Warren Neidich




Bio / CV

Warren Neidich is an artist and writer living between Berlin and Los Angeles whose work has been exhibited internationally. He is the recipient of the Vilem Flusser Theory Award, 2010. Selected future exhibitions 2010 include Bringing Up Knowledge, MUSAC, Leon, Spain, Kunsthalle Athens, Athens, Greece, Book Exchange, Glenn Horowitz, East Hampton,New York, Circuit, Center For Contemporary Art Lausanne, Switzerland, Hidden Publics, Kunsthalle Palazzo, Liestal, Switzerland, Love Letter for a Surrogate, Torrence Art MuseumTorrence, CA., UKS-Unge Kunstneres Samfund/Young Artist Society, Oslo, Norway and Gallery Moriarty, Madrid, Spain. His recent monograph of drawings entitled Lost Between the Extensivity/Intensivity Exchange was recently published by Onomatopee, Eindhoven, The Netherlands. Cognitive Architecture: From Biopower to Noo-power is forthcoming and will launch at this years Venice Biennial for Architecture at the Dutch Pavilion. He is currently Visiting Scholar and Artist in Residence at the TU Delft School of Architecture, Delft, The Netherlands.

Selected Solo Exhibitions

Selected Group Exhibitions

  • 2010 Bringing Up Knowledge, MUSAC, Leon, Spain, curated by Octavio Zaya
  • 2010 In the Mind’s I, Kunsthalle Athena, Athens, Greece, curated by Marina Foukaldis
  • 2010 Love Letter to/from a Surrogate, Torrance Art Museum, Torrance, California, Max Presneill
  • 2010 “… avant il n’y avait rien, après on va pouvoir faire mieux.”, Circuit – Center For Contemporary Art, Lausanne, Switzerland, curated by Mathieu Copelands
  • 2010 Hidden Publics, Kunsthalle Palazzo, Liestal, Switzerland curated by Dr. Andrea Domesle and Walter Seidel
  • 2010 In the Mind’s I, UKS-Unge Kunstneres Samfund/Young Artist Society, Oslo, Norway curated by Linus Elmes
  • 2009 Scorpio’s Garden, Curated by Kirstin Roepstorff, Temporary Kunsthalle, Berlin, Germany
  • 2009 Office, Komplot, Brussels, Belgium
  • 2009 Back to the Future, Curated by Carson Chan Coma Gallery, Berlin, Gemany
  • 2009 The Fax Show, Curated by: Jaoa Ribas, The Drawing Center, New York City, New York
  • 2008 Some Cursory Comments About My Wall Drawing, IASPIS, Stockholm Sweden
  • 2007 House Trip, curated by Ami Barak, Art Forum Berlin, Berlin, Germany
  • 2007 Multitasking, curated Barbara Lauterbach, NGBK, Berlin, Germany
  • 2007 Saloon, Special Projects Section, curated by Adina Popescu, Moscow Biennial, Moscow, Russia
  • 2006 The Expanded Eye, curated by Bice Kuriger, Kunsthaus, Zurich
  • 2006 Protections, curated by Adam Budak and Christine Peters, Kunsthaus Graz, Graz, Austria
  • 2006 Sweet Dreams: Contemporary Art and Complicity, curated by Johanna Drucker, Bayly Art Museum, Charlottesville, Virginia, USA
  • 2006 Masquerade, curated by Deborah Irmas, Los Angeles County Museum of Art, Los Angeles, California, USA
  • 2005 Go-Between, curated by Wolfgang Fetz and Peter Lewis, Magazin 4 and Bregenzer Kunstverein, Bregenz, Austria
  • 2005 Library, Librarie, curated by Idealondon, Institute of Contemporary Art, London, United Kingdom
  • 2005 New Economy, curated by Eric Angles, Columbia University Art Gallery, New York City, New York, USA
  • 2005 CAC/tv, curated by Raimundas Malasauskas, Contemporary Arts Center, Vilnius, Lithuania
  • 2004 Synaesthesia: A Neuro-aesthetic Exhibition, curated by Chloe Vaitsou, Institute of Contemporary Art, London, United Kingdom
  • 2004 Everything is Connected, He, He, He, curated by Gunnar Kvaran, Astrup Fearnley Museum of Modern Art, Oslo, Norway
  • 2004 Silent: A State of Being, curated by Jorge Diaz, Madrid Abierto Public Sculpture Competition, Madrid, Spain
  • 2003 Fröhliche Wissenschaft, curated by Wilfried Dickoff, Brandenburgischer Kunstverein, Potsdam, Germany
  • 2003 Harlem Postcards, curated by Christine Kim, Studio Museum of Harlem, New York City, New York, USA
  • 2001 Bitstreams, curated by Larry Rinder, Whitney Museum of American Art, New York City, New York, USA
  • 2001 Urban Pornography, curated by Laurie Firstenberg, Artists Space, New York City, New York, USA
  • 2001 Optical Verve, curated by Sylvie Fortin, Ottawa Art Gallery, Ottawa, Canada
  • 1997 Making It Real, curated by Vik Muniz, Aldrich Museum of Art, Ridgefield, Connecticut, continued to:
Reykjavik Municipal Art Museum, Reykjavik, Iceland
  • 1996 Ports of Entry: William Burroughs, curated by Robert Sobieszek, Los Angeles County Museum of Art, Los Angeles, USA 
continued to: Spencer Museum of Art, Kansas City, Missouri, USA
  • 1995 Mapping a Response to MOMA, curated by Peter Fend, American Fine Arts, New York City, New York, USA
  • 1995 Photography After Photography, curated by Hubertus von Amelunxen, Stefan Iglhaut and Florian Rotzer, Fotomuseum Winterthur, Winterthur, Switzerland; Institute of Contemporary Art, Philadelphia, Pennsylvania, USA
  • 1991 New York Stories, curated by Richard Wasko, P.S.1 Institute of Contemporary Art, Long Island City, New York, USA
  • 1991 Des Vessies et des Lanternes, curated by Allain D’hooge, Palais de Tokyo, Paris, France
  • 1989 Photography of Invention, curated by Joshua Smith, National Museum of American Art, Washington DC, USA,
 Continued to:
 The Museum of Contemporary Art, Chicago, Illinois;
 Walker Museum Of Art, Minneapolis, Minnesota, USA
  • 1988 Vom Landschaftsbild zur Spurensicherung, curated by Reinhold Misselbeck, Museum Ludwig, Koln, Germany
  • 1988 Television and Art, curated by Mark Miller, Queens Museum, Queens, New York, USA
  • 1988 The Nature of the Real, curated by Renee Ricardo and Paul Laster, White Columns, New York City, New York, USA

Selected Bibliography

  • 2009 Daniel Miller, “The Power of Art“, Frieze Magazine, July 30, 2009.
  • 2009 Neidich, Schillinger, Nathalie Anglès, Eric Anglès, Bajo, “The Rules of Engagement“, Art Lies, Issue 62
  • 2009 T.J. Carlin, “The Best New Art”, Time Out New York, Issue 713 : May 28–Jun 3, 2009
  • 2009 T.J. Carlin, “Do It Yourself”, Art in America Online, 06/18/09
  • 2008 Adina Popescu, “Warren Neidich”, Artforum, Summer 2008.
  • 2008 Thea Harold, “In der Werkstatt”, Tagesspiegel, Berlin, May 10, 2008.
  • 2008 Christiane Meixner, “Zeigen, was man hat”, Tagesspiegel, Berlin, May 3, 2008.
  • 2008 Alix Rule, “Round-Up: Best Shows in Berlin this Month“, Saatchi Online, April 5, 2008.
  • 2006 Mark Gisbourne, My Vision – Ideen fur die Welt von morgen, exhibition catalogue, 2006.
  • 2006 Maurizio Bortolotti, “Art and Resistance”, Domus, December 2006.
  • 2006 “Young Collector Stefan Levine: Gas Man”, Art/Basel/Miami Beach Magazine, December 2006, 72.
  • 2006 Bice Kuriger, Expanded Eye, exhibition catalogue, Kunsthaus Graz, 2006.
  • 2005 “Around the Town”, The New Yorker, September 19, 2005.
  • 2005 Johanna Drucker, Sweet Dreams: Contemporary Art and Complicity, University of Chicago Press, 2005, 186-197.
  • 2005 Hans Ulrich Obrist, “Warren Neidich”, Spot Magazine of the Houston Center of Photography, Spring 2005.
  • 2005 Val Williams, “Photos, Histories, Absurdities,” Photoworks, Spring/Summer 2005, 42-47.
  • 2004 Anne Ellegood, “Silent Happenings”, Public Execution, exhibition catalogue, Exit Art, 2004.
  • 2003 Christiane Paul, Digital Art, Thames and Hudson, New York, 2003.
  • 2002 Sarah Valdez, “Warren Neidich at the Laguna Art Museum,” Art in America, February 2002.
  • 2002 Adrian Dannatt, “Brainy,” The Art Newspaper, No.128. September 2002, 26-27.
  • 2002 Carlos Brillembourg, “Mirror, Mirror on the Wall,” Storefront for Art and Architecture, September 14, 2002.
  • 2002 Sylvie Fortin, Optical Verve, exhibition catalogue, Ottawa Art Gallery, 2002.
  • 2002 Lisa Boone, “Photographs and Distortion,” Los Angeles Times, November 7, 2002, weekend section.
  • 2002 Ingebourg Ruthe, “Poelzig und die Kunstvitrine,” Berliner Zeitung, February 2002.
  • 2002 Petra Welzel, “Augen auf und durch,” die tageszeitung, February 26, 2002
  • 2001 Larry Rinder, “Art in the Digital Age”, BitStreams, exhibition catalogue, Whitney Museum of Art.
  • 2001 Vivian Letran, “The Natural and the Unnatural,” Los Angeles Times, July 27, 2001.
  • 2001 Denise Carvalo, “Bitstreams,” Flash Art, May-June
  • 2001 Christiane Paul, “Hotlist, Artbrain, www.artbrain.org,” Artforum, October 2001.
  • 1999 Robert Mahoney, “Millennium at Tate,” Time Out, No. 201, July 11–July 17, 2001, 52.
  • 1999 Norman Bryson, “Summer 1999 at Tate”, essay for exhibition at Tate Gallery, New York City, July 1999, 4-5.
  • 1999 Regine Basha, “Performing Observations; Recent Work by Warren Neidich,” Performance Arts Journal, Spring 1999.
  • 1999 Sue Spaid, “Seeing Eye, Conceptual Art as a Neurobiological Praxis,” Village Voice, April 27, 1999.
  • 1999 Roberta Smith, “Conceptual Art: Over and Yet Everywhere,” The New York Times: Arts and Leisure, 25.04.1999, 1.
  • 1999 “Critics Pick; Alternative, Alternative,” Time Out, April 2-9, 1999.
  • 1999 “Critics Pick; Conceptual Art as a Neurobiological Praxis,” Time Out, March 25-April 1, 1999.
  • 1998 Cathy Lebowitz, “Warren Neidich at Steffany Martz,” Art in America, April 1998.
  • 1997 Nancy Princethal, “In the Flow at Franklin Furnace,” Art in America, No. 10, October 1997.
  • 1997 Graham Clark, Oxford History of Art: The Photograph, Oxford University Press, Oxford, England, 1997.
  • 1997 Vik Muniz and Luc Sante, Making It Real, exhibition catalogue, Independent Curators International, New York, 1997.
  • 1996 Robert Sobieszek, Ports of Entry: William S. Burroughs and the Arts, exhibition catalogue, 
Los Angeles Museum of Art, 1996.
  • 1996 Hubertus von Amelunxen, Photography after Photography: Memory and Representation in the Digital Age,
 Grand Barts, 1996.
  • 1996 “Photography after Photography,” Frieze, May 1996, 69.
  • 1996 Robert Mahoney, “Warren Neidich, Pollock Holding a Crow with Alchemy,” Time Out, Issue 44, 1996.
  • 1996 Kim Levin, “Art Choices”, Village Voice, July 9-16, 1996.
  • 1996 Kim Levin, “Art Short List; Sweat”, Village Voice, July 16, 1996, 9.
  • 1994 Susan Kandel, “Slight of Hand,” Los Angeles Times, June 9, 1994.
  • 1993 Ulrich Clewing, “Wink mit dem Zaunpfahl,” Zitty, October 1993.
  • 1993 Harald Fricke, “Wieder aus der Natur Schoepfen”, Die Tageszeitung, June 1993.
  • 1993 Harald Fricke, “Richtige Form, Richtige Farbe, im Richtigen Movement,” Die Tageszeitung, June 1993.
  • 1993 Gisela Sonnenburg, “Schmauch…Schrie…das Protokoll,” Naives Deutschland, June 1993.
  • 1993 Kim Levin, “Best Bets Art,” The Village Voice, February 1993.
  • 1992 Kim Levin, “Bets Art,” The Village Voice, April 1992.
  • 1990 Peter Kloehn, “A-historical Williamsburg,” Artscribe, No. 80, March/April 1990.
  • 1989 Photography of Invention Joshua Smith, Smithsonian Museum Press, Washington DC, 1989.
  • 1989 Vicki Goldberg, “The Real America,” American Photographer, December 1989.
  • 1989 Carrington Calas, “Of Baudrillard, Lies and Women,” Art Review, May/June 1989.
  • 1989 John Welchman, “Turning Japanese (In),” Artforum, No. 27, April 1989.

Professional Experience


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