andrea geyer Work | Artist Statement & CV | Return to Artist List
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Artist Statement
I use both fiction and documentary strategies in my image and text based works. I employ a variety of media from photography to text, from drawing to video and installation. I have been investigates historically evolved concepts such as national identity, gender and class in the context of the ongoing re-adjustment of cultural meanings and social memories in current politics.
Recent works include “Criminal Case 40/61: Reverb,” a six-channel video engaging the historic trial of Adolf Eichmann in Jerusalem (1961) and the questions it raised about the relationship of truth and justice and about the responsibility an individual carries within a nation state. The piece is invested in how those questions resonate within the current political climate. And “Spiral Lands,” a project that writes an extensive photographic and textual historiography, drawing out the different concepts of land and identity that manifest in personal experience, traditions, politics, history and ideology to examine critically how they frame and determine our (mis)understanding of identity within the contemporary United States today.
About 10 years ago, just before the events of September 11th, I started working on what would become a series of works that address the relationship that an individual has to the country she lives in, of which she does or does not carry citizenship of, and to the lands that she calls her home. Looking at these questions of belonging, entitlement and responsibility my work has been driven by the events of the present moments in which I did the works as well as the memories, politics and histories that informed them.
Given these interests, I think it is important for me to stress that my work is deeply grounded within the complex, experiential realm of a body, a person, an individual. I understand that experience as singular, as particular, yet never fixed within the specificity of a biography. It is rather the suggestion that anything addressed in my work, any knowledge produced in its context, is understood as existing within and experienced contextually through one body, its memory and the dialogues with others in which it resonates. My work suggests that there is no history outside an experience, there is no politics without bodies, there are no truths without critical negotiation of all of these things.
In this thinking, I understand what is called memory as a concept that provides within us the context for the experience of a current moment. Hence my work has been trying to find ways to talk about how particular events or conditions in the past and the histories written from them become affirmative or contested memories within a person and how these memories then create the context from which we speak and act, and the ground from which we can take responsibility for ourselves.
These memories go both ways, they are on the one hand formative to who we are but on the other hand they are connections that we also actively build or seek for ourselves in relation to a history, to a place, to a family, to an identity. To understand memory in this way means not to forget, to reassure, to keep alive and present what makes us as people. And also for us —as always-already contemporary beings — to understand ourselves consciously as part of a reality in which something has happened.
So the questions in my work have been: How can we recognize the way in which the past unfolds in us every day? How can we endure and engage actively the knowledge that such a past offers to us? And then once recognized, how does such knowledge manifest itself within us as the agents of today?
Criminal Case 40/61: Reverb
The trial of Adolf Eichmann opened on April 11, 1961. The death sentence was executed on May 31, 1962. Over the course of this historic trial, the courtroom in Jerusalem became, through TV and radio broadcast, a worldwide stage for a multitude of struggles for justice, truth, history and the sovereignty of a young nation. Unlike any before it, this trial discussed difficult questions of personal responsibility within fascist regimes, the relationship of obedience and law, as well as the causal bond of truth and justice. On stage at the courtroom all parties were framed by the principles of law as well as the severity of the crime itself and its larger meanings and complex emotions within different communities. Across six monitors arranged in a circle around the viewers, this work shows an abstracted trial set in an archive, featuring six characters: Accused, Defense, Judge, Prosecution, Reporter, Audience. Based on the transcripts of the actual trial as well as the writings of Hannah Arendt, the characters re-enact not so much the trial but its historic trace. Each character is embodied by the same performer — who through the set up of the work is in dialogue with himself — examining how the complicated questions that the original trial raised, travel across time within a singular individual and become history.
Spiral Lands
Taking the context of the Navajo Nation and the surrounding Pueblos in the American Southwest as an example, the project works non-linearly through contemporary governmental-tribal relations to historic encounters of European settlers who came as colonizers to this land. These settlers encountered a people who themselves had a multitude of cultural backgrounds, differing forms of social organizations and diplomacy and had lived on, traveled and cultivated these lands for centuries. Not stopping in the past but actively engaging the present moment, Spiral Lands looks critically at how historical records, public and private documents, stories and histories, drawings and photographs have and are part of an ongoing struggle over signification when it comes to the lands that constitute the contemporary United States of America.
My focus in Spiral Lands lies not in the construction of U.S. history at large but in the documents as such that make these histories — particularly the documents that address the history of the land itself — and how we relate to and engage them as the current population trying to find our very own relationship to the country, its past, its present and reaching towards its future. Given the often under recognized colonial past of the United States, it is these documents, as well as paintings and photographs that are used to sustain the fictionalization of the colonial moment and the myth of Manifest Destiny. One could claim furthermore that U.S. national identity has even been constructed through these founding myths, which raises important questions about how we have come to understand these historical narratives of the nation. Spiral Lands tries to unsettle this foundation by closely reading all stories available, including the oral traditions and scholarship of Indigenous peoples, that are with great effort continuously and patiently working to deconstruct these founding myths. Because these fictions are not benign, they have significant effects as they informed and upheld specific policy and legislation that dispossessed Indigenous people from their lands, resources and rights and perpetuated the idea that Indigenous culture and peoples are inferior and ‘vanishing’.
Traveling across the land and in time, Spiral Lands recognizes identity within an ongoing struggles for spatial justice. As an artist working today, I am also invested in shedding light on the role that photography, art and other cultural forms such as novels and movies have had within the violent displacement of people and cultures and that today these cultural forms still work to allow the continuous disenfranchisement of Indigenous peoples, the (ab)use of their mythologized images, the exhaustion of their natural and cultural resources and heritage through capitalist exploitation and environmental abuse. Therefore in the story that Spiral Lands tells, the “I,” is located not in a place of distance and observation but in compliance to a history, that is not separate, but is irrevocably part of the condition of living in the United States today.
I use both fiction and documentary strategies in my image and text based works. I employ a variety of media from photography to text, from drawing to video and installation. I have been investigates historically evolved concepts such as national identity, gender and class in the context of the ongoing re-adjustment of cultural meanings and social memories in current politics.
Recent works include “Criminal Case 40/61: Reverb,” a six-channel video engaging the historic trial of Adolf Eichmann in Jerusalem (1961) and the questions it raised about the relationship of truth and justice and about the responsibility an individual carries within a nation state. The piece is invested in how those questions resonate within the current political climate. And “Spiral Lands,” a project that writes an extensive photographic and textual historiography, drawing out the different concepts of land and identity that manifest in personal experience, traditions, politics, history and ideology to examine critically how they frame and determine our (mis)understanding of identity within the contemporary United States today.
About 10 years ago, just before the events of September 11th, I started working on what would become a series of works that address the relationship that an individual has to the country she lives in, of which she does or does not carry citizenship of, and to the lands that she calls her home. Looking at these questions of belonging, entitlement and responsibility my work has been driven by the events of the present moments in which I did the works as well as the memories, politics and histories that informed them.
Given these interests, I think it is important for me to stress that my work is deeply grounded within the complex, experiential realm of a body, a person, an individual. I understand that experience as singular, as particular, yet never fixed within the specificity of a biography. It is rather the suggestion that anything addressed in my work, any knowledge produced in its context, is understood as existing within and experienced contextually through one body, its memory and the dialogues with others in which it resonates. My work suggests that there is no history outside an experience, there is no politics without bodies, there are no truths without critical negotiation of all of these things.
In this thinking, I understand what is called memory as a concept that provides within us the context for the experience of a current moment. Hence my work has been trying to find ways to talk about how particular events or conditions in the past and the histories written from them become affirmative or contested memories within a person and how these memories then create the context from which we speak and act, and the ground from which we can take responsibility for ourselves.
These memories go both ways, they are on the one hand formative to who we are but on the other hand they are connections that we also actively build or seek for ourselves in relation to a history, to a place, to a family, to an identity. To understand memory in this way means not to forget, to reassure, to keep alive and present what makes us as people. And also for us —as always-already contemporary beings — to understand ourselves consciously as part of a reality in which something has happened.
So the questions in my work have been: How can we recognize the way in which the past unfolds in us every day? How can we endure and engage actively the knowledge that such a past offers to us? And then once recognized, how does such knowledge manifest itself within us as the agents of today?
Criminal Case 40/61: Reverb
The trial of Adolf Eichmann opened on April 11, 1961. The death sentence was executed on May 31, 1962. Over the course of this historic trial, the courtroom in Jerusalem became, through TV and radio broadcast, a worldwide stage for a multitude of struggles for justice, truth, history and the sovereignty of a young nation. Unlike any before it, this trial discussed difficult questions of personal responsibility within fascist regimes, the relationship of obedience and law, as well as the causal bond of truth and justice. On stage at the courtroom all parties were framed by the principles of law as well as the severity of the crime itself and its larger meanings and complex emotions within different communities. Across six monitors arranged in a circle around the viewers, this work shows an abstracted trial set in an archive, featuring six characters: Accused, Defense, Judge, Prosecution, Reporter, Audience. Based on the transcripts of the actual trial as well as the writings of Hannah Arendt, the characters re-enact not so much the trial but its historic trace. Each character is embodied by the same performer — who through the set up of the work is in dialogue with himself — examining how the complicated questions that the original trial raised, travel across time within a singular individual and become history.
Spiral Lands
Taking the context of the Navajo Nation and the surrounding Pueblos in the American Southwest as an example, the project works non-linearly through contemporary governmental-tribal relations to historic encounters of European settlers who came as colonizers to this land. These settlers encountered a people who themselves had a multitude of cultural backgrounds, differing forms of social organizations and diplomacy and had lived on, traveled and cultivated these lands for centuries. Not stopping in the past but actively engaging the present moment, Spiral Lands looks critically at how historical records, public and private documents, stories and histories, drawings and photographs have and are part of an ongoing struggle over signification when it comes to the lands that constitute the contemporary United States of America.
My focus in Spiral Lands lies not in the construction of U.S. history at large but in the documents as such that make these histories — particularly the documents that address the history of the land itself — and how we relate to and engage them as the current population trying to find our very own relationship to the country, its past, its present and reaching towards its future. Given the often under recognized colonial past of the United States, it is these documents, as well as paintings and photographs that are used to sustain the fictionalization of the colonial moment and the myth of Manifest Destiny. One could claim furthermore that U.S. national identity has even been constructed through these founding myths, which raises important questions about how we have come to understand these historical narratives of the nation. Spiral Lands tries to unsettle this foundation by closely reading all stories available, including the oral traditions and scholarship of Indigenous peoples, that are with great effort continuously and patiently working to deconstruct these founding myths. Because these fictions are not benign, they have significant effects as they informed and upheld specific policy and legislation that dispossessed Indigenous people from their lands, resources and rights and perpetuated the idea that Indigenous culture and peoples are inferior and ‘vanishing’.
Traveling across the land and in time, Spiral Lands recognizes identity within an ongoing struggles for spatial justice. As an artist working today, I am also invested in shedding light on the role that photography, art and other cultural forms such as novels and movies have had within the violent displacement of people and cultures and that today these cultural forms still work to allow the continuous disenfranchisement of Indigenous peoples, the (ab)use of their mythologized images, the exhaustion of their natural and cultural resources and heritage through capitalist exploitation and environmental abuse. Therefore in the story that Spiral Lands tells, the “I,” is located not in a place of distance and observation but in compliance to a history, that is not separate, but is irrevocably part of the condition of living in the United States today.
CV
ANDREA GEYER
Curriculum Vitae
lives and works in New York City
www.andreageyer.info
SOLO EXHIBITIONS
2010
Criminal Case 40/61: Reverb, University of California Irvine’s University Art Gallery.
Spiral Lands / Chapter 1/ Chapter 2 / Chapter 3. Argos, Brussels, Belgium
Andrea Geyer | Sharon Hayes. Göteborgs Konsthall. Göteborg, Sweden. cat.
2009
Andrea Geyer | Sharon Hayes. Kunstmuseum St. Gallen. St. Gallen, Switzerland. cat
2008
9 Scripts from a Nation at War. REDCAT (Roy and Edna Disney/Calarts Theater), Los Angeles, CA.
Andrea Geyer. Galerie Thomas Zander, Cologne.
The past never changes. Galerie Hohenlohe, Vienna.
9 Scripts from a Nation at War. (collaboration with Sharon Hayes, Ashley Hunt, Katya Sander and David Thorne). TATE Modern, London.
Spiral Lands / Chapter 2. Lecture Modern Mondays, MOMA, New York.
2005
Spiral Lands. A reading. Free Space. Chelsea Hotel, New York. (curated by Dean Daderko)
Citizenship: Changing Conditions. IASPIS. Stockholm, Sweden.
2004
Parallax. Kunstverein St. Gallen im Katharinen. St. Gallen, Switzerland.
Meaning is what hides the instability of one’s position. Kunstmuseum Esbjerg. Esbjerg, Denmark. (with Katya Sander) cat.
2003
Secession. Vienna, Austria. cat.
2002
Cambio de Lugar_Change of Place (with Sharon Hayes). Galerie Signal, Malmö, Sweden.
o.T. Raum für aktuelle Kunst. Luzern, Switzerland.
Ortswechsel. Plattformen und Galerie Paula Böttcher. Berlin. (with Sharon Hayes)
2001
Fantasies are feelings given form. Don’t worry, they are safe if understood. Parlour Projects. Brooklyn, NY.
Information Upon Request. Galerie Paula Böttcher. Berlin, Germany.
Information Upon Request. Galerie T-19. Vienna, Austria.
2000
Project space. P.S.1 Contemporary Art Center. Long Island City, NY. (with Sharon Hayes)
Cambio de Lugar_Change of Place. La Panaderia, Mexico City. (with Sharon Hayes, curated by Michele Faguet)
SELECTED GROUP EXHIBITION
2010
Bienal de São Paulo. São Paulo, Brazil, cat.
Bucharest Biennial 4 (curated by Felix Vogel). Bucharest, Romania, cat.
Behind the Fourth Wall. Fictitious Lives – Lived Fictions, Generali Foundation, Vienna, Austria.
50 Artists Photograph The Future, Higher Pictures (curated by Dean Daderko). New York, NY.
First Nations / Second Nature. SFU Contemporary Arts, Simon Fraser University, Vancouver, British Columbia.
2009
AVANT-GUIDE TO NYC: Discovering Absence. Apex Arts, New York, NY. (curated by Sandra Skurvida).
FREE AS AIR AND WATER. The Cooper Union, New York, NY.
Heaven. Athens Biennal. “World Question Center”, Athens, cat. (curated by Chus Martinez).
Everything has a Name or the Potential to being named. Gasworks, London.
Still / Moving / Still. Photofestival Knooke, Netherlands.
Drifting Histories. Hessel Museum. Bard College, NY (curated by Anais Lellouche).
2008
When Absence Becomes Presence. Washington Project for the Arts, Washington, DC.
T2-50 Moons of Saturn, Torino Triennale. Castello di Rivoli Museo d’Arte Contemporanea, Torino, Italy. (curated by Daniel Birnbaum)
Zones of Conflict. Pratt Manhattan Gallery, New York, NY. (curated by TJ Demos)
2 x [ ( 2 x 20) + (2 x 2) ] + 2 = X x (desperately) trying to figure out the world. Mai 36 Galerie, Zürich, Switzerland and Brooke Alexander Gallery, New York, NY. (curated by Konrad Bitterli)
Ours: Democracy in the Age of Branding. Sheila C. Johnson Design Center, Organized by Parsons The New School and The Vera List Center for Art and Politics, New York, NY. (exhibition and performance, curated by Carin Kuoni)
The Activist Impulse. Women & Their Work, Austin, Texas. (curated by Regine Basha)
Zagreb Queer Festival. Zagreb, Croatia. (organized by Leonida Kovac)
The Greenroom: Reconsidering the Documentary and Contemporary Art. CCS Galleries and Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY. (curated by Maria Lind)
Field Work 1. Smart Project Space, Amsterdam.
War Stories. Mass Art, Boston.
Headlines & Footnotes. Henie Onstad Kunstsenter, Oslo.
“Nicht Alles Tuen.” Ziviler und Sozialer Ungehorsam an den Schnittstellen von Kunst, radikaler Politik und Technologie. Kunstraum emyt, Berlin und Galerie IG Bildende Kunst, Wien.
2007
Spatial Justice. Los Angeles Contemporary Exhibitions. Los Angeles, CA.
Brave Lonesome Cowboy. Kunstmuseum St. Gallen. St. Gallen, Switzerland. cat.
documenta12. Kassel.
Exile of the Imaginary. Politics / Aesthetics / Love. Generali Foundation. Vienna, Austria. (curated by Juli Carson)
2006
Kunstraum Lüneburg. Glucksman Gallery, Cork, Ireland Open Space. Art Köln, Köln, Germany
The Look of Law. University Art Gallery UC Irvine, USA. (screening)
Knowing you/Knowing me. Camera Austria. Graz
Cooling Out. On the paradox of feminism. Kunsthaus Baselland, Switzerland.
If a cat gives birth to kittens in an oven, are they kittens or biscuits? Roebling Hall, Brooklyn. (curated by Dan Daderko)
Re_dis_trans. Voltage of Relocation and Displacement. Apex Art, New York City. (curated by Aniko Erdosi)
When Artist Say We. Artist Space. New York.
Low-Intensity Conflict. Swiss Institute of New York. (screening) (curated by Alice Cantaluppi)
Der Raum zwischen zwei Bildern. Galerie Fotohof. Salzburg, Austria. (curated by Anita Witek/ Gregor Neuer)
2005
looking at america. Galerie Hohenlohe. Vienna.
Information Tranformation. ExtraCity, Antwerp, Belgium.
re:site Montréal. Oboro, Montréal, Canada.
Be what you want but stay where you are. Witte de With, Rotterdam. (curated by Roger M. Buergel and Ruth Noak)
Patriot. Contemporary Museum. Baltimore.
e-flux Video Rental. New York, Berlin.
Regierungen. Paradisische Handlungsräume. Secession. Vienna. cat.
2004
How do I want to be governed? (figure and ground), Miami Art Central. cat. (curated by Roger M. Buergel and Ruth Noak)
Indentify. Studies on the Political Subject. Vera List Center for Arts and Politics. New York.
Me, Myself and I. Kunstmuseum St. Gallen. St. Gallen, Switzerland.
Teasing Minds. Kunstverein München. München, Germany. (curated by Maria Lind)
External Affairs. PS122 Gallery. New York.
The Freedom Salon. Deitch Projects. New York.
Open House. O.K. Center. Linz, Austria cat.
Gelebte Bedingungen. Kaskadenkondensator. Basel, Switzerland. (curated by Alice Cantaluppi)
2003
The American Effect. Whitney Museum of Amerian Art. New York. cat.
Western. Terms of Use. Charlottenburg. Copenhagen, Denmark.
Between Spaces. Centro Cultural Andratx. Mallorca, Spain. traveled to Galerie Asbæk, Copenhagen, Denmark.
Usted está aquí (You are here). Espacio La Rebeca, Bogotá.
Opening. Andrew Kreps Gallery. New York.
2002
On Route. Serpentine Gallery. London, Great Britain. cat.
Organisationen. Skuc Gallerija. Lubijana, Slovenia. (curated by Roger M. Buergel and Ruth Noak)
Hausordnung. Stadthaus Ulm. Ulm, Germany. (curated by Katrina Menzel, Antje Krause-Wahl)
Manifesta4. Frankfurt, Germany.
Over the Moon. Große Gefühle zwischen Inszenierung und Authentizität.
Künstlerhaus Bethanien, Berlin, Germany. (with Ulrike Feser)
Preisträger des Medienkunstpreises, Kunstadapter 2002. Kunstverein Wiesbaden. Wiesbaden, Germany.
Social Sectors. Kunsthalle Exnergasse. Vienna, Austria. cat.
The Captain’s Road. Dublin, Ireland.
Stepping Back, Moving Forward. Pittsburgh Center for the Arts. (curated by William Stover)
2001
The Subject and Power (the lyrical voice). Central House of Artist. Moscow, Russia. (curated by Roger M. Buergel)
2000
Unconsciuos Documentaries. von Lintel&Nusser Gallery. New York. (curated by Paul Ha)
Selections. LFL Gallery. New York. (curated by Dean Daderko)
Open Studio. Whitney Independent Study Program. New York.
1999
Architorture. White Columns. New York. (curated by Paul Ha)
Raumgrenzen.Spacelines. Raum 1 / Galerie Hubert Winter. Vienna, Austria. (curated by Barbara Clausen)
Office. Staff Gallery. New York. (curated by Regine Basha)
Parking. Maydayproduction. Highbridge Park, New York.
Andrea Geyer, Tim Maul, Clara Williams. Gallery Pierogi 2000. Brooklyn, NY. (curated by Tim Maul)
OTHER SELECTED PROJECTS/TEACHING/LECTURES
2007
“Spiral Lands / Chapter 1” (Publication Artist Book), Koenig Books, London
“Queen of the Artists’ Studios: The Story of Audrey Munson.” (Publication Artist Book) Art in General
The Artist as a Public Intellectual? Akademie der Künste in collaboration with the Friends of the Secession, Vienna. (contribution to publication)
2005
I beg your Pardon, or the Reestablishment of Cordial Relations. Exhibition organized at the Vera List center for Arts and Politics, The New School.
2004 — 2006
Working. A conversation between Andrea Geyer, Sharon Hayes, Ashley Hunt, Maryam Jafri, Kara Lynch, Ulrike Müller,
Valerie Tevere, David Thorne and Alex Villar. published on http://www.artwurl.org/aw_interviews.html
2004
Indentify! or studies to the Political Subject. Exhibition organized at the Vera List center for Arts and Politics, The New School. (lecture)
The Artist as an Intellectual? Akademie der Künste in collaboration mit Secession, Vienna. (contribution)
Go heal yourself. The Flick Collection will be closed. Hebbeltheater, Berlin.
awards / bibliography
2009
Andrea Geyer/Sharon Hayes. Kunstmuseum St.Gallen. Kehrer Verlag, Nürnberg.
Leeb, Susanne, Antiromantic Conceptualism: Uber “Spiral Lands/Chapter 1” by Andrea Geyer,Texte Zur Kunst, March 2009, Issue 73.
2008
Spiral Lands / Chapter 1. Andrea Geyer. Koenigs Books. London.
2007
“Queen of the Artists’ Studios: The Story of Audrey Munson. Intimate Secrets of the Studio Life Revealed by the Most Perfect, Most Versatile, Most Famous of American Models, Whose Face and Figure Have Inspired Thousands of Modern Masterpieces of Sculpture and Painting” (Publication Artist Book)
Geschichten Erzählen und übersetzen. Cynthia Chris. Springer. Band XIII Heft 4 –Herbst 2007. Austria.
Changing the Subject. Julia Brian Willson. Artforum. October 2007, New York.
Documenta12. Kassel, Germany. cat.
Documenta12. Picture Book/contributing photographer. Kassel, Germany.
Brave Lonesome Cowboy. Kunstmuseum St. Gallen. St. Gallen, Switzerland. cat.
Exile of the Imaginary. Politics / Aesthetics / Love. Exh.Catalogue. Generali Foundation. Vienna, Austria. (curated by Juli Carson)
2005
Regierungen. Paradisische Handlungsräume. Secession. Vienna. cat.
2004
Starship. From the notebooks: Audrey Munson.
Space Program. Lower Manhattan Cultural Council.
Scapes. Basic Cartography. (Notes. September 2004)
2003
The American Effect. Exh.Catalogue. Whitney Museum of Amerian Art. New York. cat.
Andrea Geyer. Secession, Vienna. cat.
2002
On Route. Serpentine Gallery. London, Great Britain. cat.
Medienkunstpreis. Kunstadapter, Wiesbaden.
Social Sectors. Kunsthalle Exnergasse, März 2002. cat.
Charley. Les Presses du Réel/Janvier.
Künstlerprotraits: Andrea Geyer. Frankfurter Rundschau. July 15th, 2002, Kulturspiegel.
Manifesta catalogue, Shortguide. Frankfurt. cat.
2001
Justify my Love: Andrea Geyer, Cecily Brown, Dorit Margreiter, Stefan Ettlinger. Martin Conrads / Ulrich Gutmair.
Texte zur Kunst #42, Berlin. p. 102
At a Remove, William Stover. Zeitschrift des Center for Photography, Woodstoock, p.1
Verorte mich, ich bin ein Zeichen, Nicolas Siepen. Frankfurter Allgemeine Zeitung, 20.03.2001. p.BS6
Information Upon Request, Andrea Geyer. Christa Senzer. Springerin, Band 7, Heft 1/01, Wien.
Frauenhäuser, Particia Grzonka. Profil, 12.2.01, profil7. Vienna, Austria.
Andrea Geyer, Galerie T-19, Nicole Scheyerer. 2.2.01, Falter 5/01 Vienna, Austria.
Andrea Geyer, Galerie T-19, Florian Steininger. artmagazine Vienna, Austria.
Die Konstruktion der Weiblichkeit. Susanne Rohringer. ORF, online. Vienna, Austria.
Cambio de Lugar_Change of Place. Maryam Jafri, Writersproject PS1, Long Island City, NY.
Translating the Question of Feminism: Cambio de Lugar, Change of Place. Kimberly Lamm.
Writers project. PS1. Long Island City, NY.
ANDREA GEYER
Curriculum Vitae
lives and works in New York City
www.andreageyer.info
SOLO EXHIBITIONS
2010
Criminal Case 40/61: Reverb, University of California Irvine’s University Art Gallery.
Spiral Lands / Chapter 1/ Chapter 2 / Chapter 3. Argos, Brussels, Belgium
Andrea Geyer | Sharon Hayes. Göteborgs Konsthall. Göteborg, Sweden. cat.
2009
Andrea Geyer | Sharon Hayes. Kunstmuseum St. Gallen. St. Gallen, Switzerland. cat
2008
9 Scripts from a Nation at War. REDCAT (Roy and Edna Disney/Calarts Theater), Los Angeles, CA.
Andrea Geyer. Galerie Thomas Zander, Cologne.
The past never changes. Galerie Hohenlohe, Vienna.
9 Scripts from a Nation at War. (collaboration with Sharon Hayes, Ashley Hunt, Katya Sander and David Thorne). TATE Modern, London.
Spiral Lands / Chapter 2. Lecture Modern Mondays, MOMA, New York.
2005
Spiral Lands. A reading. Free Space. Chelsea Hotel, New York. (curated by Dean Daderko)
Citizenship: Changing Conditions. IASPIS. Stockholm, Sweden.
2004
Parallax. Kunstverein St. Gallen im Katharinen. St. Gallen, Switzerland.
Meaning is what hides the instability of one’s position. Kunstmuseum Esbjerg. Esbjerg, Denmark. (with Katya Sander) cat.
2003
Secession. Vienna, Austria. cat.
2002
Cambio de Lugar_Change of Place (with Sharon Hayes). Galerie Signal, Malmö, Sweden.
o.T. Raum für aktuelle Kunst. Luzern, Switzerland.
Ortswechsel. Plattformen und Galerie Paula Böttcher. Berlin. (with Sharon Hayes)
2001
Fantasies are feelings given form. Don’t worry, they are safe if understood. Parlour Projects. Brooklyn, NY.
Information Upon Request. Galerie Paula Böttcher. Berlin, Germany.
Information Upon Request. Galerie T-19. Vienna, Austria.
2000
Project space. P.S.1 Contemporary Art Center. Long Island City, NY. (with Sharon Hayes)
Cambio de Lugar_Change of Place. La Panaderia, Mexico City. (with Sharon Hayes, curated by Michele Faguet)
SELECTED GROUP EXHIBITION
2010
Bienal de São Paulo. São Paulo, Brazil, cat.
Bucharest Biennial 4 (curated by Felix Vogel). Bucharest, Romania, cat.
Behind the Fourth Wall. Fictitious Lives – Lived Fictions, Generali Foundation, Vienna, Austria.
50 Artists Photograph The Future, Higher Pictures (curated by Dean Daderko). New York, NY.
First Nations / Second Nature. SFU Contemporary Arts, Simon Fraser University, Vancouver, British Columbia.
2009
AVANT-GUIDE TO NYC: Discovering Absence. Apex Arts, New York, NY. (curated by Sandra Skurvida).
FREE AS AIR AND WATER. The Cooper Union, New York, NY.
Heaven. Athens Biennal. “World Question Center”, Athens, cat. (curated by Chus Martinez).
Everything has a Name or the Potential to being named. Gasworks, London.
Still / Moving / Still. Photofestival Knooke, Netherlands.
Drifting Histories. Hessel Museum. Bard College, NY (curated by Anais Lellouche).
2008
When Absence Becomes Presence. Washington Project for the Arts, Washington, DC.
T2-50 Moons of Saturn, Torino Triennale. Castello di Rivoli Museo d’Arte Contemporanea, Torino, Italy. (curated by Daniel Birnbaum)
Zones of Conflict. Pratt Manhattan Gallery, New York, NY. (curated by TJ Demos)
2 x [ ( 2 x 20) + (2 x 2) ] + 2 = X x (desperately) trying to figure out the world. Mai 36 Galerie, Zürich, Switzerland and Brooke Alexander Gallery, New York, NY. (curated by Konrad Bitterli)
Ours: Democracy in the Age of Branding. Sheila C. Johnson Design Center, Organized by Parsons The New School and The Vera List Center for Art and Politics, New York, NY. (exhibition and performance, curated by Carin Kuoni)
The Activist Impulse. Women & Their Work, Austin, Texas. (curated by Regine Basha)
Zagreb Queer Festival. Zagreb, Croatia. (organized by Leonida Kovac)
The Greenroom: Reconsidering the Documentary and Contemporary Art. CCS Galleries and Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY. (curated by Maria Lind)
Field Work 1. Smart Project Space, Amsterdam.
War Stories. Mass Art, Boston.
Headlines & Footnotes. Henie Onstad Kunstsenter, Oslo.
“Nicht Alles Tuen.” Ziviler und Sozialer Ungehorsam an den Schnittstellen von Kunst, radikaler Politik und Technologie. Kunstraum emyt, Berlin und Galerie IG Bildende Kunst, Wien.
2007
Spatial Justice. Los Angeles Contemporary Exhibitions. Los Angeles, CA.
Brave Lonesome Cowboy. Kunstmuseum St. Gallen. St. Gallen, Switzerland. cat.
documenta12. Kassel.
Exile of the Imaginary. Politics / Aesthetics / Love. Generali Foundation. Vienna, Austria. (curated by Juli Carson)
2006
Kunstraum Lüneburg. Glucksman Gallery, Cork, Ireland Open Space. Art Köln, Köln, Germany
The Look of Law. University Art Gallery UC Irvine, USA. (screening)
Knowing you/Knowing me. Camera Austria. Graz
Cooling Out. On the paradox of feminism. Kunsthaus Baselland, Switzerland.
If a cat gives birth to kittens in an oven, are they kittens or biscuits? Roebling Hall, Brooklyn. (curated by Dan Daderko)
Re_dis_trans. Voltage of Relocation and Displacement. Apex Art, New York City. (curated by Aniko Erdosi)
When Artist Say We. Artist Space. New York.
Low-Intensity Conflict. Swiss Institute of New York. (screening) (curated by Alice Cantaluppi)
Der Raum zwischen zwei Bildern. Galerie Fotohof. Salzburg, Austria. (curated by Anita Witek/ Gregor Neuer)
2005
looking at america. Galerie Hohenlohe. Vienna.
Information Tranformation. ExtraCity, Antwerp, Belgium.
re:site Montréal. Oboro, Montréal, Canada.
Be what you want but stay where you are. Witte de With, Rotterdam. (curated by Roger M. Buergel and Ruth Noak)
Patriot. Contemporary Museum. Baltimore.
e-flux Video Rental. New York, Berlin.
Regierungen. Paradisische Handlungsräume. Secession. Vienna. cat.
2004
How do I want to be governed? (figure and ground), Miami Art Central. cat. (curated by Roger M. Buergel and Ruth Noak)
Indentify. Studies on the Political Subject. Vera List Center for Arts and Politics. New York.
Me, Myself and I. Kunstmuseum St. Gallen. St. Gallen, Switzerland.
Teasing Minds. Kunstverein München. München, Germany. (curated by Maria Lind)
External Affairs. PS122 Gallery. New York.
The Freedom Salon. Deitch Projects. New York.
Open House. O.K. Center. Linz, Austria cat.
Gelebte Bedingungen. Kaskadenkondensator. Basel, Switzerland. (curated by Alice Cantaluppi)
2003
The American Effect. Whitney Museum of Amerian Art. New York. cat.
Western. Terms of Use. Charlottenburg. Copenhagen, Denmark.
Between Spaces. Centro Cultural Andratx. Mallorca, Spain. traveled to Galerie Asbæk, Copenhagen, Denmark.
Usted está aquí (You are here). Espacio La Rebeca, Bogotá.
Opening. Andrew Kreps Gallery. New York.
2002
On Route. Serpentine Gallery. London, Great Britain. cat.
Organisationen. Skuc Gallerija. Lubijana, Slovenia. (curated by Roger M. Buergel and Ruth Noak)
Hausordnung. Stadthaus Ulm. Ulm, Germany. (curated by Katrina Menzel, Antje Krause-Wahl)
Manifesta4. Frankfurt, Germany.
Over the Moon. Große Gefühle zwischen Inszenierung und Authentizität.
Künstlerhaus Bethanien, Berlin, Germany. (with Ulrike Feser)
Preisträger des Medienkunstpreises, Kunstadapter 2002. Kunstverein Wiesbaden. Wiesbaden, Germany.
Social Sectors. Kunsthalle Exnergasse. Vienna, Austria. cat.
The Captain’s Road. Dublin, Ireland.
Stepping Back, Moving Forward. Pittsburgh Center for the Arts. (curated by William Stover)
2001
The Subject and Power (the lyrical voice). Central House of Artist. Moscow, Russia. (curated by Roger M. Buergel)
2000
Unconsciuos Documentaries. von Lintel&Nusser Gallery. New York. (curated by Paul Ha)
Selections. LFL Gallery. New York. (curated by Dean Daderko)
Open Studio. Whitney Independent Study Program. New York.
1999
Architorture. White Columns. New York. (curated by Paul Ha)
Raumgrenzen.Spacelines. Raum 1 / Galerie Hubert Winter. Vienna, Austria. (curated by Barbara Clausen)
Office. Staff Gallery. New York. (curated by Regine Basha)
Parking. Maydayproduction. Highbridge Park, New York.
Andrea Geyer, Tim Maul, Clara Williams. Gallery Pierogi 2000. Brooklyn, NY. (curated by Tim Maul)
OTHER SELECTED PROJECTS/TEACHING/LECTURES
2007
“Spiral Lands / Chapter 1” (Publication Artist Book), Koenig Books, London
“Queen of the Artists’ Studios: The Story of Audrey Munson.” (Publication Artist Book) Art in General
The Artist as a Public Intellectual? Akademie der Künste in collaboration with the Friends of the Secession, Vienna. (contribution to publication)
2005
I beg your Pardon, or the Reestablishment of Cordial Relations. Exhibition organized at the Vera List center for Arts and Politics, The New School.
2004 — 2006
Working. A conversation between Andrea Geyer, Sharon Hayes, Ashley Hunt, Maryam Jafri, Kara Lynch, Ulrike Müller,
Valerie Tevere, David Thorne and Alex Villar. published on http://www.artwurl.org/aw_interviews.html
2004
Indentify! or studies to the Political Subject. Exhibition organized at the Vera List center for Arts and Politics, The New School. (lecture)
The Artist as an Intellectual? Akademie der Künste in collaboration mit Secession, Vienna. (contribution)
Go heal yourself. The Flick Collection will be closed. Hebbeltheater, Berlin.
awards / bibliography
2009
Andrea Geyer/Sharon Hayes. Kunstmuseum St.Gallen. Kehrer Verlag, Nürnberg.
Leeb, Susanne, Antiromantic Conceptualism: Uber “Spiral Lands/Chapter 1” by Andrea Geyer,Texte Zur Kunst, March 2009, Issue 73.
2008
Spiral Lands / Chapter 1. Andrea Geyer. Koenigs Books. London.
2007
“Queen of the Artists’ Studios: The Story of Audrey Munson. Intimate Secrets of the Studio Life Revealed by the Most Perfect, Most Versatile, Most Famous of American Models, Whose Face and Figure Have Inspired Thousands of Modern Masterpieces of Sculpture and Painting” (Publication Artist Book)
Geschichten Erzählen und übersetzen. Cynthia Chris. Springer. Band XIII Heft 4 –Herbst 2007. Austria.
Changing the Subject. Julia Brian Willson. Artforum. October 2007, New York.
Documenta12. Kassel, Germany. cat.
Documenta12. Picture Book/contributing photographer. Kassel, Germany.
Brave Lonesome Cowboy. Kunstmuseum St. Gallen. St. Gallen, Switzerland. cat.
Exile of the Imaginary. Politics / Aesthetics / Love. Exh.Catalogue. Generali Foundation. Vienna, Austria. (curated by Juli Carson)
2005
Regierungen. Paradisische Handlungsräume. Secession. Vienna. cat.
2004
Starship. From the notebooks: Audrey Munson.
Space Program. Lower Manhattan Cultural Council.
Scapes. Basic Cartography. (Notes. September 2004)
2003
The American Effect. Exh.Catalogue. Whitney Museum of Amerian Art. New York. cat.
Andrea Geyer. Secession, Vienna. cat.
2002
On Route. Serpentine Gallery. London, Great Britain. cat.
Medienkunstpreis. Kunstadapter, Wiesbaden.
Social Sectors. Kunsthalle Exnergasse, März 2002. cat.
Charley. Les Presses du Réel/Janvier.
Künstlerprotraits: Andrea Geyer. Frankfurter Rundschau. July 15th, 2002, Kulturspiegel.
Manifesta catalogue, Shortguide. Frankfurt. cat.
2001
Justify my Love: Andrea Geyer, Cecily Brown, Dorit Margreiter, Stefan Ettlinger. Martin Conrads / Ulrich Gutmair.
Texte zur Kunst #42, Berlin. p. 102
At a Remove, William Stover. Zeitschrift des Center for Photography, Woodstoock, p.1
Verorte mich, ich bin ein Zeichen, Nicolas Siepen. Frankfurter Allgemeine Zeitung, 20.03.2001. p.BS6
Information Upon Request, Andrea Geyer. Christa Senzer. Springerin, Band 7, Heft 1/01, Wien.
Frauenhäuser, Particia Grzonka. Profil, 12.2.01, profil7. Vienna, Austria.
Andrea Geyer, Galerie T-19, Nicole Scheyerer. 2.2.01, Falter 5/01 Vienna, Austria.
Andrea Geyer, Galerie T-19, Florian Steininger. artmagazine Vienna, Austria.
Die Konstruktion der Weiblichkeit. Susanne Rohringer. ORF, online. Vienna, Austria.
Cambio de Lugar_Change of Place. Maryam Jafri, Writersproject PS1, Long Island City, NY.
Translating the Question of Feminism: Cambio de Lugar, Change of Place. Kimberly Lamm.
Writers project. PS1. Long Island City, NY.
Criminal Case 40 / 61: Reverb, 2009Installation view Kunstmuseum St.Gallen
Video provided for application
6-channel video installation, 6 monitors, 6 stools, HD video, color, sound, 42 minutes.
from Criminal Case 40 / 61: Reverb, 2009
frame-still (Accused)
from Criminal Case 40 / 61: Reverb, 2009
frame-still (Defense)
from Criminal Case 40 / 61: Reverb, 2009
frame-still (Judge)
from Criminal Case 40 / 61: Reverb, 2009
frame-still (Audience)
from Criminal Case 40 / 61: Reverb, 2009
frame-still (Prosecutor)
from Criminal Case 40 / 61: Reverb, 2009
frame-still (Reporter)
from Evidence (Criminal Case 40/61), 2010
digital c-prints, 16 x 22 inches, framed.
from Evidence (Criminal Case 40/61), 2010
digital c-prints, 16 x 22 inches,
from Evidence (Criminal Case 40/61), 2010
digital c-prints, 16 x 22 inches,
from Evidence (Criminal Case 40/61), 2010
digital c-prints, 16 x 22 inches,
from Evidence (Criminal Case 40/61), 2010
digital c-prints, 16 x 22 inches,
from Evidence (Criminal Case 40/61), 2010
digital c-prints, 16 x 22 inches,
installation viewSpiral Lands / Chapter 1, 2007
installation with fiber based photographs and text (17 frames 70 x 175cm, 2 frames 70 x 230cm), brochure with footnotes.
detail 1, frame (#2)Spiral Lands / Chapter 1, 2007
fiber based photographs and text, 70 x 175cm
detail 2, frame (#2)Spiral Lands / Chapter 1, 2007
fiber based photographs and text, 70 x 175cm
detail 1, frame (#14)Spiral Lands / Chapter 1, 2007
fiber based photographs and text, 70 x 175cm
detail 2, frame (#14)Spiral Lands / Chapter 1, 2007
fiber based photographs and text, 70 x 175cm
detail 1, frame (#16)Spiral Lands / Chapter 1, 2007
fiber based photographs and text, 70 x 175cm
detail 2, frame (#16)Spiral Lands / Chapter 1, 2007
fiber based photographs and text, 70 x 175cm