Remix 7
Featuring The artists exhibited at THE FORGOTTENBAR in June and July 2010
Opening, August 3rd, 7 pm, 2010
Galerie im Regierungsviertel
Forgotten Bar
Boppstrasse 5
10967 Berlin Kreuzberg
www.galerieimregierungsviertel.org
Ida-Marie Corell, Viktoria Volozhynska, Claudia Mucha, Linda Weiss, April Gertler, Roman Ricken, Michaela Zimmer, Clare O`Connor, Constant Dullaart, Spiros Hadjidjanos, Neil Mullholland, Tjorg Douglas Beer, Michael Conrads, Malte Urbschat, Raul Walch, Ullrich Wulff, Jan Koch, Vajra Spook, Mike Ruiz, Henrike Daum, Benjamin L. Aman, Marion Auburtin, Gernot Wieland, Malte Lochstedt, Meike Schmidt, Freek Wambacq, Peter Chevalier, Sebastian Dacey, Gama, Philipp Karl Moritz, Michael Fandel, Lena Göbel, Robert Muntean, Hannes Riberits, Sigrun Paulsen, Kai Lillich...
Jenga
Opening, July 8, 7 pm, 2010
& DJ Kae
Galerie im Regierungsviertel
Forgotten Bar
Boppstrasse 5
10967 Berlin Kreuzberg
www.galerieimregierungsviertel.org
www.volozhynska.de
curated by Viktoria Volozhynska, us and ourselves
Elisa Baumgartner, Nina E. Schönefeld, Claudia Mucha, Jessica Tillner, Viktoria Volozhynska, Linda Weiss
10 Years Kunstverein Glückstadt
May 9 – July 25, 2010
Opening, May 9, 11 am
Opening hours: Thursday - Sunday, 1 - 5 pm
Speakers:
Caroline Schwarz, designee of culture, Kiel
Gerhard Blasberg, mayoral, Glückstadt
Prof. Wolfgang Kemp, arthistorian, University Hamburg
Christiane Gehner, chief executive, Palais für aktuelle Kunst
Christiane Opitz, curator, Palais für aktuelle Kunst
Palais für aktuelle Kunst
Kunstverein Glückstadt
Am Hafen 46
25348 Glückstadt
www.pak-glueckstadt.de
Papergirl
Opening, July 4
Haus Schwarzenberg
Rosenthalerstraße 39
10178 Berlin
www.neurotitan.de
Kiezbiennale 2010
Opening, July 1, 1 pm
July 1st - July 3rd, 2010
Anton Seafkow Platz 4
Berlin-Lichtenberg
www.kiezbiennale.com
www.kiezbiennale-lichtenberg.blogspot.com
curated by Anke Fischer + Waltraud Maria Weiland
Lena Braun, Cinema Copain, Isabella Gresser, Silke Gotttschalk, Sonja Hohenbild, Monika Kirschner, FrenchMottershead, Marco Olbrich, Linda Weiss
Excerpt from the book People, Places, Process: The Shops Project by FrenchMottershead, Jagoda Documentary und Customers of Laura, Ljubljana, Slovenia, UK, 2009
Business (after New York), Linda Weiss, D, 2009
Kiezbiennale / neighbourhood biennale / July 2010 / video- and art work contributions to be screened at the market stall cinema "weekly world making" in a weekly market in multi-storey residential estates in East Berlin "1# - the market research institution Lichtenberg: weekly world making" explores and compares consumers and traders rites, their history and matters of taste. On weekly markets we install market booths including a cinema and participatory artwork & exhibitions. Therefore we invite artists, or other professionals and wider public to cooperate with market crowds or staff, implementing public art projects or contributions for the market stall cinema. "Weekly world making" starts from worlds already on hand; the making is a remaking. The market research institution Lichtenberg visits and illustrates distinctions of taste and ideas of peoples self image as keepers, owners, givers and takers, and taps their perception within shopping rituals or their refusals.
The Pattern Project
Opening: June 25th, 2010
art house co-op
Brookly Art Library
201 Richards St #16
Brooklyn, NY
www.arthousecoop.com
June 25th - 6 pm - .mov (filmprogram)
Studio [+0] im Tapetenwerk
Lützner Str. 91
04177 Leipzig
www.plusnull.org
Seminar "Swimming Backwards" organized by Constanze Fritzsch and Nadin Reschke in collaboration with Bétonsalon Paris
Filmprogram, May 31
MFA Program "Public Art and New Artistic Strategies"
Bauhaus-University Weimar
Geschwister-Scholl-Straße 7
99421 Weimar
www.uni-weimar.de/mfa
Seminar "stadt land film" (University of Arts Berlin) organised by Madeleine Bernstorff
Filmprogram, May 11 + 12, 5 pm
Kino Arsenal 2, Berlin
Potsdamer Straße 2
10785 Berlin
www.arsenal-berlin.de
To Be In the City Linda Weiss D 2006 2 min
Kampfmai 1929 Piel Jutzi D 1929 6 min
In the Streets Helen Levitt, James Agee USA 1951 16 min
Arme Leute Vlado Kristl BRD 1963 8 min
Crni Film Zelimir Zilnik YU 1971 16 min
Oskar Langenfeld Holger Meins BRD 1967 12 min
Les mains négatives Marguerite Duras F 1979 14 min
Visible Cities Babette Mangolte USA 1991 31 min
Privater Parkplatz Berlin 2004 Christine Woditschka 1 min
Bürogebäude Berlin 2005 Christine Woditschka 7 min
Q Oliver Husain D 2002 15 min
Park Fiction Margit Czenki D 1999 60 min
Revolution Non Stop Christoph Schäfer D 2000 19 min
Stadt in Flammen Jürgen Reble BRD 1984 6 min
Abwertungskit Margit Czenki D 2009 6 min zusammen 107 min
TO THINK THE OUTSIDE
Opening, April 29, 2010, 7 pm
May 2 - May 22, 2010
Scotty Enterprises Art Space
Oranienstr. 46
10969 Berlin
www.scotty-enterprises.de
In her work “Sunset Bullet Time (Rockefeller Center NY) - To Think the Outside (Power)” the artist Linda Weiss treats the essay “To Think the Outside (Power)” (Gilles Deleuze, Foucault) like an editor and “cuts” 35 quotations from the text. They are combined with a panoramic sweep taken on top of Rockefeller Center.
Hereby the matrix of economy is used as a metaphor for the thought of power. While in this piece the icon of economy in the 1930s, John D. Rockefeller, is the starting point. “Shot by Shot” compiles a panorama. The camera’s track along the Empire State Building and the still-under-construction Bank of America Tower among other buildings creates an architectonical relationship with today’s economy and its orders.
The title of the exhibition “TO THINK THE OUTSIDE” is taken from the text video “TO BE IN THE CITY”, which lists a woman’s one hundred thoughts on Paris's and New York’s screen, architecture, political action and on love. Therein lies the question whether it is possible to take an outside view from within a structure. The peripheral perspective is realized by the acting “Woman with the Camera” by doing a “Shot by Shot” version from the center to the outside. It takes up the metaphor of the panopticon which stands for the “dispositive of power”.
The need for the artist to topicalize the “outside of structure” sprang from the question in how far involvement in relations of power and production and the integration into existing structures creates a state of helplessness towards that structure. “To Think the Outside” clarifies that thought can only be related to time and to a concrete situation (the inside). The idea of the text changes the outlook on the speaking/thinking/acting relationship.
The video “TO BE IN THE CITY” will also be shown in the film program “stadt land film” at Kino Arsenal 2 Berlin on May 11 at 5 pm. The film program was set up in concordance with the seminar of the same name at University of Arts Berlin by Madeleine Bernstorff.
The creation of this work was made possible by a grant through the International Studio & Curatorial Program New York by “Kulturstiftung des Freistaates Sachsen” (www.kdfs.de).
[.BOX]
Via Confalonieri 11
20124 Milano
ring 43
Exhibition online onVisualcontainerTV
27 May - 16 June 2010
The exhibition will be online on VisualcontainerTV and phisycally also at Berlinerpool + [.box] Videoart Project Space Milan Selection of 13 artists:
Artists: Bruno di Lecce; Alferd Banze; Emre Senan; Oliver Möst; George Drivas; Jin-Kyung Lee; Spadafora and Stefanie Scheirer; Linda Weiss; Gabriele Worgitzki; Viviana Alcalde - (Online on VisualcontainerTV)
+ Alexandra Holownia - Erika Matsunami and Martin Daske - Michael H. Rohde only at [.box]
About BERLINERPOOL:
Art is a field of work with an insufficient infrastructure compared to other "sectors".
We diagnose especially in the field of communication a deficit of infrastructure. For this reason berlinerpool started to work in this field. We build an archive of portfolios and catalogs, present artists to curators and galleries, introduce art supporting programs to artists and publish their event news on our internet platform mondaynews.net.
Long term aim of berlinerpool is to supply artists (and art initiatives) with an infrastructure to provide facilities such as connections, consulting, fundraising, project management, public relations. Briefly: a multifunctional agency that undertakes all the tasks other than "creative production". This will give the opportunity to artists to invest all their energy to creative production.
The Art of Speculation
Opening, February 25, 2010, 7 pm
February 26 - May 2, 2010
Kunstverein Wolfsburg
www.kunstverein-wolfsburg.de
The Art of Speculation
Curator: Justin Hoffmann
Künstler: Jekatarina Anzupowa, Hubert Blanz, Harun Farocki, Samantha Rees, Lars-Andreas Tovey Kristiansen, Max Müller, John Pilson, Linda Weiss
The exhibition "The Art of Speculation" picks the different levels of meaning of the term speculation as its central topic. The title is in reference to Philip Carret's 1930 book of the same name which is considered a classic of economics. Speculations in the form of utopias have accrued a bad name through the economic and humanitarian catastrophes they evoked especially when made official policy. Nevertheless, there is no reason for artists to relinquish voicing their wishes and desires totally. Wishing and desire remain an essential part of human existence. Fiction is necessary for research and science, or as Charles Darwin put it: " Without speculation there is no new observation."
The international group exhibition The Art of Speculation together with events in cultural theory, literature, film and performance is part of Kunstverein Wolfsburg's contribution to Phaenomenale 2010, which the Kunstverein has been organizing in cooperation with the Kulturbüro der Stadt Wolfsburg and Science Center phaeno since 2007. Its motto this year is "Risk Unlimited? Speculation as scientific, economical and cultural practise". For more information see: www.phaenomenale.com
With kind support from: state of Lower Saxony, city of Wolfsburg, Stiftung Niedersachsen, Embassy of The Netherlands.
Upcoming:
Papergirl
From August 23-27, PaperGirl NYState will be shown in the Dumbo Art Center
From August 30- September 2, PG NYState will be shown at the Armory in Manhattan
From September 3-6, PG NYState will be shown at the Marketplace Gallery in Albany
mail me something
Opening: tba, 2010
The Sketchbook Project
Opening: tba 2011
Austin, San Francisco, Portland, Atlanta, Chicago
art house co-op
Brookly Art Library
201 Richards St #16
Brooklyn, NY
www.arthousecoop.com
Preview Berlin
The Emerging Art Fair
October 8 to October 10, 2010
www.previewberlin.de
A.P.P.A. (Fourth European Month of Photography)
Opening, October 15, 2010, 7 pm
October 16 - Novermber 6, 2010
Scotty Enterprises
Oranienstr. 46
10969 Berlin
www.scotty-enterprises.de
www.mdf-berlin.de
filmphoto
One could apply the term Film-Photo to the photos and digital prints of Linda Weiss. It refers to a peculiar threshold situation, a crossing of sorts, showing inherent reciprocal resistance. The picture is not a simple 'film still', representing the virtual reality of cinema itself by photographical means, but a pointer to a virtual film. Cinematic virtual reality becomes itself virtual and enters a peculiar relationship between the experience of cinema and the experience of reality. While her camera eye freezes everyday scenes and situations into still images, her video works can be seen as transporting her photographic work into space and time. What seems subtly staged in photography becomes a non-contemplative temporal stream of video imaging.
filmfoto
Auf die Fotografien und Digitalprints von Linda Weiss ließe sich der Terminus Film-Foto anwenden, der eine eigentümliche Schwellensituation und Überkreuzstellung umreißt, die einen inhärenten reziproken Widerstand aufweist. Das Foto ist kein 'film still', das als solches die virtuelle Realität des Kinos fotografisch repräsentiert, sondern deutet auf einen virtuellen Film. Die virtuelle Realität des Kinos wird selbst virtualisiert und tritt so in ein eigentümliches Spannungsverhältnis sowohl zur Erfahrung des Kinos als auch zur Erfahrung von Wirklichkeit. Während ihr Kameraauge alltägliche Situationen und Szenerien bildhaft still stellt, kann ihre parallel entwickelte Arbeit mit Video als eine Verzeiträumlichung ihrer Fotoarbeit angesehen werden. Was in der Fotografie subtil inszeniert wirkt, wird in der Videoarbeit einem nicht-kontemplativen zeitlichen Fluß überantwortet.
filmphoto
The works of Linda Weiss could be situated between "pure" photography and installation art, i.e. combining the aesthetic space of the photographic image with the actual space of it’s surroundings to create effects of penetration, superposition or fusion. Linda Weiss works with large photographs or digitalprints which are calculated to achieve their best effect within the spatial context. The pictures are applied to the walls directly, so they are represented within a certain space. The situation thus created is real as well as imaginary, actual as well as virtual, past as well as present. It results in a poetic over-determination.
Linda Weiss prefers sites or sceneries which might better be called "non sites“ or "non sceneries“. They are usually landscapes or urban landscapes, which appear strangely ‘placeless’: they could have been taken anywhere. She does not want to convey locality but the photographic characterization of ‘placelessness’, which is omnipresent and has its own typical structure but is hardly ever noticed in its indetermination. On closer observation the photographs do not appear static but latently ‘cinematized’, in the sense that they, in part consciously, resemble cinematic clichés. They seem to be charged with memories and a certain time awareness when you look at them. So they give the impression of being constructed and subtly poetic at the same time. It is poetically condensed ‘attendance’ which acknowledges worth in empty motives which they are usually denied. They are not snapshots or images that have a clear focus of interest but are images of "nothing special" that place the viewer in front of the picture as a situation. This situation, however, is "cinematized" in a certain way, it is obviously related to existing clichés in commercial as well as avant-garde films, rejecting the misconception that an unbiased encounter with such sites and sceneries might be possible. A narration is implied by the way the situations are filmed creating "fictitious moments". While the films of the Nouvelle Vague aspired to be artistic, Linda Weiss' photographs and digitalprints aim to be cinematic. One could call them "afterimages" since every picture reminds one of others - visual impressions of one's everyday surroundings as well as constructed cinematic images which have given such impressions their aesthetic form. While her camera eye freezes everyday scenes and situations into still images, her video works can be seen as transporting her photographic work into space and time. What seems subtly staged in photography becomes a non-contemplative temporal stream of video imaging.
One could apply the term Film-Photo to the photos and digital prints of Linda Weiss. It refers to a peculiar threshold situation, a crossing of sorts, showing inherent reciprocal resistance. The picture is not a simple 'film still', representing the virtual reality of cinema itself by photographical means, but a pointer to a virtual film. Cinematic virtual reality becomes itself virtual and enters a peculiar relationship between the experience of cinema and the experience of reality. Linda Weiss artistic forms of expression are more in the way of performance where the seeming insignificance of the "performance" itself and thereby the ambiguity of artificiality and banality virtualizes the performance.
filmfoto
Die Arbeiten von Linda Weiss lassen sich zwischen ‚reiner’ Fotografie und Installation ansiedeln; d.h. sie verbinden den ästhetischen Raum der Fotografie mit dem realen Raum in seiner Umbebung, so dass sich Effekte der Durchdringung, der Überlagerung oder der Verschmelzung ergeben. Linda Weiss arbeitet mit großformatigen Fotografien bzw. Digitalprints, die darauf berechnet sind, innerhalb eines Raumzusammenhanges zu wirken. Die Fotografien werden direkt auf die Wand angebracht, so dass sie in einem räumlichen Spannungsfeld in Erscheinung treten. Die so geschaffene Situation ist sowohl real als auch imaginär, real und virtuell, sowohl vergangen als auch gegenwärtig. Das Ergebnis ist eine poetische Überdetermination.
Linda Weiss bevorzugt Motive und Szenarien, die man „non-sites“ oder „non-sceneries“ nennen möchte. Zumeist handelt es sich um Landschaftsbilder bzw. Stadtlandschaften, die eigentümlich ortlos wirken: sie könnten überall aufgenommen sein. Es geht ihr also nicht um ‚Lokalkolorit’, sondern um eine fotografische Charakteristik einer Ortlosigkeit, die zwar allgegenwärtig ist und eine eigene Strukturtypik besitzt, in ihrer Unbestimmtheit aber kaum jemals bewusst wahrgenommen wird. Bei genauerer Betrachtung erscheinen die Fotografien nicht statisch, sondern latent ‚cinematisiert’, auch in dem Sinne, dass sie z.T. bewusst an Filmklischees erinnern. Sie laden sich in der Betrachtung gleichsam mit Zeitbewusstsein und Erinnerung auf. Dies macht es möglich, dass sie gleichzeitig konstruiert und auf subtile Weise poetisch wirken. Dabei handelt es sich um eine poetisch verdichtete ‚Anwesenheit’, die entleerten Motiven einen Wert zugesteht, der ihnen gewöhnlich verweigert wird. Es sind keine Schnappschüsse oder Bilder mit einem speziellen Anliegen oder Fokus, vielmehr sind es Bilder, die „nichts Besonderes“ zeigen und den Betrachter vor das Bild als Situation stellen. Diese Situation erscheint in der Weise „cinematisiert“, dass latente Bezüge zu bestehenden Klischees in kommerziellen und in Avantgardefilmen offensichtlich werden, was die irrige Auffassung widerlegt, dass eine unvoreingenommene Begegnung mit solchen Motiven und Szenarien möglich sei. Durch die Art, wie Situationen fotografiert oder gefilmt sind, ergeben sich „fiktive Momente“, d.h. eine Narration wird angedeutet. Während das Autorenkino der Nouvelle Vague mit einem Kunstanspruch auftrat, orientieren sich die Fotografien bzw. Digitalprints von Linda Weiss am Kino. Dabei könnte man von Nachbildern sprechen, da jedes der Bilder an andere Bilder erinnert, d.h. sowohl an visuelle Eindrücke im alltäglichen Ambiente als auch an inszenierte filmische Bilder, die solchen Eindrücken eine ästhetische Form gegeben haben. Während ihr Kameraauge alltägliche Situationen und Szenerien bildhaft still stellt, kann ihre parallel entwickelte Arbeit mit Video als eine Verzeiträumlichung ihrer Fotoarbeit angesehen werden. Was in der Fotografie subtil inszeniert wirkt, wird in der Videoarbeit einem nicht-kontemplativen zeitlichen Fluß überantwortet.
Auf die Fotografien und Digitalprints von Linda Weiss ließe sich der Terminus Film-Foto anwenden, der eine eigentümliche Schwellensituation und Überkreuzstellung umreißt, die einen inhärenten reziproken Widerstand aufweist. Das Foto ist kein ‚film still’, das als solches die virtuelle Realität des Kinos fotografisch repräsentiert, sondern deutet auf einen virtuellen Film. Die virtuelle Realität des Kinos wird selbst virtualisiert und tritt so in ein eigentümliches Spannungsverhältnis sowohl zur Erfahrung des Kinos als auch zur Erfahrung von Wirklichkeit. In einer ähnlichen Richtung bewegen sich auch Linda Weiss’ künstlerische Praxisformen, die eher im performativen Bereich liegen, wobei die Unscheinbarkeit des ‚Auftritts’ und damit die Ambiguität von Artifiziellem und Alltäglichem – den ‚Auftritt’ virtualisiert.
Linda Weiss
1970 born in Langenzenn, Germany
Lives and works in Leipzig + Berlin, Germany
Education
Arsenal Summer School, Kino Arsenal Berlin + Interflugs Summer Academy
Academy of Visual Arts Leipzig, MFA, (Timm Rautert)
University + Academy of Fine Arts Berlin, (Free Class) + (Karin Sander)
Academy of Fine Arts Nuremberg, (Diet Sayler)
Georg-Simon-Ohm University of Applied Sciences Nuremberg, (Economics)
Grants
07 International Curatorial & Studio Program New York, Ministry of Culture Saxony
05 Project-related Scholarship, Käthe Dorsch Stiftung Berlin
04 Scholarship for Postgraduates, Ministry of Culture Saxony
03 Scholarship, European Social Fund
01 Graduate Prize of Academy of Fine Arts Nuremberg
96 Award of Danner-Stiftung, Munich
Solo Exhibitions
10 To Think the Outside, Scotty Enterprises, Berlin
09 Business (after London + New York), Scotty Enterprises, Berlin
08 relentless structure, Scotty Enterprises, Berlin
07 dialogue, Scotty Enterprises, Berlin
06 off text, Academy of Visual Arts (MFA), Leipzig
Vor aller Augen (In Front of Everybody; Film - Still), Goethe Institute, Paris (+ Frank Berger) (Cat.)
03 Print/Video (Diploma), Galerie Kleindienst, Leipzig (Cat.)
00 deha, HD (Hemdendienst; Society for the advancement of the Academy of Fine Arts and the Conservatory), Nuremberg (+ Claudia Kugler)
99 In Perücke weggehen (Going Out in Wigs), International Symposium Andy Warhol's Brillo Boxes, Academy of Fine Arts, Nuremberg
98 Solo Ex, Apartment, Nuremberg
97 Exhibit, Academy of Fine Arts, Nuremberg (+ Birthe Zimmermann)
Group Exhibitions
11 The Sketchbook Project, Arthouse Co-op New York, Austin, San Francisco, Portland, Atlanta, Chicago
10 The Art of Speculation, Kunstverein Wolfsburg curated by Justin Hoffmann
Mail Me Something, Art House Co-op, Brooklyn Art Library, New York (Cat.)
The Pattern Project, Art House Co-op, Brooklyn Art Library, New York
The Self Portrait Project, Art House Co-op, Brooklyn Art Library, New York (Cat.)
10 Years Kunstverein Glückstadt, Kunstverein "Palais für aktuelle Kunst", Glückstadt (Cat.)
stadt land film (filmprogram), Kino Arsenal Berlin organised by Madeleine Bernstorff in connection with University of Arts Berlin
Swimming Backwards (filmprogram), MFA Program "Public Art and New Artistic Strategies", Bauhaus University Weimar organized by Constanze Fritzsch and Nadin Reschke in collaboration with Bétonsalon Paris
VisualcontainerTV, Milan
.mov, (filmprogram), studioplusnull, Tapetenwerk Leipzig
Kiezbiennale 2010, Berlin-Lichtenberg curated by Anke Fischer & Waltraud Maria Weiland
Papergirl, neurotitan Galerie Berlin, Dumbo Arts Center New York, The Armory and the Marketplace Gallery New York, tba San Francisco, tba Iasi Romania
Jenga, forgotten bar project, Galerie im Regierungsviertel, Berlin curated by Viktoria Volozhynska, us and ourselves
Remix 7, forgotten bar project, Galerie im Regierungsviertel, Berlin
Preview (The Emerging Art Fair), Berlin
A.P.P.A., (Fourth European Month of Photography), Scotty Enterprises, Berlin (Cat.)
come home - a traveling exhibition, Apartment Steff M. Adams in collaboration with Internationale Photoszene Köln e.V., Cologne
AnaDoma II, galerie auf zeit, Hochschule für Bildende Künste Braunschweig (Cat.)
B.Y.O.A., X-Initiative, New York
09 # 5 copy, Aqua Carrè, Berlin curated by Johannes Gruber
Circus Minimus (A Segmentation about Segmentation), Preview Berlin
Close the Gap, Galerie Kleindienst + Werkschauhalle Spinnerei, Leipzig (Cat.)
One Minute Film & Video Festival Aarau (Switzerland) (Cat.)
GAYDAR-Vol.1 - In-sight/Out-sight (Screening), Galerie ZeitZone, Berlin
Pocket Film Festival, Forum des Images, Paris
Art-Collector 2009, Akademie der Künste, Berlin (Cat.)
Sorgenfrei von Anfang an (Without Care from the Beginning), dieschönestadt (thebeautifulcity), Halle
Circus Minimus, WK (Walden Kunstausstellungen), Berlin
It’s All Yours Now, Sculpture Center, New York, curated by Sarina Basta
08/09 Sudden White (after London), Royal Academy of Arts, London, curated by Mark Beasley (Creative Time NY) (Cat.)
08 Night of 1000 Drawings, Artists Space, New York
Open Studios (Poll of Push and Pull), International Studio & Curatorial Program, New York, curated by Esther Lu, Rakett and Kristine Siegel
White Wendish (Third European Month of Photography), Scotty Enterprises, Berlin (Cat.)
ZigZag, Kunstsalon, Berlin (Cat.)
Scrawl (Screening), apexart, New York, curated by Mark Elijah Rosenberg
BilderÜberBilder (ImagesAboutImages), Schaurauschen/Ballhaus Ost, Berlin
The (Self) Promotion Show, apexart, New York
07 This is the End of Color-TV, Scotty Enterprises, Berlin
Night of 1000 Drawings, Artists Space, New York
D21: SALON 2007, D21, Leipzig
The Corridor as Display // Three Corridor Pieces, Galerie für Zeitgenössische Kunst, Leipzig curated by Julia Schäfer
The Most Curatorial Biennial of the Universe, apexart, New York
Business and Pleasure, International Studio & Curatorial Program, New York
Open Studios, International Studio & Curatorial Program, New York
Das Böse (The Evil), Filmfestival, areal28, Berlin
Woman at the Crossroad of Ideologies, Salon Galic, Split (Cat.)
06 Enterprises II, Scotty Enterprises, Berlin
Heimat (Home), Filmfestival, areal28, Berlin
MeisterschülerInnenausstellung (MFA-Show), Academy of Visual Arts, Leipzig
Kunstherbst, Kunstsalon, Berlin (Cat.)
40jahrevideokunst.de was fehlt? (40yearsvideoart.de what misses?), Projektraum Deutscher Künstlerbund, Berlin (Cat.)
Import, Projectspace P1, University of Arts, Berlin curated by sim&nic
90 Sekunden (90 Seconds), Filmfestival, areal28, Berlin
Merry Go Round, Projectspace Akademie Schloss Solitude, Stuttgart
Do You Need to Escape? (Workshop with Shelly Silver (NY), UdK Berlin), Kino Arsenal, Berlin
05 Edition, German Embassy, London
How It Looks at You, Arario Gallery, Seoul (Cat.)
04 Just Good News for People Who Love Bad News, Galerie Eigen + Art, Leipzig
Videoscreening at Markus Freidl’s Exhibition 'Performing the Video', Kunstverein Kohlenhof, Nuremberg
How It Looks at You, Galerie Kleindienst Leipzig, Art Cologne, Cologne
01 raus 2001 - Rückprojektion, Neues Museum, Nuremberg (Cat.)
Show, (Workshop Berlin-People with David Lamelas (LA), UdK Berlin) (Fanzine)
00 Klasse Sayler, Galeriehaus, Nuremberg
Projects
09 Chances of the Crisis initiated from arttransponder Berlin
Curatorial Experience: The World hosted by Scotty Enterprises; Linda Weiss ft. Fernando Niño-Sánchez (Colombia)
'O Vater! UMILIATI' (In Remembrance of the Films from Danièle Huillet and Jean-Marie Straub) Stefan Hayn at Scotty Enterprises Berlin during Berlinale
Artfair-Concept 'A Segmentation about Segmentation'
FAAN in A New Deal, Art and Currency, BRIC Rotunda Gallery NY
08 Artfair-Concept 'ZigZag'
07 Curatorial Experience: 'This is the End of Color-TV', Scotty Enterprises, Berlin (Concept by Linda Weiss + Andrea Uebelacker)
FAAN in 'The Price of Everything...Perspectives on the Art Market', Art Gallery of The Graduate Center, New York (Cat.)
06 Concept with my colleagues of Producer’s Gallery Scotty Enterprises, Berlin
A political feeling. I hope so, (Workshop with Emma Hedditch (London), University of Arts, Berlin)
Collections
Museum Bildende Künste Leipzig, Museum Folkwang Essen, Arario Gallery Seoul, Stiftung Sachsen LB Leipzig, Different Private Collections, The Poll of Push and Pull Archive NY, Videoarchive Deutscher Künstlerbund Berlin, Brooklyn Art Library New York
Bibliography
10 Palais für aktuelle Kunst, "10 Jahre Kunstverein Glückstadt“, Glückstadt (Cat.)
Hans-Adelbert Karweik, Köpenickiade in einer New Yorker Bank, Wolfsburger Nachrichten
Hochschule für Bildende Künste Braunschweig, AD II, Braunschweig (Cat.)
Roberta Smith, X Initiative Goes Out With a B.Y.O.A. (Art, That Is), New York Times, NY
Art House Co-op, The Self Portrait Project, New York (Cat.)
Art House Co-op, Mail Me Something Book, New York (Cat.)
Kulturprojekte Berlin, Fourth European Month of Photography, Berlin (Cat.)
09 Adam Simon, Fine Art Adoption Network, Art in General, NY (Cat.)
One Minute, International Film & Video Festival, Aarau (Cat.)
Berliner Aids-Hilfe e.V. + Akademie der Künste, art-collector 2009, Berlin (Cat.)
Jörg Oberwittler, Crisis-Party, The Positive Aspect of the Regression, with Johannes Kreidler, Hito Steyerl, Bosse Sudenburg, Linda Weiss, Deutschlandradio Kultur
08 Mark Beasley, Sudden White (after London), Dexter Sinister, New York (Cat.)
Hans Pietsch, Knalliger Cocktail aus Kunst und Theater, art, Hamburg
Roberta Smith, Srawl, The New York Times, New York
Scrawl, The New Yorker, New York
5. Berliner Kunstsalon, Berlin (Cat.)
Artinsight, Landesverband Berliner Galerien, Berlin (Cat.)
Anja Osswald, Scotty Enterprises in Tease Art Fair, Cologne (Cat.)
Kleindienst/Löhrl, Close the Gap, Kerber Verlag, Bielefeld (Cat.)
Kulturprojekte Berlin, Third European Month of Photography, Berlin (Cat.)
Carlo McCormick, Ad-Vice, apexart, New York
07 Kulturstiftung des Freistaates Sachsen, Jahrbuch 2007, Dresden (Cat.)
Adam Simon, The Fine Art Adoption Network, Artist Organized Art
Karen Schechner, Early Adoption, New York Press, New York
Heather Corcoran, Death Of Venice? Tribeca's Democratic Biennial, NY Resident Magazine, New York
Art Candy, So You Think You Can Curate, New York Magazine, New York
Stephanie Murg, Where Everyone’s a Curator, downtown express, New York
Ana Peraica, Woman at the Crossroad of Ideologies, Split (Cat.)
06 Thomas W. Kuhn, "Satelliten mit eigener Schwerkraft" ("Satellites with Autonomous Gravity"), Kunstforum, Bd. 183
Deutscher Künstlerbund e.V. (Hg.), Dellbrügge & de Moll, 40jahrevideokunst.de was fehlt - sammlung archiv magazin, Berlin (Cat.)
Hans-Jürgen Hafner, Merry Go Round, “Kunst, Kino, Karussell” (“Art, Cinema, Merry-Go-Round”), Kunstforum, Bd. 180
05 Sabine Belz/Matthias Kleindienst, Vor aller Augen (In Front of Everybody), Kerber Verlag, Bielefeld (Cat.)
Andreas Kleinschmidt/Ulrike Knöfel, "Flamingos und Wildschweine" ("Flamingos and Wild Pigs"), Der Spiegel, Nr. 7, Hamburg
03 Linda Weiss (Thesis) Le Mépris - FEMMEIMAGE - About the Image of Women in the Film “Le Mépris” by Jean-Luc Godard in Relation to the Film “Riddles of the Sphinx” by Laura Mulvey and Peter Wollen
Wolfgang Schoppmann, Silver & Gold; Verlag der Buchhandlung Walther König, Cologne (Cat.)
01 KünstlerInnengespräche+“Freie Klasse e.v.“+Interflugs, BERLIN/PEOPLE David Lamelas, University of Arts, Berlin (Fanzine)
Academy of Fine Arts Nuremberg, raus 2001 - rückprojektion, Nuremberg (Cat.)
thank you very much for documentary to Claudia Angelmaier, Frank Berger, Anna Dabrowski, Yumiko Furukawa, Arno Gisinger, Claudia Mucha, Andrea Uebelacker
thank you very much for translation to Doris Weiss
thank you very much to Pedro Dos Reis
thank you very much to Gregor Stemmrich
