Official Welcome – New Works of the Foundation for the Acquisition of Contemporary Art, Hamburger Bahnhof, Berlin // Tradition. A selection from the Center for Research on Old Textiles (CS-ROT), Marres, Maastricht, Netherlands, and touring to Grazer Kunstverein, Graz, Austria // 2012: Ändere dich, Situation!, Stadtgalerie Schwaz, Schwaz, Austria // A Blind Spot, Haus der Kulturen der Welt (HKW), Berlin // The Deutsche Börse Photography Prize, The Photographers̓ Gallery, London // Fremde überall/Foreigners Everywhere: Contemporary Art from the Pomeranz Collection, Jewish Museum, Vienna // Ghosts in the Machine, New Museum, New York // Poule!, Fundación/Colección Jumex, Ecatepec, Mexico // Stand still like the hummingbird, David Zwirner, New York //

37 Tutors:Liam Gillick, Neo Rauch

and Christopher Williams

Sample pages

Biographies and

Selected Works

↖ Abendmesse (Evensong), 2012, oil on canvas, 300 x 250 cm, private Cccollection

↑ Bon Si, 2006, oil on canvas, 300 x 420 cm, Monique Zajfen Collection / The Broere Charitable Foundation (The Vincent Award)

← Vater (Father), 2007, oil on canvas, 200 x 150 cm, private collection

→ Nest, 2012, oil on canvas, 300 x 250 cm, collection de Heus-Zomer, Barneveld

Selected WorksSelected Works 27 27 Tutor:Neo Rauch

Tutor:Neo Rauch

257 256

27 27 Tutor:Neo Rauch

Tutor:Neo Rauch

255 254

BORN / LIVES AND WORKS:

TRAINING:

TEACHING POSTS:

KEY WORKS:

AWARDS:

RECENT SOLO AND TWO-PERSON EXHIBITIONS:

RECENT GROUP EXHIBITIONS:

Leipzig, East Germany, 1960 / Leipzig, Germany

• Masters Student, Hochschule für Grafik und Buchkunst, Leipzig, East Germany, 1986–90• Student of Painting, Hochschule für Grafik und Buchkunst, Leipzig, East Germany, 1981–86

• Professor, Leipziger Hochschule für Grafik und Buchkunst, Leipzig, 2005–09 (Honorary Professor, 2009–present)• Assistant, Hochschule für Grafik und Buchkunst, Leipzig, Germany, 1993–98

• Die Müllerin, 2013• Abendmesse, 2012• Das Blaue, 2006• Leporello, 2005• Quiz, 2002

• Stiftungspreis der ökumenischen Stiftung Bibel und Kultur, Stuttgart, Germany, 2010• Kunstpreis Finkenwerder, Hamburg, Germany, 2005• Vincent van Gogh Biennial Award for Contemporary Art in Europe, Bonnefantenmuseum, Maastricht, Netherlands, 2002• Art Award, Leipziger Volkszeitung, Leipzig, Germany, 1997

2014: David Zwirner, New York // 2013: Neo Rauch: Gespenster, Galerie EIGIN + ART, Leipzig, Germany // Neo Rauch: The Obsession of the Demiurge – Selected Works 1993–2012, BOZAR – Palais des Beaux-Arts, Brussels // Neo Rauch: The Graphic Work/Das grafische Werk – Part 2, Grafikstiftung Neo Rauch, Aschersleben, Germany // 2012: Neo Rauch: Abwägung, Kunstsammlungen Chemnitz, Germany // Neo Rauch: The Graphic Work/Das grafische Werk, Grafik-stiftung Neo Rauch, Aschersleben, Germany // 2011: Neo Rauch: Heilstätten, David Zwirner, New York // Neo Rauch, Museum Frieder Burda, Baden-Baden, Germany // Neo Rauch: Begleiter. The Myth of Realism, Zachęta National Gallery of Art, Warsaw // Neo Rauch and Rosa Loy: Hinter den Garten, Essl Museum, Klosterneuburg, Austria // 2010: Neo Rauch: Begleiter, Museum der bildenden Künste Leipzig and Pinakothek der Moderne, Munich, Germany // 2009: Neo Rauch: Schilfland, Galerie EIGEN + ART, Berlin // 2008: Neo Rauch, David Zwirner, New York // 2007: Neo Rauch at the Met: para, Metro-politan Museum of Art, New York // 2006: Neo Rauch, Musée d'art contempo-rain de Montréal, Canada // Neo Rauch: Neue Rollen, Kunstmuseum Wolfsburg, Germany // 2005: Neo Rauch, Centro de Arte Contemporáneo de Málaga, Spain // Neo Rauch: Renegaten, David Zwirner, New York // Neo Rauch: Works 1994–2000 – The Leipziger Volkszeitung Collection, Honolulu Academy of Arts, HI // 2004: Neo Rauch: Works on Paper 2003–2004, Albertina, Vienna //

2014: Andreas Gursky, Neo Rauch, Jeff Wall, Kestnergesellschaft, Hanover, Germany // The Big Picture: Desiderio, Fischl, Rauch, Saville, Tansey, Wilkinson Gallery, New York Academy of Art // Kunst und Alchemie – Das Geheimnis der Verwandlung, Stiftung Museum Kunstpalast Kulturzentrum Ehrenhof, Düsseldorf, Germany // 2013: Gegenlicht. German Art from the George Economou Collection, The State Hermitage Museum, St Petersburg, Russia // 2012: Contemporary Painting, 1960 to the Present: Selections from the SFMoMA Collection, SFMoMA, San Francisco // Looking Back for the Future, Kunsthalle Zürich // Müde Helden/Exhausted: Ferdinand Hodler – Aleksandr Dejneka – Neo Rauch, Hamburger Kunsthalle, Hamburg, Germany // Nightfall, MODEM Centre for Modern and Contemporary Arts, Debrecen, Hungary // Paintings from the Rubell Family Collection, Fundación Banco Santander, Boadilla, Spain // Sammlung Kunstmuseum Wolfsburg. Ausgewählte Werke von Carl Andre bis Sergej Jensen, Kunstmuseum Wolfsburg, Germany // Sweethearts: Artist Couples, Pippy Houldsworth Gallery, London // Traumwelten – In the Court of the King of Dreams, Kunsthalle HGN, Duder-stadt, Germany // 2011: 4th Moscow Biennale: Rewriting Worlds, Russia // 2010: Ordinary Madness: Contemporary Works from the Collection, Carnegie Museum of Art, Pittsburgh, PA //