Mes Bêtes Sauvages, 2008
Ma Poufiasse, 2012
Femmes folles de leur corps
A solo exhibition at Galerie Bugdahn und Kaimer, Düsseldorf, opening Friday 22 November, 23 November 2013 to 18 January 2014
In a footnote in Capital, chapter 2: The Process of Exchange, Marx writes:
'In the twelfth century [...], very delicate things often appear among these commodities. Thus a French poet [Guillot de Paris] of the period enumerates among the commodities to be found in the fair of Lendit, alongside clothing, shoes, leather, implements of cultivation, skins, etc., also " femmes folles de leur corps".' The English translator translates this as 'wanton women'; I would rather translate it as 'women crazy about their body'.
DOMOBAAL, 3 John Street, London WC1N 2ES
18.01.13 – 16.02.13
Saturday 16 February: on the final afternoon of the exhibition a series of special events took place in the gallery
[download events programme)
In Reproductions II Sharon Kivland exhibits new works from the collection, echoing her last exhibition, with a little deviation. Works include postcards of Rome turned into clumsy negatives; more carefully done drawings of underwear, copied from magazines of the 1950s, immobile and fixed, removed from any supporting body; photographs of belts or waists, bodies or fashion accessories (so difficult to tell sometimes); a knee–length skirt, which appears both constraining and oddly liberating; truncated bodies in attractive trousers and defining belts or in lovely dresses (day and one evening); postcards of stars of the cinema, already fading, embellished (the painted addition may be all that remains); another Nana, ghostwritten this time, describing herself through the words of others. It is, one might say, a matter of structure, as well as one of meticulous cataloguing or insistent representation. Material that has had a life already is reorganised, yet the re–ordering leads to a certain disorder, a somewhat paradoxical economy. It may be rather hard to distinguish perversity from perversion, for example, in certain works (re)presented here, wherein there is both malice and jouissance.
Ma Nana (encore), autres filles et quelques petits explosions
Galerie des petits carreaux, 43 rue des Petits Carreaux, 75002 Paris
17.11.12 – 5.01.13
Donc partout ce rose, d’une douceur trompeuse, celui des culottes chinées dans les vide greniers du coin, des dessins de soutien-gorge au crayon de couleurs, des photos de mode sur fond rose, des petites bouteilles de parfum, objets précieux dont s’exhale une inquiétante tulle en forme de fumée rose. Et puis la violence des trophées de chasse : une ravissante tête de biche accrochée au mur porte au cou un délicieux ruban rouge, comme la trace d’une décapitation.Car on ne s’y trompe pas longtemps, la « chair » de ce rose est une chair blessée, comme la chair de Nana l’est par les regards de convoitise qui la réduisent à l’état de marchandise. Le roman de Zola et son person- nage éponyme ont dans l’œuvre de Sharon Kivland une résonance particulière. Le texte de Zola est traité comme un matériau que l’artiste retravaille par des réécritures. Et le personnage de Nana, image hyper- trophiée de la féminité, y tient une place emblématique.
vent de révolution, Centre d'art Passerelle, 18 May to 18 August, 41 rue Charles Bertholet, Brest, www.cac-passerelle.com
Curated by Ulrike Kremeier, and exhibiting lovely dresses, delightful bonnets, literate animals, and moments of surprising violence.
Sharon Kivland. Amateur and Collector
IDEAS Store Whitechapel, London
December to January 2011–12
Curated by Sotiris Kyriacou
For many years now Sharon Kivland has produced books and objects; the former range from small artist’s books to larger books in bigger print runs, though she is far from a best-seller; the latter are sometimes multiples in limited or even unlimited editions (in one case, at least). Kivland employs the movement and displacement of ideas, words, images, and objects. Connections are woven in series, using strategies of appearances, disguise, impersonation, subtle dialogues, intimate suggestion, and a lack of historical fixity. There is a light touch, an irreverent approach to established values, in works that address education, identity, work, desire, and liberty. The exhibition has the form of a museum display, using three vitrines to lay out her wares and history in attractive display, and in addition, a text work for the wall, in which Zola’s novel Nana is abridged according to light and lighting effects, including metaphor. Each book or object will be accompanied by a new text, which both describes what is on display and suggests its part in a larger narrative. Works will include her re-working of fashion plates from 1848 and their descriptions; engraved lorgnettes, a magnifying glass, and a pocket mirror; ; a set of tropes for the use of authors; and a selection of books, including her venture into the holidays of Sigmund Freud. There are also be objects and images from Kivland’s considerable archive/collection, which frequently provokes an idea or work. This includes cards for communion, photographs of confirmations, a wedding wreath, postcards of bathers, and pierrot/pierrettes. Kivland is a collector (which is self-evident), an amateur (in the sense of that a lover of/a person of taste for something/s, of which s/he has a certain knowledge as well as appreciation — one may also think of something that is practised for pleasure rather than for gain), and above all, a reader.
I am sick of my thoughts
March to April 2011
Mes Negligées, watercolour and Indian ink on Canson
paper,printed text on pages from old school exercise books, 2009–11
Photograph: Andy Keate
These are studio works, including works on paper, prints, photographs, and watercolours, made over the last two years in a state of malaise. They are works of interrupted thought. The artist writes that she is sick of her thoughts, and copies her son's concordance as he observes 'elle est malade de ses pensées'. A photograph of a woman lying back, her hair falling in an unlikely mass is countered by a text work in which Zola's novel Nana (a favourite recourse of the artist) has been digested according to light and lighting effects, including those of metaphor. It ends with the line: The hair, the beautiful hair, still blazed like sunlight and flowed in a stream of gold. Nana is a grotesque corpse at the end of the novel, and it is true that the photograph has an unhealthy cast. The artist practices her limited skills in watercolour, copying carte de voeux, which show the similar scene of snow, a river or stream, a forest, a village. She looks at the banal image for a long time, committing it to memory, then turns it over to look at it no longer, rendering then what she imagines was pictured overleaf. The watercolours are framed with their original, reversed to show the message, a wish for health, for a lovely year. These, she will say, are her good years. 1968 was a good year, too, and she is equally fond of 1848, 1871, and some years in the 1950s, working from her collection of French women's magazines, published at particular moments of insurrection or social change. Pictures are isolated from their backgrounds, reprinted, then coloured as faithfully as possible according to their original colour, which becomes a strange 'maquillage', or indeed, in Joan Riviere's term, a masquerade. And masquerade is a play on the imaginary, subject to the market of sexuality, which masks the object. They become grotesque, even though she tries to work as carefully as possible, really doing her very best not to spoil them, like a teenage girl in her bedroom (colouring in her idealised drawings of what she may wish to become). She stops when she finds herself applying too much colour, in too garish a shade, but a discrete application seems sadly insufficient. Nonetheless, she arrests herself at the point of violence to the image. A supposedly enticing picture (a woman lifting her hand to her face, turning her head, her hair flicking back in the other hand), however banal, is very easily turned into something ugly and clumsy, yet retains or reconstitutes a horrible attraction. It is monstrous, of course, in its overdone appearance of femininity, and each betrays something in its intersection with history. She imagines that her works are made with both care and taste, that they are discretely knowing with just a soupçon of intellectual quality, moderated by a soft, persuasive voice, with a harmony of style and discourse. Catherine Elkar writes of Kivland's work:
Sharon Kivland, l'artiste qui lit et convoque dans son travail á la fois de grands auteurs des siècles passés – Rousseau et Mallarmé, Laclos et Zola, Freud et Diderot, Benjamin et Marx – et de plus anonymes scribes, tisse des extraits de leurs textes avec des images glanées ici ou là, dans des ouvrages pour dames, des manuels ménagers, des cartes postales parfois » fleur bleue «, ainsi qu'avec des objets réunis au fil du temps, grâce au concours d'un réseau amical, à la fréquentation assidue des vide greniers et des sites de vente en ligne. Le rapport qu'elle établit entre le texte et l'image et/ou l'objet est d'une précision subreptice en ce qu'il ne s'articule ni sur des oppositions brutales, ni sur des anachronismes faciles.
Je suis malade de mes pensées, pencil drawing on Arches Velin, 2011
La dormeuse (red), print mounted on aluminium, 2011
February–March 2011, curated by Alberto Matteo Torri
Guest artist: Benjamin Swaim
See the following http://artycok.tv/lang/cs-cz/reproductions/7226 for a short and somewhat embarrassing interview.
Mes plus belles (1968), 2011
Mes plus belles (bretonnes), 2011
Recent works that draw on Kivland's archive of magazines, prints, publicity leaflets or objects, and advertising from different eras. Working with reproductions that are in their turn reproduced and reworked, Kivland’s approach is that of the amateur and collector, doing her very best with diligence and dedication. There is affection as much as irony in the works, often displayed in the titles which reveal appropriation and the claiming of possession. She invited French artist Benjaim Swaim to exhibit with her, and there were many conversations.
Mes buvards, 2010, and Le cri de la soie, 2011
Mes plus belles coiffures, 2011
Mes plus belles
Paris, April 2010
Il y aura des roses et des femmes, coupées délicatement, flottantes, privées de tout contexte. Il y aura des femmes bien coiffées, sorties de leur époque, redessinées et peintes. Il y aura des signes, des yeux baissés, de la lingerie, dont les lignes et couleurs seront modifiés. Ces œuvres sont tantôt des séries ou des travaux en cours qui produisent des collections (de journaux, de cartes postales) avec un mélange d’insouciance et de gravité. Les œuvres sont détachés, frivoles, elles sont souvent négligées. Les œuvres sont sérieuses, austères, souvent solennelles et circonspectes. L’écrivain, Danielle Robert-Guédon a souligné l’importance dans le travail de Sharon Kivland des décalages sémantiques et l’insistance sur « les symboles fétichistes qui constituent souvent des figures du désir », comme elle l’écrit aussi « les images et les mots sont inséparables, revenant comme une obsession d’ouvertures : fenêtres, jambes, façades, visages ».
There will be roses and women, cut carefully from their ground, floating and bereft of context. There will be coiffed women taken out of their time, refigured and painted. There will be gestures, downcast eyes, and lingerie, cut to another form and colour. These are works in series and works in progress, which draw on collections (of journals and postcards) with insouciance and gravity. The works are detached and frivolous, frequently negligent or carefree. The works are serious and austere, frequently solemn or circumspect. The writer Danielle Robert-Guédon has remarked on ‘a semantic discrepancy and an insistence on fetishistic symbols which often constitute figures of desire. Images and words are inseparable, returning as an obsession of openings: windows, legs, facades, faces’, in Kivland’s work.
Bugdahn & Kaimer, Düsseldorf
I exhibited some dreams of Rome, several Swiss hotels, the steam of trains as we journey (our hearts turn to the south), the snow on mountain peaks and the water of mountain lakes, and watercolours (from memory) of landscapes that have never existed, coupled with best wishes for a new year. I am particularly fond of the last, despite their incompetent rendering, which I cannot simply blame on my lack of recall.
Quels seraient les meilleurs moyens de perfectionner
l’éducation des femmes?CIAC,
October to November 2009
Curated by Catherine Elkar
Mes semblances, 2002/2009
We have seen nothing yet but roses, 2008 to present
I exhibited some old works and some new, including a series of letters, or rather their last lines, from Denis Diderot to Sophie Volland, my ABC of faults, and one may consider the ensemble as between a school room and a boudoir, mediated by the constant figure of the libertine. Several texts circulate about the work, by Catherine Elkar, Brigitte Charpentier, and Danielle Robert-Guédon, who is kind enough to note that I am neither hermetic nor obscure:
Il serait vain de tenter une classification, de vouloir assigner des propos définitifs à l'oeuvre de Sharon Kivland. Non que cette oeuvre soit hermétique ou obscure, bien au contraire, mais le bloc des connaissances préexistant à l'aboutissement est si dense que le moindre fil tiré de l'écheveau entraîne un infini questionnement. Tout au moins, pouvons-nous aborder ce travail en considérant la notion de 'déplacements', qu'il s'agisse d'errance, de détours, de passages ou bien de métaphores, d'ellipses et de métonymies.
of Revolution Blows, the Storm is on the Horizon
The title comes from Alexis de Tocqueville, speaking in the Chamber of Deputies,shortly before the outbreak of revolution across Europe in 1848. Karl Marx, in The Eighteenth Brumaire, responding to the events and effects of 1848, writes: ‘Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past’. The works here, despite their gentle air of refinement, reflect relays between nature, humanity, violence, and sexuality.
Does the wind of history flutter through the leaves of fashion journals of past centuries? Can the details or even the outlines of those explosions of class struggle—such as the bourgeois revolutions of 1848 or the libertarian social experiment of the Paris Commune of 1871—be read in the details and the outlines of past fashion? Such details and outlines have been snapped up and out of history for these reworked fashion plates. These reworkings came into being through an arduous manual labour of reproduction that is itself outmoded. These ephemera are not simply recovered, but remade. Fashion and its accoutrements are recovered as repetitive labour, reinforcing the repetitions and the labours that structure fashion itself, an eternal return of the ever same in the guise of the new. Perhaps we can discover in these re-fabrications, if not also in the originals, a small feature that betrays, in the vocabulary of fashion, the ructions of history: maybe a red ribbon necklace remembers the slice of the Guillotine. Then again, en revers, like shot silk, the cut out, blacking all details, might be an abstraction that reveals all the more blindingly the hidden lining of fashion’s frivolity, a transference of its deadly drive: in the outlines of headgear, perhaps, the contours of liberty caps. Here are women, at least in ideal form, their heads gently turned to reveal the faux-vitality of the fakest of pinkest cheeks. The fashion plates insert them graphically into commodity relations. Their negation as silhouette in the copied version apes the invisibility of the female hands and bodies whose labour made their beautiful trappings. Their heightened colouration draws attention to the ways in which fashion disguises and embellishes and leads women into the realm of artifice. Her nature is no longer nature, but historical because commodified. History does shudder through the folds in more or less invisible ways and pastiche teases it out, or at least beckons it to sashay a while. Violence now disguises and now parades itself when the cut is the deepest of things and the hang is to die for.
Esther Leslie, 2008, from A Wind of Revolution Blows, the Storm in on the Horizon,published on the occasion of the eponymous exhibition at CHELSEA Space, London.
I have worked hard on my embroidery, starting with anguish,
passing through despair, narcissism, discharge of duty, and completing
my work with zeal. I have learnt to sew in cross-stitch, counting
the threads on an open weave of linen, trying to achieve a uniform
appearance and an even size. I have separated my strands of red
silk carefully, teasing them out to avoid snarling. I have worked
the serifs of my words in stem-stitch, working from left to right
so my thread emerges to the
What does Jean-Jacques Rousseau tell us? He says that we are
born weak, that we are born stupid, without judgement; unprovided
for, we need aid. This aid will come to us from education, which
will cultivate us like plants. Self-reliant, observant of the
world around us, we will learn the consequences of liberty, of
choice. Removed from the corrupting effects of society, we will
move back to our natural state, like the wild girl of the woods
of Champagne; we will not follow rules; rather, we will learn
from the consequences of our actions, and later, we may read
literature and philosophy, when we have developed the capacity
to judge.Like Emile, Sharon Kivland lives in the French countryside,
though going frequently to London for discussion on philosophy,
politics, and psychoanalysis. She remarks that Jean-Jacques,
despite his many fine qualities, despite his declarations on
moral and political equality, has a rather different programme
of education for girls (of which she rather disapproves, for
she cannot find a place there for herself) so she turns instead
(naturally) from Emile to Choderlos de Laclos. An admirer
of Rousseau, he nonetheless advocates, with fervour, the equality
of the sexes, dwelling on ‘la femme-naturelle’,
for whom only a revolution can change her current condition of
slavery – and where there is slavery there can be no education
The project was educational, but naturally so, intended to induce the convulsive laughter of noisy merriment, the expression of pleasure, and numerous contradictions.
La forme-valeur II
Ma Nana et autres filles
Mes Fils, from which the exhibition takes its title, includes a continuing series of photographs, each showing the same woman in an embrace with a different man. Closer inspection reveals that the woman is much older than her partner, old enough, in fact, to be his mother. The work engages with the Oedipus complex and its resolution in prohibition, when the son must renounce his desire for his mother. The way in which each child navigates his passage through the Oedipal relation will determine both his assumption of a sexual position and his choice of sexual object. For the psychoanalyst Jacques Lacan, it is a passage to the symbolic, one that passes through a complex sexual dialectic. Here no father intervenes, however, to impose his law and to separate mother from child. The scandal is evident, and there is a further underlying transgression in the work. As the series continues, the woman - the artist - gets older while the men (all former students, I am sorry to say) remain the same age. They are, however, completely interchangeable, while she is constant and singular. In the same series are several other works that also take up the themes of prohibition and transgression in an atmosphere of elegant refinement.
Cela aura déjà
Un calendrier revolutionnaire
Le bonheur des femmes
Le bonheur de femmes (the scent of a woman), consists of photographs hung at genital height. They are of women's feet, taken in the perfume departments of Parisian grands magasins. Texts mounted at eye-level -- such as 'envy', 'obsession', 'allure', and so on -- might be identified as the names of scents.
While the work alludes to nineteenth-century Paris, consumerism and the urban experience, it really begins with an encounter between Freud and Marx at the site of the fetish. While Marx borrows the term to demonstrate how social relations take on the illusory form of relationships between things, Freud applies it to sexual behaviour, when excitement depends on the presence of an object. All this is standard stuff, but what if the object disappears, like faint waft of scented air? Or, furthermore, if it disappears into words, transforming a shine on the nose to a glance at the nose perhaps (sniffing all the time), then there is an indication that fetishism is more than a vague analogy in the visual field, it is something subject to linguistic transformation. One might say that the very words are perfumed ...
24-part photographic work with text. C-prints mounted on aluminium, matt laminated
The Economist Building, Contemporary Arts Society projects, London
A View from a Distance
Harewood House, Leeds
Wigmore Fine Art, London
'A central preoccupation in the work of Sharon Kivland is the
circulation of desire. The artist sets up scenarios and narratives
which are activated by a discrepancy between desire and its fulfillment.
Often, the pleasure of looking is articulated through a combination
of exquisite, highly wrought and pristine objects and photographs,
which are coupled with less wholesome inscriptions and images
which jar with the superficial elegance and ostentation. The
viewer is drawn in by the promise of seduction, only at some
point to be jolted and confronted by the colloquialisms and unrequited
absences of baser desires'.
La valeur d'échange, Centre d'Art Contemporain, Rueil-Malmaison
Touring exhibition, Site Gallery, Sheffield and Bonington Gallery, Nottingham (catalogue)
Mes Folies, Galerie Behemot, Prague
Mes Tendresses, Gallery TPW, Toronto
Des femmes et de la propriéte, Site Départmentale de Dourven, Bretagne, commissioned installation, catalogue published by
Rapport Sexuel, installation of video at Gender and Sexuation conference, organised by The European School of Psychoanalysis, Brunei Gallery, University of London
Je sais bien mais quand même, Musée des Beaux Arts, Reims
Letters of the Blind
Gallery 101, Ottawa, Canada (publication)
Mes Tendresses, Raum fuer Neue Kunst, Zürich
Cent Femmes, Gallery JNJ, Prague
J'appelle un chat un chat, The Library, Bookworks, London
J'appelle un chat un chat, YYZ, Toronto
Mais quand même, Stadtaustellunghalle von Hawerkampf, Münster
Aphonia, CAPC, St. Fons (publication)
Je sais bien, Hales Gallery, London
Jeu d'esprit, Apollohuis, Eindhoven
A Bout de Souffle, Dazibao, Montreal
Coup de Foudre, Credac, Ivry-sur-Seine (publication)
L'attente...l'oubli, New Loom House, London, commissioned by Book Works
L'une sans l'autre, Les Ateliers Nadar, Marseille (text published to accompany exhibition)
Chimera, Aspex gallery, Portsmouth
The Fire of Tongues, Ikon Gallery, Birmingham (publication)
The Blind Daughter, The Showroom, London
Je me souviens, Lebel Gallery, Windsor, Canada
Crossing with silver, Whitechapel Art Gallery, London
In place of the heart, Athens Biennale of Photography
The Conversion of Pleasure into Sickness, Usher Art Gallery, Lincoln
Purgo et Ornat, Academy of Fine Art, Den Haag, Netherlands
Houses and Paths of Dreams, MOMA, Oxford
A Trouble Shared, Riverside Studios, London
The Conversion of Pleasure into Sickness, Chapter Arts Centre, Cardiff and Kettle's Yard, Cambridge (publication)
Washing Lines, Mile End Automatic Laundry, London
Tired and Thirsty, Photogaleriet, Oslo
The vessel/held, Spitalfields Health Centre, commissioned by Whitechapel Art Gallery, London
Salon de Jeunes Artistes, Centre Georges Pompidou, Paris
AIR Gallery, London
'Cousu Main (couture piqûre, suture, blessure)'
Galerie des petits carreaux, Paris
Carolle Bénitah, Lydie Chamaret,Sharon Kivland, Andoni Maillard,
Livia Marin, Sophie Menuet, Solmaz Panahi et Pooya Abbasian,
Françoise Quardon, Zoé Rumeau, Ana Catalina Vicuna.
17October to 5 December
‘Reading as a Contemporary Art’, ICA London
Friday Salon 5 July , 1.00 to 6.00 p.m.
An event conceived by Sarah Wood, with Forbes Morlock, Steve Benson and Clare Connors, Kate Briggs, Brian Dillon, Hester Reeve, Peter Jaegar, Nicholas Royle, Sarah Wood, and Sharon Kivland
Nana, again and again
‘Punctuations, Separations & Artists’ Books’
Eagle Gallery/EMH Arts, London
June to July
Revolutionary furniture, a whiff of the Terror, and some unsolved Charaden
Nick Carrick, Paul Greenleaf, Sharon Kivland at Transition Gallery, London
22.06.13 – 14.07.13
A new modest book: Reisen, der Rauch von Dampflokomotiven, a book of the smoke of steam trains, some Swiss hotels, more trains, snow on Alpine peaks, and the limpid waters of mountain lake
‘Ulysses, l'autre mer’
Celebrating 30 years of FRAC Bretagne, France, curated by Marcel Dinahet, Catherine Elkar, and Jean–Marc Huitorel at three venues:
Musée d'Art et d'Histoire de Saint–Brieuc, Brittany, France
17.05.13 – 25.08.13
Musée de compagnie des Indes, Lorient, Brittany, France
08.06.13 – 23.09.13
FRAC, Rennes, Brittany, France
17.05.13 – 25.08.13
Reproductions I in:
‘A Book is a Performance’, an exhibition co–curated with Lisa Otty, Duncan of Jordanstone College of Art & Design, Centre for Artists' Books
25.04.13 – 26.05.13
'Interdit aux mineurs'
Exposition collective sur le dessin avec Pooya Abbasian, Léa Bénétou, Amélie Bucher, Pierre Budet, Miguel Egaña, Nikolas Fouré, Sharon Kivland, Yvan Le Bozec, Joachim Monvoisin et Lorena Roco
Galerie des petits carreaux, Paris
11.04.13 – 24.04.13
Enrichissements de la collection 2011/12- 'images/images of images/no images'
Centre des livres d'artistes (CdLA), St-Yrieix-le-Perche, France
Jean-Marc Berguel, Alain Bernardini, Christian Boltanski, Ernst Caramelle, Philippe Clerc, Céline Duval, Hans-Peter Feldmann, Rinata Kajumova & Achim Riecher, Sharon Kivland, Sol LeWitt, John McDowall, Roberto Martinez, Maurizio Nannucci, Hubert Renard, Edward Ruscha & Lawrence Weiner, Joachim Schmid, Andreas Schmidt, Erik Steinbrecher, Taroop & Glabel, Endre Tót, Jan Dirk van der Burg, Éric Watier.
16 March to 29 June
' Invitation à l'imaginaire'
Imagerie, Lannion, France
19 January to 20 March
Richard Artschwager, Iain Baxter, Amy Bessone, Hannah Collins, Anne Deleporte, Larry Deyab, Bruno Di Rosa, Dominique Figarella, Hreinn Fridfinnsson, Etienne Hajdu,Thomas Huber, Serge Jamet, Joana Hadjithomas/Khalil Joreige, Sharon Kivland, Harald Klingelhöller, Hervé Lemasson, Etienne Pressager, Sigurdur Arni Sigurdsson, David Zérah
'A kind of huh?'
Médiathèque des Abbatoirs, Toulouse, 8 November 2012 to 23 March 2013
'Sense of Place in Artist Books'
Architecture & Landscape Architecture Library, University of Minnesota, Minneapolis, USA, curated by Karen Kinoshita
'Lessons in History Volume II – Democracy'
Grahame Gallery and Editions, Brisbane, Australia, September–October 201
'Jaunes', a group exhibition at Galerie des petits carreaux, Paris, 28 June to 8 September
Pooya Abbasian, Léa Bénétou, Jean-Yves Brelivet, Pierre Budet, Ron Haselden, Chang-Yu Hsu, Athina Ioannou, Isabelle Jobard, Sharon Kivland, Yvan Le Bozec, Gilles Mahé, Joachim Monvoisin, Delfina Reis Renck, John Timberlake, Yves Trémorin
‘Surfaces: Works on Paper’, a group exhibition by AMBruno arts collective, curated by Steve Perfect and John McDowall, at Sput+Nik Gallery, Porto, Portugal, 16 June to 28 July
‘Tegel: Flights of Fancy’
Kino Babylon, Berlin
Galerie Bugdahn & Kaimer, Düsseldorf
'Forget-me-not',Galerie Elika, Athens, curated by Supermina
Mes bonnes années, 2011, watercolours and postcards
2012, antique lawn handkerchiefs, embroidered with the names of knots,
such as the delightful cul de porc
Having amnesia as the core, the artists locate and recall the void of erased memory, through a personal, social, cultura,l and political context. Participating artists: Vanessa Anastassopoulou, Martha Dimitropoulou, Katerina Diakomi, Sharon Kivland, Maro Michalakakos, Eleini Mouzakiti, Kostas Bassanos, Yorgos Papadatos, Nina Papaconstantinou, Eftihis Patsourakis, Eleni Froudaraki
'Replay' , Galerie de Dourven, Trédez-Loquémeau
Exploring creative and research processes through dialogue, curation and EXHIBITION.Investigating their intersection with psychoanalysis through CONFERENCE: Psychoanalysis and Artistic Process – A day of dialogues between artists and psychoanalysts: Grayson Perry, Martin Creed, Sharon Kivland (artists), Valerie Sinason, Kenneth Wright, Lesley Caldwell (psychoanalysts)
Saturday 25th February 2012, 9 a.m. to 5 p.m.
Cruciform Lecture Theatre 1, Gower Street, London
'Hostings 6: Absence – Haunted Landscapes'
An evening of interdisciplinary talks and presentations exploring the desire to materialise what is absent through the medium of haunted landscapes.
29 February, 6.30p.m. to 9 p.m.
The Court Room, First Floor, Senate House South Block, University of London
'X = or what is to be done'
As one of the twenty artists shortlisted (and one of the ten winners) for X=or what is to be done, a project to celebrate the ten-year anniversary of the bookartbookshop, my pamphlet Les devises manquantes (The Missing Slogans) was exhibited at the RED Gallery, 1–3 Rivington St, London
'Encounters', group exhibition at Galerie Bugdhan & Kaimer, Düsseldorf, February to March
'Why do I keep reading the same books?', AMT_Project, Bratislvay to September 2011, curated by Petra Feriancova, exhibiting David Raymond Conroy, Dorota Kenderová, Sharon Kivland, Jirka Thyn, Jaro Varga, and Anabela Zigov.
'Text and Image', Galerie Bugdahn und Kaimer, Düsseldorf, June to August 2011, exhibiting Robert Barry, Peter Hutchinson, Sharon Kivland, Jürgen Klauke, Marie-Jo Lafontaine, Thomas Ruff, and Ingolf Timpner
'Sequences', 2011, Johan Deumens Gallery, Haarlem – a group exhibition in a beautiful house (so I am told) in Herengracht, Amsterdam.
Le cri de la soie, artist's project for Cahiers intempestifs, 2011, St-Etienne, France
'Les paris sont ouverts', Freud Museum, London. curated by Caroline May
July to September. The title of this exhibition can be literally translated as ‘the bets are open’, while a looser translation suggests that ‘everything is possible, anything can happen’. The exhibition addressed the idea of openness and possibility in gender and sexuality. I continued my concerns with the Oedipal drama and transference, , exploring the crucial role played by maternal/filial relations in shaping notions of sexual orientation, underlining the complexity of family relations. For the work entitled Mon fils, I paid my then fifteen year- old son to copy indexical references to mother-son relations in the work of Sigmund Freud, which he wrote in pen and ink in old French school exercise books, line after line as though it were a cruel punishment.
Screening of Sharon Kivland: Reisen, three
very short films: The
limpid waters of mountain lakes, The snow on alpine peaks, The
smoke of steam trains, in ‘Freud’s Holiday’ at
Freud’s Dreams Museum, St Petersburg, Russia; an event to commemorate
twelve years of the museum’s work, which opened on the 100th
anniversary of The Interpretation of Dreams (4 November, 1899).
PROJECT 101.VIDEO INSTALLATION BY AMBRUNO at THE LAB, 5 to 25 November, New York
101 was initiated by Sophie Loss. The project was developed and co-ordinated by Sophie Loss and John McDowall.
'The Perverse Library', Shandy Hall, Coxwold, Yorkshire, September to October,
'Super Farmers' Market', Handel Street Projects, 18 June to 17 July, curated by MaryAnne Francis and Lucy Heyward
'Sophisticated Boom Boom (in B& W)', D OMOBAAL, London, May to June 'elles@pompidou, Centre Georges Pompidou, Paris, June 2009 to June 2010, curated by Camille Morineau
'The Perverse Library', Shandy Hall, Coxwold, Yorkshire, September to October, curated by Simon Morris
'A Riese', curated by Imi Maufe, Galleri Vox, Bergen, Norway
'Time is a sausage', September 2009 to January 2010. Group exhibition at domobaal, London, including a solo project and book: Freud and the Gift of Flowers (with Forbes Morlock) – I showed the floral tributes Freud did not receive and five Freudian riddles and their five answers, sadly unrelated.
The London Art Book Fair– four solo displays: Sharon Kivland/Lucy Pawlak/John Strutton/domobaal editions
Whitechapel Gallery, London
'U235 deuxième', CdLA, Saint-Yrieix-le-Perche
'Afterwards', Mead Gallery, Warwick Arts Centre, Coventry, curated by Sharon Kivland, with works by Etienne Bossut, Pavel Büchler, Hans Coper, Le Corbusier, Juan Cruz, Gareth Fisher, Rodney Graham, Lucy Harrison, Jaspar Joseph-Lester, Selma Makela, Bevis Martin & Charlie Youle, Simon Morris, Sergei Pankejeff, Alexander Ponomarev, Eric Ravilious, Lucie Rie, Jean-Jacques Rullier, John Stezaker, Benjamin Swaim, John Timberlake, and Julie Westerman. The exhibition also includes two very fine drawings, by Francis Fowler and Francis Baptiste Haselden, some lovely objects from the Freud Museum, London, and a modest yet attractive and interesting selection of books, prints, and poscards.
'Parallax', curated by Richard Ducker, Fieldgate Gallery, London
'Nature and Nation: Vaster than Empires', curated by Anne Eggebert and Polly Gould
Filigrane Editions at Paris Photo
Centième, Salon Paris Photo, Carrousel du Louvre, Paris
Bugdahn and Kaimer, Cologne Art Fair
Bugdahn and Kaimer, Basel Art Fair
Loving at Home II, EdviksKonst och Kultur, Stockholm, Sweden
Jeux d'Amour, curated by Hybrid, at Battersea Arts Centre and Wigmore Fine Art, London and Turin Art Fair
Loving at Home, Centre for Freudian Research and Analysis, London
Flop, The French Institute, Edinburgh
The Equinox, Cairn Gallery, Nailsworth (book work) Alliance Française, Lodz, Poland
Passion, Gasworks, London
Forest, The Bull and Last, London
Body and Photography, The Prague House of Photography, curated by Martina Pachmanova (catalogue)
Evil: Critical Interventions, John Hansard Gallery, Southampton
Cocktail, Raum fuer Neue Kunst, Zürich
Group show, Rack Gallery, London
Fascinum, Art House, London, with Shelagh Wakely and Michelle Naismith (artists' book)
Gallery artists, Raum fuer Neue Kunst, Zürich
DuSoMaclalanKiPonBruHu, CAPC, St. Fons, France (catalogue)
Dialect, The Anglican Church, via del Babuino, Rome (catalogue)
Mauvais Genre, Mois de la Photo, Reims (catalogue)
Mauvais Genre, CAPC Saint Dizier, France
Last Out, Lights Outs, Langsett School, Sheffield (artists multiple)
Desiring Practices, RIBA, London (catalogue)
In Vino Veritas, The British School at Rome
Speculation, Ecole des Beaux Arts, Brest, curated by Jean-Marc Huitorel
Words, Aspex Gallery, Portsmouth
Quelles hysteries?, Galerie du Cloître, Rennes, curated by Christian Gattinoni
Hermit, International symposium, Plasy, Czech Republic,
Les Femmes, autremont, Chateau du Beaumanoir, Quintin, France
Wellspring, Bath Arts Festival, curated by Antonia Payne and
Angela Kingston (catalogue)
Passage, Clove Two, London
Acer Pseudoplatanus, Sydenham Nature Reserve, curated by Gloria Carlos (catalogue)
Hermit, International symposium, Plasy, Czech Republic, (catalogue and compact disc)
Public Private: secrets must circulate, The French Institute, Edinburgh, Fotofeis, curated by Alain Reinaudo (catalogue)
Britart, Raum fuer Neue Kunst, Zürich
En Scene, W139, Amsterdam (catalogue)
Britart, Galerie Bruno Bücher, Poitiers
Galerie Apunto, Amsterdam
Summer Lightning, Dreadnought Seaman's Hospital, Greenwich, London, curated by Wise/Taylor Partnership (catalogue)
Rose, Rose Court, London, curated by Wise/Taylor Partnership, (catalogue)
Annunciation, St. George's Church, Bloomsbury
Après la photographie de voyage, Dazibao, Montreal
Ora ti faccio vedere, Artists at the British School of Rome (catalogue)
Rome Scholars 1980 - 90, The Royal College of Art, London
Ergasterion, Anima Mundi, touring show organised by the Canadian Museum of Contemporary Photography
Anima Mundi, Stills Gallery, Edinburgh
Zelda Cheatle Gallery, London
Metamorphosis of the Image, Athens Biennale of Photography
It's a still-life, Arts Council Collection touring exhibition, The South Bank Centre (catalogue)
Clayworks, Manchester City Art Gallery (catalogue)
The Subversive Stitch, Cornerhouse, Manchester
The State of the Nation, Herbert Art Gallery, Coventry
TSWA 3D, Dartmoor and other sites
Painting Photography Painting, Pomeroy Gallery, London
Basel Art Fair (Gimpel Fils), Whitechapel Open
Third Generation: Women Sculptors Today, Canterbury Arts Festival
New British Sculpture, AIR Gallery, London (catalogue)
Objects as Art, Plymouth Arts Centre (catalogue)
No Place like Home, Cornerhouse, Manchester
Pink for a girl, blue for a boy, Dean Clough, Halifax
Next Tomorrow, Kettle's Yard, Cambridge
Sculptors at Work, Canterbury Arts Festival
Revisions, Cambridge Darkroom; Watershed, Bristol and John Hansard Gallery, Southampton (catalogue)
Rituals, Brewery Arts Centre, Kendal
Fresh Air, St. Paul's Gallery, Leeds
Five Women, Howard Gardens Gallery, Cardiff
Multiples, Photographer's Gallery, London
Sequences, Cambridge Darkroom (catalogue)
Dog Works, Interim Art, London
Postcard Views, Chapter Arts Centre, Cardiff
Summer Show, Serpentine Gallery, London
Houses and Homes, Arnolfini, Bristol
Strategies, John Hansard Gallery, Southampton
The South Bank Show, South London Art Gallery/Coracle Press (catalogue)
Tolly Cobbold Eastern Arts, Fitzwilliam Museum, Cambridge
Whitechapel Open, London
Spatialists, ffotogallery, Cardiff
The Arts Council Collection, Hayward Gallery, London
Photography as medium, The British Council (catalogue)
Elise Meyer Gallery, New York
Anthony Stokes, London
New Contemporaries, Acme Gallery, London