Born in Afula, Israel, 1956
Lives in Tel Aviv, Israel

B.A. Avny Institute of Fine Art, 1982

Eyn Harod Museum, Eyn Harod, Israel, The Disaster of Love Herzliya Museum of Art, Herzliya, Israel, The Angel of History (video catalogue)
Peer Gallery, Tel Aviv, Erections in Israeli Art

1997 Camera Obscura School of Art Gallery, Tel Aviv, White Cube
Ashdot Yaakov Museum of Art, Ashdot Yaakov, Israel, Irony and Love of the Motherland

1994 Tivon Gallery, Tivon, Israel, Israeli Contemporary Art

1989 Shara Levy Gallery, Tel Aviv

1988 Mapu Gallery, Tel Aviv

1985 Shluch Gallery, Tel Aviv

Melzer, Gilad. “Holocaust with a Moustache.”
Seven Days (September).

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Born in Darvel, Ayrshire, Scotland, 1965
Lives in Glasgow, Scotland

B.A. Glasgow School of Art, 1987
M.A. University of Ulster, Belfast, 1988
Kunstwerke, Berlin Studio Residency, 1996
Fellow in Fine Art, Glasgow School of Art, Glasgow, 1998–2001

Sean Kelly Gallery, New York, Spirit Collection
Galeria Tony Tapies, Barcelona, Treasury of Human Inheritance
Galerie cent 8, Paris, Christine Borland

1999 Dundee Contemporary Arts, Dundee, Scotland, What makes for the fullness and perfection of life, for beauty and happiness, is good. What makes for death, disease, imperfection, suffering is bad. (catalogue) Galerie Eigen + Art, Berlin, Christine Borland

1998 De Appel Foundation, Amsterdam; Fundação Serralves, Lisbon; Museum für Gegenwartskunst, Zürich, Christine Borland (catalogue)
Galerie cent 8, Paris, Christine Borland
Århus Kunstmuseum, Århus, Denmark, L’Homme double

1997 Lisson Gallery, London, Christine Borland
Skulpturen Projekte III, Münster, Germany, Christine Borland (catalogue)
FRAC Languedoc-Roussillon, Montpellier, France, Christine Borland (catalogue)

1996 Sean Kelly Gallery, New York, Second Class Male, Second Class Female
Kunstwerke, Berlin, From Life, Berlin (catalogue)
Galerie Eigen + Art, Leipzig, Germany, Christine Borland
Gallery Enkehuset, Stockholm, To Dust We Will Return (part of Sawn-Off) (catalogue)

1995 The British Council Gallery, Prague, Inside Gallery

1994 Tramway Glasgow, From Life, Glasgow (catalogue)

Hayward Gallery, London, Know Thyself (catalogue)
Orkney, Scotland, site-specific millennium projects, The Constant Moment (catalogue)
Royal Armouries, Leeds, England, Warning Shots (catalogue)
Biennale d’Art Contemporain, Lyon, France, Partage d’Exotismes (catalogue)
Lisson Gallery, London, A Shot in the Head
Exit Art, New York, Paradise Now

1999 CCA, Glasgow, High Red Center
Henry Moore Institute, Leeds, England, Sampled: The Use of Fabric in Sculpture
Chac Mool Contemporary Fine Art, West Hollywood, Calif. (in collaboration with Lisson Gallery, London), Rewind the Future

1998 The Andy Warhol Museum, Pittsburgh, In Your Face
Tate Gallery Liverpool, Liverpool, England, artranspennine98 (catalogue) Museet for Samtidskunst, Oslo, Nettverk-Glasgow (catalogue)
Yerba Buena Center for the Arts, San Francisco, To Be Real
Luxembourg, Manifesta 2, European Biennial of Contemporary Art (catalogue)
City Gallery, Prague; Kunsthalle Krems, Krems, Austria, Close Echoes
The Modern Institute, Glasgow, Artists’ Editions
Kunstraum Innsbruck, Innsbruck, Austria, New Art from Britain (catalogue)

1997 Tate Gallery, London, The Turner Prize Exhibition
Museum für Gegenwartskunst, Zürich, Flexible
Museum of Contemporary Art, Sydney, Australia, Contemporary British Art
Apex Art C.P., New York, Letter and Event (catalogue)
Kópagovur Art Museum, Iceland, absence/presence (catalogue)
École Nationale Supérieure des Beaux-Arts, Paris, Connections Implicites (catalogue)
Museum of Contemporary Art, Sydney; Art Gallery of South Australia, Adelaide; City Gallery Wellington, Wellington, New Zealand, Pictura Britannica: Art from Britain (catalogue)

1996 Hayward Gallery, London, Material Culture: The Object in British Art of the 1980s and ’90s (catalogue)
Galerie Eigen + Art, Berlin, Christine Borland, Roddy Buchanan, Jacqueline Donachie, Douglas Gordon
Specta Gallery, Copenhagen, Are You Talking to Me
Kunstsammlungen Weimar, Weimar, Germany, Nach Weimar (catalogue) Transmission Gallery, Glasgow, 21 Days of Darkness
Fundação Serralves, Oporto, Portugal, More Time/Less History (catalogue) Musée d’Art Moderne de la Ville de Paris, Live/Life (catalogue)

1995 Independent Art Space, London, Eigen + Art at I.A.S.
Mackintosh Museum, Glasgow School of Art, Glasgow, External Links
The Photographers’ Gallery, London, Pulp Fact

1994 De Appel Foundation, Amsterdam, The Spine (catalogue)
Schloss Mosigkau, Mosigkau, Germany, site-specific works for castle and grounds, East of Eden (catalogue)
Marc Jancou Gallery, London, Little House on the Prairie (catalogue) Rijksmuseum Kröller-Müller, Otterlo, Netherlands, Heart of Darkness

1993 Chisenhale Gallery, London, Christine Borland & Craig Richardson (catalogue)
Venice Biennale, Italy, Aperto (catalogue)
Lisson Gallery, London, Wonderful Life

1992 Irish Museum of Modern Art, Dublin, Guilt by Association (catalogue)
578 Broadway, New York, In and Out/Back and Forth (catalogue)

Clot, Manel. “Christine Borland,” Lapiz (163).
Heartney, Eleanor. “Christine Borland at Sean Kelley,” Art in America (September).
Pol, Marta. “Fusio complexa entre ciencia I art: Christine Borland,” Avvi (May).
Riding, Alan. “The Human Body in its Aesthetic Glory and Scientific Gore,” The New York Times (November).

1999 Brown, Allan. “Through a Jellyfish, Darkly,” The Sunday Times Ecosse (October).
Cumming, Laura. “More Skeletons in the Closet,” The Sunday Observer (December).
Mahoney, Elisabeth. “More than Just a Pretty Jellyfish,” The Guardian (November).

1998 Ter Borg, Lucette. “Naïeve Griezelarij van Alice in Wonderland,” Der Volkskrant (December).

1997 Barrett, David. “Christine Borland,” Frieze (July).
Feldman, Melissa E. “Christine Borland at Lisson,” Art in America (November).
Kemp, Martin. “Hidden Dimensions, Tate Magazine (Winter 1997). Searle, Adrian. “Bring on the Naked Dwarf,” The Guardian (May).

1996 Feldman, Melissa E. “21 Days of Darkness,” Art Monthly (April). Hunt, Ian. “Serious Play,” Frieze (January/February).
Ippolito, Jon. “Where has All the Uncertainty Gone?,” Flash Art (Summer 1996).

1995 Higgins, Ria. “Gun Shots," The Face (May).
O’Reilly, John. “Dark Deeds from the Darkroom,” The Guardian (May).

1994 Kastner, Keff. “A New Powerhouse,” Artnews (September). Cottingham, Laura. “Wonderful Life, Lisson Gallery,” Frieze (12).

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Born in Nottingham, England, 1966
Lives in London

B.F.A. Goldsmith’s College, University of London, 1989

Modern Art, London, New Works
Shoreditch Town Hall, London, Ultra Violet Baby (four-day film screening) Lux Gallery, London, Pandaemonium
Bonakdar Jancou Gallery, New York
Galerie Raucci/Santamaria, Naples

2000 Museum of Contemporary Art, Warsaw

1999 Galeria d’art Moderna di Bologna, Italy
Galerie Analix, Geneva, Analix Forever

1998 Bonakdar Jancou Gallery, New York
Bloom Gallery, London

1997 Lisson Gallery, London, Duty Free Spirits
Ridinghouse Editions, London, Ideal Boys (catalogue)
Galerie Raucci/Santamaria, Naples
Tanya Bonakdar Gallery, New York Camden Arts Centre, London

1996 Tanya Bonakdar Gallery, New York, Control Freaks
Galerie Analix, Geneva

1995 Karsten Schubert Ltd., London (in collaboration with Thomas Dane) Camden Arts Centre, London

1994 No. 20 Glasshouse Street, London, The Eclipse of London (one-day installation)

Institute of Contemporary Art, Boston, From a Distance: Approaching Landscape
Museum of Contemporary Art, La Jolla, Calif., Small Worlds: The Diorama in Contemporary Art
Serpentine Gallery, London, Greenhouse Effect
Landesmuseum, Lindz, Austria, 1000+1 Nacht

1999 Printemps de Cahors, France, EXTRAetORDINAIRE
Museu de Arte Moderne de São Paulo, Chiva[s]ynergies/art: Moving Image

1998 Kunsthalle Krems, Austria, Public Body & Artificial Space
Hayward Gallery, London, Secret Victorians, Contemporary Artists and a 19th-Century Vision (catalogue)
P.S.1, New York, The Edge of Awareness
Japanese Museum Tour, Exhibition of Contemporary British Art

1997 Museum of Contemporary Art, Sydney, Pictura Britannica
Staatliche Kunsthalle, Baden Baden, Germany, Urban Legends
Royal Academy of Arts, London, Sensation: Young British Artists from the Saatchi Collection
Kunstmuseum Wolfsburg, Wolfsburg, Germany, Full House: Young British Art
Gasworks, United Kingdom, Private Face–Urban Space: A New Generation of Artists from Britain

1996 Galeria Raucci/Santamaria, Naples, More Than Real
De Appel Foundation, Amsterdam, Hybrids
Natural History Museum, Rotterdam, Manifesta (catalogue)
Manchester City Art Gallery, Manchester, The Inner Eye
Musée d’Art Moderne, Paris, Live/Life (catalogue)
Museum van Loon, Amsterdam, Exchanging Interiors

1995 Istanbul, Istanbul Biennial (catalogue)
Hayward Gallery, London, The British Art Show 4
Ice Box, Athens, Other Men’s Flowers
Walker Art Center, Minneapolis, Brilliant! New Art From London (catalogue)
Stedelijk Museum, Amsterdam, Wild Walls
San Marino, Italy, Moderne e Contemporanea

1994 Musée d’Art Moderne de la Ville de Paris, Paris, L’Hiver de l’amour
Tanya Bonakdar Gallery, New York, Nature Morte
Institute of Contemporary Art, London, Institute for Cultural Anxiety

1993 Stedhalle, Zurich, Changing I Dense Cities
Venice, Venice Biennale
Cohen Gallery, New York, Displace

1992 Serpentine Gallery, London, Exhibit A
Galerie Analix, Geneva, Twenty Fragile Pieces
Galerie Metropol, Vienna, Under Thirty

1991 Stedhalle, Zurich, Stillstand Switches

1990 Building One, London, Modern Medicine

1989 Touring exhibition, Italy, Ghost Photography: The Illusion of the Visible

1988 Surrey Docks, London, Freeze

Lewinson, David. “Small World—MCA San Diego.” Artweek (March).

1999 Vision. 50 Years of British Creativity. London: Thames & Hudson. Introduction by Michael Raeburn.

1998 Smith, Roberta. “Mat Collishaw.” The New York Times, October 9. Thompson, Elsbeth. “Singularly Beautiful.” Vogue (May).
Gleadell, Collin. “The Shape of Things to Come.” ArtMonthly (May). “Made in London.” The Royal Academy Magazine (Spring).
“Making a Spectacle of Oneself.” Make (March).
Hall, James. “Mat Collishaw.” Artforum (January).
Barret, David. “Animation, LEA Gallery.” Frieze (September/October).

1997 Cork, Richard. “If you go down to the woods today . . .” The Times (London), December 2.
Cotton, Michelle. “Duty Free Spirits.” Roar (December).
Feaver, William. “Omo it’s that woman again.” The Observer, December 7.
Morrisey, Simon. “Interrogating Beauty.” Contemporary Visual Arts 16.

1996 Kimmelman, Michael. “Reviews.” The New York Times, December 20.
Levin, Kim. “Voice Choices.” The Village Voice, December 24.
Morgan, Stuart. “Forbidden Images.” Frieze (January/February).
Feaver, William. “Shaving Grace.” The Observer, January 14.
Maloney, Martin. “Mat Collishaw.” Artforum (April).

1995 Morgan, Stuart. “Stuart Morgan Visits the Institute of Cultural Anxiety.” Frieze (March/April).
Searle, Adrian. “Life, the universe, and everything.” The Independent, April 18.
Barrett, David. “Minky Manky.” ArtMonthly (May).
MacRitchie, Lynn. “Begging for Scraps.” The Guardian, December 12.

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Born in Sonthofen, Germany, 1954
Lives in Munich

B.A. Akademie der Bildenden Künste, 1981
M.A. Ludwig-Maximilians-University, 1989
Ph.D. Carl von Ossietzky-University, 1994

Kunstverein Konstanz, Konstanz, Germany, Rat Race
Kunstbunker Tumulka, Munich, Flesh for Your Fantasy

1997 Neue Gesellschaft für Bildende Kunst, Berlin, Transit I
Neues Museum Weserberg, Bremen, Transit II
Halle K, Hamburg, Transit III

1996 Badischer Kunstverein, Karlsruhe, Germany,

1995 Kunstverein Ruhr, Essen, Zugzwang
Villa Massimo, Rome, Späte Triumphe des erschöpften Widerspruchs

1992 Kunstraum, Wuppertal, Germany, Autodemontage II

1988 Städtische Galerie im Lenbachhaus, Munich, Schauplatz, Kunstforum

Kunsthalle Düsseldorf, Düsseldorf, Metaformen: Dekonstruktivistiche Positionen in Architektur und Kunst
Haus der Kunst, Munich, Die scheinbaren Dinge

1999 Banhof, Hamburg; Nationalgalerie, Berlin, Das XX. Jahrhundert: Ein Jahrhundert Kunst in Deutschland

1998 Galerie im Marstall, Berlin, Ausstellung zum Denkmal für die ermordeten Juden Europas

1997 Martin-Gropius-Bau, Berlin, Deutschlandbilder

1996 ICC/MUKA, Antwerp, Summer of Photography

1995 Kunstmuseum Wiesbaden, Wiesbaden; Neues Museum Weserburg, Bremen, RAM

1994 Villa Massimo, Rome, RomEuropa

1983 Kunstverein Bonn, Bonn, Ansatzpunkte kritischer Kunst heute

Coauthor with Loiperdinger, Martin, and Ulrich Pohlmann. Führerbilder. Hitler, Mussolini, Roosevelt, Stalin in Fotografie und Film. Munich: Piper.

1994 Hoffmann & Hitler. Fotografie als Medium des Hitler-Mythos. Munich: Stadtmuseum München.

1989 Coauthor with Halfbrodt, Dirk. München
1918/19. Fotografie und Revolution. Munich: Stadtmuseum München.

1985 Coauthor with Bruns, Brigitte. Atelier Elvira. Ästheten, Emanzen, Aristokraten. Munich: Stadtmuseum München.

Reichelt, Matthias, ed. Zwei Entwürfe zum Holocaust-Denkmal von Rudolf Herz und Reinhard Matz. Berlin: Edition Tiamat.

1997 Halfbrodt, Dirk, and Peter Friese, eds. Herz. Nuremberg: Verlag für moderne Kunst.

1995 Bussmann, Georg, and Peter Friese. Rudolf Herz. Zugzwang. Essen: Kunstverein Ruhr.

1992 Lager, Lenins. Rudolf Herz. Entwurf für eine Skulptur in Dresden. Berlin: Karin Kramer Verlag.

1991 Werckmeister, O. K. Rudolf Herz. Schauplatz. Munich: Städtische Galerie im Lenbachhaus.

Project Scholarship, Kunstfonds, Bonn

1997 Prizewinner, competition for the Memorial for Assassinated European Jews

1994–1995 Scholarship of the German Academy, Villa Massimo, Rome

1992 Baldreit Scholarship, City of Baden-Baden

1991 Art Award of Bavaria

1990 Award, City of Munich

1987 Scholarship for Contemporary Photography, Alfried Krupp von Bohlen and Halbach Foundation, Essen

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Born in Vienna, 1970
Lives in Vienna

Portikus, Frankfurt, Nobody Has to Know
Galerie Georg Kargl, Vienna, Elke Krystufek
Gallery Side 2, Tokyo
Centre National de L’Estampe et de L’Art Imprimée, Chatou, France, Hollywoodland

1999 Bahnwärterhaus, Galerie der Stadt Esslingen, Germany, Sleepingbetterland
Centre genevois de gravure contemporaine, Geneva; Kunstwerke Berlin, Berlin, In the Arms of Luck (catalogue)
Galerie Georg Kargl, Vienna, Like Nothing You’ve Ever Seen Contemporary Art Center, Vilnius, Lithuania, I Am Dreaming My Dreams with You (catalogue)

1998 São Paulo Biennal, São Paulo, I Am Your Mirror (catalogue)
Galleria il Capricorno, Venice
Galerie Drantmann, Brussels
303 Gallery, New York
Emily Tsingou, London

1997 Secession, Vienna
Galleri Nicolai Wallner, Copenhagen

1994 Musée d’Art Moderne de la Ville de Paris, Migrateurs

1992 Galerie Metropol, Vienna (with Franz Graf)

Musée d’art contemporain, Bordeaux, France Presumed Innocent: Childhood and Contemporary Art
Galerie im Taxispalais, Innsbruck, Austria, Die verietzte Diva: Hysterie, Körper, Technik in der Kunst des 20. Jahrhunderts

1999 Migros Museum, Zürich, Peace
P.S.1, Contemporary Art Center, Long Island City, N.Y., Generation Z Museum Bochum, Bochum, Germany, FunktionsSystemMensch
Galerie im Traklhaus, Salzburg, Zeichenen—Österreichische Zeichnungen der Neunziger Jahre
Austrian Cultural Institute, London, Wild Life

1998 São Paulo, São Paulo Biennial
Casino Luxembourg, Luxembourg Manifesta 2—European Biennal of Contemporary Art
Secession, Vienna, Das Jahrhundert der künstlerischen Freiheit
De Appel Foundation, Amsterdam, Life Is a Bitch

1997 Charlottenborg Exhibition Hall, Copenhagen, Display
EA-General Foundation, Vienna, Post-Production

1996 Magasin Grenoble, France, Autoreverse 2

1995 Centre Pompidou, Paris, Feminin/Masculin
Centre Pompidou, Paris, X/Y

1994 Kunsthalle, Vienna; De Appel Foundation, Amsterdam, Jetztzeit

1993 Venice Biennale, Italy, Aperto

Granjean, Emmanuel. “Elke Krystufek se met a nu au Centre de gravure” Tribune de Geneve (September 24).
Lebovici, Elizabeth. “Elke Krystufek se met a nu,” Liberation (June). Huck, Brigitte. “Celebrity Skin: Elke Krystufek,” Noema (May/June).

1998 “disdentico—maschile femminile e altro,” Camera Austria (61).

1997 Metzger, Rainer. “Kunst kommt von Kaufen,” Der Standard (August).
Hofleitner, Johanna. “Der Körper—nackt bekleidet, verkleidet,” Die Presse (March).
Krawagna, Christian. “Elke Krystufek, Secessions” Artforum (April).

1996 Krawagna, Christian. “Ich möchte funktionieren, nicht perfekt aber doch,” Text zer Kunst (June).
Dany, Hans-Christian. “Poor Little Rich Girl,” Vogue (November).
Bubias, Marius. “Wenn Frauen masturbieren, sind Männer dann überflüssig?,” Zitty (24).

1994 Janus, Elizabeth. “Private Functions,” Frieze (December).
Volkart, Yvonne. “Medusa and Co.,” Flash Art (May/June).
Interview with Peter Nesweda, “Der weibliche Körper und der männliche Blick,” Kunsforum (October/November).

1993 Renton, Andrew. “Venice Biennial,” Flash Art (October).

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Born in Düsseldorf, 1959
Lives in Düsseldorf

B. A. Düsseldorf University, Düsseldorf, 1984

Kunstverein Ruhr, Essen, Sling of Memory
Vedanta Gallery, Chicago, Chicago Sling

1999 Tokyo National Museum, Tokyo, Power of Codes
Konrad Fischer Galerie, Düsseldorf, Fischer’s Loop
Wood Street Galleries, Pittsburgh, Light Traps

1998 Kabinett für aktuelle Kunst, Bremerhaven,
Germany, Project Rooms
São Paulo Biennial, São Paulo, Private Light/Public Light
Kölnische Kunstverein, Cologne, Project Rooms

1997 Museum Boymans-van Beuningen, Rotterdam,

1996 Museum moderner Kunst Stiftung Ludwig, Vienna, Moderne, Rundum/Vienna Version

1995 Diözesanmuseum, Cologne, Worldrorschach-Rorschachworld

1994 Sprengel Museum, Hannover, Germany, No-Place

1993 De Appel Foundation, Amsterdam, Double Standard

1992 Konrad Fischer, Düsseldorf, Projektionsraum 1:1:1 Bauhaus, Dessau, Germany, Bauhaus-Block

1991 Haus Wittgenstein, Vienna, Welt/Fall

1990 Kunsthalle, Cologne, Kabinett/Cabinet Mannesmann Hochhaus, Düsseldorf, Megazeichen

1987 Städtische Galerie im Museum Folkwang, Essen Tibor de Nagy Gallery, New York

Todesfuge/Paul Celan (Death Fugue/Paul Celan). Poestenkill, New York: Kaldewey Press, 1984.

refraction house. Pulheim, Germany: Kulturamt der Stadt Pulheim, 1985.

Sand aus den Urnen/Paul Celan (Sand from the Urns/Paul Celan).
Poestenkill, New York: Kaldewey Press, 1997.

Bartetzko, Dieter. Mischa Kuball: Die Rede (The Speech) (in German and English). Düsseldorf: Heinen Verlag, 1990.

Crockett, Tobey. Mischa Kuball: World/Fall (in German and English). Bensheim, Germany: Bollmann-Verlag, 1992.

Flemming, Klaus. Mischa Kuball: Kabinett (Cabinet) (in German and English). Düsseldorf: Heinen Verlag, 1990.

Flusser, Vilém. Mischa Kuball: Welt/Fall (World/Fall) (in German and English). Mönchengladbach, Germany: Juni-Verlag, 1991.

Giloy-Hirtz, Petra, Manfred Schneckenburger, et al. München im Kunstlicht. Munich, 2000.

Goodrow, Gerard A., ed. Mischa Kuball: Project Rooms (in German and English). Cologne: Verlag der Buchhandlung Walther König, 1997.

Hanstein, Mariana, and Kurt Danach, eds. Mischa Kuball: Projektion/Reflektion (Projection/Reflection) (in German and English). Cologne: Kunst-Station Sankt Peter, 1995.

Kauffmann, Bernd, and Ulrich Krempel. Sprach Platz Sprache (in German and English). Cantz Series. With audio compact disc produced by Harald Grosskopf. Ostfildern, Germany: Hatje Cantz, 1999.

Krempel, Ulrich. Mischa Kuball: Megazeichen (Megasigns)(in German and English). Düsseldorf: Heinen Verlag, 1990.

Krempel, Ulrich, et al. Mischa Kuball—Urban Context. Projekt Bunker Lüneburg (Lüneburg Bunker Project) (exh. cat.; in German and English). Lüneburg, Germany: Dähnhardt-Schulenburg, 2000.

Schöbe, Lutz, ed. Mischa Kuball: Bauhaus-Block (in German and English). Ostfildern, Germany: Edition Cantz, 1992.

Smolik, Noemi. Mischa Kuball: Double Standard (in Dutch and English). Amsterdam: De Appel Foundation, 1993.

Stempel, Karin. Mischa Kuball: B(l)aupause. Mülheim an der Ruhr, Germany: Städtisches Museum, 1991.

Stempel, Karin, Tracey Bashkoff, and José Artur Giannotti. Private Light/Public Light. Deutscher Beitrag zur 24. Biennale São Paulo 1998.
(German contribution to the 24th São Paulo 1998 Biennial) (in German, English, and Portuguese). Stuttgart: Cantz Druckerei, 1998.

Stilper, Petra, ed. “Mischa Kuball: Rotierenderlichtraumhorizont,” in Project Rooms (in German and English), ed. Gerard A. Goodrow. Cologne: Verlag der Buchhandlung Walther König, 1997.

Thoenges, Hans-Georg. Mischa Kuball: Greenlight (exh. cat.). Montevideo, Uruguay: Goethe Institut, 1999.

Wappler, Friederike, Peter Friese, and Norman L. Kleeblatt. Mischa Kuball: Schleudertrauma (Whiplash). (exh. cat.; in German and English). Essen, Germany: Kunstverein Ruhr, 2000.

Wieg, Cornelia, Dieter Daniels, Ulrike Kremeier, and Katja Schneider. Mischa Kuball: Public Stage Project, Staatliche Galerie Moritzburg Halle (exh. cat.; in German and English). Cologne: Salon Verlag, 2001.

Zweite, Armin, and Gerhard Dornseifer. Mischa Kuball: refraction house. Pulheim, Germany: Kulturamt der Stadt Pulheim, 1994.

Stiftung Kunst und Kultur NRW, Düsseldorf
Ministerium für Familie, Stadtentwicklung und Kultur NRW, Düsseldorf

1996 Kunstfonds Bonn

1995 Travel Grant from Art & Culture Foundation, Düsseldorf

1993 ArtAward of NRW
Award of Experimental Photography from the Krupp Bohlen and Halbach Foundation, Essen

1991 Scholarship for Contemporary Photography of Alfried Krupp von Bohlen and Halbach Foundation, Essen
Ars Viva Award of Cultural Association BDI, Cologne

1990 Ars Viva Award, Kuturkreis in BDI, Cologne

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Born in Pabianice, Poland, 1959
Lives in Warsaw

B.A. Kopernik University, Torun, Poland

American-European Art Associates, New York, A Different Type of Prison

1998 Guy McIntyre Gallery, New York, Correct Me If I Am Wrong

1997 Center for Contemporary Art, Ujazdowski Castle, Warsaw, Correcting Devices

1993 Na Mazowieckiej Gallery, Warsaw, Works with Air and Electricity

1992 Laboratorium Gallery, Center for Contemporary Art, Warsaw

1982 Strych Gallery, Lodz, Poland, Photocollages and Drawings

Nikolai Fine Art, New York, The Toy Show
Galerie Nationale du Jeu de Paume, Paris, L’Autre moitié de l’Europe

1999 Center for Contemporary Art, Warsaw, Post Conceptual Reflections Lombard-Freid Fine Arts, New York, Persuasion
Museum moderner Kunst Stiftung Ludwig, Vienna, Aspects/Positions NGBK, Berlin, Blue for Girls, Pink for Boys
Ludwig Museum, Budapest, Rondo
Moderna Museet, Stockholm, After the Wall
Nash Gallery, University of Minnesota, Minneapolis, Absence/Presence

1998 Edsvik Konst, Stockholm, Medialization
Center for Contemporary Art, Warsaw, At the Time of Writing

1996 Museum of Contemporary Art, Chicago, Beyond Belief
Saõ Paulo Biennial, São Paulo, Universalis
Technische Sammlungen der Stadt Dresden, Germany, The Thing Between

1995 Kunstlerhaus Bethanien, Berlin, New I’s for New Years

1994 Kunsthalle Elsterpark, Leipzig, Minima Media
Bundeskunsthalle, Bonn, Europa, Europa

1993 Forty-fifth Venice Biennale, Italy, Emergency: Aperto ’93

1992 State Gallery of Art, Sopot, Poland, Mystical Perseverence and the Rose

1991 Kunstverein Bonn, Bonn, Kunst Europa

1990 Arnheim, Netherlands, AVE Festival
Kunstpalast Düsseldorf, Düsseldorf, Bakunin in Dresden

1989 John Hansard Gallery, Southampton, N.Y., Supplements: Contemporary Polish Drawing

1987 Foto-Galerie Gauss, Stockholm, Erotic and Satire
Atelier Dziekanka, Warsaw, Rattling Machines and Fuming Chimneys

Jones, Ronald. “After the Wall: Art and Culture in Post-Communist Europe, Moderna Museet, Stockholm.” Artforum (March).

1998 Marcoci, Roxana. “The Antinomes of Censorship: The Case of Zbigniew Libera.” Index 23 (March–April). Libera, Zbigniew. “Analysis of the Historical Representation of Auschwitz in Contemporary Art in LEGO
1996.” The Memory of Auschwitz in Contemporary Art, ed. Yannis Thanassekos and Daniel Weyssow. Brussels: Fondation Auschwitz.

1997 Murphy, Dean E. “Artist Constructs a Volatile Story.” The Los Angeles Times (May 20).

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Born in Rehovot, Israel, 1963
Lives in Tel Aviv, Israel

B.A. Tel Aviv University, 1984
B.F.A. School of Visual Arts. New York, 1989
M.F.A. Hunter College, New York, 1991

Kibbutz Be’eri Gallery, Kibbutz Be’eri, Lucy: Iconographic Sources
Rosenfeld Gallery, Tel Aviv, Two Books: A Different Face and Lucy

1997 Israel Museum, Jerusalem, Live and Die as Eva Braun (catalogue)

1996 Artists’ Studios, Tel Aviv, Professionals (catalogue)

1994 Museum of Israeli Art, Ramat Gan, Israel, Martyr Paintings (catalogue)

1992 Bugrashov Gallery, Tel Aviv, The Blind Merchant

1988 School of Visual Arts Gallery, New York

1986 Sharet Gallery, Givataim, Israel

Beit Ha’am Gallery, Tel Aviv, The Thirty Third Year, Artists Against the Strong Arm Palazzo Della Papesse, Siena, The Gift (catalogue)

2000 Herzliya Museum of Art, Herzliya, Israel, The Angel of History (video catalogue)
Palazzo Delle Papesse, Siena, Republics of Art: Israel (catalogue) Ha’Midrasha Gallery, Tel Aviv, “Arieh Aroch,” Erections in Israeli Art

1999 Ha’Midrasha Gallery, Tel Aviv, Regarding Rafie

1998 Israel Museum, Jerusalem, Good Kids, Bad Kids, “Childliness” in Israeli Art (catalogue)
Ami Steinitz Contemporary Art, Tel Aviv, Forbidden
The Pyramid, Haifa, Recommended Retail Price

1997 Beit-Ha’Am, Tel Aviv, Imprisoned Without a Trial
Museum of Israeli Art, Ramat Gan, Israel, Ha’Midrasha (catalogue)
Ami Steinitz Contemporary Art, Tel Aviv, I/zkor

1995 The Artists’ House, Jerusalem, Shades of Sexuality (catalogue)

1994 Museum of Israeli Art, Ramat Gan, Israel, Anxiety (catalogue)
319 Grand, New York, Petty Schemes & Grand Designs

1991 Hunter College Art Gallery, New York, Happy Paintings

1990 Old Norfolk Street Synagogue, New York, Markings Hunter Gallery, New York, Re-Configuring Bodies (catalogue)

1987 New York University, New York, Annual Small Work Exhibition

1985 Jerusalem Theater, Sir-Lahatz (catalogue)

A Different Face (in Hebrew). Tel Aviv: Hed-Artzi/ Ma’Ariv. Lucy (in Hebrew). Tel Aviv: Shadorian Press. (Artist’s edition, in English, published 1991–1992).

1998 “The Visibility and Invisibility of Trauma: On Traces of the Holocaust in the Work of Moshe Gershuni and in Israeli Art.” Jerusalem Review 2: 98–118.

1997 Live and Die as Eva Braun, an Illustrated Proposal for a Virtual Reality Scenario, Not to Be Realized (in Hebrew and English). Jerusalem: Israel Museum. “Quality Time: On Maggie Cardelús’s ‘Taglio, L’Origine du Monde (II),’” in Maggie Cardelús, Matrix. Almagro, Spain: Galería Fúcares.

1996 “Beyond Idomania,” in Ido Bar-El: Construction Works (exh. cat.). Herzliya, Israel: Herzliya Museum of Art. “Less and More Than Two,” in Ariela Shavid: Beauty Is a Promise of Happiness (exh. cat.). Jerusalem: Israel Museum.

1992 Art, Money, Identity, Fragments from Contemporary American Art. Tel Aviv: Tel Aviv Museum Press.

1989 The Blind Merchant. Artist’s edition.

Azoulay, Ariella. Death’s Show Case: The Power of the Image in Contemporary Democracy (trans. by Ruvik Damielli). Cambridge, Mass.: MIT Press.

2000 Somaini, Antonio. “Roee Rosen,” in Art and Artists from Israel and Palestine (Siena: Palazzo Delle Papesse), 116, 162–63.
Gilerman, Daba. “I Didn’t Know Her Well,” Ha’aretz International Edition (September 27th).

1998 Manor, Dalia. “From Rejection to Recognition, Israeli Art and the Holocaust.” Israel Affairs 4, nos. 3 and 4. (Spring/Summer).
Shapira, Sarit. “The Supressed Syndrome: Holocaust Imagery as a Taboo in Israeli Art.” Israel Museum Journal 16 (Summer).
Ronnen, Meir. “Eva Braun Artwork Causes Outcry.” ARTnews 92 (January).

1997 Rothman, Roger. “Mourning and Mania, Roee Rosen’s Live and Die as Eva Braun,” in Roee Rosen: Live and Die as Eva Braun (exh. cat.). Jerusalem: Israel Museum.
Green, David B. “Shock Treatment.” The Jerusalem Report 8, December 11. “Nuzzling with the No. 1 Nazi.
Newsweek, December 8.
Günther, Inge. “Anschließend in die Holle.” Berliner Zeitung, November 26.
Derfner, Larry. “The Holocaust According to Eva Braun.” The Jerusalem Post, November 14.

Israeli Ministry of Education and Culture Prize for the Encouragement of Artists in the Fields of Plastic Arts and Design

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Born in New York, 1966
Lives in New York

B.A. Bennington College, Bennington, Vermont, 1989
Architectural Association, London, 1987

Galeria Enzo Sperone, Basel, Switzerland, Art/31/Basel
Baldwin Gallery, Aspen, Colo., Defender
Tomiyo Koyama Gallery, Tokyo, Test Module Five (Urinal)

1999 Mary Boone Gallery, New York, Haute Bricolage
Galerie Thaddaeus Ropac, Salzburg, W.w.J.B.D. and Other Smash Hits Galerie Thaddaeus Ropac, Paris, Creativity Is the Enemy (catalogue)
SITE Santa Fe, New Mexico, SONY Outsider
Mario Diacono Gallery, Boston, Tom Sachs
Mont Blanc Store, Hamburg, Stairmaster
Mont Blanc Store, New York, Burn Baby Burn

1998 Thomas Healy Gallery, New York, Creativity Is the Enemy

1997 John Berggruen Gallery, San Francisco, Cultural Prosthetics
Galeria Gian Enzo Sperone, Rome, Tom Sachs

1996 Mario Diacono Gallery, Boston, Tom Sachs

1995 Morris-Healy Gallery, New York, Cultural Prosthetics

1993 Allied Cultural Prosthetics, New York, Watch Me Work

Sperone Westwater, New York, American Bricolage
Ubu Gallery, New York, Destruction/Creation
Wetterling Gallery, Stockholm, Seven New York Artists

1999 Alleged Gallery, New York, Coup d’État
Wunderkammer, London, Readymade Project
Center Galleries, Detroit, Dysfunctional Sculpture
Paine Webber Art Gallery, New York, Comfort Zone: Furniture by Artists
Kettle’s Yard, Cambridge, England; Cornerhouse, Manchester, England; Camden Arts Center, London, Thinking Aloud
New Museum, New York, New Museum Gala (catalogue)
New Jersey Center for Visual Arts, Summit, N.J., Food for Thought
Bank of America Plaza, Charlotte, N.C., Material Perception (catalogue)

1998 Gallery F15, Moss, Norway, New York (catalogue)

1997 Weatherspoon Art Gallery, University of North Carolina at Greensboro, Thirty-third Annual Exhibition of Art on Paper
Ubu Gallery, New York, The Subverted Object
San Francisco Museum of Modern Art, San Francisco, Icons: Modern Design and the Haunting Quality of Everyday Objects

1996 Thread Waxing Space, New York, Shred Sled Symposium

1995 Paul Morris Gallery, New York, Inaugural Exhibition

1994 Barney’s, New York, Red Windows
Public performance, New York, Kill All Artists
Alleged Gallery, New York, Pathetic Masterworks

O’Brien, Glenn and James Meyer, “Best of 2000,” Artforum (December).
Sheets, Hilarie M. “Contemporary Realism,” Artnews (March).
Hass, Nancy, “Stirring Up the Art World Again,” The New York Times (March).
Hüetlin, Thomas and Dirk Westphal. “Angst und Schrecken und Chanel,” Spiegel Reporter (January).

1999 Valdez, Sarah. “Tom Sachs at Mary Boone,” Art in America (December).
Smith, Roberta. “Removing the Bullets and Trying to Judge a Show,” The New York Times (October).
Moxham, Tony. “Life is 2029,” Interview (October).
Szabo, Julia. “The Merchandising of Tom Sachs,” Elle Décor (October). Staff. “Goings on About Town,” The New Yorker (September).
Staff. “Tom Sachs and Mary Boone,” Gallery Guide (September). Karcher, Eva. “Glamour-Partisan,” German Vogue (July).
Attias, Laurie. “Tom Sachs,” Artnews (May).
Talley, Andre Leon. “Brand of Horror,” Vogue (April).

1998 Williams, Yseult. “Une Oeuvre d’art sur un plateau.” French Elle (September).
“Tom Foolery.” Black Book (September).
Talbot, Stephanie. “Rave.” Blue Print (September).
Lemons, Steven. “Are You Looking at Me?” SOMA (May).
Keeps, David A. “Shot Through the Art.” Details (May).
Cash, Stephanie. “Tom Sachs at Morris-Healy.” Art in America (May). Morris, Bob. “Loco for Logos,” The New York Times Magazine (November).

1997 Slowey, Anne. “The Joy of Sachs.” W (December).
Verrico, Lisa. “Feeling Flush.” The (London) Sunday Times, June 7. Jackson, Jennifer, and Andrea Linnet. “Fashion f.y.i.” Harper’s Bazaar (March).

1996 Dambrot, Shana Nys. “Tom Sachs: Fashion Terrorist.” Hot Lava (September).
Gibson, Jeff. “Tom Sachs.” Art and Text (August).
Chaikivsky, Andrew. “You Can’t Hunt with a Brancusi.” Esquire (April). Hucko, Leslie. “Tom Sachs.” World Art (February). Tanabe, Ryota. “Trash Art.” Brutus (February).

Furniture Prize, Architectural Association, London

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Born in London, 1962
Lives in Savannah, Georgia

B.F.A. Dartington College of Art, Devon, England, 1991
M.F.A. Electronic Art, Coventry University, England, 1993

Trustees Theater, Interactive Dance Technology Performance, Savannah, E-Motion
Festival De Video Y Artes Electrónicas, Centro de Capacitación Cinematografica, Mexico, Vide@rt
Nexus Art Gallery, Atlanta, Body as Commodity

1996 Institute for Contemporary Art, London, Wired and Wonderful

1994 Hong Kong, Hong Kong Film Festival

1993 Museum of the Moving Image, London, London Film Festival
ICA, London, British Animation Week

1992 Villa Le Serre & FERT, Turin, Italy, Capricci Art Exhibition
Goethe Institute, Glasgow, New Visions, International Film and Video Festival
Clermont-Ferrand, France, VideoFormes

1991 Café des Images, Paris, Recontres Video Art Plastique

“Anyway, It’s My Image.” Art Monthly 199 (September).

Milgrom-Elcott, Noam. “A Tiger’s Leap into Oblivion: Photography in the Age of Digital Reproduction.” Museo 3 (Spring).

1997 Harris, Jonathan. “Art Education and Cyber-ideology: Beyond Individualism and Technological Determinism.” Art Journal 56 (Fall). Reardon, Valerie. “Whose Image Is It Anyway?” Art Monthly 195 (April). “How Many People Does It Take to Screw in a Lightbulb? On the Ownership of Experience, or Who Can Say What to Whom, When.” Art Papers 21 (March/April).

1996 Frascina, Francis, and Jonathan Harris. “Power and Responsibility.” Art Monthly 197 (June).
Frascina, Francis, and Jonathan Harris. “Social Control and Permissibility.” Art Monthly 194 (March).

Third Prize, Arts on the River, Savannah

1995 Wyndham Deeds Travel Scholarship, AIA, London
Runner-up in the Special Jury Award for Experimental Video, Second Annual Jewish Video Competition, Art Museum, University of California at Berkeley

1994 New Production Award, West Midlands Arts, England

1993 Intermediate Award, South West Arts, Exeter, England Jane Sutton Memorial Award, Stoneleigh, England

1992 First Time Award, South West Arts, Exeter, England

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Born in Colombes, France, 1955
Lives in Paris

Le Safran, Amiens, France, Projet pour Amiens

1998 Centre d’art contemporain, Le Parvis 3, Pau, France; Le Parvis, Ibos, France, Une exposition à cheval (catalogue)

1997 Fondation Cartier, Paris

1996 São Paulo Biennial (catalog)

1995 Galerie Ghislaine Hussenot, Paris
FRAC Auvergne, Mauriac, France; Le Puy-en-Velay, France, La Pieuvre Centre d’Art, Thiers, France, Le Creux de L’Enfer

1993 Galerie Albert Baronian, Brussels

1992 Hôtel des Arts, Paris

1991 Galerie Ghislaine Hussenot, Paris

1990 Halle d’Art Contemporain, Rennes, France

1988 Galerie Ghislaine Hussenot, Paris
Galerie Albert Baronian, Bruxelles

1987 Galerie Wittenbrink, Münich

1985 Galerie Crousel-Houssenot, Paris

Guggenheim Museum SoHo, New York, Premises (catalogue)
Galerie für zeitgenössische Kunst, Leipzig, Weather Everything

1997 Magasin, Centre national d’art contemporain de Grenoble, France, Dramatically Different

1996 Musée de Cognac, Cognac, France, Variations op. 96

1995 Galerie Jousse-Seguin, Paris, Toys
Venise, Montlucon, Histoire de l’infamie

1991 Biennale d’art contemporain, Lyons, France, L’Amour de l’art

1990 Venice Biennale, Italy, Aperto

1989 Institute for Contemporary Art, P.S.1 Museum, Long Island City, N.Y.; Teatro Lope de Vega, Seville, Spain; Confort Moderne, Poitiers, France, Theater Garden Bestiarium

Lebovici, Elisabeth. “L’ art félin de Séchas.” Libération no. 4943. (January).

1998 Javault, Patrick. Alain Séchas. Paris: Hazan

1997 Rian, Jeff. Frieze (August). Gauville, Hervé. “Séchas et ses chats au rayon art.” Libération, January 7.

1996 Francblin, Catherine. “If It’s Beautiful, It’s Beautiful for Everybody,” Art Press (April).

1992 Bellido, Ramon Tio, et al. Alain Séchas. Paris: Hôtel des Arts.

1988 Javault, Patrick. Alain Séchas. Nevers, France: APAC.

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Born in Bialystock, Poland, 1958
Lives in New York

M.F.A. Academy of Fine Arts, Cracow, 1982

Pori Art Museum, Finland, Obsession
Lombard-Freid Fine Arts, New York, Stairs 2 Heaven

1997 Lombard-Freid Fine Arts, New York, A Season in Hell

1996 Lombard-Freid Fine Arts, New York, Lure
Galeria Camargo Vilaca, São Paulo, Obsession

1994 Center for Curatorial Studies, Bard College, Annandale-on-Hudson, N.Y., Obsession

Fuller Museum of Art, Brockton, Mass., Confronting the Figure Musée de l’Elysee, Lausanne, Obsession
Dulcinea, Istanbul, Confession of a Voyeur

1999 Center for Curatorial Studies, Bard College, Annandale-on-Hudson, N.Y., Your I
Katherine Nash Gallery, Minneapolis, Absence/Presence
Lombard-Freid Fine Arts, New York, Propaganda

1998 Edsvik Konst Kultur, Stockholm, Medialization
International Center for Photography, Moscow, Photobiennale ’98
Paco Das Artes, Sa~o Paulo, Canibal City

1996 Center for Curatorial Studies, Bard College, Annandale-on-Hudson, N.Y., Untitled
Stefan Stux Gallery, New York, Sex/Industry
Lombard-Freid Fine Arts, New York, The Experimenters
Franklin Furnace, New York, Voyeur’s Delight

1995 Goethe Institute, Cracow, Giordano Bruno
Mitzpe Ramon, Construction in Process V

1994 Bronx Museum of the Arts, Bronx, New York, Beyond the Borders

1993 The Artists’ Museum, Lodz, Poland, Construction in Process IV Kohler Arts Center, Sheboygan, Wisconsin, Hair

1990 Institute for Contemporary Art, P.S.1 Museum, Long Island City, N.Y., Sites of Intolerance

Valdez, Sarah. “Maciej Toporowicz at Lombard-Freid.” Art in America (September).
Morgan, Robert. “Stairs 2 Heaven.” Review (March).

1998 Morgan, Robert. “Maciej Toporowicz.” Art Press (February).

1997 “Maciej’s ‘Obsession.’” Creative Review (Spring).

1996 “Obsession.” Archive (Fall).
Corn, Alfred. “Maciej Toporowicz at Lombard-Freid.” Art in America (October).
Smith, Roberta. “Lombard-Freid.” The New York Times, May 17.

1994 Loos, Ted. “Making Scents of Fascism.” Art & Antiques (November).
Vogel, Carol. “Inside Art.” The New York Times, May 27.

National Studio Program Award, Institute for Contemporary Art, P.S.1 Museum, Long Island City, N.Y.

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Born in Warsaw, 1968
Lives in New York

Fotogaleriet, Oslo, Norway, A Norwegian Photograph
Kunstwerke, Berlin, The Nazis
Museum of Modern Art, New York, Project

1999 Foksal Gallery, Warsaw, A Mosaic at DH Smyk

1998 The Photographers’ Gallery, London, The Nazis
Gavin Brown’s enterprise, New York, More Joy of Photography
Sabine Knust Galerie & Edition, Munich, Some of More Joy of Photography

1997 Galerie Voges & Desein, Frankfurt, Joy of Photography

1996 Gavin Brown’s enterprise, New York, Dance Floor

1995 Galeria Grodzka, Lublin, Poland, Life as it Should Be

1994 Jan Kuzinski’s shop, Premysl, Poland, High Density Color, High Definition Lips

1993 Bureau of Art Exhibitions, Sandomierz, Poland, Pojedynek w pojedynke

Museum of Contemporary Art, Chicago, Age of Influence: Reflections in the Mirror of American Culture
Walker Art Center, Minneapolis, Let’s Entertain
Institute for Contemporary Art, P.S.1, Long Island City, N.Y., Greater New York

1999 Migros Museum, Zürich, Peace

1998 Museum Ludwig, Cologne, I Love NY (catalogue)
Neues Museum Weserburg, Bremen, Minimal-Maximal (catalogue) Luxembourg, Manifesta 2 (catalogue)

1997 ICA, London, a dance floor in Assuming Positions (catalogue)
CCA, Glasgow, a dance floor in Waves In, Particles Out

1996 P.S.1 Museum at the Clocktower, New York, Departure Lounge Galerie Voges & Deisen, Frankfurt, Quick Time
Ice Factory, Hannover, Germany, Weil Morgen
Galerie Voges & Deisen, Frankfurt, Skizze
BEAM Gallery, Tokyo, Nippon International Performance Festival

1995 Real Art Ways, Hartford, Conn., Raw Spaces
Cubitt Gallery, London, Just Do It

Neumann, Hans-Joachim. “Die Schrillen, die Bizarren, die Abseitigen.” Zitty, March 22.
Ruthe, Ingeborg. “Jeder auf eigene Faust.” Berliner Zeitung 63, March 15.
“Schlechte Kerle.” Süddeutsche Zeitung, March 14.
Heller, Steven. “Snazi Nazis.” The New York Times Book Review, March 12.
Schröder, Christian. “Das Böse hat viele Gesichter.” Der Tagesspiegel, March 8.
Becker, Claudia. “Stahlblaue Augen.” Berliner Morgenpost, March 7. Leinemann, Susanne. “Der filmische Albtraum vom Nazi.” Die Welt, March 3.

1999 Rimanelli, David. “If You Lived There. . . .” Interior Design (August).
Januszczak, Waldemar. “Dress to Kill.” The Sunday Times (London), August 16.
Sanchez, Antonio. “Minimal Maximal.” Arte Y Parte (April–May).
Pjede, Manuela. “Mode, Künstler, Visionen.” Max (March).
Stange, Raimar. “Eine Frage der Lust.” Kunst-Bulletin (January–February).
Jocks, Heinz-Norbert. “Rauschmittel für den Geist: Interview with Piotr Uklan’ ski” Kunstforum (January–February).

1998 Gross, Ulrike, and Markus Müller. Make It Funky. Cologne: Oktagon Verlag.
Higgie, Jennifer. “Piotr Uklan’ski.” Review. Frieze (December).
Stoeber, Michael. “Minimal Maximal.” Artist: Kunstmagazine (November).
“Expedition in der New York Kunstszene.” Der Weltkunst (November). Gordon-Nesbitt, Rebecca. “The Truth Is Out Where?” Make 81 (September–November).
Kent, Sarah. “Piotr Uklan’ski.” Review. Time Out London, September 2–9.
Wittneven, Katrin. “Eurovisionen, Die Manifesta 2 in Luxemburg.” Neue Bildende Kunst (August–September).
“Nazi Movie Shots Are Defended as Art.” Amateur Photographer, August 29.
Blom, Phillip. “lkonen des Bösen.” Berliner Zeitung, August 28. Hopkinson, Amanda. “Good Eye, Steady Nerve, Generous Heart.” The (London) Independent on Sunday, August 23.
“Spiel mit dem Nazi-Chic.” Der Spiegel 32. February.
Ascherson, Neal. “It’s only David Niven dressed up. Why do we feel a chill?” The (London) Observer, August 23.
Jones, Jonathan. “Faces of Evil.” The (London) Guardian, August 18. Edwards-Jones, Imogen. “Arty Animal.” The (London) Times, August 15–21.
Corner, Lena. “Sinatra. Eastwood. Fiennes. Why do we love a man in uniform?” The Big Issue, August 3–9.
Stringer, Robin. “Outrage as London Gallery Highlights ‘Glamour of Nazism.’” The (London) Evening Standard, July 28.
Epstein, Rob. “Janner’s fears of Nazis exhibition.” London Jewish News, July 17.
Lunghi, Enrico. “Encore une occasion pour approcher l’art d’aujourd’hui.” Kulturissimo, July 3.
Shave, Stuart. “Nice Nazi Nasty Nazi.” I-D (July).
Lyle, Peter. “The Reich Stuff.” The Face (June).
Stoeber, Michael. “Minimal-Maximal.” Artist Kunstmagazin 37 (April). Schmerler, Sarah. “Super Freaks.” Review. Time Out London 129 (March).
Johnson, Ken. “Super Freaks.” Review. The New York Times, March 6. Taylor, John Russell. “Around the Galleries.” The (London) Times, March 3.
Burrows, David. “Waves In Particles Out.” Art Monthly 123 (February).

1997 “Happening Hop.” The Scotsman, November 29.
Mahoney, Elizabeth. “Waves In Particles Out.” The Scotsman, November 5.
Gibb, Eddie. “Exploring the Art of Hedonism.” The (London) Guardian, October 27.
Dibdin, Thom. “Jive Talkin’ . . . Sound Art.” The Scotsman, October 23. Slyce, John. Review, ICA. Art (August).
Madden, Jenny. “Yes, But Is It Art?” I-D (August).
Kent, Sarah. “Assuming Positions.” Time Out London, July 23.
Feaver, William. “Frankly, This Place Is Going Down the Pan.” The (London) Observer, July 20.
Morris, Mark. “Hype.” The Face (July).
Decter, Joshua. Review. Artforum (April).

1996 Mir, Aleksandra. “Ouverture: Piotr Uklan’ ski.” Flash Art (October).

1995 Coomer, Martin. “Just Do It.” Time Out London, November 8–15. Peters, Christine. “Mehr oder weniger listige Störungen des Alltags.” Frankfurter Rundschau, February 16.

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