Exhibition documents

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  • Shimmer at Goethe-Institut Rotterdam



    Lisa Tan


    Curated by Shimmer in collaboration with Goethe-Institut Rotterdam

    March 3, 2018, 20:00-01:00


    Goethe-Institut Rotterdam

    Westersingel 9, Rotterdam





    “But when we sit together, close,’ said Bernard, ‘we melt into each other with phrases. We are edged with mist.

    We make an unsubstantial territory.” - The Waves by Virginia Woolf


    Shimmer – a new exhibition space in Rotterdam South presents the video installation Waves by American artist Lisa Tan

    at the Goethe-Institute. Inspired by Virginia Woolf’s experimental novel “The Waves,” Lisa Tan’s video “Waves” imagines how consciousness forms in relation to society and its technologies. Shimmer is an exhibition space that works with a studio-like mentality where knowledge arrises through participation and experimentation. Shimmer’s first collaboration in the north of Rotterdam is with the Goethe-Institute for Museum Night 2018.




  • Notes From Underground, Kunsthall Trondheim, Trondheim (solo)



    Lisa Tan

    Notes from Underground

    September 28–December 21, 2017

    Opening and artist conversation: September 28, 6:30pm


    Kunsthall Trondheim

    Kongens gate 2

    7011 Trondheim






    The Brazilian writer Clarice Lispector wrote at dawn, searching for “whatever is lurking behind thought." Behind thought. Certainly then—also behind words?


    Notes from Underground presents works by Lisa Tan (USA/Sweden). The exhibition contains a series of three films and two installation works, Moving a Mountain (2008) and National Geographic (2009), which precedes the films. Together they form a line of thinking and express the artist´s interest in liminality, in-between-ness.


    Lisa Tan echoes Virginia Woolf´s intentions for the novel The Waves—to follow a rhythm rather than a plot. Her films Sunsets (2012), Notes From Underground (2013) and Waves (2014) contain, however distinctly edited, a floating element, something unstable and open. Guided by currents and undercurrents, they are constantly eluding you—subjects, histories and memories rise to the surface only to sink away again. Voices appear and are lost.


    In Sunsets we hear Lispector´s voice from 1977 together with that of a friend of the artist´s, doing a translation over Skype, both searching for the right words, hesitating, uncertain. The language drifts. Maybe here, through the gap in and between languages, in this state of formlessness, we can briefly perceive what Lispector calls the “it” of the language.

    While many subjects are touched upon in the films—violence, displacement, societal issues—the question that stays with you is maybe in the end that of artistic practice. What is this—to write, to make art? What kind of language could art speak? The films are in a way evolving in search of a possible practice. They stretch out over and beyond the globe, only to return to the artist´s working place—the desk, the computer screens, the everyday.


    In this quest, Lisa Tan choses to follow Susan Sontag, Clarice Lispector and Virginia Woolf—Sontag’s refusal to reduce art to what could be explained, Lispector´s words about “the it” or “the is of the thing” or “whatever is lurking behind thought." And Woolf´s concern “with something else”—something else than literature, that is.


    Thanks to Galleri Riis, Oslo.


  • Show and Tell, curated by Cecilia Widenheim and Matts Leiderstam, Malmö Konstmuseum



    Show and Tell

    curated by Cecilia Widenheim and Matts Leiderstam

    30 september 2017 – 7 januari 2018

    Vernissage lördagen den 30 september kl. 18–24, i samband med Malmö Gallerinatt


    Malmö Konstmuseum

    Malmöhusvägen 6




    Artistic Research and the Museum seminar, November 3, 2018


    Vad är ett museum? Denna utställning har tillkommit i ljuset av de senaste årens diskussioner om ett nytt konstmuseum i Malmö. Syftet är att lyfta fram samlingen och presentera ett antal konstnärskap och konstverk som känns extra angelägna i vår tid. Samlingen omfattar idag närmare 40 000 verk. Men merparten står sedan länge i magasin och väntar på att möta sin publik.


    Ett av museets viktigaste uppdrag är att skapa sammanhang för de verk som på olika sätt hamnat i samlingen, och att ge nya generationer möjligheten att lära känna den. Hur kan besökare och allmänhet ta del av de berättelser som följer med konstverken? Show and Tell föreslår ett antal nya sammanställningar och möten mellan verk som i sin tur skapar nya historier.


    I utställningen visas över 300 verk och här finns en rad olika uttryckssätt och tekniker representerade; måleri, teckning, skulptur, installation och video. De äldsta verken är från 1500-talet och några är helt nyproducerade. Urvalet speglar ett samtal om konstmuseets historia och framtid. Vilken roll kan ett konstmuseum ha i den globaliserade bildkultur som vi lever i?


  • An Inventory of Shimmers: Objects of Intimacy in Contemporary Art, MIT List Visual Arts Center, Cambridge

    An Inventory of Shimmers: Objects of Intimacy in Contemporary Art

    May 19-July 16, 2017


    Andrea Büttner, Sophie Calle, Alejandro Cesarco, Jason Dodge, Antonia Hirsch, Félix González-Torres, Jill Magid, Park McArthur, Lisa Tan, Erika Vogt, Susanne Winterling, and Anicka Yi


    Henriette Huldisch, Curator


    MIT List Visual Arts Center

    E-15 109 20 Ames Street

    Cambridge, MA 02139



    Exhibition brochure



    Press release:

    An Inventory of Shimmers: Objects of Intimacy in Contemporary Art brings together a group of twelve international artists to examine the recent multidisciplinary turn towards affect by focusing on art works that explore how bodies are shaped, modified, or affected by the intensity of their interaction. Many contemporary artists engage with modes of address and content that is tethered to affect, yet at the same eschew sentimentality and expressivity. The exhibition presents works that variously investigate our intimate relationships with objects; works that act as vehicles for affective engagement or transactions of desire, including objects that carry the traces of things we can’t see but have to trust, intuit, or perceive in ways that are not related to vision or hearing; and works that are engaged with actions of interpersonal care, trust, intimacy, or love.


    Artists included are Andrea Büttner, Sophie Calle, Alejandro Cesarco, Jason Dodge, Felix Gonzalez-Torres, Antonia Hirsch, Jill Magid, Park McArthur, Lisa Tan, Erika Vogt, Susanne M. Winterling, and Anicka Yi.


    An Inventory of Shimmers: Objects of Intimacy in Contemporary Art is curated by Henriette Huldisch, Curator, MIT List Visual Arts Center. The exhibition is accompanied by a 96-page fully illustrated catalogue published by Prestel/DelMonico in association with the MIT List Visual Arts Center. Edited by Henriette Huldisch, the catalogue features essay contributions by Eugenie Brinkema, Associate Professor, Literature Section, MIT; Johanna Burton, Director and Curator of Education and Public Engagement at the New Museum; and Emily Watlington, Curatorial Research Assistant, MIT List Visual Arts Center and graduate student History, Theory and Criticism of Art and Architecture, MIT.

  • Sugar and Speed, curated by Stefanie Hessler, Museu de Arte Moderna Aloisio Magalhães, Recife, Brazil



    Sugar and Speed

    March 22 – May 25, 2017


    Dimen Abdulla, Fia Backström, Francisco Brennand, Paulo Bruscky, Vivian Caccuri, Tyler Coburn, Jonathas de Andrade, Goldin + Senneby, Luiz Guilherme, Katarina Löfström Rivane Neuenschwander, Jean Pierre, Gilvan Samico, Lisa Tan


    curated by Stefanie Hessler


    Museu de Arte Moderna Aloisio Magalhães (MAMAM)

    Rua da Aurora 265

    Boa Vista, Recife


    +55 (81) 33 55 6871


    excerpt from exhibition text, full version here


    THE HISTORY OF Recife, the largest metropolitan area of northeastern Brazil and capital of the state of Pernambuco, cannot be told without the history of sugar and labour. Sugarcane originated from Southeast Asia and Melanesia, and was  fist introduced to Brazil in 1532, imported by the Portuguese, who intended to expand their cultivations beyond the Atlantic islands. The colony soon became the principal producer of sugar worldwide with the majority of its plantations and mills situated in Pernambuco thanks to its warm climate and fertile soil. Brazil’s role in the sugar trade weakened in the mid-17th century, after the departure of the Dutch governor Mauricio de Nassau and rivalries between the Portuguese tradesmen of Recife and the sugarcane farmers of the neighbouring Olinda that resulted in the Guerra dos Mascates during the early 18th century. The ensuing Caribbean sugar boom, propelled by the expelled Dutch, led to declining rates of exports from Brazil. While the country never ceased to produce sugar, it regained its leading market position only in the 1970s, during the time of “spectacular growth” and endorsed through subsidies for sugar-derived alcohol by the military regime, who aimed to achieve energy independence following the oil embargo—developments that were accompanied by an increased concentration of per- sonal income and social segregation. Fast forward to today, despite forfeited growth since the 2008  financial crisis, Brazil is one of the largest sugar ex- porters and the world’s lowest cost producer.[1]


    1. Cf. Donald Mitchell (2004), Sugar Policies: Opportunity for Change, World Bank Policy Research Working Paper 3222, p.20.

  • ever elusive, Transmediale Festival at Haus der Kulturen de Welt, curated by Florian Wüst,  Berlin


    ever elusive

    Transmediale Festival

    2 Feb - 5 Mar 2017



    HKW – Haus der Kulturen der Welt

    John-Foster-Dulles-Allee 10

    D-10557 Berlin Germany





    2 February 2017 the three-day festival program opens at Haus der Kulturen der Welt within the scope of ever elusive. The festival, encompassing a conference and screening program, workshops and performances, takes place from 3 to 5 February 2017. The ever elusive program is curated by artistic director Kristoffer Gansing, Daphne Dragona (conference), and Florian Wüst (film and video).


    Material Agents

    Kain Karawahn Dorine van Meel Lisa Tan

    Moderated by Florian Wüst



    Sun, 05.02.2017

    16:00 - 18:00



    Poemfield No. 2, Stan Vanderbeek, US 1966, 6'

    Wundbrand, Kain Karawahn, DE 1991, 8'

    Apple Grown in Wind Tunnel, Steven Matheson, US 2000, 26'

    Waves, Lisa Tan, SE 2015, 19'

    Disobedient Children, Dorine van Meel, DE 2016, 17'


    In the 1960s, Stan Vanderbeek worked at Bell Labs (as did Lillian Schwartz, whose early films open the ever elusive film and video program) on a series of experimental computer animations with Ken Knowlton. His Poemfields exploited the possibilities computers offered to produce forms that constantly shift between image and text, code and language, and transfer them to film: concrete poetry of the digital. The artistic process progresses through many different material states, some of which are hidden, thus anticipating the increasing complexity of a world shaped by electronic systems. Using Vanderbeek’s work as a departure point, Material Agents combines stories of the present and future that examine the conditions of an inclusive concept of subjectivity, and at the same time the potentials of political resistance and economic empowerment in neoliberalism.






  • Song of the Open Road, CAG Contemporary Art Gallery, Vancouver



    Song of the Open Road

    March 31 to June 18


    Vikky Alexander, Robert Arndt, Gerard Byrne, Jacqueline Hoàng Nguyễn, Kelly Jazvac, Kelly Lycan, Niamh O’Malley, Dawit L. Petros, Greg Staats, Lisa Tan



    Contemporary Art Gallery

    555 Nelson Street, Vancouver

    British Columbia, Canada, V6B 6R5




    Presented in partnership with Capture Photography Festival


    “You road I enter upon and look around, I believe you are not all that is here,

    I believe that much unseen is also here.

    I believe you are latent with unseen existences, you are so dear to me.”

    —Walt Whitman, “Song of the Open Road” (1856)


    Taking its title from a poem by Walt Whitman, the Contemporary Art Gallery presents a group exhibition as the central feature of this year’s Capture Photography Festival. Work is presented both inside and outside and across all of the gallery’s spaces, embracing a diverse set of conditions and approaches centred in a conceptual understanding of an expanded field of photographic practice that examines notions of what you see is most definitely not what you get.


    Bringing together artists from Canada, Eritrea, Ireland, Sweden, and the US, the exhibition includes works that combine thematically to interrogate ideas rooted in photographic histories, engaging ideas such as veracity, recollection, remembrance, belonging, staging, and how the image documents and records these or is evidence of differing realities.



  • Lisa Tan, Galleri Riis, Oslo (solo)


    Sunsets, Notes From Underground, Waves

    October 29 – November 19, 2016


    Galleri Riis

    Arbins gate 7

    0253 Oslo





    These days I live in Stockholm. A place surrounded by water. So I think about the desert a lot. I grew up in one. As a child, the high elevation would set off repeated murder scene-like nosebleeds. I'd lie flat on the kitchen floor waiting for the metallic flavor to stop coating my throat. Now that I think about it, I realize it's that same kitchen floor where I first discovered mercury from a broken thermometer.


    Mercury is a transition metal. This has something to do with oxidation states and loss of electrons, but I just want to fixate on the idea that transitions, by definition, exist inside processes of change. They're in between phases, gaps in classification.


    The three videos in my exhibition try to give form to the liminal. They narrate my own process of trying to gauge distances of all sorts. I'm probably homesick, yes. But my work is also part of a long chain of experiments that try to make visible the complex processes of consciousness - that unfold in relation to experience and language. Adorno wrote admiringly of Benjamin, "[his] thoughts press close to its object, seek to touch it, smell it, taste it and so thereby transform itself" (Prisms, 240).


    In the videos, which were made over a period of nearly four years, I speak through - and have conversations with - enigmatic writers, with close friends, with histories still felt, and with technologies and geographies that I know - in order to mediate those that I don't. I've filmed in places and at times that exist at some threshold. Like where sea meets land, and while traversing above and below the surface of the earth, and during the time when day gives way to night.


    Lisa Tan, Stockholm, January 6, 2015




    Opening reception Saturday October 29, from 12 – 3 pm

    At 3 pm we are hosting a conversation between Lisa Tan and Mike Sperlinger, professor of theory and writing at the Academy of Fine Art in Oslo, introducing the artist's book «Sunsets, Notes From Underground, Waves» (Archive Books, 2015).

  • 11th Shanghai Biennale, curated by Raqs Media Collective, Shanghai


    Why Not Ask Again? - Maneuvers, Disputations & Stories

    November 11, 2016 - March 12, 2017


    curated by Raqs Media Collective


    Power Station of Art

    200 Huayuangang Road

    Huangpu District

    200011 Shanghai






    Curatorial concept: The phrase "Why Not Ask Again" is a bid, and a query, whose ascending, joyously twisting arc embraces the maneuvers, disputations and stories that contain and encode the turbulences and transports of our time. A listener eavesdropping on deep space walks out of the pages of the recent science fiction novel written in Chinese, The Three Body Problem by Liu Cixin. A wanderer steps out into the deep time of eternity and the straight path of a police bullet in the terminal sequence of the picaresque Bengali film Jukti, Takko aar Gappo (Reason, Debate and a Story) from 1974 by Ritwik Ghatak. They embody the spirit of a mobile triangulation between reason, intuition and the fabulous that the 11th Shanghai Biennale seeks to discover, transmit, and learn from.


    The layered perspectives in the miniature painting traditions of South Asia are an operational key for the exhibition, opening it to the braiding of varied temporal rhythms and spatial planes. Sometimes this makes place for extraordinarily discordant eruptions of the ordinary.


    Walking the floors of the Power Station of Art will mean undertaking a hundred itineraries through Shanghai, Hanoi, Dakar, Fukushima, Ramallah, Lahore, Guatemala City, Tehran, Dubai, Stockholm, Dhaka, and many more unexpected byways, basements and bus stops of our present.

    Four terminals will propose four condensations at the edges of the perceptional, the bodily, the fabulist and the hibernating.


    Seven infra-curatorial layers epiphytically folded within the biennale will interrupt, leaven and relay resonant and dissonant lines of enquiry. They gather a constellation of emergent curatorial intelligences from Lagos, Moscow, Delhi, Hangzhou, Bangalore, Istanbul and Paris.


    51 Personae will invite others to meet them on their chosen ground. This strand entangles the biennale in the magical and lyrical layers of everyday life of Shanghai. Chen Yun, with Dinghaiqiao Mutual Aid Society, coordinates this extensive project.


    Theory Opera will shift the sensory and auditory rhythm of walking, stopping, resting, chatting and looking through an accelerated operatic turn within the exhibition in order to explore the sensation of thought. These are live scenarios at the intersections of works throughout the duration of the biennale. Liu Tian and Yao Mengxi co-ordinate this sequence.


    Like a listener scanning deep space jolted by a signal from a distant life form or a talkative wanderer interrupted by a brief aphorism, the 11th Shanghai Biennale asks, again, “How do questions act in the world?”






  • Strange Oscillations and Vibrations of Sympathy, curated by Kendra Paitz, Univ. Art Galleries of Illinois State

    Strange Oscillations and Vibrations of Sympathy

    October 26–December 20, 2016


    Jen Bervin, Stephanie Brooks, Anne Collier, Bethany Collins, Moyra Davey, Marcelline Delbecq, Abigail DeVille, Eve Fowler, Dianna Frid, Coco Fusco, Sabina Ott, Melissa Pokorny, Dawn Roe, Kay Rosen, Carrie Schneider, Xaviera Simmons, Lisa Tan, Cecilia Vicuña, Catherine Wagner, Carrie Mae Weems, Deborah Willis

    curated by Kendra Paitz


    University Art Galleries of Illinois State University

    11 Uptown Circle, Suite 103

    Campus Box 7150

    Normal, IL 61761, USA




    Strange Oscillations and Vibrations of Sympathy features works by contemporary female artists that acknowledge women writers. The exhibition's title is derived from a sentence Sylvia Plath underlined in her copy of Virginia Woolf's The Waves, and that Stephanie Brooks later appropriated for a text- based artwork. These multiple layers of mediation are integral to all of the included works. The exhibition will feature works by 21 artists inspired by writers including: Octavia Butler, A.S. Byatt, María Elena Cruz Varela, Emily Dickinson, Zora Neale Hurston, Clarice Lispector, Gabriela Mistral, Toni Morrison, Alejandra Pizarnik, Mary Shelley, Rebecca Solnit, Gertrude Stein, Sylvia Plath, Mary Wollstonecraft, and Virginia Woolf.


    As a tribute to Woolf's foundational essay "A Room of One's Own," all the artists selected for Strange Oscillations are female in order to focus the interpretation of literature through the lenses of subsequent generations of artists. The works in the exhibition demonstrate the political and creative progress of feminism, examine writers’ intellectual pursuits, navigate their status as literary icons, and interpret their legacies. They also engender an intimate and sustained contemplation of texts—a cerebral, analytical pursuit whose future is threatened by a culture that favors sound bites, hashtags, and 140-character tweets.

  • Descent, curated by Charlotte Ickes, Institute of Contemporary Art Philadelphia


    April 29—August 14, 2016


    Runo Lagomarsino, Matriarch (Maren Hassinger and Ava Hassinger), Virginia Overton,

    Karina Aguilera Skvirsky, and Lisa Tan

    Curated by Charlotte Ickes


    Institute of Contemporary Art

    University of Pennsylvania

    118 S. 36th Street

    Philadelphia, PA 19104 USA





    Descent animates alternative modes and materials of inheritance across generations of families, artists, and artworks. While inheritance, influence, and other acts of transmission often move down vertical lines of property and patrimony, the works in this exhibition unsettle this passage with forms of heredity that are often undervalued or unconventional: used or surplus possessions, intergenerational collaborations, maternal memories and matter, transatlantic journeys, spoken words, and sound waves.


    The distinct smell of cedar emanates from Virginia Overton’s work, composed of wood planks harvested from the artist’s family farm in Tennessee. This raw substance infuses the space of the gallery with the sensuous specificity of Overton’s inherited matter. Notes from Underground (2013), a video projection by Lisa Tan, excavates the subterranean and sonic echoes between the artist’s and Susan Sontag’s experiences as expatriates in Stockholm. As the work unfolds, it thickens with multisensory strata of various affective encounters with disruption and displacement. Runo Lagomarsino’s video installation traces the shared transatlantic journeys of the artist and his father through the illicit itinerary of a dozen eggs, which travel from Buenos Aires to São Paulo to their final destination in Seville before a statue commemorating Christopher Columbus’s own voyage. In many of these works, maternal transmissions dovetail with questions around performance and reproduction. Karina Aguilera Skvirsky’s Los poemas que declamaba mi mamá (The Poems My Mother Recited) (ongoing) restages the Ecuadorian poetry recitals of the artist’s mother, who became well-known for her dramatic readings. Matriarch, comprised of artists Maren Hassinger and her daughter, Ava Hassinger, will create new work out of used ICA office supplies and detritus from previous exhibitions, arranging these site-specific residues into mandala structures in and among videos. Both Aguilera Skvirsky and Matriarch will perform in their respective installations on the evening of May 11.


    Transmissions within and across artworks and artists reverberate throughout the gallery as unexpected genealogies and unruly inheritance. This exhibition considers the aesthetic, sensory, and social horizons when we dissent from traditional lines of descent.


    Descent is organized by 2015–2017 Whitney-Lauder Curatorial Fellow Charlotte Ickes. The accompanying publication will feature new essays by Ickes and scholar Rizvana Bradley, text and poetry by M. NourbeSe Philip and Adalberto Ortiz, and a special section on the May 11th performances. The book is designed by Thumb—Luke Bulman.



  • Psychic Geographies | long-distance screening, lothringer 13_florida, Munich

    Psychic Geographies | long-distance screening

    31 May, from 4 pm


    Elise Florenty & Marcel Türkowsky, Arvo Leo, Laure Prouvost, Lis Rhodes, John Smith

    Lisa Tan, Agnes Varda, Jennifer West



    Lothringer Straße 13

    81667 München, Germany





    Als Teil des Programms Psychic Geographies untersucht das Screening Mittel der Wegweisung, von dokumentarischen Ortserkundungen über Bildschirmnavigation zur Materialität des filmischen Mediums als eigenständig flanierendes und transformatives Mittel. Während des Filmmarathons gibt es Essen und Getränke.


    As part of Florida’s programme Psychic Geographies this screening explores methods of navigation, from travel accounts to screen navigation to the materiality and process of film as a journeying and transformative device in its own right.

    During the film marathon food and drinks will be available.


    in Kooperation mit / in cooperation with: dem Fahrenden Raum, Kultur und Spielraum e.V.


  • Unlimited, Black Box Film Festival 2.0, curated by Anne Couillaud and Julia Fryett, Seattle

    Black Box 2.0 Film Festival


    May 6 - June 7, 2015



    This program presents large-scale installations throughout the festival:

    Gillian Wearing, WE ARE HERE (2014), Phil Collins, TOMORROW IS ALWAYS TOO LONG (2014)

    Lisa Tan, WAVES (2014-2015), Knut Åsdam, EGRESS (2013), Sue de Beer, THE GHOSTS (2011)


    curated by Anne Couillaud and Julia Fryett


    Raisbeck Performance Hall

    2015 Boren Ave

    Seattle, WA 98121



    Today cinema is everywhere and nowhere. Montage, the simple act of editing a scene, has become a universal tool for generating reality. The participatory, networked culture in which we live is now an entangled web of jump cuts, swipes and likes. Social media allow us to direct and stage our own lives. Surveillance reimagines personal, professional and biological narratives. Our obsession with innovation generates an infinite, and increasingly opaque, stream of data. The ambiguous cinematic landscape that is unfolding challenges our very ideas about what art is and what art can be.


    As black box theory suggests, art makes the invisible, visible. Emerging technologies and digital culture are reformatting our consciousness and our cognitive capacities, our entire being. Our experiences of simultaneity, dispersion and juxtaposition have intensified. The artists of Black Box 2.0 embrace available tools to question the unknowns of our epoch. Many invoke pop as a carrier symbol, bringing art into our daily life through the platforms that surround us. The social and psychological consequences of technology are often either implied or revealed. In some works, the line between fiction and nonfiction vanishes, leading to new forms of narration. In others, the blending of the virtual and the physical is (re)presented and questioned. The changes in the genealogy of the sensitive, desire, the organization of dreams, and the invention of new forms of autonomy are themes and ideas fueling the works presented throughout the festival.


    Black Box 2.0 is designed to explore the vigorous chaos of cinema. An international spectrum of artists are exhibited in industrial shipping containers, white cube galleries, black box movie theaters, your living room, and a building on the verge of destruction. Landscapes and stories are revisited, spaces are inhabited, and experiments are carried out. There is no map for this place.


    What is a black box? black box, noun, is a widely used term that refers to many things: movie theaters, transistors, flight recorders, algorithms, the human brain. It is also an abstract theory that relies on observable inputs and outputs to define the invisible functions of a device, network or object. The box is “black” because the opaque facade obstructs visibility. In an artistic context, black boxes provide a method of exploring systems of the unknown which are widely accepted by society - particularly the social, political, ethical, and aesthetic implications concealed within a culture increasingly shaped by technology. Black boxes make the invisible, visible.


    blackboxing, verb, is described by Bruno Latour as “the way scientific and technical work is made invisible by its own success. When a machine runs efficiently, when a matter of fact is settled, one need focus only on its inputs and outputs and not on its internal complexity. Thus, paradoxically, the more science and technology succeed, the more opaque and obscure they become.”



    Anne Couillaud, Independent Curator

    Julia Fryett, Founder of Aktionsart

  • 2015 Triennial: Surround Audience, the New Museum, curated by Lauren Cornell and Ryan Trecartin, New York

    2015 Triennial: Surround Audience

    February 25 - May 24, 2015


    Nadim Abbas, Lawrence Abu Hamdan, niv Acosta, Njideka Akunyili Crosby, Sophia Al-Maria, Ketuta Alexi-Meskhishvili, Ed Atkins, Olga Balema, Frank Benson, Sascha Braunig, Antoine Catala, Aslı Çavuşoğlu, José León Cerrillo, Onejoon CHE, Tania Pérez Córdova, Verena Dengler, DIS, Aleksandra Domanović, Casey Jane Ellison, Exterritory, Geumhyung Jeong, Ane Graff, Guan Xiao, Shadi Habib Allah, Eloise Hawser, Lena Henke, Lisa Holzer, Juliana Huxtable, Renaud Jerez, K-HOLE, Shreyas Karle, Kiluanji Kia Henda, Josh Kline, Eva Koťátková, Donna Kukama, Firenze Lai, Oliver Laric, Li Liao, Rachel Lord, Basim Magdy, Nicholas Mangan, Ashland Mines, Shelly Nadashi, Eduardo Navarro, Steve Roggenbuck, Avery K. Singer, Daniel Steegmann Mangrané, Martine Syms, Lisa Tan, Luke Willis Thompson, Peter Wächtler


    curated by Lauren Cornell and Ryan Trecartin


    New Museum

    235 Bowery

    New York, NY 10002



    (excerpt from the press release)

    We are surrounded by a culture replete with impressions of life, be they visual, written, or construed through data. We move through streams of chatter, swipe past pictures of other people’s lives, and frame our own experiences as, all the while, our digital trails are subtly captured, tracked, and stored. This is a culture in which the radical multimedia environments envisioned by pioneering artists like Nam June Paik and Stan VanDerBeek are being lived out every day, albeit with much more complexity and compromise. With these transformations in mind, “Surround Audience” explores how artists are currently depicting subjectivity, unpacking complex systems of power, and claiming sites of artistic agency.


    While issues around social media provide a point of departure for the exhibition, it is not the platforms themselves that are the exhibition’s primary focus, but rather the ways their associated effects intersect with life. Among the many narratives and ideas emerging from the works, there are three recurring lines of inquiry: First, how representations of the body and persona have evolved in an image-laden culture in which surveillance is widely dispersed and editorializing one’s life in public is the norm; second, if it might be possible to opt out of or reframe the pressures of increasingly corporatized and invasive spaces; and third, how artists are striving to embed their works in the world around them through incursions into media and activism.


    The exhibition encompasses a variety of artistic practices, including sound, dance, comedy, poetry, installation, sculpture, painting, video, and one online talk show. If there is any aesthetic link between these diverse works it is in their energetic mutability of form. Together, these works speak to a newfound elasticity in our understanding of what mediums constitute contemporary art. Here, paintings evolve out of 3-D models, digital images erupt into sculpture, and sound becomes action. This is a group of works that attests to how form is continuously converted across word, image, and medium.



  • For every word has its own shadow, Galleri Riis, Stockholm (solo)

    For every word has its own shadow

    January 14 - February 21, 2015


    Galleri Riis

    Rödbodtorget 2

    Stockholm, Sweden




    These days I live in Stockholm. A place surrounded by water. So I think about the desert a lot. I grew up in one. As a child, the high elevation would set off repeated murder scene-like nosebleeds. I'd lie flat on the kitchen floor waiting for the metallic flavor to stop coating my throat. Now that I think about it, I realize it's that same kitchen floor where I first discovered mercury from a broken thermometer.


    Mercury is a transition metal. This has something to do with oxidation states and loss of electrons, but I just want to fixate on the idea that transitions, by definition, exist inside processes of change. They're in between phases, gaps in classification.


    The three videos in my exhibition try to give form to the liminal. They narrate my own process of trying to gauge distances of all sorts. I'm probably homesick, yes. But my work is also part of a long chain of experiments that try to make visible the complex processes of consciousness - that unfold in relation to experience and language. Adorno wrote admiringly of Benjamin, "[his] thoughts press close to its object, seek to touch it, smell it, taste it and so thereby transform itself" (Prisms, 240).


    In the videos, which were made over a period of nearly four years, I speak through - and have conversations with - enigmatic writers, with close friends, with histories still felt, and with technologies and geographies that I know - in order to mediate those that I don't. I've filmed in places and at times that exist at some threshold. Like where sea meets land, and while traversing above and below the surface of the earth, and during the time when day gives way to night.


    Lisa Tan, Stockholm, January 6, 2015




    Galleri Riis and Lisa Tan are delighted to present a commissioned text by the Swedish writer and poet Mara Lee. Printed copies will be available at the gallery. For a pdf version, click here.


    Works on view: Waves (2014), 19 minutes, Notes from Underground (2013), 23 minutes, Sunsets (2012), 22 minutes.



  • Sunsets, Museum of Contemporary Art Santa Barbara, Santa Barbara, CA (solo)


    Lisa Tan

    Bloom Projects: Sunsets

    September 7 - January 4, 2015



    Museum of Contemporary Art Santa Barbara

    653 Paseo Nuevo

    Santa Barbara, CA, USA





    By Theodor Ringborg

    (PDF version)


    Sometimes one has to take the long way ʹ′round. Lisa Tan’s video Sunsets shows parts of an interview

    between an anonymous reporter and Brazilian author Clarice Lispector. It is, by all accounts, Lispector’s

    last appearance before she passed away December 9,1977. We see her reclined in a chair, tired, looking

    almost pissed-off, as if she really doesn’t want to be there. But then again, she must have been

    exhausted. She’d been in chronic pain for more than 10 years, since, in 1966, falling asleep cigarette in

    hand and setting fire to her mattress. The interview, as we see it, is being translated by someone who

    communicates it to the artist, who in turn writes it down. A person speaks to another person, seen by a

    third who tells a fourth, who puts it in writing.


    Lispector’s first line is, “I think that when I write, I am dead.” She says it in response to a question writer

    Rainer Maria Rilke was once asked, “If you couldn’t write anymore, would you die?” Death is brought to

    Lispector by the act of writing. Whether she anticipates death as she writes, or if she is in fact dead as she

    writes, matters little. Both being dead and forestalling death is to come face-to-face with death. Both being

    dead and anticipating death is to be ferried by Charon, the question is how far it is to shore. And though

    we are all, indeed, in the same boat, here it is by all means a particular kind of death. Given that it hinges

    on a special propinquity, a kinship between writing and death and death and death, it is perhaps the gift of

    death, as in Jacques Derrida’s second sense when he asked, “How does one give oneself death in that

    other sense where se donner la mort also means to interpret death, to give oneself a representation of it, a

    figure, a signification or destination for it?” Possibly, it would be to write to think of death. And, perhaps, to

    write unto death. To write and think about the death of death.


    We, the ones that watch the video, don’t see the whole interview. We hear it, through its multiple layers—

    what the reporter asks, Lispector’s response, the translator’s interpretation and Tan’s keyboard clicking,

    like echoing echoes. What we see in addition to the interview, because it is a film, so we’re always faced

    with something, are scenes filmed in Sweden at either 3 a.m. during the summer, or 3 p.m. during the

    winter—hours of twilight, hours of darkness and light, hours in-between that allude to both endings and

    beginnings. We’re also faced computer screens that show various planets and stars and universes. They

    are obviously screensavers, functions of the computer that come into being when it, as it’s said, goes to

    sleep. But is it also a parable to the idea of something’s ingredient? Suggesting, in some way, that each

    pixel is a building block for the impenetrable image of space as it takes more than one pixel to make an



    Light, when there’s a lot of it, and on the contrary when there’s almost none, is pivotal perhaps nowhere

    so much as in the North. This may sound much like the figured thing to say, and might brand me as the

    expected brooding Swede, but the darkness of the winter contrasted to the light of the summer is

    something that can seriously damage or confuse someone emotionally. When it’s dark, and can get really

    dark, all some want to do is sleep, and others, even, hibernate. As they seep in throughout the film—light

    and dark and sleep and death—I don’t think I would go too far in saying that it all seems to come from a

    place of dejection.


    The reporter asks Clarice and the translator translates and Tan types, “In what measure does the work of

    Clarice Lispector and the specific case of Mineirinho … can alter the order of things?” Clarice responds to

    the reporter and the translator translates to Tan who types, “It doesn’t alter anything. It doesn’t alter

    anything. It doesn’t alter anything. Because deep down we’re not … we don’t want to … we don’t want to

    alter anything ... we don’t want to alter things , I’m sorry. We are wanting to … bloom … in one way or

    another … we want to bloom in one way or another.” As she replies she lights a cigarette.


    Is it possible that twilight is a departure? And is it then a departure toward the flat globes to which we turn

    unknowing to save our screens and ourselves? A turn to that which is unknown and unlivable, like writing

    and death? Is it a coupling of the gift of death and not-knowing? Not-knowing what death is? Or, perhaps,

    thinking, but not being sure, if one is dead while writing? Derrida’s second sense of the French expression

    la donner la mort, the gift of death, is preceded, of course, by a first sense, which is only now coming to be

    relevant. Derrida asks: “How does one give oneself death? How does one give it to oneself in the sense

    that putting oneself to death means dying while assuming responsibility for ones own death, committing

    suicide but also sacrificing oneself for another, dying for the other, thus perhaps giving one’s life by giving

    oneself death such as Socrates, Christ, and others did in so many different ways?”


    The final pass that travels through the reporter, Lispector, the translator, and Tan begins with the reporter

    asking, “Does that still happen that you produce something…and then you tear it?” The exchange,

    including the words of the translator, that follows is:


    Yeah, I put it aside or I tear it apart…yes I tear it apart.


    Is this a product of a reflection on something, or is it an emotion, and she interrupts him and

    says, it’s anger, it’s anger.


    With whom? With myself. Why Clarice? I don’t know…I’m a bit tired. Of what? Of



    But aren’t you reborn or renewed in each new work? Big sigh. Well now, now I died. Let’s

    see if I’ll be reborn again. For now I’m dead. I’m talking about my….


    I think she says I’m talking about my…tone…? No! No! No…! I’m talking from my…tomb.

    I’m speaking from my tomb.


    It’s “túmulo” not “tom” (here, the translator simulates the way Clarice Lispector pronounces



    She speaks from the tomb, awaiting signs to come back to life. Waiting to be alive enough to write and be

    dead again. To recuperate and be so full of life so as to afford giving death to herself and die for


  • The Mind Was Dreaming. The World Was Its Dream. Temple Bar Gallery + Studios, curated by Paula Naughton, Dublin

    The mind was dreaming. The world was its dream.

    11 April - 07 June 2014


    Jonathas de Andrade, Edgardo Aragon, Gavin Murphy, Lisa Tan

    curated by Paula Naughton


    Temple Bar Gallery + Studios

    5 - 9 Temple Bar

    Dublin, Ireland





    Temple Bar Gallery + Studios presents The mind was dreaming. The world was its dream, curated by Paula Naughton and featuring work by  Jonathas de Andrade, Edgardo Aragón, Gavin Murphy and Lisa Tan. The exhibition brings together artists who revisit history through personal and staged narratives. Blurring the lines between fact and fiction, real and imagined, each artist creates a palimpsest site to negotiate new meaning. Existing in neither the past or present this in-between space uncovers alternate ‘truths’. Through shared processes of documentation and archiving, the artists address culture as a form of representation in order to examine complex issues of social & political structures.


    Essay on the exhibition written by Valerie Connor


  • Take Form, Galleri Riis, Stockholm

    Take Form

    May 22 – June 19, 2014


    Kristina Matousch, Eline Mugaas, Lisa Tan and Jan Groth


    Galleri Riis

    Rödbodtorget 2

    Stockholm, Sweden




    Lisa Tan (b. 1973, Syracuse, New York) works mostly in video, photography and installations to explore the intricate relationship between language and experience. Persistent themes of desire, loss, and longing appear in her conceptually driven works that are characteristically executed in a clear and unsentimental manner. Kristina Matouschs’ (b. 1974, Kalmar) art is powerful; the object’s high-gloss finish, coupled with profound content including the embarrassing, disgusting, desirable and aggressive, have the ability to occupy and change rooms and those inhabiting them. Jan Groth (b. 1938, Stavanger) works with the deceptively simple, as his oeuvre revolves around the line. He draws, sculpts and has executed monumental tapestries, always with the line as motif. Groth's line seems preliminary of something yet to become but is already complete. Eline Mugaas’ (b. 1969, Oslo) photographs hold pure formal aspects in the seemingly everyday. Her images thus include both the private and public and the motifs contain accidental visual information, together with illusory architectural elements created by light and shadow.


  • 2013

  • Cimiterie d'Ixelles, curated by Lisa Oppenheim and Lisa Tan, Art in General, New York

    Cimiterie d'Ixelles

    Helena Almeida, Germaine Kruip, Jochen Lempert, Alexandra Leykauf, and Eva Löfdahl

    An Art in General New Commission by Lisa Oppenheim & Lisa Tan

    September 21 – October 19, 201


    Art in General

    79 Walker Street

    New York, NY 10013



    When she came looking for B’s grave a few months after he died in the Hotel de Francia in Port Bou, A found nothing. Nothing, that is, other than one of the most beautiful places she had ever seen. “It was not to be found,” she wrote S shortly afterwards, “his name was not written anywhere.” Yet according to the records provided by the town hall of Port Bou, one of B’s traveling companions, Frau G had paid out seventy-five pesetas for the rental of a “niche” for five years on September 28, 1940, two days after B died from what was diagnosed by the local doctor as cerebral apoplexy, but is generally understood to have been suicide by a massive overdose of morphine tablets.


    Yet name or no name, the place was overwhelming.


    “The cemetery faces a small bay directly looking over the Mediterranean,” wrote A. “It is carved in stone in terraces; the coffins are also pushed into such stone walls. It is by far one of the most fantastic and most beautiful spots I have ever seen in my life.”


    S was not impressed. Years later he seemed downright dismissive, bringing his book-length memoir of B to an end with these words: “Certainly the spot is beautiful, but the grave is apocryphal.” It was an abrupt and sour note on which to end the story of a life, as if the dead man and therefore we, too, had been cheated of an ending, and what we had gotten instead was a suspension, a book whose last page was missing.



    Text: Taussig, Michael. Walter Benjamin’s Grave. Chicago: University of Chicago Press, 2006. Edited and altered by Lisa Oppenheim.


  • A nonspatial continuum, Schleicher/Lange, Berlin

    A nonspatial continuum in which events occur in apparently

    irreversible succession from the past through the present to the future

    November 15 - December 21, 2013


    Toril Johannessen, Elizabeth McAlpine, Laurent Montaron, Evariste Richer, Lisa Tan



    Markgrafenstrasse 68

    10969 Berlin




    The title of the exhibition is a precise description of the phenomenon: time, a physical, measurable variable that denotes a sequence of successions and therefore describes a clear and irreversible direction. As the fourth dimension it renders orientation in space possible.


    Above all, timekeeping complements visual and geographical points of orientation for the observer, enabling us to not only know where we are, but when we are there – on a timeline that is subdivided into the precise units of years, days, and seconds. Due to it’s mono-directionality, it is bound up with transience and mortality, and our attempt to protecting us against the passage of time through memories. Memories are individual and thus play an important role in the creation of a person’s identity. In the context of society, memories serve to create history.


    The perception and experience of time is subjective and different for every individual, despite the fact that it can be measured objectively using a defined scale. In theory, therefore, it is the same length for each person. Different cultures likewise have strikingly dissimilar ways of approaching time. In Western societies we tend to think of time as being a resource, or consider it as an object of value. We live with the conception that we ought to manage and use our time, and that time is something we can waste, lose or find.


    All of the exhibited works from the five artists participating in this show refer to time in a different way and investigate possibilities for an alternative approach, not just to time as a theme but also to how it can be measured. They give rise to various questions, all of them taking an angle on the underlying theme: “How is it possible to represent time? Is it possible at all?”



  • Just what is it that makes today so familiar, so uneasy?, Lofoten International Art Festival (LIAF), curated by

    Anne Szefer Karlsen, Bassam El Baroni, and Eva González-Sancho, Lofoten Islands

    Just what is it that makes today so familiar, so uneasy? LIAF Lofoten International Art Festival 2013

    6 – 29 September 2013



    Bani Abidi, Sven Augustijnen, Ann Böttcher, Mircea Cantor, István Csákány, HC Gilje, Pedro Gómez-Egaña, Shilpa Gupta, Leslie Hewitt in collaboration with Bradford Young, David Horvitz, Adelita Husni-Bey, Siniša Ilić, Adrià Julià, Mahmoud Khaled, Karl Larsson, Laida Lertxundi, Britta Marakatt-Labba, Nana Oforiatta Ayim, Oliver Ressler, Allen Ruppersberg, Walid Sadek, Natascha Sadr Haghighian,

    Lisa Tan, Olivier Zabat, and Knut Åsdam, with Speakers Matthew Fuller, Aaron Levy, Aaron Schuster, Tiago Bom and Ayatgali Tuleubek

    Curated by Anne Szefer Karlsen, Bassam El Baroni, and Eva González-Sancho





    ‘Just what is it that makes today so familiar, so uneasy?’ is the title of LIAF 2013. By rephrasing the title of the famous 1956 Richard Hamilton collage ‘Just what is it that makes today’s homes so different, so appealing?' LIAF intends to establish an aesthetic, intellectual, and political position by bringing the public and those shaping contemporary art discourse closer to a heightened and sensitive understanding of the conditions that shape our consciousness and existence today. LIAF 2013 will feature a balanced variety of art projects that create connections with each other and their surroundings, forming a circuit of intense emotions, ideas, and positions.


    The scarcity of art institutional structures in Lofoten offers LIAF 2013 an opportunity to explore the current moment that can be described as a shift from a condition of successive crises followed by recoveries, to one where crises shape a new permanent condition. LIAF 2013 seriously considers this condition, immersing itself in the fabric of the local community, its domestic, commercial and public spaces while exploring the current moment's global uneasiness.

  • On The Passage Of A Few, Simon Preston Gallery, New York

    On The Passage of a Few

    19 June - 4 August 2013


    Alexandre da Cunha, Terence Gower, Luis Molina-Pantin and Lisa Tan


    Simon Preston Gallery

    301 Broome Street

    New York, NY 10002



    Borrowing its title from Guy Debord's 1959 film, On the Passage of a Few Persons Through a Rather Brief Unity of Time, the exhibition explores the relationship between citizen and environment, while it simultaneously critiques and pays homage to decaying modernist ideologies. Each artist dismantles the structure of modernist systems by exploiting and transforming the materiality of cultural and architectural tropes in order to make way for new narratives.


    Terence Gower’s installation The Red Wall (El Muro rojo) dominates the gallery space. An enormous red wall frames a black and white restaged photo of Armando Salas Portugal's famous 1953 image of Casa Barragán. By reducing Luis Barragán's exuberant colours to grey tones, the work highlights Barragan’s aesthetical concerns with emotional experience and architecture. Known for playful appropriation of everyday objects such as plungers, mops, fans or bottles, Alexandre da Cunha uses critical wit to topple hierarchical modernist language. With Full Catastrophe (drum XIV), the simple gesture of liberating a rusted industrial cement mixer from its original function raises complex questions of trade and labor. Luis Molina-Pantin is an obsessive chronicler. Whether using photography, books, everyday objects or postcards, Luis creates inventories of our over-looked cultural landscapes. Non-fiction reviews, is an installation consisting of sixteen fictional vintage books, each cover depicting an airplane disaster. Objectifying the book through the lens of the archive, the series becomes a strategy of representing failed ideologies - the imagery of flight, a classic modern aspiration displayed as a dystopian failure. Lisa Tan incorporates personal and collective histories in order to explore her long-standing preoccupation with the indefinable. In this instance, Alter Nordfriedhof casually documents a cemetery in Munich on a spring day. Overgrown vines and flowers obscure the tombstones into abstract shapes. Through the use of repetition and the apparatus of archival structures, an elegant ontological study transforms into a poetic meditation on mortality.

  • Duet, curated by Carolina Grau, Cristina Guerra Contemporary Art, Lisbon


    23 April - 11 May, 2013


    Filipa César, Lisa Tan, Salma Cheddadi, Julião Sarmento, Jaume Pitarch, Rui Toscano, Raphaël Zarka, Duncan Campbell, Eric Baudelaire, and Pablo Pijnappel.

    Curated by Carolina Grau


    Cristina Guerra Contemporary Art

    Rua de Santo António à Estrela 33

    1350 - 291 Lisbon





    A Duet is an activity performed by a pair of closely connected individuals. Each one has its own characteristics playing the same melody with different tones, tempos and rhythms.


    Duet is a presentation of specific video works by two artists creating a dialogue with their similitude and differences changing during each day of the week. Using the existing two different spaces at Cristina Guerra gallery, one space darker and more intimate and the other wider for more cinematic experience, the different conversations will develop during each week.


    The five duets in the exhibition explores different contemporaries issues that are such as combining documentary and viewpoints are the films by Filipa César (1975, Porto) and Lisa Tan (1973, Syracuse, New York); the sensuality and the female body by Salma Cheddadi (1984, Casablanca) and Julião Sarmento (1948, Lisboa); the influence of painting and its manipulation by Jaume Pitarch (1963, Barcelona) and Rui Toscano (1970, Lisboa); the film assembly from archive material, discussing public figures or spaces by Raphaël Zarka (1977 Montpellier) and Duncan Campbell (1972, Dublin) and the presence and the absence of images by Eric Baudelaire (1973, Salt-Lake City) and Pablo Pijnappel (1979, Paris).


  • Speaking and Thinking, curated by Stephanie Hessler, Galerie Nordenhake, Stockholm

    Thinking and Speaking

    5th April - 12th May 2013


    Erica Baum, Francisca Benítez, Iñaki Bonillas, Luis Camnitzer, Haris Epaminonda, Felipe Mujica, Nanna Nordström, Linda Persson, Falke Pisano, Lisa Tan

    Curated by Stefanie Hessler


    Galerie Nordenhake

    Hudiksvallsgatan 8

    SE-113 30 Stockholm





    “Just as the imaginary situation has to contain rules of behavior, so every game

    with rules contains an imaginary situation.”

    ~ Lev Vygotsky in “Mind in Society”


    The exhibition “Thinking and Speaking” takes its title from Lev Vygotsky's founding work of constructivist psychology from 1934. It brings together different attempts by artists to appropriate language and invent new idioms as a means for understanding systems and creating new worlds.


    Language is at the base of societal power structures, and – as Michel Foucault has pointed out – power itself is exercised through discourse. If speech is crucial for determining societal systems and the constitution of subjects, and norms are so embedded as to be beyond our notice, a way to rethink them may be by altering the use of language itself. The exhibition “Thinking and Speaking” looks at modes of appropriating and experiencing idiomatic systems from a meta-linguistic perspective and with an emphasis on play.


    The artists in the exhibition playfully analyse and question language as we take it for granted. Some invert aesthetically orchestrated and manipulated signs used to exercise power. Others address the relation between speech and temporality. Some deal with the impossibility to translate abstract ideas and dreams into oral speech. Still others point to the formal relationship between diction and physicality, or create abstract and visual forms of poetry. The exhibited works are not all connected to idiomatic language, but build their own regimes by bringing forth objects that do not fit into any category, and expressions of ideas that do not yet have any corresponding semiotic signifier.


    Play and appropriation can be so associative and replete as to overbear the possibilities of translation from thought to speech completely. By contriving new patterns of expression that transgress or modify existing ones, deadlocked structures may be detected and discarded.

  • Encore! Film Festival, Bonniers Konsthall, Stockholm


    23 Mar — 16 Apr 2013


    Encore! is organized by Bonniers Konsthall and takes place at Biografen Sture every Monday and Tuesday from March 25 to April 16. The evenings start at 18.30.


    Bonniers Konsthall

    Torsgatan 19






    Often, one only sees glimpses of a work in a show, does not have time to stay for the entire film or forgot who made the video that you cannot stop thinking about. Therefore, this past winter we gave our audience the chance to wish for the films they would like to see most. From the many suggestions we received, we have finally created a program that includes everything from classics such as John Smith’s Girl Chewing Gum to Trisha Donnelly’s noted and appreciated work from Documenta 13, 2012. Two evenings are curated by artists Lisa Tan and Pierre Bismuth.



    Tue 9/4  Encore! According to Lisa Tan

    Moyra Davey, Les Goddesses, 2011 (61 min).

    Davey scours through her earliest black-and-white photographs: portraits of her rebellious Catholic sisters in the early 1980s.  She walks around her apartment, whispers in the microphone and quotes everything from the philosopher Walter Benjamin’s thoughts on photography to the poet Alejandra Piznarnik’s ideas on food.


    John Bock, Gast, 2004 (11 min).

    Gast depicts a rabbit hopping freely in the artist’s apartment, which is littered with sculptures composed of quotidian household items. Bock’s camera follows the rabbit’s movements as his own costume manipulates them. References to Joseph Beuys’ performance How to Explain Pictures to a Dead Hare (1965) are evident, but Bock reverses Beuys’ mandate by learning from rather than teaching his companion.


    Lisa Tan, Sunsets, 2012 (23 min).

    The video documents an informal translation and transcription (Portuguese to English) of a 1977 interview with the Brazilian writer Clarice Lispector (1920-1977).  Lispector’s figurative and highly imaginative stories approach the limits of subjectivity in remarkable ways.  The piece layers the interview with scenes that were filmed in Sweden during the liminal zone of either 3am during the summer, or 3pm during the winter.

  • Kino der Kunst, Film Festival and Exhibitions, Munich


    KINO DER KUNST Festival and exhibition

    April 24 to 28, 2013


    Gallery Program, presentation of Sunsets (2012)

    Andreas Grimm München

    Türkenstrasse 11

    80333 Munich






    Is the White Cube turning into a Black Box? Darkness is taking over in the art museums - after a hundred years of discussing the pros and cons of natural or artificial light, overhead spots or neon bulbs. Moving image and digital projection have entered the art world; a growing number of visual artists work with film and fiction, telling stories and directing professional actors. What, however, does contemporary art want from cinema? And is Hollywood’s future really to be found in art museums?


    These questions are the core of a new, internationally unique event in Munich: KINO DER KUNST wants to be exhibition and film festival in one, showcase for contemporary trends in art and international meeting point for artists, curators and the public. KINO DER KUNST extends the conventions of cinema and investigates new forms of narration.


    The current relationship between cinema and art is explored with the International Competition for single-channel art works; a historical movie program features films by artists from Hans Richter or Rebecca Horn to Steve McQueen or Julian Schnabel; retrospectives and geographic focuses are presented as well as multi-channel installations. Screenings take place at several movie theatres in the University of Television and Film and the ARRI Kino, talks in the Academy of Fine Arts. Multichannel works are installed in the Pinakothek der Moderne / Schaustelle, Museum Brandhorst and the Goetz Collection.

  • 2012

  • Le prince des rayons, Galerie VidalCuglietta, Brussels

    Le prince des rayons

    2 June - 15 July 2012


    Danai Anesiadou, Marianne Berenhaut, Edith Dekyndt, Peter Downsbrough, Amy Granat, Sven Johne, Runo Lagomarsino, Adriana Lara, Erwan Mahéo, Miks Mitrevics, Nick Oberthaler, Mira Sanders, Lisa Tan, Pieter Vermeersch


    Galerie VidalCuglietta

    Boulevard Barthelemylann 5

    1000 Brussels





    The exhibition “Le prince des rayons” (The Prince of the Rays) explores the resonance of the horizon and its aesthetic, poetic and utopian associations in the thinking and imagery of contemporary art. This article no claim to historical analysis, but it is worth noting that since the 19th century the ho- rizon has characterised and revealed Romantic subjectivity. It oversteps the frontiers of rational knowledge and is invested with feelings. As a structure of the landscape, it becomes a state of mind, the Stimmung referred to by Heidegger. Later, the invisible leads to emptiness, the abyss; the distant horizon floats to the surface, rises up and plunges us into nothingness. “The ego is thrown out of the window”* , and this defenestration allows the mys- tery of the horizon to come about. This is the great leap into the opaque matter of the horizon, of the kind performed by the Dutch artist Bas Jan Ader in his final work, “In Search of the Miraculous” (1975).


    But who is this “prince of the rays”? His name is so attractive and mysteri- ous that we have preferred not to reveal his identity yet. He is the central axis joining together all the other visual rays in Alberti’s Renaissance-period “Treatise on Painting”. He has become the poetic name substituting for the word horizon in the planning of this project, because, as lord of the gazing eye, he has the magnificence to make us “seers” beyond the limits of the image and perception.

    Is it therefore because of its immanence and very inexorability that the ho- rizon so stimulates the imagination? Is it because it retreats before us at each step we take? Is it the horizon’s metaphysical grandeur or a wariness of the temptation of the sublime which causes artists to preserve its repre- sentability? But who was it who asked whether the inaccessible was not the true goal of the quest?


    Lilou Vidal, May 2012


    * M. Richir, La Défenestration, L’ARD no. 46: Merleau-Ponty quoted by Céline Flécheux L’Horizon, des Traités de perspective au Land Art, PUR

  • Screening Room: Brussels, Temporary Gallery, Cologne


    Screening Room: Brussels

    December 10-12, 2012

    Selection of films by Regina Barunke


    Temporary Gallery

    Mauritiuswall 35

    D 50676 Köln




    "Screening Room" is an ongoing film series that started in 2011 addressing the current international artist film. Each series focuses on the art scene of a specific city: in collaboration with art institutions, galleries, off spaces, artists and producers a high-carat collection of film contributions emerges, being intrinsically linked to and portraying the place. Named after the eponymous TV format "Screening Room" that has been developed and moderated by the American Documentary filmmaker Robert Gardner and aired by the Boston TV broadcast company WCVB between 1973 and 1980, it explicitly gives the voice to the new generation of filmmakers and avant garde and experimental film.




    Patricia Esquivias: Natures at Hand, 2011, 3:48 min

    Lisa Tan: Sunsets, 2012, 22:30 min

    Peter Wächtler: Tim and Racky, 2011, 59:38 min

    Chris Kraus: Sadness at Leaving, 1992, 18:57 min



    Wim Catrysse: (MSR), 2012, 14:57 min

    Aglaia Konrad: Concrete & Samples III, Carrara, 2010, 19 min

    Theo Cowley: Untitled, 2012, 5 min

    Eleni Kamma: The Tuner’s Monologue, 2012, 13:09 min

    Shelly Nadashi: Medium, 2012, 9:24 min

    Rosalind Nashashibi: Open Day, 2001, 11:45 min



    Simona Denicolai & Ivo Provoost: A dream called Macba, moca, moma, etc., 2010, 9:19 min

    Markus Selg: Storrada, 2011, 23:21 min

    Franciska Lambrechts: Ideaaahhhl, 2008, 44:26 min

    Grace Schwindt: Tenant, 2012, 78:06 min


  • Sunsets, Galerie VidalCuglietta, Brussels (solo)


    24 March – 25 May 2012


    Galerie VidalCuglietta

    5 Boulevard Barthelemylaan

    1000 Brussels




    Galerie VidalCuglietta is pleased to present the new solo exhibition of the Stockholm and New York-based American artist Lisa Tan.


    For this exhibition, the artist debuts a new single-channel video installation titled Sunsets (2012). Sunsets documents an informal translation and transcription (Portuguese to English) of a 1977 interview with the Brazilian writer Clarice Lispector (1920-1977). Lispector’s figurative and highly imaginative sto- ries approach the limits of subjectivity in remarkable ways. In Sunsets, Tan layers the interview with a seductive and melancholic visual language to address values of productivity and passivity in relation to creation.


    Lisa Tan has been spending a lot of time in Sweden for the past few years, and anecdotally relates the origin of this piece:


    ...it relies on the most banal topic, something that I thought you really shouldn’t talk about anywhere, but especially at certain latitudes because its presence is so achingly obvious: the weather. Or really, it’s about the light.


    The footage in the video was shot in Sweden at either 3am during the summer, or at 3pm during the winter. I look at this liminal zone, when it’s not really day or night, or when the sun sets too slowly or too rapidly, as a way of connecting to certain values of productivity and the generative liminal space of translation—of not knowing exactly—or of getting things wrong. So last summer, I woke up in the mid- dle of the night, when I was supposed to be sleeping, when the sleep function on my laptop showed slowly shifting views of our solar system, insisting that I was not supposed to be working, no. I started filming my laptop in this mode, thinking that right now, the computer is perhaps most interesting when it’s asleep.


    Lisa Tan’s works involve her longstanding interest in persistent ontological questions, and different ex- periences of loss and longing. Her work is known for an elegant visual economy and has taken the form of photographs, videos, sculptures, drawings, installations, and writing. Another work on view, Moving a Mountain, first exhibited in New York in 2008, relates a night spent in Mexico City—its quiet discover- ies and future traces. The piece consists of a found painting, a photograph and a framed text.

  • Shiver in the Shift, curated by Eva González-Sancho, Galería Parra & Romero, Madrid


    Shiver in the Shift

    24 March - 6 May 2012


    Kajsa Dahlberg, Gaylen Gerber, David Lamelas, Karl Larsson, Lisa Tan

    Curated by Eva González-Sancho


    Parra & Romero

    Claudio Coello 14

    28001 Madrid




    an urge, pense-bête

    to not forget

    and let the imprint

    from an aging entity

    made out of empty shells

    shiver in the shift

    between linear reasoning

    and informal argumentation


    Karl Larsson, Parrot, 2010


    Shiver in the Shift is a phrase taken from Karl Larsson’s book/poem, Parrot, published in 2010, the outcome of Larsson’s research into the work of Marcel Broodthaers (Belgium 1924-1976). Parrot – a mysterious and fascinating bird and also, as Larson says, “a body inhabited by the language of others, a loyal commentator (a marginal actor).” As well as paying homage to Broodthaer’s work, Parrot also sets out to respond to a lack, to something lacking, something necessary for continuing as a poet, whatever this might be, if indeed it exists.


    The (sonorous and onomatopoeic) phrase Shiver in the Shift is part of another story, one that echoes the work of this major artist, infused with literary strategies and in which language so often operates as symbol or sign. In the context of the exhibition at Parra & Romero, the phrase is transferred to another context, acknowledging the narrative threads running through this group show. This is a multiple narrative, not only because the five artists present a range of different proposals, but mainly because all seem to be marked by references to a third person. Indeed, each work names, refers or alludes to other authors, although this does not take the form of simple quotation. The viewer is invited to make the distinction between reading and looking (to return to Broodthaers’s pense-bête), in order to approach the individual works, the different authors, the multiple layers that lie within each work and between the works as a group.


    The exhibition brings together five artists of diverse origins and different generations who elicit a series of narrative threads that consider the experience and perception of the work of art, addressing issues of reading, translation, transcription, displacement, and the potential for writing offered by blank space. The emphasis is on the here and now, the moment of encounter between an existing work of art or literature and the viewer/reader’s experience of it.


    Eva González-Sancho, Madrid, 2012


  • A man is walking down the street..., curated by Luiza Teixeira de Freitas and Thom O'Nions, Cristina Guerra

    Contemporary Art, Lisbon


    A man is walking down the street. At a certain moment, he tries to recall

    something, but the recollection escapes him. Automatically, he slows down.

    July 18 -September 12, 2012


    Alejandro Cesarco, Henrik Håkansson, Runo Lagomarsino, Edgar Martins, Katja Mater, Matt Mullican, Joao Onofre, Lisa Oppenheim, Philomene Pirecki, Dieter Roth, Lisa Tan, Jack Vickridge, Lawrence Weiner, Guido Van Der Werve

    Curated by Luiza Teixeira de Freitas and Thom O'Nions


    Cristina Guerra Contemporary Art

    Rua de Santo António à Estrela 33

    1350 - 291 Lisboa Portugal




    The exhibition brings together a set of artworks that deal with ways of embedding time, either as a conceptual proposition or within the process of making the artwork itself. Time is rendered by the artwork, produced through it. In Archive Fever Derrida remarks that the process of archivisation ‘produces as much as it records the event’, this is an idea that can be put to many of the works in the exhibition. Through attending to time and its representation they produce their own forms of the present, existing discreetly within themselves and within the context of the exhibition.


    The title of the exhibition is taken from Milan Kundera’s novel Slowness, which flits between two time periods, events take place in the sedately paced 18th century and a hurried, more fragmented present day. Kundera’s narrative however is written entirely in the present tense, it weaves together temporal and geographical space, the act of narration and the subject of the narrative seemingly occur at the same time. This is an idea that runs through the exhibition, the artworks are a simultaneity of times and speeds that occur in different registers and locations yet taking place within the temporal and physical frame of the gallery.


    The exhibition revolves around a series of questions, brought about by the interaction of ideas of time and of speed; how do we define the speed of a work of art? Does a work dictate its own pace, or is its pace imposed upon it by a viewer? Can an exhibition be conceived of as a collection of relative speeds?


    Marinetti maintained in his Manifesto of Aeropainting that the act of being in a plane could in itself be an artwork, an ‘aerosculpture’ formed through a ‘harmonious and signifying composition of coloured smokes offered to the brushes of dawn and dusk, and long vibrant beams of electric light’. The assertion that movement in itself constitutes an artwork when framed in a certain way aptly expresses the relationship between time, speed and movement that the exhibition explores.



  • Difference and Repetition, curated by Jacopo Crivelli Visconti, Galeria Raquel Arnaud, São Paulo


    Difference and Repetition (An Exhibition in Four Stages)

    May 9 - June 23, 2012


    Carlos Zílio, Felix Gmelin, Haris Epaminonda, Héctor Zamora, Lisa Tan, Mabe Bethônico

    Curated by Jacopo Crivelli Visconti


    Galeria Raquel Arnaud

    Rua Fidalga, 125

    Vila Madalena

    05432-070 São Paulo





    In his User’s Guide to Détournement, Guy Debord argues that one of the most efficient strategies for social insubordination is the appropriation, or détournement, of extraneous phrases and concepts for revolutionary purposes. Debord identified various types of détournements, among them the minor détournement, in which appropriate words or phrases possess no importance of their own, acquiring it, instead, by virtue of the new context in which they are used, and especially the deceptive détournement, in which the appropriate concept is intrinsically meaningful but takes on a different dimension and a value according to the new context into which it flows. The phrase that lends its name to the exhibition evidently belongs to the latter type: taken from a recent interview with [Brazilian architect] Paulo Mendes da Rocha, in its original context it referred to the need for a revolution in the methodologies of civil construction and, metonymically speaking, in cities and in society as a whole. Within the new context, the phrase retains its fascination while taking on other meanings pointing, first of all, to an art gallery’s constant need for transforming itself, for keeping in touch with the ongoing changes in artistic production and (one might also speak here of metonymy, or even of premonition) of society itself. Evidently, the greater and more prestigious the gallery’s history, the more pressing and arduous such a task becomes...


    The architect says that revolution must be made little by little. Initially organized in smaller and more conceptually cohesive groups, then finally rearranged according to other criteria in the final reprise, the works gathered here indeed suggest a prolonged revolution, of the sort that does not make it into the history books, perhaps not even into the art history books, for the simple reason that they do not begin or end – they merely happen. And, in fact, the choice of subject matter for the first three stages of the exhibition responds precisely to the desire to regard a single universe from several distinct albeit complementary perspectives. It is also no accident that the majority of the works might fit perfectly into yet another one of these curatorial landmarks: the revolution is magmatic, fluid, like a river that is never the same and that, nonetheless, never changes. On the other hand, the decision to divide the exhibition into stages responds to a desire to disengage from convention, such as the one that dictates, to a gallery, the need to exhibit only “its” own artists, or of not repeating the same work in two consecutive exhibitions, or even of not attempting to construct a narrative that dares to expand beyond the few weeks’ duration of a conventional show. Finally, to disengage from preconceptions that might prevent the revolution from taking place, the first of which, naturally, is the convention that a revolution must be swift, surprising and violent when, in fact, it ought to happen incrementally, taking whatever time may be necessary time in order to occupy and change the world while no one is looking.


    part 1.

    Difference and Repetition


    Before deciding definitely that the title of the first stage of A revolução tem que ser feita pouco a pouco [The Revolution Must Be Made Little by Little] would be Diferença e repetição [Difference and Repetition], a quite extensive albeit relatively simple search was carried out to verify whether, in fact, there had been other exhibitions with the same title in recent years. Naturally, there were, the last of them having been held only a few months ago, when preparations for the present show were already well underway and, to all intents and purposes, the title had already been decided upon. In this particular event the coincidence (which, in other cases, might have been unfortunate), the fact wound up validating the decision to reflect upon the problem and, more specifically, about the manner in which the idea of repetition which is, nevertheless, always different, constitutes a recurring subject and, in spite of this, is always open to new interpretations and readings, within the field of art and, more generally, within that of contemporary culture. Naturally, the most direct reference is to the book by Gilles Deleuze whence the title was (in this and in other cases) détourned, although another, no less important allusion is made to Pierre Menard, a character in a short story by Borges whose most astonishing enterprise was not that of rewriting two chapters (and part of a third) of Don Quijote, but of writing passages of a book utterly different from the one written by Cervantes, in spite of the fact that the two were exactly identical, line by line and word for word. Equally as pertinent, and in a much closer manner to what is stated by Deleuze himself, it might be argued that, in this, Menard gave proof of no particular ability given that, it is quite simply impossible to remake anything. The more alike, the more distinctly different two versions of a given work, a given image or (it may be worth considering) a given idea will be.


    Within the specific field of artistic output during the last few decades, these problems have remained in the order of the day, to the point that they constitute the central subject of the work of several artists, from appropriationists who may already be considered “historical” (such as Elaine Sturtevant and Sherrie Levine) to more recent exponents for whom the decision to repeat – albeit with inevitable differences – becomes a political act (Sandra Gamarra), a near-philosophical method of study and reflection (Roni Horn) or a passionate tribute (Jonathan Monk). On the other hand, to the artists included in this exhibition, the question is not fundamental, and it is precisely this consideration that eventually justifies the bringing together of their works, somehow underscoring how much – by pointing out both difference and repetition – of what we do emphasizes the existence of relationships. This notion is evidently central to the work of Lisa Tan, a series of portraits of book “couples”, fruit of the fusion of the artist’s own library with that of her partner. In some cases, the editions are the same, the pair is identical, in others, small or great disparities suggest that any relationship is born from the sum of differences and resemblances, and with the challenge of surviving both. The search for a relationship is also what moves the O Colecionador [The Collector] project by Mabe Bethônico, in which the artist gives in to a temptation (or mania) for taxonomy, compulsively accumulating newspaper clippings with similar albeit never completely identical images, successively classified according to extremely precise typologies, as though this archival fury might help it – and us – to understand the world. A world from which the images of Haris Epaminonda brings us sparse fragments: in making Polaroid camera reproductions of pictures originally shot in the 1950s, the Cypriot artist composes an elegy to time past even as he conducts to its extreme the debate on the impossibility of reproducing anything in different contexts and periods. Héctor Zamora’s swarm of Zeppelins (which had previously invaded Venice in 2009) explores other implications for the concept of repetition by being not only the result of the serialization of a form but a work that aspired to become an urban legend – that is, to be repeated differently each time, until it completely lost all control over itself and became genuinely public. Analogously, the power of the nails drawn by Carlos Zílio in the late 1970s for a series of silk screens (again, repetition, here in the guise of “technical reproduction”...) lies in serialization – in this instance evidently charged with the political messages and metaphors that marked the country’s best work of that period, in a tacit yet powerful invitation to insurrection. The same invitation that animated Gert Conradt’s 1968 film, in which film school students run through Berlin bearing a red flag. Twenty-five years later, in filming an almost identical sequence on video with his students and projecting the two side by side, Felix Gmelin pays tribute to his father, one of the students/actors in the original video, but also points out the fact that, à la Menard, “my film is about something completely different [from Conradt’s original], in spite of the fact that I repeat the same actions”. In the artist’s words, and in a manner surprisingly pertinent to the scope of this exhibition, Gmelin suggests that the principal difference the present day and the time in which his father and Conradt made the original film is that they “were convinced that revolution was the method that would succeed in changing the world”.


    - Jacopo Crivelli Visconti



  • Private View IV, Andreas Grimm München, Munich



    20 April 2012 - 31 May 2012


    Katarina Burin, Damien Cadio, Andreas Chwatal, Nana Dix, Jeff Grant, Daniel Robert Hunziker, Peter Riss, Stefan Sandner, Matt Saunders, Felix Schramm, Lisa Tan, Cornelius Völker


    Andreas Grimm München

    Türkenstrasse 11

    D-80333 Munich





    PRIVATE VIEW IV gives the viewer an extensive overview of the gallery artists, whose works have been collected and exhibited in museums and institutions worldwide. Their works have been widely published as artists monographs, in prominent art journals, and among critical theory texts.

  • 2011

  • What follows is an ordinary situation, an episode to be related and forgotten, Andreas Grimm München, Munich (solo)


    What follows is an ordinary situation, an episode to be related and forgotten

    15 April 2011 - 4 June 2011


    Andreas Grimm München

    Türkenstrasse 11

    D-80333 Munich





    ANDREAS GRIMM MÜNCHEN is delighted to announce the third solo exhibition with Lisa Tan. The artist’s work negotiates her longstanding interest in loss as a constant yet shifting condition of being that shapes the quotidian while anticipating the profound. Her works are marked by an elegant visual economy, and have taken the form of photographs, videos, sculptures, drawings, writing...and a champagne cocktail.


    For this exhibition, Tan has assembled discreet pieces that relate to one another rather obliquely, leaving open spaces for the viewer—perhaps to imagine questions emerging from the oddly fatalistic title of this exhibition. What is an ordinary situation, and how does forgetting generate its own reflective state? Consisting of works on paper, with the exception of one photographic piece, the works here propose an aesthetic of forgetting, stemming from transitions between language and image, different states of visibility, and the effects of time and nature.

    The ordinary situations in this case include an enduring friendship—captured in the letters written to the major figure of French romantic painting, Eugène Delacroix, from his life-long friend (and former lover), the aptly named Mme de Forget. The series, titled In Search of the Forgotten, Letters from Mme de Forget to Eugène Delacroix, 2010-2011, consists of delicate chine-collé prints that are reproductions of a selection of letters that were written over several decades (special acknowledgement and gratitude to the Archives départementales du Val-de-Marne).


    Two sister works on view include, Alle Worte, die sich nicht allein mit Worten beschreiben lassen (Duden, Mannheim 1970), 2011, and Bilder, die alle Worte beschreiben, die sich nicht allein mit Worten beschreiben lassen (Duden, Mannheim 1970), 2011. For an English-speaking viewership, these titles translate to: “All the words that cannot be described by words alone” and “The images that describe all the words that cannot be described by words alone.” Tan has been looking at various foreign language dictionaries, accounting for an experience of loss—in the way language perpetually and paradoxically obscures and displaces the thing it signifies. In doing so, the works also imagine how images too become displaced and more curious in their supposed explanation and definition of a thing.

    In the “blind-stamped” letterpress drawing 2 Americans, 2010, the text is derived from an article about the crash of Air France flight 447, written in early June of 2009, as published in The New York Times at a point when the commercial aircraft could not be located between its origin of Rio de Janeiro and its destination of Paris. The barely visible text lists the nationalities of those who died and read like a dissonantly irreverent cast of characters in a play.


    The only photographic work in the exhibition, Alter Nordfriedhof May 2007, 2011, is a collection of casual snapshots taken in the nearby Alter Nordfriedhof cemetery on a spring day, during the artist’s previous visit to Munich. From afar, the framed work looks like a verdant grid. A closer examination reveals how vines and flowers have obscured all but each of the tombstone’s general shape, creating a beautiful anonymity.

  • Two Birds, Eighty Mountains, and a Portrait of the Artist, Arthouse at the Jones Center, Austin (solo)


    Two Birds, Eighty Mountains, and a Portrait of the Artist

    curated by Elizabeth Dunbar

    January 15 - March 27, 2011


    Arthouse at the Jones Center

    700 Congress Avenue

    Austin, TX 78701




    Based in Stockholm and New York, Lisa Tan creates highly sophisticated works that reveal the nuanced complexities of intimacy. Her objects and images, while characteristically visually spare and restrained, negotiate the loaded territories of desire, longing, solitude, and loss. The works in this exhibition, including a project made specifically for Arthouse, address a diverse group of real individuals including the postwar French filmmaker Jean-Pierre Melville, the French Romantic painter Eugène Delacroix, and even the artist herself.


    In different ways, each piece on view is a meditation on bonding and mortality. Les Samouraïs (2010) is a precisely conceptualized and rendered installation inspired by the storyline and aesthetic style of Jean-Pierre Melville’s 1967 film Le Samouraï and a single tragic event related to its creation. A caged finch,  which serves as the protagonist’s sole companion and a central character in Melville’s muted and solemn film, died in a studio fire shortly before the film’s completion. In her installation, Tan memorializes the bird, but abates its starkly solitary existence by adding another bird to its cage—a simple gesture to foil the film’s metaphoric evaluation of isolation and interiority.


    Tan’s unearthing and commemoration of the finch’s peripheral, yet nonetheless poignant existence establishes the trajectory for the artist’s latest project, an ongoing series of prints made from letters written by Joséphine de Forget to her life-long friend and former lover Eugène Delacroix. The letters, written over several decades, reveal an enduring affection which illuminates a forgotten figure tangentially connected to an icon of French Romantic painting. The warmth and banality of their correspondence bespeaks a familiar intimacy that surely shaped their respective lives, but which went unnoticed until now, as Tan asserts the inherent poetics of Mme de Forget’s unforgettable name.


    Poetry turns clinical in another ongoing work, the quasi-performative Letters From Dr.Bamberger. Begun in 2001, the work-to-date consists of nine sets of letters Tan and her successive romantic partners have received following annual physical exams performed by her general physician. While emphasizing her concern for the well-being of herself and her lovers, the artist also deftly addresses the slippery definition of intimacy and care through a textual portrait of her relationship with her doctor—who possesses intimate knowledge of her physical being—and of her relationship with her respective partners who also know her intimately, but in markedly different ways.


    National Geographic (2009), a dual slide projection, presents a coupling of appropriated images that are attached yet interminably separate. One set shows a series of landscape photographs – specifically, romantic images of mountains- clipped from vintage issues of National Geographic that once belonged to the artist’s late father. A corresponding set of slides shows the reverse side of the clipping, literalizing a metaphoric passage from the front of the mountain to its other side, which has specific resonance for the artist but also generates universal meanings. In drawing from this personal archive, Tan reveals the relationship between mediated perceptions and private understandings of the world’s geography and inhabitants.

  • An extended exhibition for a transition function, Hilary Crisp, London


    An extended exhibition for a transition function

    14 September – 12 November 2011 (an exhibition in 3 parts)


    Kajsa Dahlberg, Lisa Tan, Mathieu K. Abonnenc, Graham Hudson, Rossella Biscotti, Nicoline van Harskamp


    Hilary Crisp

    33 White Church Lane, 2nd Floor

    London E1 7QR




    Hilary Crisp presents An extended exhibition for a transition function – evaluating artistic practice integrating archival material over three transitioning parts of the display. Each of the individual works are part of an ongoing research inquiry, shifting in form and function over time, reflected in the selection of works and the nature of the exhibition – as two works becomes four, then six – ultimately concluding with the final pair.



  • Llama 2, organized by Anna Cardoso, Nuno Centeno, Porto


    Llama 2

    June 25 - July 23, 2011


    Ana Cardoso, Amy Granat, Matt Keegan, Lisa Oppenheim, Lisa Tan

    Organized by Ana Cardoso


    Nuno Centeno

    Rua Miguel Bombarda 531

    4050 Porto





  • Not Yet, curated by Antonio Contador and Filipa Ramos, The Barber Shop, Lisbon

    Not Yet

    June 17, 2012


    Davide Balula, Laetitia Badaut-Haussmann, Nicolas Chardon, Hugo Canoilas, Von Calhau, Francis Upritchard, Stephania Galegati, Pedro Neves Marques, Pauline Curnier-Jardin, Nico Angiuli, Sara & André, Karina Bisch, Daniel Barroca, António Contador, Elisa Pône, Diego Perrone, Celine Condorelli, Ângelo Ferreira de Sousa, Invernomuto, Cesare Pietroiusti, André Uerba, Mathieu Laurette, Ignasí Aballí, Carla Cruz, Susana Pomba, Becky Beasley, Filipa Ramos, Marco Raparelli, Simone Berti, Rita Sobral Campos, Fernando Mesquita, Alexandre Estrela, Gerlach en Koop, Ana Cardoso, Francisco Queirós, Pablo León de la Barra, Lisa Tan, João Simões, Jacopo Miliani, Stephen Lichty, Tiny Domingos, Iacopo Seri, António Ortega, Isola and Norzi, Chiara Fumai, Esther Planas.

    Curated by Antonio Contador and Filipa Ramos


    The Barber Shop

    R. Rosa Araújo 5




  • EX LIBRIS, Galerie VidalCuglietta, Brussels



    March 5 - April 6, 2011


    Wim Catrysse, Edith Dekyndt, Cheryl Donegan , Amy Granat , Er- wan Mahéo, Miks Mitrevics, Mira Sanders, Lisa Tan, Zin Taylor.


    Galerie VidalCuglietta

    5 Boulevard Barthelemylaan

    1000 Brussels





    Galerie VidalCuglietta is pleased to present EX LIBRIS, an exhibition of works with books featuring contributions by gallery artists: Wim Catrysse, Edith Dekyndt, Cheryl Donegan , Amy Granat , Er- wan Mahéo, Miks Mitrevics, Mira Sanders, Lisa Tan, Zin Taylor.


    It may be said that there is no more perfect form known to woman or man than the book. For centuries now, it has remained remarkably stable: paper pages bound by a cover yield a thing to hold, to give, to read and read again. Just like the human body, the book has two sides. And the early ones, bound in leather covers, may even be likened to the human animal’s skin. We encounter the book as a very physical form indeed! And in Milan’s Ambrosian Library, there remains an ancient bible illustrated with human-animal hybrids, announcing a world of vitality and transformation.


    Today, suddenly, the book is in the midst of its greatest transformation in centuries: With the current digitalization and dematerialization of just about everything, including books, we may lament the book’s extinction. Or we may ponder this fine form differently ...Here, the plot thickens: Could not artists be said to use books more consciously and creatively today than perhaps in any moment in history? As the Polish poetess, Wysława Szymborska, once wrote, the book of life is always open in the middle. And this could be turned around and pursued further to say that the fullest life is lived in the midst of books.


    Such are the lives of the artists who have contributed to this exhibition. At its heart is a collection of their books, housed in a structure specially constructed by Erwan Mahéo and Zin Taylor. The new collection lends insight into the thoughts that drive these distinct artists, making palpable certain shared concerns that can only now come to the surface.


    Alongside these chosen volumes, several artists contribute additional works about the books they live with, submitting this fine form to playful and pathos-filled acts of transformation and deception. Lisa Tan presents twin images of books as portraits of a couple: When I moved in with a former boyfriend, our respective libraries converged. The titles of the works play off of the coupling. Joseph Conrad’s “Heart of Darkness” becomes “Two Hearts of Darkness” and Alain Robbe-Grillet’s “In the Labyrinth” becomes “Two in the Labyrinth”. Our experience of the same material is interminably independent of one an- other. A dark romance also permeates Erwan Mahéo’s cut-up and collaged version of Roger Lewinter’s Histoire d’amour dans la solitude, a work that forsakes the linear reading or the page-turner, instead turning the book into a single plane – a picture.


    In my library, which includes many art historical treatises, there are several volumes analyzing forms (pic- tures, sculptures, etc.) which would compete with the book for the title of “most ancient” and “perfect” in the realm of art – and this drama is played out in more than one work in Ex Libris, as (moving) pictures of books, sculptures evoking books and even a specially performed comedy of the book figure in ad- ditional works by Wim Catrysse, Edith Dekyndt, Cheryl Donegan, Amy Granat, Erwan Mahéo, Miks Mitrevics, Mira Sanders, Lisa Tan and Zin Taylor. At each turn, the creative use and the transformation of books into art and art into books speaks volumes of the new knowledge to gained when the book is thought again.


    Monika Szewczyk, 2011

  • Stand Opposite the Chorus, curated by Laura Mott, Galleri Rotor, Valand School of Fine Arts, Gothenburg


    Stand Opposite the Chorus

    September 9, 2012


    Magnus Bärtås in collaboration with Petra Bauer, Kajsa Dahlberg, Sara Lundén, Matti Kallioinen and Karolina Pahlén, Marcelline Delbecq, Christian Jankowski, Sara Jorenö, Tova Mozard, Lisa Tan, Richard T. Walker, and found sculptural busts.

    Curated by Laura Mott


    Galleri Rotor

    The Valand School of Fine Arts

    Vasagatan 50 (entrance Teatergatan)

    Gothenburg, Sweden



    The exhibition is a collection of works in which the artist has a taken an existing protagonist – cinematic/literary trope or real person –  and placed them in a new context of their own devising. The title of the exhibition, Stand Opposite of the Chorus, is the stage direction given to the protagonist in Greek tragedies for their position in relation to the chorus (their narrator) and the audience. In these works, the artists have changed the protagonist’s narrative through an alteration to the set, storyteller or audience. A new narrative takes shape along with sentiments – such as humor, tragedy, resolution, etc. – that were not a part of the original story and creates a new audience within the art context.

  • 2010

  • Kierkegaards Walk, curated by Jacopo Crivelli Visconti, Galeria Marília Razuk, São Paulo


    Kierkegaards Walk

    September 17, October 14, 2010


    Cabelo, Caetano Dias, Debora Bolsoni, Felipe Cohen, Gustavo Rezende, Ilya and Emilia Kabakov, Jac Leirner, Joaquin Cociña, Nilles Attalah E, Christobal León, José Bechara, José Dávila, Lisa Tan, Marlon de Azambuja, Marxz Rosaldo Rios, Oscar Santillan

    Curated by Jacopo Crivelli Visconti


    Galeria Marília Razuk

    Rua Jerônimo da Veiga, 131

    Itaim, São Paulo

    SP - 04536-000




    How Copenhagen ended. This way the museyroom. Mind your boots goan out. Phew!

    James Joyce, Finnegans Wake


    In the memories attributed to one of his pseudonyms, but which probably belong to him, Søren Kierkegaard once recounted how his father would not let him leave the house, worried as he was about the dangers of the city. To alleviate this imposed reclusion, the father would pace the bedroom with his son, telling him amazing tales of the world - that is, inventing for his son the very world that he was prevented from experiencing for himself. The no doubt austere nature of a child’s bedroom in Copenhagen, in the 1810s, opposed a runaway imagination, the creation of an extremely personal, free, fantastic and, ultimately, eminently artistic universe. We are left to imagine (for that is what this is about: imagination) the father and son’s rapid footsteps as they sought out the longest route between those four walls, much like the wolf that restlessly stalks back and forth in his cage, dreaming of the in_nite wilderness beyond.


    Despite the topos of the “end of the grand narratives” that would characterize artistic creation after modernity, contemporary production brings us innumerable examples of works that do not shy away from the task of reinventing the world, of going back and founding it, even with the simplest and most precarious means. Clearly, this is about a fragmented world and an aphasic, non-linear narrative in which everything is what it is, but is also something else: everything is imbued with the weight of objects and the lightness of metaphors. Like the Kierkegaard’s “imaginary” stroll, artistic creation transposes the cold and naked domestic walls, manages to subvert the rules of poverty, silence and loneliness, and takes us, as in the famous prologue from Shakespeare’s Henry V, to see horses and kings when they are only talked of: Let us on your imaginary forces work:




    Think, when we talk of horses, that you see them

    Printing their proud hoofs i' the receiving earth;

    For 'tis your thoughts that now must deck our kings,

    Carry them here and there; jumping o'er times,

    Turning the accomplishment of many years

    Into an hour-glass...


    Each of the works that comprise Kierkegaards Walk explores in its own way the paradox of a domestic, or at least familiar, situation, often marked by anonymity, loneliness, fragility or ephemerality, that becomes the starting point for unfathomable journeys of the imagination.


    The title of the exhibition, which in turn is programmatically cryptic or even incomprehensible, ironically alludes to Joyce’s Finnegans Wake – probably the least read classic in the history of literature and an extremely personal, dense, fragmented and indecipherable work, an unbeatable example of the impossibility of still resorting to a classic narrative. Joyce’s separation of words from any meaning that might be familiar to us, rendering them into pure sounds and transforming them into something else is echoed by the way in which artistic intervention transforms apparently known objects and scenarios into something new, something never before seen.


    The objects, videos and sculptures brought together by this exhibition point to the potentialities of daily life, they unveil the mystery hidden within the most banal objects and situations, ones we see so often that we almost don’t see them anymore. Drinking a glass of marble, sharing the dreams of a swarm of _ies, being startled by an extra bird in the samurai’s cage, discovering metaesquemas on the city streets, capturing the movement of a clock that seems to have stopped: here, all this is possible, perhaps even inevitable, because when we look at these objects, we only see what they want to be, what they want to say. And what they might want to say is that houses can no longer contain their furniture, much less their inhabitants: whomsoever has enough imagination can _y into space.


    - Jacopo Crivelli Visconti

  • Time's Arrow, curated by Ben Loveless, Galerie Nordenhake, Stockholm


    Time's Arrow

    May 6th - June 24th, 2010


    Anna Barham, Gerard Byrne, Ann Böttcher, Cecilia Edefalk, Spencer Finch, Martin Karlsson, Lisa Oppenheim, Christodoulos Panayiotou, Lisa Tan, Niels Trannois

    Curated by Ben Loveless


    Galerie Nordenhake

    Hudiksvallsgatan 8

    SE-113 30 Stockholm





    Martin Amis’ novel Time’s Arrow is written in reverse chronology in which the narrator, together with the reader, experiences time passing backwards. The protagonist’s identity is slowly revealed to him as he goes back in time and becomes younger. In a similar way the exhibition brings together a group of artists who use and address history to better our understanding of “now” and “self”. Using diverse media, from collage and painting to lens-based techniques like photography and video, the artists approach the past. Through the works, the themes of pattern and repetition become apparent, building a rhythm, marking time, like a metronome.


    The resonance of re-enactment is the focus of both Gerard Byrne and Martin Karlsson’s practice. Byrne’s project A country road. A tree. Evening… photographically hypothesizes the dramatic origins of Beckett’s Waiting for Godot, reconstructing the space of the archetypal Modernist play in historically specific locations. Karlsson documents the phenomenon of “live” museums and fake ruins in order to challenge our notions of history and authenticity. The practice of preserving and re-living the past becomes a utopian ideal of re-establishing our connections with nature.


    Ann Böttcher and Christodoulos Panayiotou reveal the mechanisms through which identity is built, be it cultural, political or social. In Böttcher’s collage she makes visible the underlying ideology in the building of the Autobahn during the Third Reich. Panayiotou’s photographic diptych depicts a seat carved in a rock and the view from it at Belle-Ile, an island off the coast of Brittany. The seat was carved at the beginning of the 20th century at the request of the eccentric actress Sarah Bernhardt from which she could contemplate and recite poetry to the ocean.


    Using the name of the ancient Roman city Leptis Magna Anna Barham investigates the anagram as poetry. The concept of the ruined Roman city is echoed as the letters that compose its name are moved as building blocks to create new constructions. Her video Proteus re-articulates ruins through language. Niels Trannois’s collage and painting, though abstractions, seem somehow to contain time. The themes of mythology, anthropology, history and poetry are obscurely present and inform his work.


    The act of seeing and looking back connects the work of Cecilia Edefalk and Spencer Finch. Finch returns to historically significant or charged moments in either a private or historical scale. In Blind Spot he revisits the site of John F Kennedy’s assassination and addresses the relationship between the gap in visual perception and the gap in knowledge. Edefalk has for many years been concerned with themes of representation, seeing, memory, phases and repetition. Her painting depicts a face almost as a faint memory, perhaps from the Antique. As in Finch’s work the eye holds great significance. Here, the reflected glint on the eye suggests a window – a gaze out from the painting, but also our access in to the surface.


    Lisa Oppenheim and Lisa Tan both appropriate and reconstruct existing cultural production. Oppenheim takes Walker Evans’s rejected negatives from his documentation for the Farm Security Administration’s (FSA) photographic archive in the U.S. Library of Congress. Taking the hole punched through the negative as the site of historical possibilities she replaces the missing detail with her own contemporary images. Tan alters the opening sequence of Melville’s film classic “Le Samouraï” (1967) by adding one more finch to the cage in which the assassin’s only companion is enclosed. The simple gesture foils the film’s evaluation of isolation and interiority, while it fictitiously modifies an occurrence within historical reality.

  • North Drive Press #5


    North Drive Press #5

    Published January 2010

    Edited by Matt Keegan and Sadie Laska


    Multiples by - Becca Albee, B'L'ing, Lutz Bacher , Bianca Beck, Joe Bradley, Josh Brand, Kerstin Brätsch, Morgan Fisher, Karl Haendel, Tamar Halpern, Nate Hylden, Kim Krans, Andrew Kuo, Lily Ludlow, Mended Veil, Olivier Mosset, Arthur Ou, Nick Relph, Jacob Robichaux, Aura Rosenberg, Aurel Schmidt, Josh Shaddock, Nick Stillman, Lisa Tan, B. Wurtz


    Interviews and texts by - B'L'ing & UbuWeb, Fia Backström & Joseph Logan, Andreas Bunte & Kathrin Meyer, Ann Craven & Amy Granat, Trinie Dalton & Francine Spiegel, Roe Ethridge & Fia Backström, Eve Fowler & A.L. Steiner, Luke Fowler & Matt Wolf, Martha Friedman & Heather Rowe, Georg Gatsas & Norbert Möslang, Sam Gordon & B. Wurtz, Matt Hoyt & Jay Sanders, Melissa Ip & Cary Kwok, Clifford Owens & Christopher Y. Lew


    My multiple was a version of the letterpress print titled 2 Americans.  Special thanks to Brad Ewing of Marginal Editions.

  • Les Samouraïs, curated by Lilou Vidal, FDC Satellite, Brussels (solo)


    Les Samouraïs

    March 12 - May 15, 2010


    Curated by Lilou Vidal


    FDC Satellite

    Galerie Les filles du calvaire

    Boulevard Barthelemy, 20

    1000 Brussels




    FDC Satellite (Galerie Les filles du calvaire, Brussels), is pleased to present Lisa Tan’s first one-person exhibition in Brussels in the context of the gallery Project-room.


    Titled Les Samouraïs (2010), her 3-minute long video encapsulates the opening scene from the French film classic, Le Samouraï (1967), by Jean-Pierre Melville. Through image and sound, Tan’s piece makes an alteration to Melville’s original by adding one more bird to the opening scene. The simple gesture foils the film’s evaluation of isolation and interiority, while it fictitiously modifies an occurrence within historical reality.


    An auteur to the fullest, Jean-Pierre Melville wrote, directed, and edited his films in Studios Jenner, situated in the 13th arrondissement in Paris. While finishing Le Samouraï, the studio was completely destroyed by a fire, and the bird from the film (which Melville had adopted) was the only casualty .


    The film moves through the pending death of Alain Delon’s character—an assassin, who adheres to a life of solitude and detachment. In the opening scene, we observe his blank demeanor as he finishes a cigarette in bed, walks over to the bird, and then puts on a trench coat and hat, before closing the door behind him to face the world outside. The only creature the assassin truly connects with is his pet bird, a caged female finch that lives with him in his modest apartment.

    Here, the video is presented as a sculpture. The projector and screen are mounted on standard studio light stands, referencing the film set, and maintaining the scale of the birdcage within the assassin’s apartment.


    Also on view is the diptych, Le Monde June 29, 1967 (2010). The images are taken from the front and back page of the newspaper, published on the day of Melville’s studio fire, and photographed on a wood floor. Reinforcing ideas about the expansion and contraction of larger histories against the everyday, the photographs are hung on opposite sides of the room, implying that what lies between the pages, lies within this space—or within every space.

  • Sur le Dandysme Aujourd'hui, curated by RMS La Asociación, Centro Galego de Arte

    Contemporánea (CGAC), Santiago de Compostela


    Sur le Dandysme Aujourd'hui: From Shop Window Mannequin to Media Star

    January 15 - March 21, 2010


    anonymous, Ignasi Aballí, Pierre Bismuth, John Bock, Carol Bove, Slater Bradley, Mat Collishaw, TM Davy, Iris van Dongen, Tracey Emin, Suso Fandiño, Dora García, Babak Ghazi, Piero Golia, Douglas Gordon, Richard Hawkins, Jeff Koons, Michael Krebber, Muntean/Rosenblum, Juan Luis Moraza, Joan Morey, Carlos Pazos, Elizabeth Peyton, Richard Prince, Christoph Schmidberger, Steven Shearer, Cindy Sherman, Yinka Shonibare MBE, Zak Smith, Meredyth Sparks, Lisa Tan, Gavin Turk, Francesco Vezzoli, Andy Warhol and TJ Wilcox

    Curated by RMS La Asociación


    Centro Galego de Arte Contemporánea (CGAC)

    Rúa Valle Inclán

    15704 Santiago de Compostela



    Sur le dandysme aujourd’hui attempts to show how many of the concepts and strategies developed by nineteenth-century dandies can be found in the work and attitudes of certain contemporary artists, and how the iconography and themes of the literature of dandyism are still significant. To do so it takes three landmarks in the unusual history of dandyism—George Brummell, Charles Baudelaire and Oscar Wilde—and studies the way in which each of their contributions are reflected in the art of recent decades. Brummelliana: This part is devoted to Brummellian dandyism which, according to Giorgio Agamben, was characterised by granting things a degree of irreality that exceeded the use and exchange values of the commodity and drew them closer to the work of art. By virtue of its almost complete de-subjectivisation, the dandy tended to become reified, transformed into an unreal commodity, a pure appearance of himself—that Brummell-mannequin on public view in the window of his club on the London Mall. Following Hal Foster’s observations regarding some artists of the eighties and taking Duchamp and Warhol as leitmotifs, this section of the exhibition presents the ready-made and appropriation as processes related to the de-subjectivisation of the dandy. It deals also with the contemporary artist as a self-publicised commodity. Baudelairiana: In 1863 Le Figaro published Charles Baudelaire’s essay ‘The Painter of Modern Life’. The essay analysed customs and forms of modern life taking as an excuse the work by Constantin Guys, an obscure illustrator who is only referred to by the initials M. G. With Baudelaire the term dandy went from being a noun to an adjective. This section encompasses artists who concentrate on youth subcultures of which dandyism is considered a precedent. Wildeana: In 1900 Oscar Wilde died an early death in Paris. Was he the last dandy or one of the first media stars? He was better known for his strange way of dressing and his witticisms than acknowledged as an author in the early stages of his career. Wilde became a fan phenomenon during his tour of the US in his youth years. He also was a marked egotist. Wilde wanted to become a work of art and created his own character. This section is devoted to the theme of the artist as Narcissus, media star and work of art.



  • Signs of Life, curated by Gladys-Katherina-Hernando, Richard Telles Fine Art, Los Angeles


    Signs of Life

    June 26 – July 31, 2010


    Emilie Halpern, Kris Martin, Greg Wilken, Lorna Macintyre, Lisa Tan

    Curated by Gladys-Katherina-Hernando


    Richard Telles Fine Art

    7380 Beverly Blvd

    Los Angeles, CA 90036




    Richard Telles Fine Art presents an exhibition organized by Gladys- Katherina Hernando titled Signs of Life. The show is centered on five artists who explore photography, sculpture and ephemeral materials as representations of our cultural landscape and human experience.


    We are collectors of things. Artifacts, books, ideas, they are the remnants of human existence. In our current society, we experience life not by reading the encyclopedia but through these intermediaries. The increasing speed of information and technology is impacting how humans interact with each other and with our recent past. The gathering of objects allows us to retrace our steps, whether in search of something lost, once understood, or the unknown.


    The artist selected for this exhibition use discrete methods of art making to generate a pause to this momentum. The work does not seek to hide its sources; instead they retransmit our collective intellectual output in order to subdue the increasing amnesia of our history. Inspired by everyday events, meaningful texts and natural objects, the works are distilled from a mass of information into a focused meditation of formal structures and cultural fragments.


    An online component will accompany the exhibition; the reader will explore the many influences and interests that have impacted the artist’s thinking and practice. The website will be accessible the on June 26th, throughout the course of the exhibition, and as a permanent archive at www.SignsofLife10.wordpress.com.

  • Llama, curated by Lisa Oppenheim, Conduits, Milan


    December 16, 2010


    Lisa Tan, Ana Cardoso, Matt Keegan and Amy Granat

    curated by Lisa Oppenheim



    Viale Stelvio 66

    20159 Milan




    The title of the show is a South American camelid widely used as a pack and meat animal by Andean cultures. It’s the third person conjugation of the Spanish verb to call, or, in its reflexive form, to be called. ¿Cómo se llama? Lisa. Lisa. Ana. Matt. Amy. The premise of this show is a dinner party. It’s someone else’s opening. It’s a bar. It’s where we get together and talk about things that may be related to art or may be related to love or gossip or things we heard on the radio. Another friend of ours described art as the thin membrane that surrounds everything. It’s the thing that brings all of us together in the same room but that we don’t have to talk about all the time. It’s a support and a context that exists both individually and in a group. Llama is a picture of the group, made up individual projects and practices.

  • Kiosk, curated by David Horvitz, Golden Parachutes, Berlin



    March 3 - June 4, 2010


    Haris Epaminonda, Marius Engh, Vlatka Horvat, Charlotte Moth, Kristina Lee Podesva, Lisa Tan, Oraib Toukan and Lucy Raven.

    Organized by David Horvitz


    Golden Parachutes

    Kreuzbergstrasse 42E

    10965 Berlin





    In Farsi, کوشک (pronounced kušk), refers to an object that protects or is a shade maker. The kiosk has a history in the Middle East that spans over seven centuries. A word that was originally used to designate a place in the shade, or in the case of the Turkish kösk, a summer residence for the wealthy, has changed over time to encompass not only shaded vendors and newspaper stands, but also parking-lot ticket dispensers and photo printing machines.


    Golden Parachutes is pleased to present Kiosk, a project organized by the American artist David Horvitz, and featuring Haris Epaminonda, Oraib Toukan, Marius Engh, Vlatka Horvat, Kristina Lee Podesva, Charlotte Moth, Lisa Tan, and Lucy Raven.


    As a physical space, the non-electronic kiosk functions as a quasi-outpost in both urban and non-urban spaces. Both inside and outside at once (kiosks are usually makeshift structures and seldom proper buildings), the kiosk offers shade to the vendor, as well as possibilities for sustenance and communication for the passerby. While a ticket machine is not a shade maker, a photo kiosk returns to the etymological origins. Using a camera, a literal box of darkness (coming from camera obscura, darkened chamber), as a way of producing images, the photo-kiosk becomes a reproducer of images-literally from the shadows.


    Twenty-four 13 x 18 cm prints will be exhibited at Golden Parachutes. These photographs, printed from a photo-kiosk at the German drugstore, Rossmann, will be available for open reproduction at the cost of printing (unless shoplifted by the visitor). Upon request, visitors from the gallery will receive the twenty-four image files, and can walk to the nearest Rossmann 0,8 km away to reproduce the exhibition. The image files will also be available to download from Golden Parachutes’ website for those not in Berlin. The photographs, dispersed from Golden Parachutes, will become a kind of “traveling show” through diffusive reproduction.

  • Language Barrier, Centro Cultural Montehermoso, Vitoria-Gasteiz


    Language Barrier

    May 22 – August 30, 2009


    Centro Cultural Montehermoso

    Fray Zacarías Martínez, 2

    01001 Vitoria-Gasteiz




    One of eight solo projects by: Ion Arregi, Marcelo Expósito, Aurélien Froment, Andre Guedes, Irene Kopelman, Nathaniel Mellors, Pia Rönicke, Lisa Tan.


    Two projections each show the glass-encased entrance lobbies of two high-rise apartment buildings in Buenos Aires. One projection shows a tracking shot with a recurring mechanism that takes the viewer past the length of the lobby, repeatedly, as the position of a doorman changes with each successive pass. The second projection shows a stationary shot of the lobby, while the only movement is that of random traffic reflected in the glass facade. The work developed from long and regular walks around this affluent neighborhood at nighttime, interacting with the materiality of the buildings’—which is dominated by reflective surfaces of glass, mirror and polished marble, and interacting with the doormen sealed within.

  • 2009

  • On the Beaten Path, La Galerie, Talant and Frac Bourgogne, Dijon


    On the Beaten Path

    May 15 - June 14, 2009


    Jonas Dahlberg, Dominique Ghesquière, Jonathan Monk, Steven Parrino, Lisa Tan

    Organized by Lisa Tan in connection with her residency at Frac Bourgogne.  The works in the exhibition are part of the institution's collection.


    La Galerie, Talant

    1 place Abbé Pierre

    21240 Talant




    La Galerie a convié le Frac Bourgogne depuis 2008 à concevoir une exposition collective, qui initie une collaboration annuelle autour des artistes accueillis en Bourgogne dans le cadre des résidences Grand Est. La Galerie poursuit ainsi son programme d'expositions et de sensibilisation à l'art contemporain autour des démarches de jeunes artistes liés à l'activité artistique de la Bourgogne.


    Le programme de résidences Grand Est a été initié en 2004 par les Fonds régionaux d'art contemporain des régions Alsace, Bourgogne, Champagne-Ardenne, Franche-Comté et Lorraine. Il a permis à 19 artistes de mener leur réflexion artistique dans une autre région que la leur. En 2009, le Frac Bourgogne a choisi d'étendre à l'international le principe des résidences et a accueilli l'artiste new-yorkaise Lisa Tan, en partenariat avec l'École Nationale Supérieure d'Art de Dijon. Pour cette exposition, l'artiste a été invitée à choisir un ensemble d'oeuvres dans la collection du Frac Bourgogne, en lien avec ses propres préoccupations artistiques. C'est donc une exposition collective, conçue par une artiste, et reflet de son propre univers, qui est proposée ici. Cette exposition est la seule de l'année de La Galerie qui soit une exposition collective. L'appréhension de l'espace des oeuvres et les relations qui s'établissent entre elles ouvrent une relation à l'architecture du lieu tout autant qu'une atmosphère singulières.


    Le travail de Lisa Tan associe une forte dimension biographique à une réflexion sur la vie individuelle à travers des formes très liées à l'univers littéraire. À l'occasion de son séjour à Dijon, elle a lu le livre de Georges Bataille L'expérience intérieure et ses longues marches dans la ville l'ont conduite un jour devant un bar nommé le « Deep Inside ». De cette coïncidence de sens entre ces deux éléments de sa vie présente est née l'oeuvre qui est produite pour l'exposition de Talant. Lisa Tan a choisi de l'accompagner d'une vidéo de Jonas Dahlberg, One Way Street (2007), et d'oeuvres de Dominique Ghesquière, Journaux (2003), Steven Parrino, The No Title Painting (2003) et Jonathan Monk, My last Cigarette (1997).


    Elle a choisi d'intituler cet ensemble On the Beaten Path qui pourrait être traduit en français par « battre le pavé ». Lisa Tan écrit à propos de son choix qu'elle a voulu rendre compte de la réalité de l'individu aujourd'hui, immergé dans un contexte fortement urbain, souvent source d'anxiété. En référence à Georges Bataille, qui explore les limites de l'individu, Lisa Tan s'intéresse à ce qui surgit, interrompt le cours des choses, transforme profondément l'individu.


    L'ensemble des oeuvres souligne à la fois la profondeur et la dimension sombre à l'existence. De la même manière que Bataille s'attache à l'expérience de la porosité entre l'état intérieur de l'individu et l'extérieur, Lisa Tan explore le trouble de l'état intérieur au contact du monde. On pourrait citer la phrase de Nietzsche choisie par Bataille en exergue de son livre : « La nuit est aussi un soleil » (Zarathoustra).

  • House Call, Three's Company, New York


    House Call

    February 22, 2009


    Richard Aldrich, Leigh Ledare, Lisa Tan, with Amy Granat


    Three's Company, New York

    13 Allen Street

    New York, NY 10002


    "Located within roommates Alex Gartenfeld and Piper Marshall’s modestly sized Chinatown apartment, Three’s Company’s only two shows boast an outstanding lineup of artists. Richard Aldrich, Leigh Ledare, and Lisa Tan all exhibited in their first presentation, House Call, which was followed by an AIDS-3D solo exhibition. Three’s Company also offered me the most personal-yet-enjoyable experience I’ve possibly ever had in a contemporary art context: the pair showed Lisa Tan’s One Night Stand (Paris) in Marshall’s bedroom–a projector propped upon her bed with its image focused above her pillows. Tan’s black and white text-based video, recasting beautiful yet banal moments from a 24-hour trip to Paris, pairs perfectly with the intimate scene. Three’s Company next presents a celebrity-themed show of Asher Penn, also launching the artist’s book and PROVENCE magazine as one event October 5th." - Karen Archey, Art F City

  • Still / Moving / Still, Curated by Marc Glöde, Cultuurcentrum Knokke-Heist, Belgium


    Still / Moving / Still

    March 29 - June 7, 2009


    Robert Barry, Lothar Baumgarten, David Blamey, Marcel Broodthaers, Matthew Buckingham, David Bunn, Daniela Comani, Peter Downsbrough, Cerith Wyn Evans, Ceal Floyer, Andrea Geyer, Liam Gillick, Shumona Goel, Dan Graham, Tamar Guimaraes, Mischa Kuball, Hilary Lloyd, Mary Lucier, Anthony Mc Call, Simon Dybbroe Møller, Jonathan Monk, Dennis Oppenheim, Pablo Pijnappel, Wolfgang Plöger, Erik Schmidt, Billy Sullivan, Lisa Tan, Sofie Thorsen, Markus Wirthmann, Florian Zeyfang.

    Curated by Marc Glöde


    Cultuurcentrum Knokke-Heist




    STILL / MOVING / STILL aims to initiate a debate on the history and contemporary status of slide projection. Slides are well known to a large number of people, particularly within family circles. Millions of people can recall watching slide presentations in private settings, typically holiday snapshots or family histories. Through the development of digital imagery and the digital "slideshow" on the computer, slide projection has since been in a rapid decline. Today we often look back on slide projections and the surviving images with a certain sense of nostalgia. Over the past twenty years, there has been considerable debate about the role of projected images in art institutions. 'The image' has been strongly influenced by experimental film, cinematographic installations, digital photography, and light boxes. Within this context, one medium has until now escaped the attention of theoretical inquiry, namely that of slide projection. It is the goal of this exhibition to change this situation, and to show how this medium always has been (and still is) a vital contributor to this ongoing discussion. The historic dimensions together with the resurrection of a contemporary following, makes this exhibition not only a stimulating exercise, but also a very necessary one. That an experience as this takes place in Knokke-Heist, which is a place that has played an important role in the history of the photographic and cinematic image, offers an extra dimension to this exhibition. The collaboration between the curator and Knokke-Heist was the occasion for a rarely seen dynamic in Europe with respect to a medium that has received little attention until now.

  • Private View II, Andreas Grimm München, Munich



    3 July 2009 - 31 July 2009


    Katarina Burin, Damien Cadio, Nana Dix, Terry Haggerty, Daniel Robert Hunziker, Bjørn Melhus, Thomas Palme, Stefan Sandner, Matt Saunders, Felix Schramm, Lisa Tan, Sandra Vásquez de la Horra and Cornelius Völker


    Andreas Grimm München

    Türkenstrasse 11

    D-80333 Munich




    ANDREAS GRIMM MUNCHEN is pleased to announce our annual summer group show PRIVATE VIEW II including works by Katarina Burin, Damien Cadio, Nana Dix, Terry Haggerty, Daniel Robert Hunziker, Bjørn Melhus, Thomas Palme, Stefan Sandner, Matt Saunders, Felix Schramm, Lisa Tan, Sandra Vásquez de la Horra and Cornelius Völker.


  • There Is No(w) Romanticism, curated by Lilou Vidal, FDC Satellite, Brussels


    There Is No(w) Romanticism

    May 29- July 11, 2009


    Bas Jan Ader, Jean Baptiste Bernadet, Iñaki Bonillas, Patricia Dauder, Edith Dekyndt, Cyprien Gaillard, Amy Granat & Drew Heitzler, Barnaby Hosking, Marine Hugonnier, Sophie Nys & Philippe Van Snick, Paul Pouvreau, Lisa Tan, Stefan Tcherepnin, Pieter Vermeersch

    Curated by Lilou Vidal


    FDC Satellite

    Galerie Les filles du calvaire

    Boulevard Barthelemy, 20

    1000 Brussels




    This project was born from an observation, the doggedness of a certain form of Romanticism (in its melancholic acceptance) in the contemporary and conceptual art of today. But doesn’t this doggedness come from the intrinsic foundation of our being, whose duality between reason and emotion creates melancholy? Have not the negation and denial of this natural inclination towards romanticism revitalised its very sense and existence?


    Historically, Romanticism has been asserted as a rhetorical critic of an ideology based on the logic and material constraints of the period of industrialisation and beginning of mass society of the 19th century. It was a question of giving free rein to the spontaneous power of emotion versus the rationalism that dominated the period of Enlightenment to which the German political and literary movement of the second half of the 18th century – “Sturm und Drang”,1 the forerunner of Romanticism – was already opposed.


    The definition of Romanticism proposed by Baudelaire in his text The Salon of 1846 covers the main basic principles: emotions, individualism, interiority, infinite, a fusion with nature becoming a reflection of the soul.2

    Much later, minimal and conceptual art reacted against the mythical and so-called pretentious speech of the abstract expressionists, extolling a certain lyricism and the emotional strength of the spontaneity of the gesture, to mention but a few aspects.


    That is when the ideas was born that art must be totally pure and detached from any affectation.

    When Sol LeWitt wrote in Paragraphs on Conceptual Art in 1967:

    “It is the objective of the artist who is concerned with Conceptual art to make his work mentally interesting to the Spectator, and therefore usually he would want it to become emotionally dry..() The expectation of an emotional kick, to which one conditioned to Expressionist art is accustomed (...) would deter the viewer from perceiving this art”. But as Jorg Heiser 3 emphasises, why would a spectator not think that a work is mentally interesting and that he can be emotionally affected by it? In fact, it was two years later, in 1969, that LeWitt published a new pamphlet in his Sentence on Conceptual Art in the first issue of Art and Language, when he wrote: “Conceptual artists are mystics rather that rationalists” and “They leap to conclusions than logic cannot reach”.


    The idea behind this was developed borrowing from the work of exposition Bas Jan Ader (1942-1975), who today is recognised as the key figure that incarnates these two tendencies that are diametrically opposed: Romantic and Conceptual.


    Disappearing in mysterious circumstances in 1975 while crossing the Atlantic in a small motor boat – a voyage that corresponds with the 2nd part of a triptych that he had called “In Search of the Miraculous” – Bas Jan Ader studied in southern California at the end of the 1960s at a time when minimalism and conceptualism tended to eliminate any personality cult in the work in favour of a more objective and scientific approach.

    Whereas in his methods Bas Jan Ader adopts the orthodoxy of concepts that feature a systematic approach in the treatment of his work (films, photographs, slide projections and installations that are very pure in form), his subjects include references, sometimes very banal, that engage a romantic sentimentality: flowers, tears, sunsets, etc. Bas Jan Ader was himself both the subject and object of his own productions.


    He became a master of confronting art with the physical laws of gravity. Many of his pieces are based on the simple act of falling. In Fall 1 (Los Angeles) 1970, the artist is sitting balanced on a chair placed on the roof of a bungalow and lets himself fall. In Fall II, Amsterdam, 1970, he hurls himself headlong on a bicycle into a canal. Despite the humorous tone to be seen in pieces such as his videos, the act of falling engages a sense that is much more existential and dramatic, even self-destructive. With his final work, In Search of the Miraculous 1975, the notion of falling reached its paroxysm, we are forced to imagine this man, alone in the face of the immense ocean, allowing himself to be driven by the whims of an uncontrollable sea before making this final leap.


    The disappearance of Bas Jan Ader is somewhat reminiscent of Donald Crowhurst, a copy of whose book, The Strange Last Voyage of Donald Crowhurst 4, was found in his locker at university a few months after his disappearance.  When a person disappears, there is always the hope that he might reappear again. As is the case with Crowhurst, we can imagine that Bas Jan Ader set up his own disappearance and is living another life somewhere else. Whether he disappeared dramatically at sea or merely disappeared from life, there is still this romantic idea of fleeing and escape.


    The exhibition will present various aspects of this paradoxical relationship to be found in the work of Bas Jan Ader between Ratio and Pathos, Mental and Emotion, Humour and Drama. With regard to the method used, we can distinguish works produced from processes associated with the past, such as 8 mm or 16 mm films that many contemporary and conceptual artists have used, and the re-appropriation of photographic images or archival documents, texts, works on paper, photographs, fragments of memory, images of the absent, testimonials of a time that is no longer there... Sound works will also be on display for their conceptual and emotional potential.


    As for the subject, we can identify various notions that are inherent to romanticism: the missing part, the trace, the affirmation or negation of the artist’s inner “me” or “I”, as well as picture references in their relationship with nature and the sublime. Some works also question the notion of the “romantic cliché”, the popular image made banal, which acquires a new strangeness by moving in a conceptual sphere.


    - Lilou Vidal, April 2009



    1 Maximilian Klinger is, of course, one of the key authors of the movement with his play Sturm und Drang, although the term existed before the play was produced. In fact, it was Friedrich von Schiller (Brigands) and Johann Wolfgang von Goethe who were the main representatives of this movement.


    2 “Romanticism is neither precisely in the choice of topics nor in exact truth, but in the way we feel them. They are sought from the outside, and yet only inside is it possible to find them..(...) We therefore, before all else, must come to know the aspects of the nature and situations of man that the artists of the past either disdained or did not know. He who says romanticism says modern art, – in other words intimacy, spirituality, colour, aspiration to the infinite, expressed by every means contained by the arts.” Charles Baudelaire, Le Salon de 1846, Chapitre II. Qu’est ce que le Romantisme ?


    3 Jorg Heiser, Romantic Conceptualism, pp 136-137. Jorg Heiser through this exhibition that took place in the Kunsthalle at Nuremberg created a new name: “Romantic Conceptualism” (also known as conceptual romanticism) is a strand of conceptual art which seeks to place emotion and a sense of ‘the hand of the author’ over the cold intellectualism of most conceptual art. The movement has its roots in age old ideals of romanticism. It draws on aspects of magic realism and cynical realism. There was coindidentally an exhibition at the American Federation of the Arts curated by Jorg Heiser of Frieze magazine, which aimed to point towards a group of artists since the sixties who have an evident element of romanticism in a conceptual practice. Early forerunners of romantic conceptualism include Cornelia Parker, Bas Jan Ader, Sophie Calle, and Tacita Dean.


    4 Donald Crowhurst (1932–1969) was a British businessman and amateur sailor who died while competing in the Sunday Times Golden Globe Race, a single-handed, round-the-world yacht race. Crowhurst had entered the race in hopes of winning a cash prize from the Sunday Times to aid his failing business. Instead, he encountered difficulty early in the voyage, and secretly abandoned the race while reporting false positions, in an attempt to appear to complete a circumnavigation without actually circling the world. Evidence found after his disappearance indicates that this attempt ended in insanity and suicide.


    5 quote from the text of Les mots dans la peinture de Jean-Baptiste Bernadet by Devrim Bayar


    6 The initial idea for the film came from a conversation between Olivier Mosset, Steven Parrino, Drew Heitzler and Amy Granat. Oliver Mosset found the project to put on a theatre play in front of the Centre Pompidou in Paris in a biography of Jean Genet. Genet’s idea consisted of replacing the object of the amorous quest of the young Werther by a motorcycle.


    7 Claude Lorrain was the pseudonym of the French painter Claude Gellée (1600-1682). Gellée specialised in landscape drawings and paintings, and spent much of his life in Rome.The Claude Lorrain Mirror is a slightly convex mirror made of black glass that produces a reduced, upright and virtual image of the scene being observed by reflection in it. Much of the colour is washed out, thus allowing the artist to concentrate on the forms and perspective.

  • 2008

  • Ambassador Suites, organized by Katarina Burin, Galerie Lucile Corty, Paris


    Ambassador Suites

    November 15 – December 27, 2008


    Katarina Burin, with Josh Shaddock and Lisa Tan


    Galerie Lucile Corty

    2 Rue Borda

    75003 Paris




    In her drawings, sculptures and collages, Katarina Burin (born Slovakia 1976) delves into the history of architecture and design, both famous and commonplace, with an eye to how images and documents both represent the past and live in the world today.


    For Ambassador Suites, she plays on common emblems of the city: storefronts and display windows. Inspired by a mysterious window display at an “Import/Export” business in a neighboring street in Paris, Burin assembled different bodies of work in a loose evocation of a travel agency. Imbedded in this idea is not only “travel” but “tourism” and the selling of leisure. For the window of the gallery, Burin designed a multi-part screen structure, combining fragments of imagery with replicas of building models from the other storefront. The forms of the screens are mimicked in the Leisure Ensembles, sculptural shelves that present found images as both movable and interwoven. Upstairs, drawings made by hand spraying ink through stencils, recreate images from hotel and leisure industry matchbooks.


    At the same time Burin has curated the work of two other artists into her conception of travel, advertising and tourism. Josh Shaddock (born 1973), living in New York, shows the piece Red White and Blue, 24 flags from sovereign countries that have those colors. Using a common symbol that is imbued with political and social meaning, he strips the content out of the piece, attributing to it a set of formal criteria, simplifying and yet confusing our usual read. The New York based artist Lisa Tan (born 1973) shows a piece from the series Baudelaire Itineraries in which texts by the author are appropriated to provide destinations for proposed journeys. She will also show a new video of mountain images taken from National Geographic magazine alongside their corresponding back pages, literalizing a metaphoric passage from front to back.

  • Archaeology of Longing, curated by Sofía Hernández Chong Cuy, Kadist Art Foundation, Paris


    Archaeology of Longing (Archéologie de la Chine)

    September 19 – November 9, 2008


    Alejandro Cesarco, Luca Frei, Emma Hedditch, Bethan Huws, Fabio Kacero, Rober Racine, Kay Rosen, Kateřina Šedá, Joe Scanlan and Lisa Tan; artifacts and objects on loan by several contributors, including Tania Bruguera and Archives Erik Satie; and exhibition furniture designed by Tomás Alonso.

    Curated by Sofía Hernández Chong Cuy


    Kadist Art Foundation

    rue des Trois Frères

    75018 Paris





    With a title drawn from a short story by Susan Sontag, Archaeology of Longing is an exhibition bringing together a number of artworks, artifacts, and common objects. It begins as an investigation into disenchantment, soon digressing through the historical flatlands of interpretation and substitution. Far from melancholic, and closer to what can be described as politically intimate, the exhibition is an inventory of that journey. Archaeology of Longing includes artwork by Alejandro Cesarco, Luca Frei, Emma Hedditch, Bethan Huws, Fabio Kacero, Rober Racine, Kay Rosen, Kateřina Šedá, Joe Scanlan and Lisa Tan; artifacts and objects on loan by several contributors, including Tania Bruguera and Archives Erik Satie; and exhibition furniture designed by Tomás Alonso. A series of events will take place as part of the exhibition. On the evening of September 18th, Luca Frei makes a reading of his book The so-called utopia of the centre beaubourg – An interprétation, and Emma Hedditch performs a new work at the Musée de Montmartre in Paris. On the night of November 1st, Lars Svendsen gives a lecture on his Philosophy of Boredom at Kadist Art Foundation. A collection of findings uncovered during the archaeology of longing is also available as a publication titled 84 handkerchiefs, an umbrella and some books.

  • Moving a Mountain, D'Amelio Terras, New York (solo)


    Moving a Mountain

    May 8 - June 21, 2008


    D'Amelio Terras

    525 W 22nd St # 3

    New York, NY 10011



    D’Amelio Terras is pleased to present “Moving a Mountain”, a Front Room exhibition by artist Lisa Tan. Works on display are a result of a trip Tan made from New York to Mexico City in November 2007. Tan’s fleeting journeys often provide an impetus for her work, which attempts to poetically encapsulate where desire and melancholia meet. This trip to Mexico City, coinciding with the Day of The Dead holiday, became a quiet discovery on what the artist found to be living.


    Tan pays particular attention to the properties of midnight in a foreign city, a combination she believes to produce a ripe sense of dislocation and heightened observation. At midnight in Mexico City, while she overhears (and voyeuristically listens to) her hotel neighbors, Tan studies a painting of a mountain hung in her room and thinks of her own state of being. Taking detailed notes and photographs, but unable to discard the thought of the painting of the mountain, the artist concludes the journey months later when she returns to Mexico City to leave a trace of herself that will remain in the hotel room she once occupied.

  • Sturm und Drang, Galerie Kamm, Berlin


    Sturm und Drang

    October 25 - December 25, 2008


    Julien Audebert, Amy Granat / Drew Heitzler, Lisa Tan


    Galerie Kamm

    Rosa-Luxemburg-Str. 45

    D-10178 Berlin





    Sourcing from texts and novels, the artists translate written originals in many different ways - culturally, media-based, using language, and from one genre into another. In doing so they focus on the significance of the individual – with regard to himself and ‘others’ as a being influenced by emotions and intellect. In the course of this ‘discovery of the individual’ pursued by ‘Sturm und Drang’ authors in the 18th century, artists question the link between the particular text content and its aesthetic and formal representation. Indebted to the idea of “Romantic Conceptualism” the works stand out for the interaction between the usually accepted contradiction of emotionality and conceptual rationalism.


    In the film “T.S.O.Y.W.”, produced for the 2008 Whitney Biennial, AMY GRANAT and DREW HEITZLER accompany a modern day ‘Werther’ from Goethe’s novel “The Sorrows of Young Werther” - through the American desert. Following Jean Genet’s advice to substitute his unrequited love for Charlotte with a motorbike, Werther embarks on an aimless trip through the desert on a motorbike stolen from a friend, which takes him past icons of Land Art throughout the USA. In their debut collaboration, Amy Granat and Drew Heitzler filmed in parallel, but each utilizing their individual characteristic film language to capture the same scenes. Presented as a dual projection the infinite expanse of the landscape becomes the melancholic scenery of Werther’s search, which goes hand in hand with this breaking loose from conventional forms. Ultimately he disappears in the disappearing images of the movie.

    As in “The Sorrows of Young Werther”,


    Letters often represent traces of a relationship, its emotional entanglement and projections. LISA TAN, whose minimalist art works explore her relationships with people and the associated emotions, allows relationship and loss to be the subject of imagination in her work “Letter Never to Arrive”, a photograph of an envelope with an illegible address written on it. Another series of photographs shows in each case two covers of the same book, which reveal different traces of use, and which are mostly different editions. This represents a collection of books which, after someone has moved in with a loved one, they now own twice, and is as such a reflection of their spiritual bond. In ‘word counting pieces’ she counts how many times central, emotional terms such as ‘love’ and ‘death’ appear in books such as Maurice Blanchot’s “Death Sentence” or Alberto Moravia’s “Contempt”, thereby questioning, among other things, the connection between language and sentiment.


    In the mural he created for the exhibition, JULIEN AUDEBERT references Adolf Loos’ text “Ornament and Crime”, in which the architect polemically discusses the overcoming of the ornamental as aesthetic and economic progress, thereby countering the general aesthetic taste of his time with an individual stance. Julien Audebert also takes up the investigation of terms that lend themselves as titles, though he focuses on the aesthetical quality of the text, by, based on their occurrence in Loos’ text, stamping the enlarged words “ornament” and “crime” on the wall as a sort of ornamental embellishment. A corresponding piece consists of a wooden plank painted such that it imitates wood. With this doubling up Julien Audebert satirizes Loos’ verdict that wood can be painted in any color save the color of wood, for that indeed is “ornamental crime”.


    Artist talk 24 October, 7 pm moderated by Henriette Huldisch, curator 2008 Whitney Biennial

  • Nina in Position, curated by Jeffrey Uslip, Artists Space, New York


    Nina in Position

    January 25–March 29, 2008


    Kelly Barrie Justin Beal Huma Bhabha Anya Gallaccio Wade Guyton Barkley Hendricks Roni Horn Igloolik Isuma Productions Mary Kelly Charles Long Michelle Lopez Andrew Lord Robert Mapplethorpe Daniel Joseph Martinez Jack Pierson Michael Queenland Marco Rios Amanda Ross-Ho Julia Scher Haim Steinbach Lisa Tan Josh Tonsfeldt

    Curated by Jeffrey Uslip


    Artists Space

    38 Greene Street, 3rd Floor

    New York, NY 10013



    Nina In Position presents diverse artistic strategies that complicate the legibility of lack and difference in America. The selected artworks employ Walter Benjamin’s assertion, “To live is to leave traces,” as a platform from which to view and critique the body and its environs. Occupying Artists Space’s main gallery with a series of sculptural and post-sculptural gestures, Nina In Position reveals emancipated forms that, through their inherent deviance, function as “resistance to regimes of the normal.” Nina In Position is an attempt to articulate a new trajectory of sculptural encounters that rebel against the condition described by Benjamin as “Left Melancholia.” The exhibition’s curatorial focus aims to unlock the ways in which artistic exercises, histories, and narratives are re-signified within contemporary visual culture.


    Nina celebrates objects borne through experimentation and insight rather than aca- demic metaphor. Here, post-sculptural gestures evade the normalized limitations of sculpture as “objects” and allow sculpture to resonate past traditional constructions, techniques and expectations. The exhibition considers dialogic identities – “Us and Them” – and the ramifications of exclusionary practices that have caused disrupting reverberations throughout the margins in America. It is the aim of Nina to establish a bridge between decades of artistic practice and recalibrate a trajectory of sculptural meaning.


    - excerpted from catalogue text by Jeffrey Uslip

  • The World Is All That Is The Case, curated by Arthur Ou, Hudson Franklin, New York


    The World Is All That Is The Case

    November 6 - December 20, 2008


    Dan Asher, Darren Bader, Walead Beshty, Robert Buck, Phil Chang, Anne Collier, Moyra Davey, Nancy de Holl, Shannon Ebner, Paul Elliman, Techching Hsieh, Matt Keegan, Soo Kim, Alex Klein, Justine Kurland, Miranda Lichtenstein, Arthur Ou, Katrin Pesch, Matthew Porter, Adam Putnam, Michael Queenland, Michael Rashkow, Lisa Tan, Erika Vogt, James Welling, Hannah Whitaker, Mark Wyse

    Curated by Arthur Ou


    Hudson Franklin Gallery

    508 West 26th Street, Suite 318

    New York, NY


    1. The world is all that is the case.

    1.1 The world is the totality of facts, not of things.

    1.11 The world is determined by the facts, and by their being all the facts.

    1.12 For the totality of facts determines what is the case, and also whatever is not the case.

    1.13 The facts in logical space are the world.

    1.2 The world divides into facts.

    1.21 Each item can be the case or not the case while everything else remains the same.

    Variation A: Replace “The world” with “photographs”

    1. Photographs are all that is the case.

    1.1 Photographs are the totality of facts, not of things.

    1.11 Photographs are determined by the facts, and by their being all the facts.

    1.12 For the totality of facts determines what is the case, and also whatever is not the case.

    1.13 The facts in logical space are photographs.

    1.2 Photographs divide into facts.

    1.21 Each item can be the case or not the case while everything else remains the same.

    Variation B: Replace “facts” with “photographs”

    1. The world is all that is the case.

    1.1 The world is the totality of photographs, not of things.

    1.11 The world is determined by photographs, and by their being all photographs.

    1.12 For the totality of photographs determines what is the case, and also whatever is not the case.

    1.13 Photographs in logical space are the world.

    1.2 The world divides into photographs.

    1.21 Each item can be the case or not the case while everything else remains the same.

  • 2007

  • The Baudelaire Itineraries, Andreas Grimm München, Munich (solo)


    The Baudelaire Itineraries

    May 5 – June 16, 2007


    Andreas Grimm München

    Türkenstrasse 11

    D-80333 Munich





    Andreas Grimm München is pleased to announce the opening of The Baudelaire Itineraries, a one-person exhibition of new works by New York based artist Lisa Tan.  This is the artist’s second exhibition with the gallery.


    For the exhibition Tan has created travel itineraries to see works of art referenced in the footnotes of Charles Baudelaire’s review of the Salon of 1846.*  The minimal installation consists of both text-based works on canvas and photographs which are all unique pieces.  The highly aestheticized “paintings” are paired with the photographs of the source material.  The series explores how art is experienced and how our understanding of the world is always filtered though the history of representation.


    There are a total of nine works in the exhibition and each work is based on a single page taken from the Baudelaire Review.  Based on rigorous research, the spare formal aspects of the framed canvases exist in contrast to their rich and complex content.  Focusing on the pivotal year 1846, just two years before revolution brought Louis Napoleon to power and marked the start of the events leading to the second empire in France, the series focuses on the end of the Romantic movement and the beginnings of Decadence which Baudelaire, as a dandy and Symbolist poet, was a leading figure.


    *  All works are derived from Jonathan Mayne’s Art in Paris 1845-1862, Salons and other Exhibitions, Reviewed by Charles Baudelaire, published 1965 by Phaidon Press Limited.  The footnotes are a combination of Baudelaire’s and Jonathan Mayne’s.

  • Love Life Film, curated by Christian Rattemeyer and Cay Sophie Rabinowitz,

    The Standard Hotel Miami Beach, Miami Beach


    Love Life Film

    November 18, 2007


    The Standard Hotel Miami Beach

    40 Island Avenue

    Miami Beach, FL 33139


    A casual bayside film series of classic movies with new perspectives on art, space, and perception.  Curated by Christian Rattemeyer and Cay Sophie Rabinowitz.

  • 2006

  • Local Transit, co-curated by Christian Rattemeyer and Brian Butler, Artspace, Auckland


    Local Transit

    20 May – 1 July 2006


    Dan Arps, Kylie Duncan with Keely O’Shannessy and Gerald Phillips, Simon Esling, Sara Greenberger Rafferty, Jennie C. Jones, Jennifer Nocon, Blake Rayne, Sriwhana Spong, Lisa Tan, Ellen Birrell, Charles LaBelle, Marie Lorenz, Daniel Malone, Dane Mitchell, Mark Orange, Yuk King Tan, Ri Williamson, Karla Wozniak

    Co-curated by Artists Space Curator Christian Rattemeyer and ARTSPACE Director Brian Butler



    292-300 Karangahape Road

    Auckland, 1145

    New Zealand




    ARTSPACE presents Local Transit, an exhibition of two parts jointly organised by Artists Space, New York and ARTSPACE, Auckland.  Local Transit alludes to the question of translations and readings/misreadings. What does it mean to be in New York compared to Auckland or Los Angeles? Does being in a perceived geographical periphery such as Auckland presuppose “misreadings” of dominant trends? And does New York’s cultural status decide the conversation and presume only “readings”?


    Co-curated by Artists Space Curator Christian Rattemeyer and ARTSPACE Director Brian Butler, Local Transit originates from the recognition of the two institutions’ similar history, size and role in their respective communities. Through an exchange of artists the project investigates the role of familiarity and difference in the reading of contemporary art. The exhibition occurs concurrently in Auckland and New York. In each location a different group of artists has been selected: four Aucklanders, four New Yorkers and one Angelino.  All the artists hail from port cities. Traditionally, port cities are free cities with a lack of control in what passes through and enters the port. They are cities open to communication, language and translation where ideas flow and meanings are difficult to fix.

  • Lisa Tan (Books show), Grimm | Rosenfeld, New York (solo)


    Lisa Tan

    March 17 – April 13, 2006


    Andreas Grimm

    (formerly Grimm | Rosenfeld, New York)

    530 West 25th street, second floor

    New York, NY 10001




    Andreas Grimm and Adrian Rosenfeld are pleased to announce, Lisa Tan, the first exhibition in their newly relocated gallery at 530 West 25th street, second floor. This will be the New York-based artist’s first solo show in New York.


    Using sculpture, photography, drawing, and installation, Tan’s art practice distills issues of relationships, reciprocity, and intimacy into a concise formalism-turning experiences into objects. The exhibition will feature a new series of color photographs and an installation entitled “Philodendron Propagation.”


    In her photographic series of books, Tan presents two copies of the same book, one belonging to her and the other to her current boyfriend. Documenting places where their individual libraries overlap, the images feature pairs of worn copies of such books as Joseph Conrad’s “Heart of Darkness,” (now “Two Hearts of Darkness” (2006)) and Jean Francois Lyotard’s “The Postmodern Condition: A Report on Knowledge” (now “Two Postmodern Conditions” (2006)). The works play off of their own coupling, and while deeply personal, the series also functions as a representation of how taste, culture and values inform relationships.


    Tan’s work was recently featured in Artforum as a part of the annual “First Take” issue. Christian Rattemeyer writes: " If relational aesthetics is about the sociology of human interactions, then Tan’s aesthetics of relationships is about the economy of human intimacy, a romantic conceptualism grounded in the investigation of emotional drives….Her work introduces a timely sense of personal emotional investment at a moment when sentiment is being rediscovered in the histories of Conceptual art.”

  • One Night Stand, LA><ART, Los Angeles (solo)


    One Night Stand

    November 11 – December 31, 2006



    2640 S. La Cienega

    Los Angeles, CA 90034




    For One Night Stand, New York-based artist Lisa Tan travels to a major international city, in this instance Paris, for a night, taking only a notebook and a change of clothes. Documenting the experience through the task of writing (as inspired by the “nouveau roman” style particular to names such as Alain Robbe-Grillet), One Night Stand is an opportunity to see the world through an intimate lens.


    Text that mimics the strategies of image captions features prominently in the projected work, however, here these texts lack their visual support. The passing standardized subtitles are derived from Tan’s writing during her trip, and float in a projected field of monochromatic black that is devoid of moving image. This form of representation – both literally descriptive and visually oblique – competes with a myriad of easily conjured iconic images of Paris as experienced by a history of representation through film and photography. Willfully dislocating and disorienting herself,


    Tan observes the city’s surfaces, evoking her voyeuristic connection to the environment. In this way, Tan’s intention is to see how words themselves become iconic, and how they can support a vision of the intangible feelings associated with place through personal memoirs.


    A site-specific sculptural installation Roman Lovers that includes a lamppost, plant and wrought-iron fence will complement the silent, moving textual installation. This environment is restaged from a photograph and engages the significance of both photographic memory and psycho-social projection, while investing mnemonic and emotional importance into inanimate objects. This urban moment is captured photographically and then theatricalized in the space of the gallery—the installation representing a cross-section of urban space as well as a psychological moment of suspension and longing.

  • 2005

  • Happenstance, curated by Lauri Firstenberg, Harris Lieberman, New York



    November 19 - January 21, 2005


    Terry Chatkupt, Michael Queenland, Leslie Hewitt, Shana Lutker, Rodney McMillan, Ruben Ochoa, Arthur Ou, Lisa Tan, Amir Zaki

    Curated by Lauri Firstenberg


    Harris Lieberman

    508 West 26th Street

    New York, NY 10001




    Happenstance is an exhibition of works by nine artists based in Los Angeles and New York. It began two years ago in California with initial conversations involving the work of Michael Queenland, Ruben Ochoa and Amir Zaki. It did not happen as spontaneously and immediately as planned, while life got in the way.

    The exhibition investigates subtle, absurd and fantastical spatial and temporal experiments, based on chance and construction, primarily in the mediums of photography, video and sculpture, in an effort to question translation, invention and perception. Many of the artists in the show engage in a process that Mark Godfrey has noted in an Artforum article entitled “Image Structures: Photography and Sculpture” (February 2005): “photography and sculpture have entered a more complex phase of their relationship, folding over each other, reversing positions, flipping back and forth, the one becoming the other.”


    In the conjunction with the opening of Happenstance, My Barbarian, the eclectic, music and performance group from Los Angeles will perform at Harris Lieberman on Saturday, November 19 at 7 pm.

  • Lisa Tan, Grimm | Rosenfeld, Munich (solo)


    Lisa Tan

    March 18 - April 30, 2005


    Andreas Grimm München

    (formerly Grimm | Rosenfeld)

    Türkenstrasse 11

    D-80333 Munich




    First solo exhibition with Andreas Grimm.

  • Mind Over Manner, Grimm | Rosenfeld, Munich


    Mind Over Manner

    June 18 -July 1, 2005


    Joe Zucker, Jeff Grant, Dominik Halmer, Kent Henricksen, David Renggli, Matt Saunders, Lisa Tan, Lesley Vance


    Andreas Grimm München

    (formerly Grimm | Rosenfeld)

    Türkenstrasse 11

    D-80333 Munich





    Grimm|Rosenfeld, Munich presents Mind Over Manner, a group exhibition featuring an important early painting by Joe Zucker that, until now, has never before been on public view. The gallery will also exhibit new work by emerging artists Jeff Grant, Dominik Halmer, Kent Henricksen, David Renggli, Matt Saunders, Lisa Tan, and Lesley Vance. This exhibition, like the entire body of Joe Zucker's work, highlights the challenge of conveying intellectual rigor through meticulous and beautiful art objects.


    In 1975, Joe Zucker created “Burp,” one of his storied Cotton Ball Paintings. Zucker’s cotton project problematized many aspects of artistic practice in general and, specifically, pitted minimalist and Pop art subjects against each other. In “Burp,” Zucker’s common use of antebellum and Civil War era iconography is present in the form of a cartoonish bol weevil, whose presence refers to the disturbing conditions of cotton production as well as the materiality of the cotton painting itself. Mind Over Manner takes Zucker’s cue in exploring the work of seven emerging artists who also struggle to ply their compositions with an accessible and relevant subtext.


    Dominik Halmer denies the notion of beauty altogether in his ecstatic canvases. By rejecting taste as a guide, he paints from the unconscious, letting colors vacillate between muddy and fluorescent. In Halmer’s large-scale work, his abstract strokes commingle with figures of grotesque hands and cartoonish dolls.


    Conversely, Lisa Tan and Jeff Grant cultivate an austere aesthetic, which underpins their conceptual compositions. Working mainly with silhouettes, Grant layers gothic and suburban imagery in his ink drawings on mylar, hinting at dark mythologies underlying the social fabric. Lisa Tan’s sculpture, “Ellsworth Kelly,” is based on a gift of name cards she gave to the artist after having dinner with him in Los Angeles. By encasing one of these cards with Kelly’s name atop a black, lacquered pedestal and under a plexiglas vitrine, Tan investigates how names are elevated and abstracted to stand-in for larger ideas and bodies of work.


    Painters Matt Saunders and Lesley Vance share a romantic affinity. Saunders’ three paintings made on large sheets of mylar, depict three actresses caught on the brink of sleep. Painted on both sides and to the outer edges of the mylar, these beautiful, cryptic scenes (culled from film stills) resonate on screens of the artist’s making. Influenced in part by Warhol’s “Sleep,” these pictures form their own rendition of the film screen, moving the representational plane into new territory.

    In the overgrown, cannibalistic forests crowding Lesley Vance’s two paintings, Vance correlates beauty and danger, turning landscapes on their ear, meanwhile leaving her pictures unresolved with areas that lack density and belie the perfection of the paintings.


    Swiss artist, David Renggli, creates mystery with banal objects through the use of mirroring, doubling and unreal relationships. In his ceramic twig sculpture, Renggli carves out the words, "Lust and Moral" from the beak of a small bird. Painted in brown glacé, the twig could mirror human excrement, therefore shuttling the viewer back and forth from amusement and revulsion.


    In Kent Henricksen’s harrowing canvases made from bourgeois tapestries, he takes existing scenes and twists their bucolic intent. Through embroidery, Henricksen uses techniques germane to his materials to turn docile decorative art into work haunted by ghosts and murderous hoods.

  • In the Neighborhood of Infinity, Sixteen:One Gallery, Santa Monica


    In the Neighborhood of Infinity

    February 19 – March 26 , 2005


    Sixteen:One Gallery

    2116-B Pico Blvd.

    Santa Monica, CA 90404


    Tariq Alvi, Ken Fandell, Spencer Finch, Yuki Kimura, Charles LaBelle, Cornelia Parker, Chris Sauter, Julianne Swarz, Mungo Thomson, Lisa Tan

  • X-TRA Contemporary Art Quarterly, Volume 7 Number 4, Artist's Project, Los Angeles


    X-TRA Contemporary Art Quarterly

    Volume 7, Number 4

    Published Summer 2005


    "X-TRA is a quarterly art journal that has been published in Los Angeles since 1997. Our mission is to promote and provoke critical dialog about contemporary visual art. The journal is collectively edited by a board composed of artists and writers."  For my Artist's Project..."The artist sublimates her desire to see first-hand every painting by Heironymous Bosch through an artist's project that takes form in a meticulous chart of a fantasy journey."




  • Go Figure, Grimm | Rosenfeld, New York

  • 2004

  • Based On A True Story, curated by Christian Rattemeyer, Artists Space, New York


    Based On A True Story

    September 14 - October 23, 2004


    Romeo Doron Alaeff, Fernando Bryce, Zoe Crosher / Leslie Grant, Carla Herrera-Prats, Vlatka Horvat, Erik Schmidt, Hito Steyerl, Lisa Tan

    Curated by Christian Rattemeyer


    Artists Space

    38 Greene Street

    New York, NY 10013




    Over the last two decades, the dominant discourse surrounding identity politics in art has evolved from politically charged dissent on the margins of the canon to readily accepted instances of cultural, geographic, ethnic, and gender specificity that have seemingly been incorporated into mainstream histories of contemporary art.  Identity, it seems- as a means of production and a subject of contemporary art- has moved from radically contesting existing structures of power to a position of ever-increasing self-hybridization, differentiation, and de-essentialization, applying it's constant contestation to its own inner workings.


    Originating from an interest in the narrative conventions operating in much recent art that has emerged under the auspices of identity-based classifications, Based on a True Story takes the subject of "identity" in contemporary art practice as its reference point.  Ranging formally from the strictly documentary to the fictional, and thematically from the introspective testimonial to the historical account, all works in the exhibition explore the narrative procedures at play in relaying first-hand knowledge and experience.  Here, identity is not perceived as a construct of outside forces of predetermined paths, but rather, it manifests only momentarily, through the personal experiences that form the basis of each work.  But personal experience as the privileged locus of identity formation- if it is to be understood as a temporary situation where agency is present only for an instance- must also be measured against the artists' desire to render meaningful that which is available only as a fleeting impression.


    The embellishments of one's feelings and memories, the willful, even forceful, attempts at signification, make it impossible to render transparent any supposed primacy of experience as a conduit to the true, authentic or uninhibited self.  Experience and the self, it seems, occupy different strata of narrative display, constantly engaged in a struggle to emerge victorious for the privilege to signify.  Identity, then, becomes a category of active imagining, which can take many forms, from the most classic documentary to the most deceitful invention.


    - Christian Rattemeyer

  • 2003

  • Game Over, Grimm | Rosenfeld, Munich


    Game Over

    September 10 - October 25, 2003


    Andreas Grimm München

    (formerly Grimm | Rosenfeld)

    Türkenstrasse 11

    D-80333 Munich




    Adrian Rosenfeld and Andreas Grimm are happy to announce the opening of their new gallery, Grimm | Rosenfeld, Munich.


    GrimmRosenfeld will occupy a two-story 1950s-era building in Munich’s gallery and museum district, across the street from the city’s new Pinakothek der Moderne. For its inaugural exhibition, the gallery will include seventy-five artworks, the majority of which have never before been on public view. The exhibition, entitled “Game Over”, is both an exploration of the gallery directors’ own enthusiasms and loosely organized around Jean Paul Sartre’s book, Les Jeux sont faits, published in 1947.


    While the exhibition is not mired in existentialism, within Sartre’s sad love story lies a metaphor for art. The gallery's inaugural exhibition proposes to present work that for one reason or another was never shown by its maker. It is meant to be a “second chance” for works that were made either recently or long ago. In addition to important early works like a 1955 self-portrait by Ellsworth Kelly and 1965 bronze head by Louise Bourgeois, the exhibition will include a recent portrait of art historian John Richardson painted by his close friend Lucian Freud.


    In the spirit of the Sartre story, this exhibition brings unlikely companions together by featuring emerging artists alongside established artists. Among the 75 individuals participating in the exhibition are Darren Almond, Sylvie Fleury, Günther Förg, Nan Goldin, Roni Horn, Gary Hume, Luisa Lambri, Ugo Rondinone, Matt Saunders, Felix Schramm, Katharina Sieverding and Andy Warhol.

  • 2001

  • 8th and Figueroa, Master of Fine Arts Exhibition, USC Roski School of Fine Arts, Los Angeles


    8th and Figueroa

    2001 USC School of Fine Arts (now, Roski School of Fine Arts)

    Master of Fine Arts Exhibition


    801 Tower Building, Third Floor

    Los Angeles, CA 90017




    The 2001 USC Master of Fine Arts exhibition took place in a vast unoccupied floor of a highrise office building in downtown Los Angeles. As my thesis piece, in various parts of the space, sections of wall were finished with moulding and paint.






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