Marcel Odenbach New Museum of Contemporary Art, New York

Marcel Odenbach Odenbach, Marcel. Marcel Odenbach/essays by Dan Cameron .. [et al.] New Museum of Contemporary Art, New York Catalogue of an exhibition held at the New Museum of Contemporary Art, October 8, 1998 - January 3, 1999 New York. Organized by Dan Cameron, Senior Curator Includes bibliographical references Library of Congress Catalog Card Number: 98-66517 Copyright© 1998 New Museum of Contemporary Art, New York ISBN 0-915557-82-7 (pb) Additional specific art and text copyrights are owned by Marcel Odenbach, Dan Cameron, Theodora Vischer, and Kobena Mercer. 1. Odenbach, Marcel-Exhibitions. I. Cameron, Dan. II. New Museum of Contemporary Art (New York, N.Y.) Ill. Title. All rights reserved. No part of this book may be reproduced in any form by electronic or mechanical means (including photocopying, recording, The individual views expressed in the exhibition and publication are not or information storage and retrieval) without permission in writing from necessarily those of the New Museum. the publisher. nerunasnru "It Turned My Head" by Theodora Vischer is reprinted from the exhibition NEW MUSEUM OF CONTEMPORARY ART catalogue fremdKdrper-corps etrangers-Foreign Bodies, Video installa­ tions by Matthew Barney,Mona Hatoum, Gary Hill, Bruce Nauman, Marcel Cover: Stills from Vom Kommen und vom Gehen [Coming and Going}, 1995 Odenbach, Bill Viola. Copyright© 1996 by Museum fur Gegenwartskunst, Basel, Switzerland. Reprinted with permission from Theodora Vischer and Museum fur Gegenwartskunst.

Marcel Odenbach is made possible by the generous support of the Norman and Rosita Winston Foundation, the Penny McCall Foundation, the Consulate General of the Federal Republic of Germany in New Yo1·k, and through the William T Olander Fund at the New Museum.

The Rockefeller Foundation has provided support for the New Museum's 1998 exhibition program. Contents

7 Acknowledgments

9 Foreword by Marcia Tucke1·

11 Power Play: Marcel Odenbach's Layered Histories DAN CAMERON

21 It Turned My Head THEODORA VISCHER

25 Knowing Me, Knowing You: Video Art as a Practice of Hybridization KOBENA MERCER

35 Catalogue of Selected Works

45 Checklist of Exhibition

46 Biography

52 Selected Bibliography

55 New Museum Trustees, Artists' Advisory Boa1·d, and Staff

56 Contributors Still from Mir hat es den Kopfverdreht [It TurnedMy Head], 1995-96

6 Acknowledgments Dan Cameron

Because of its often polemical and con­ This catalogue has been overseen by visual diaries to coincide with the museum's frontational stance, the art of Marcel Melanie Franklin from conception to final presentation of his video work. The Penny Odenbach is not an easy thing for some proofs, and it would be impossible to over- McCall Foundation has generously sup­ people to assimilate. This has made bringing state her insight and tenacity in invariably ported the publication of this catalogue, a survey of his work to a New York public knowing the right way to do things, and for which we are deeply indebted. The an especially rewarding experience, but then doing them with incredible accuracy. Rockefeller Foundation, especially Tomas not one without occasional moments of The distinguished critic and scholar Ybarra-Frnusto,Joan Shigekawa, and Mikki uncertainty. For this reason in particular, I Kobena Mercer, who has been very gener- Shepard, has provided essential funding am especially grateful to the artist, not sim- ous with his time and critical facilities in for the 1998 exhibition program. The ply for allowing the New Museum the honor familiarizing himself with Odenbach's art, Norman and Rosita Winston Foundation's of hosting his first North American survey has composed a brilliant text for this occa- Richard Rifkind continues to be a steady exhibition, but also for his patience, flexi- sion. The curator and historian Theodora and thoughtful supporter of the New bility, and constant good humor in seeing Vischer has generously allowed us to Museum's programs. Last but not least, this project through to its happy conclusion. reprint her valuable text "It Turned My I would like to thank the artist's New York Although an exhibition of video-based Head," aod we are grateful to be able to dealer, Anton Kern, for his openness to art may not appear at first to be such reprint it here in a new translation. our project; and the artists Janine Antoni a complex unde1·taking, the truth is that a Designer Kathleen Oginski has proven and Nari Ward, who helped make "Three 7 large number of individuals' skills were through her sensitive interpretation of Legged Race," my first New York collabo- needed to realize this project. Sefa Saglam, Odenbach's work that she is wonderfully ration with Marcel such a success. Melanie Franklin, John Hatfield, and Tom intuitive and flexible at the same time, Brumley have worked very hard at the while editor Tim Yohn has worked dili­ museum level on every aspect of the gently with each of the texts to enhance exhibition's technical and logistic develop- their meaning and legibility. ment, and without their expertise and The New Museum is grateful to the motivation the show could not have Consulate General of the Federal Republic taken place. Dennis Szakacs and Marcia of Germany in New York for its assistance Tucke1·, who have been 1·esponsible for with the technical development of this shepherding the project through its public exhibition. This occasion also marks the and administrative stages, were a con­ first curatorial collaboration between the stant source of assurance for everyone New Museum and Goethe House, which are else involved. hosting a twenty-year survey of Odenbach's "This catalogue is dedicated to all people who gave me a good time." -Marcel Odenbach

8 Foreword Marcia Tucker Director

Several years ago, I began to hear many shifting visual and sensoI·ial space. In his people in the art world say that it was a installations, pain and pleasure are offered relief that the heyday of the "political" art not as separate dimensions, but as inter­ that had seemed so pervasive in the early woven threads in an extraordinary garment to mid-1990s was at long last over, that it of awareness. was a one-time artistic aberration swept out This is the first American museum by newer work with a more "universal" and exhibition of Odenbach's pieces and I·eflects "aestl1etic" content. Has political content one of the New Museum's enduring con­ truly vanished from significant a1·tmaking? cerns: to bring to audiences the myriad, Or has it, chameleon-like, simply adapted unpredictable, and deeply moving ways to new surroundings by changing form? in which today's artists try to understand One such artist is Marcel Odenbach, the world we all inhabit. Odenbach has whose video installations are formidable produced an important and substantive examples of how to make work that is body of work: it is an exhilarating tonic profoundly engaged with concrete political that reminds us that no matter how over- issues, but which nonetheless are fluid whelming, uncertain, and demanding rather than didactic, poetic rather than contemporary society may be, it is possible 9 st1·ident, visual rather than text-heavy. But to make sense of it without diminishing its these "either/or" polarities are inadequate inconsistent and contradictory nature. to characterize Odenbach's vision, which illuminates issues of cultural identity, totalitarianism, displacement, sexuality, and race through visual analogies that bypass dichotomies altogether. In creating exquisite yet viscerally real experiences through the familiar medium of the mov- ing image, Odenbach breaks new formal ground. In the use of video as both a painterly and a mnemonic device, he resituates the viewer as both participant and witness in an unstable, constantly Installation/Performance view of Der Konsum meiner eigenen Kritik [The Consumption of my own Criticism], 1978 Power Play: Dan Cameron Marcel Odenbach1s Layered Histories

For American viewers, even those who consider themselves well exhibition in 1981,4 however, it was clear that Odenbach's editing informed about contemporary European art, this exhibition of techniques, deployment of video monitors as sculptural elements, the work of Marcel Odenbach may come as a surprise. To many, and use of the exhibition/viewing space in direct relation to the the surprise will take the form of a simultaneous recognition video's imagery were groundbreaking innovations for their time. that his work speaks with particular resonance to audiences in In this respect and despite the fact that Odenbach has taken a this country, and that he is practically unknown here. For nearly markedly different route, his artistic evolution is best compared twenty-five years, Odenbach and his practice have played a to that of American artists like GaI·y Hill and Bill Viola, whose unique polemical role in the GeI·man art world, because of his early works were the first thoroughly sculptural engagements determination to render tl1e philosophical and moral vicissitudes with the fledgling video medium .5 In stylistic terms, Odenbach's of being a German artist at the end of the twentieth century. As a current work shares with his earlier work a collagist's dedication result, he has never been associated with a particular generation to mixing footage shot by himself with found material, such as or movement, even though he is roughly the same age as a archival and commercial sources, and/or fragments from movies number of other prominent artists from the Cologne-Dusseldorf by Alfred Hitchcock (these become a prominent feature in his region: Martin Kippenberger, Rosemarie Trockel, Katharina Fritsch, work after the late 1970s). Because of this feature, Odenbach has Gunther Fbrg, Albert Oehlen, Georg Herold, Thomas Struth, and had an important influence, albeit largely indirect and uncredited, Thomas Schutte, among others. Because of this lack of a ready- on many video artists who have emerged in Europe and the U.S. made historical context, Odenbach's work has generally not been in the 1990s. 11 included in exhibitions of contemporary German art organized Perhaps the oddest reason why Odenbach's art has been by museums outside his country, although his work has appeared overlooked in the U.S. is that he works in a medium, generally regularly in international surveys, 1 as well as in thematic exhibi­ speaking, more favored by American than German artists. If this tions intended for German audiences, such as the recent "Images statement appears contradictory, it should be recalled that, until from a Divided Land."2 recently, audiences in North America believed that European The neglect of Odenbach's work is all the more striking given and American cultures were separated by a huge gap and found that he may be the first European artist to make video installations it difficult to assimilate European artists working in modes asso­ his primary mode of artistic expression.3 (Although classes and ciated with this side of the Atlantic. The corollary held true to a lectures in video weI·e given at the Dusseldorf Art Academy lesser· degree in Europe: artists who grounded their practice in through the early 1970s by artists such as Joseph Beuys, Nam styles or issues that appeared overly "Ame1·ica11"ran the risk of June Paik, and Wolf Vostell, 110 students at the time did more than being called imitative or culturally suspect. In Odenbach's case experiment with the new medium). Many of Odenbach's earliest the distinction extends past prosaic questions of form and style works, circa 1976-79, were based on performance and interactive and into the ticklish realm of subject matter. Although he lives modes of public presentation. By the time of his first survey and works in Cologne, the city of his birth, Odenbach has long DAN CAMERON

dealt overtly with social and political issues that were not, until stems from Odenbach's choice, beginning in the mid-1980s, to the past few years, associated with new tendencies in European address in his work the nationalist and political roots of cultural art. Nor is his range of subject matter limited to concerns that tensions in Western Europe during the waning years of the Cold might naturally preoccupy a middle-class artist with roots in waI·. Wl1ile he was acutely awai-e that his GeI·man identity required the 1960s counterculture. In fact, both European and American him to create work according to the dictates of his moral con­ viewers are often taken aback by the intensity and commitment science, Odenbach was equally aware of ce1·tain pitfalls. The with which Odenbach engages issues of race, class, and politics most serious of these was that a strong, usually noncritical in the U.S. emphasis on German history and culture duI·ing the 1980s had Until fairly recently, the accepted practice at most European been one of the principal factors in promoting a vision of new and American art museums was to favor either a localized reading German aI·t, a campaign whose very existence he found increas­ of art history or a mme standard pe1·spective brought in from ingly problematic as the decade wore on.7 A tension between outside one's borders, but never one which challenged given Odenbach's relatively privileged status as a westernEuropean precepts concerning art made in othe1· count1·ies. These distinc­ artist and the content of his work sprang from his growing con­ tions became important in the micl-1980s, when the art world viction that these privileges could be justified only if they were began to broaden its investigation of international tendencies, applied in support of those who are not guaranteed them. Thus, while still relying on local or 1·egional standaI·ds to deteI·mine by the end of the 1980s, even as his attention turned once more 12 the merits of a particular artist's work. It was not until the inter- to explicitly German issues, Odenbach's work began emphasiz- national model for exhibitions of new art began to replace the ing concerns that were so far from the mainstream that they nationalist model in the late 1980s that curators, ci-itics, and might as well have been imported: the situations of immigrants, dealers felt free to write about or exhibit artists in ways that refugees, and their children; the lives of individuals from different encouraged the emergence of entiI·ely independent perspec- racial or cultural backgrounds; and sexual identity, particularly tives.6 Current modes of transcultural practice, which are rapidly that of gay men. growing in influence worldwide, still seem somewhat remote The earliest of the six works in the present exhibition, or confusing to most viewers. Lacking a critical background for Niemand ist mehr dart, wo er hin wollte [Nobody is there anymore, experiencing art that does not conform to one's expectations of where he wanted to be} (1989-90), articulates this shift in its place of 0I·igin, one has a hard time grasping woI'k by an artist Odenbach's investigation by directly dealing with the reunification who dismantles other countries' cultural myths as eagerly as he of Germany. A single monitor rests on a grid of upside-down wateI· does his own. glasses, which are in turnbalanced upon a pedestal. While the so it is that Odenbach's relative obscurity dovetails with the footage unfolds, in slow motion, of a candlelight procession just most pertinent feature of his art at the present moment: his prior to the fall of the BeI•lin Wall, the occasional cut to a glimpse unrelenting pursuit of a goal of cultural hybridization. This position of marching Nazi soldiers is enough to bring certain misgivings POWER PLAY: MARCEL ODENBACH'S LAYERED HISTORIES

Still from Niemand ist mehr dart, wo er hin wollte [Nobody is there anymore, where he wanted to be}, 1989-90

13 DAN CAMERON

over the meaning of a united Germany to the fore. Jumping to a failure of modern liberalism and the shattering of the utopian black-and-white close-up of the wall, with a center strip insert of ideals that propelled the 1960s counterculture, developments the artist's footage of candles and intently concentrated faces, whose effects have been felt throughout the world, provide an the scene is accompanied by a soundtrack of Bach, which grad­ important subtext to Odenbach's work. By the beginning of ually dissolves into the chant, "Deutschland einigVaterland" the present decade, even as Odenbach increased the amount ("A single German homeland"). While the unsteady nature of the of time spent (and footage taken) in the U.S., Southeast Asia, early stages of reunification is symbolized by the precarious bal­ and Africa, references to his own subjective position were still ance of the monitor on upturnedglasses, the piece speaks to a grounded in an ongoing reflection upon the contradictions of more disturbing mood of dislocation caused by general political daily life in GeI·many. upheaval, particularly in the East. Odenbach's point is not that Even so, the central theme of Odenbach's work of the past reunification should have been deferred or slowed down, but fifteen years is the desire to instill in viewers a recognition that rather that one's critical awareness of history must not get swept awareness of the political underpinnings of everyday life is a away in the euphoria of political transformation. Eight years later, prerequisite to any broader understanding of social history and as Europe is on the verge of becoming a single federation, with power. To uncover the information he needs, Odenbach remains Germany in the role of economic and political leader, the same faithful to a practice begun with the first generation of video anxiety might well apply on a much largeI· geopolitical stage. artists in the late 1960s and ea1·Iy 70s: keeping a video camern 14 Considering this work, it is important to single out the artist's closely at hand whenever he travels. Although he has also been meditation on what it means to be a German in relation to the using archival footage to an increasing degree in recent years, rest of the wmld, which suffuses the full range of his practice much of the imagery that appears in the final versions of and is best approached from within that context. Odenbach's Odenbach's videos is neither staged nor sought for, but literally work of the late 1970s was deeply rooted in both issues and found in the sense of being stumbled upon or discovered by events of the moment (terrorism, student rebellions) and a his­ accident while the camera was running. In some cases, the torically grounded investigation into German philosophy, litera­ recorded material might be used for a particular project, or it may ture, and music. During the mid-1980s, he established a loosely trigger associations that lead in turn to unexpected sources for critical comparison between manifestations of the political in new material. In general, however, the experience of otherness his country and that of places (particularly in the Caribbean) that permeates Odenbach's art is internalized by the aI•tist on where poverty was more extensive and visible. At the end of the the basis of his own interactions with the outside world, at which decade Odenbach's attention turnedagain to German issues, in point it is left to resonate with the sometimes contradictory response to the fall of the Berlin Wall and reunification. Niemand meanings caught within his camera. ist mehr dart, wo er hin wolltemakes clear that Odenbach now It might at first appear to viewers that Odenbach's desire views his country as an anxious outsider might. Both the apparent to represent otherness is rooted in the need to experience the POWER PLAY: MARCEL ODENBACH'S LAYERED HISTORIES

conditions firsthand, to identify personally with whomever is of weary commuters, the viewer becomes aware of two things: being exploited and/or despised. On the most fundamental level, the train spends more time inside tunnels than in daylight, and however, Odenbach's art finds its deepest resonance in uncover­ the tunnels themselves are dimly illuminated with flickering ing the hidden nature of poweI·: how it is practiced unthinkingly, images from the collective history of the twentieth century. the way its symbols permeate social behavior, and the degree While many of these images are documentaries of modern history to which its significance is minimized by those who are its most (the Holocaust, Lenin's return from exile in Switzerland by train), ardent practitioners. In the work examined above, he seems others are taken from cinema (fragments from D.W. Griffith and driven by the need to make tl1e trappings and machinations of Hitchcock). While an association with rail transpmt, direct or poweI· visible in cases where an imbalance is not necessarily otherwise, is the motif that holds this loose sequence of images discernible by its immediate beneficiaries. Odenbach is practicing together, the continuous forward movement of the camera also a form of subliminal persuasion based upon a political philosophy refers to the relentless historical momentum of the twentieth that treats milestones and public tragedies as ripples in an infi­ century, as well as serving as a more or less explicit dialogue nitely broader and deeper ocean of collective experience. For between waking and dreaming. What the various images share, Odenbach, the realities of power in everyday life cannot be besides an air of historical gravity, is their sense of belonging to countered through petitions or acts of solidarity; rather the an era that predates the artist himself. We might suppose that diversity of humankind must be embraced as a narrative played for someone born in 1953 to brood over what he could have out day to day, most notably in the form of mundane incidents done to pI·event the Holocaust is as irrational as blaming the rail­ 15 in the lives of ordinary people. This can only occur once the roads for the deadly uses to which they were put. Yet if we are spectator's cultural priorities l1ave been sufficiently challenged to pinpoint the crux of revelation in this work, it must come from to admit evidence of the power imbalance that benefits citizens the knowledge that the title image of jumping onto a moving of countries like Germany and the U.S., whether they acknowl­ train is a reference to how each of us confronts history as a edge it or not. moving stage of images and events that pI·ecedes our existence, Although modern European history forms the narrative core continues after we are gone, and never slows down long enough of the work Auf den fahrenden lug springen [To Jump on a for us to determine our present location. Moving Train] (1989-91 ), the position of the viewer is that of one Questioning the moral positions of his viewers through tangi­ for whom the clistinctions between documentary and cinematic ble adjustments in their physical positions is an approach that truth are essentially bluITed. Making use of six identical monitors, preoccupies Odenbach in a number of wmks from the early each on a black base and arranged to form a right angle, the 1990s. One's first glimpse of United Colors (1990-92), for exam­ work's visual premise stems from the movement of a train as it ple, comes from a narrow doorway outside the viewing space, winds its way through a wooded Mediterrenean landscape. As through which the face of an African tribesman is visible on a the footage progresses towai-d its ironic denouement in a crowd single video monitor. This perception shifts quickly once the room DAN CAMERON

Installation view of Auf den fahrenden Zug springen [To Jump on a Moving Train],1989-91 POWER PLAY: MARCEL ODENBACH'S LAYERED HISTORIES

is entered and four other monitors come into view on the same water in the movement of human populations from one part of wall. Each of these monitors shows the face of an archetypally the world to the other. As the boats move from one side of the Caucasian individual, bringing an immediate contrast into play, screen to the other, Odenbach singles out the boats crossing which is heightened by the projection onto the opposite wall of from right to left to project fleeting documentary images of footage of a monument to history in Rome, the artist's camera refugees (Jews fleeing Europe, Vietnamese boat people) onto steadily circling its perimeter. As a parody of contemporaneous each boat's surface. Boats crossing from the other direction ad campaigns for Benetton clothing, this work underscores the convey only pleasure-seekers. Odenbach's aim in introducing prominence that racial issues have in current social discourse, such a disturbing clash isn't to spoil our view of the water, nor but without asking us to accept the guilt-free lure of consumer is it to make us concerned with the fate of refugees as such. culture. On the contrary, by setting up United Colors so that we Rather, he wants us to see the missing parts of the historical experience, in quick succession, both the isolated and integrated narrative that links virtually all bodies of water, whether through views of the single African subject, Odenbach calls attention the transport of people for reasons of pleasure, necessity, or to our shared preoccupation with race, thereby revealing the commerce. Frequently, the metaphor of movement is used in collective racial self-consciousness at the core of the Benetton a non-machine context, as in the other single-monitor work campaign. The juxtaposition of this experience with a symbol included here, oa laufen sie [See How They Run] (1995).ln shoot­ of Europe's historical perception of itself as the world's center ing this slow-motion video of runners cooling off past the finish even provides us with a form of scapegoat, permitting us to line of the Los Angeles marathon, Odenbach has held the camera 17 place the blame for that self-consciousness on a monolithic close to the ground looking up, so that the unusual angle and target while working through both its positive and negative lack of a precise geographical and temporal context becomes implications in private. disorienting. Even more so is the work's soundtrack, which Odenbach is particularly attached to using the movement of begins as a collage of miscellaneous sounds related to sports, machines and masses of people to suggest the forward momen­ but gradually shifts to war sounds: gunfire, bombs, helicopters; tum of history, while any interruption of or pause in this move­ and hysterical crowds. An audio climax is achieved through the ment denotes the active presence of the conscience, as well as slow crescendo of Bach's St. Matthew's Passion, followed by an the role of the human will in coming to terms with the past. This even more disconcerting sudden shift to the drifting voices of conjunction of forces is captured at its largest scale in the present the post-marathon crowd, as if the preceding excursion into the exhibition by the work Mir hat es den Kopfverdreht [It Turned ecstasy and terror of war had never taken place. My Head] (1995-96), which is discussed at length elsewhere in Although Odenbach is keenly aware of the pitfalls of trying this catalogue. In the single-monitor work Vom Kommen und vom to change the flow of history, he is equally compelled to draw Gehen [Coming and Going] (1995), Odenbach uses the image our attention to points where our own intersection with social of speedboats crossing a canal to focus on the role played by processes permits at least the momentary illusion of participating DAN CAMERON

in them. This underlies his choice to suspend the more topical through the postwar years up to the present. use of German referents in his recent work. The recognition that 3. Following an early commercial and critical success through drawings, Germany as a subject comes with its own set of preconditioned circa 1974-75, Odenbach made a complete transition to working in video in 1976, at a time when one of the only comparable figures in Germany was responses, allowing the rest of the world to assign it the status the feminist artist Ulrike Rosenbach, and Fabrizio Plessi was one of the of "other," is another· factor in Odenbach's decision to track down very few Europeans whomOdenbach was aware of outside Germany. any instances where he, as artist, outsider, and fellow human 4. "MarcelOdenbach: Videoarbeiten," was presented at theMuseum being, finds that the cultural apparatus does not permit suffi­ Folkwang, Essen in September-October 1981 and at Lenbachhaus,Munich cient recognition of the individual subject. Indeed, Odenbach's in November-December of the same year. sustained investigation into the diaspora of African culture has 5. OtherAmerican video artists with whomOdenbach showed regularly been a significant addition to the ways in which artists based from the late 1970s through the 1980s include Dara Birnbaum, Mary Lucier, and Frank Gillette. in North America and Britain have explored this subject. 6. This limitation seems to have first been overcome with regard to Odenbach's position as a German artist in the midst of an artists emerging from Spain in the mid-1980s, and was shortly followed by increasingly globalized culture was articulated more than ten the surge in attention given to artists from Russia and the former satellite years ago, when he first extended his investigations outside the states of the USSR. In both cases, local criteria for deciding artistic signifi­ secure realm of a nationally-centered discourse. once he left cance was discounted in favor of international opinion. this secur•ity behind, Odenbach denied himself the privilege of 7. Due in part to the cultural apotheosis of Joseph Beuys during this period, the German art most heavily promoted in the U.S. during the 1980s 18 speaking as if his point of origin was something that could be tended to focus on issues of national identity. The prominence of midcareer taken for granted. On the contrary, the weight of the history artists like Georg Baselitz,Anselm Kiefer, andA.R. Penck set the stage for of the twentieth century seems tightly woven into the folds of the even more aggressively Germanic tone of the work of younger artists Odenbach's conscience, even as he sets out to record the fleeting such as Kippenberger, oehlen, and Herold. nature of a much larger metamorphosis in the way human soci- ety envisions itself. Like the churning, spinning machines that populate Odenbach's artistic world view, the process by which difference is gradually converted into sameness shows no signs of slowing down in either his or our· lifetimes.

Notes 1. Odenbach's work was featured in theMuseum ofModern Ari's 1996 survey of video installations, and in "Cocido y Crudo" at the Centro Reina Sofia, Madrid, 1994, among others. 2. Organized for theMartin-Gropius Bau, Berlin in 1997, this exhibition attemptedto follow parallel developments in both halves of Germany POWER PLAY: MARCEL ODENBACH'S LAYERED HISTORIES

Still from oa taufen sie [See How They Run], 1995

19 Checklist

Niemand ist mehr dart, wo er hin wollte Mir hat es den Kopf verdreht [Nobody is t/1ere anymore, where he wanted [It TurnedMy Head], 1995-96 to be], 1989-90 Video/sound installation, two channels Video/sound installation, one channel Two video projectors Single video monitor, black pedestal, glasses, Edition of 3 and text Courtesy Galerie Stam pa, Basel Edition of 3 Collection Haus der Geschichte der BRD, Bonn Vom Kommen und vom Gehen Courtesy Galerie Ascan Crone, Hamburg [Coming and Going], 1995 Video/sound installation, one channel Auf den fahrenden lug springen Video projector [To Jump on a Moving Train], 1989-91 Edition of 1 o Video/sound installation, two channels Courtesy Galerie Daniel Buchholz, Cologne Six monitors, black pedestals, and text and Anton Kern Gallery, New York Edition of 3 Private collection, Germany Da /aufen sie Courtesy Galerie Ascan Crone, Hamburg [See HOW They Run], 1995 and Anton Kern Gallery, New York Video/sound installation, one channel Edition of 10 45 United Colors, 1990-92 Courtesy Robert Prime Gallery, London Video/sound installation, six channels and Anton Kern Gallery, New York Five monitors on shelves and video projector Edition of 3 The Idea of Africa, 1998 Courtesy Anton Kern Gallery, New York Video/sound installation, two channels Edition of 3 Courtesy Anton Kern Gallery, New York Biography

Marcel Odenbach Kunstverein Braunschweig, Braunscl1weig, Anthony Reynolds Gallery, London, England. 1953 Germany. 1993 "The Space Between the Keys." 1986 Born in Cologne Jack Shainman Gallery, New York. 1992 Mario Diacono Gallery, Boston, Massachusetts. Ecole des Beaux-Arts, Bordeaux, France. 1992 "Scribing the Sound of Sign." 1986 1974-1979 Galerie Ribbentrop, Eltville, Germany. 1991 Time Based Arts, Amsterdam, The Netherlands. Architecture, Art History and Semiotic studies, Galleria Franz Palludetto, Turin, Italy. 1986 Technische Hochscl1ule Aachen, Diplom-lngenieur "Deviazioni." 1991 The Institute of Contemporary Art, Boston, 1992-1998 Galerie Tan it, Munich, Germany. "Bellende Hunde Massachusetts. "As if Memories could Professor, Staatlicl1e Hochschule fur beiBen nicht." 1991 Deceive Me." 1986 Gestaltung, Karlsruhe Galerie Daniel Buchholz, Cologne, Germany. Galerie Ascan Crone, Hamburg, Germany. The artist lives and works in Cologne, Germany "Videothek." 1991 "Blinde-Kuh Spiel." 1985 Jenaer Kunstverein, Jena, Germany. 1991 Time Based Arts, Amsterdam, The Netherlands. one-Person Exhibitions Galerie Etienne Ficheroulle, Brussels, Belgium. 1990 "lch mache die Schmerzprobe." 1985 Goethe-lnstitut, Yaounde, Cameroon. 1997 Galerie Ascan Crone, Hamburg, Germany. 1990 ELAC-Espace Lyonnais d'Art Contemporain, Anton Kern Gallery, New York. 1997 Galerie Eigen+Art, Leipzig, Germany. "Wenn die Lyon, France. 1985 Staatliche Kunstsammlung Liechtenstein, wand an den Tisch ruckt." 1990 Museum van HedendaagseKunst, Gl1ent, Belgium. Vaduz. 1997 Galerie Yvon Lambert, Paris. 1990 "Im Zick Zack durcl1s Pala is." 1985 Goethe lnstitut, London, England. 1997 Galerie Hant, Frankfurt, Germany. 1989 Neue Gesellschatt fur Bildende Kunst, Berlin, 46 Galerie Ribbentrop, Eltville, Germany. "Varn Galerie Chantal Boulanger, Montreal, Canada. Germany. "Im Tangoscl1ritt zum AderlaB." 1985 Kommen und vom Gehen."Traveled to 1989 Skulpturenmuseum Glaskasten, Marl, Germany. Galleria Planita, Rome, Italy. 1996 Museo Nacional Centro de Arte Reina Sofia, "Die Einen den Anderen." 1985 Firehouse, Harlem, New York. "Three Legged Madrid, Spain. 1989 MichaelBockTapes & Films, Berlin, Germany. 1984 Race." 1996 Galerie Yvon Lambert, Paris, France. 1988 Galerie Starnpa, Basel, Switzerland. 1984 Sprengel Museum, Hannover, Germany. Badischer Kunstverein, Karlsruhe, Germany. Galerie Stampa, Basel, Switzerland. "Art 14'83" 1983 "Besenrein." 1996 "Stehen ist Nichtumfallen." Ti-aveled to Walter Phillips Gallery, The Banff centre, Banff, Kunstraum Dusseldorf, Germany. "Die zwei Seiten Stadtische Galerie, Erlangen, Germany. 1988 Canada. 1983 der Medaille." 1996 Musee d'Art contemporain de Montreal, Galerie Rieker, Heilbronn, Germany. 1983 Galerie Stampa, Basel, Switzerland. 1994 Canada. 1988 LACE Gallery, Los Angeles, California.Traveled Galerie Eigen+Art, Leipzig, Germany. 1994 Galerie Stampa, Basel, Switzerland. "Kurzer to Long Beach Museum of Arts, Long Beach, Galerie Sima, Nurnberg, Germany. 1994 Aufstieg, !anger Sturz." 1987 California. 1983 Kunst- und Ausstellungshalle der BRO, Bonn, Galerie Ascan Crone, Hamburg, Germany. "House Centro Cultural, Sao Paulo, Brazil. "Jeder Schritt Germany. "Tabakkollegium." 1994 and Garden." 1987 konnte der falsche sein." 1983 Stichtung De Appel Foundation, Amsterdam, Musee National d'Art Moderne, centre Georges Galerie Philomene Magers, Bonn, Germany. The Netherlands. "Keep in View." 1993 Pompidou, Paris, France. "Dans la vision "Das Schweigen deutscher Raume erschreckt Villa Merkel, Esslingen, Germany. 1993 peripherique du temoin." 1987 mich." 1982 Stedelijk Museum, Amsterdam, The Netherlands. Badischer Kunstverein, Karlsruhe, Germany. Fukui International Video Biennale, Fukui, 1982 "RAM." Traveled to Neu es Museum Weserburg, Japan. 1991 Galerie Stampa, Basel, Switzerland. "Ein Bremen, Germany. 1995 Stichtung De Appel Foundation, Amsterdam, zusammenhang ist da nicht erklarbar, doch Museum of Modern Art, New York. "Video­ The Netherlands. "lnscapes." 1991 zu erzahlen." 1981 Spaces." 1995 Fdrderkreis der Leipziger Galerie fur zeitgends­ Skulpturenmuseum Glaskasten, Marl, Germany. 15th Stockholm Art Fair, Stockholm, Sweden. sische Kunst, Leipzig, Germany. "Zone D­ 1981 "Video-installations." 1995 lnnenraum." 1991 Hochschule St. Gallen, St. Gallen, Switzerland. 1981 The Museum of Contemporary Art, Helsinki, Martin Gropius-Bau, Berlin, Germany. stadtische Galerie im Lenbachhaus, Munich, Finland. "ARS 95." 1995 "Metropolis." 1991 Germany. 1981 Stadt Bochum, Germany. "Zimmerdenkmaler." 1995 Kunsthalle, Nurnberg, Germany. "Renta Preis." Museum Folkwang, Essen, Germany. "Marcel Gemaldegalerie Neue Meister, Staatliche; 1991 Odenbach: Videoarbeiten." 1981 Kunstsammlungen, Dresden, Germany. "4xl Kunstverein, Bonn, Germany. "Kunst Fonds zehn Walter Phillips Gallery, The Banff Centre, Banff, im Albertinum." 1994 Jahre." 1991 Canada. 1981 Museo Nacional Centro de Arte Reina Sofia, Taormina Arte, Taormina, Italy. "Dissensi tra film Galerie Stampa, Basel, Switzerland. "Art 11'80" 1980 Madrid, Spain. "Cocido y Crudo." 1994 video televisione." 1991 ICC-lnternationaal,Cultureel Centrum, Antwerp, Stadtische Galerie Gdppingen, Germany. "Zuge, Musee National d'Art Moderne, centre Georges Belgium. 1980 Zuge, die Eisenbahn in der zeitgendssischen Pompidou, Paris, France. "Passage de l'image." Universitat Bonn, Germany. 1980 Kunst." 1994 Traveling exhibition. 1990 Marl is Grutericl1, Cologne, Germany. 1979 Cleveland Center for the Contemporary Art, Haus der Kunst, Munich, Germany. "Vom Haben Galerie Jurgen Schweinebraden, East Berlin, Cleveland, Ohio. "Old Glory, the American und Wollen." 1990 Germany. 1979 Flag in Contemporary Art." 1994 Taormina Arte, Taormina, Italy. "Dialoghi tra film Stichtung De Appel Foundation, Amsterdam, Medienbiennale, Leipzig, Germany. 1994 video televisione." 1990 The Netherlands. "Einfach so wie jeder Abend." Kunsthalle, Rostock, Germany. "Videoskulptur in Wiensowski Harbord, Berlin, Germany. "Berlin [performance] 1978 Deutschland seit 1963." 1994 Marz 1990." Traveling exhibition. 1990 Galerie Studio Oppenheim, Cologne, Germany. Kunstl1alle Dusseldorf, Germany. "Deutschsein." Kunstmuseum, Dusseldorf, Germany. "Sich selbst bei Laune halten." 1978 1993 "Kunstminen." 1990 Galerie Philomene Magers, Bonn, Germany. Deichtorhallen, Hamburg, Germany. "Mediale." 1993 Kunstverein Kdln, Germany. "Video-Skulptur: 47 "lch glaube ich bin mir selbst verloren." 1978 Humboldt Universitat, Berlin, Germany. "Allego1·ie Respektiv und Aktuell 1963-1989." Traveling Galerie Space, Wiesbaden, Germany. "Die de la richesse." 1993 exhibition. 1989 Befreiung von meinen Gedanken." 1976 Barbara Gladstone Gallery, New York. "Video­ Karl Schmidt-Rottluff Stipendium, Stadtische Galerie das Fenster, Hamburg, Germany. 1976 installation." 1993 Kunsthalle, Dusseldorf, Germany. 1989 Galerie Hinrichs, Lohmar, Germany. "Gedanken wandelhalle, Cologne, Germany. "Fireproof." 1993 Castello di Rivara, Turin, Italy. "Sei Artisti bleiben sich selbst uberlassen." 1976 Musee National d'Al"t Moderne, Centi-e Georges Tedeschi." 1989 Pompidou, Paris, France. "Manifeste." 1992 Leipzig Museum, Leipzig, Germany. "Zeitzeichen." Selected Group Exhibitions Fundaci6 Joan Mir6, Barcelona, Spain. "Moving 1989 Anton Kern Gallery, New York. "Group Show: Image." 1992 Tate Gallery, London, England. "Art from Cologne." Painting, Photography, Drawing." 1997 Musee d'Art Contemporain de Montreal, Canada. 1989 Martin Gropius-Bau, Berlin, Germany. "Pour la Suite du Monde." 1992 Independent Curators Incorporated, New York. "Deutschlandbilder." 1997 Museo di Folklore, Rome, Italy. "Molteplici "Eye for I: video self-portraits." 1989 Museum fur Gegenwartskunst, Basel, Switzerland. Culture." 1992 Kunstforening, Copenhagen, Denmark. "Koiner "Fremdkdrper." 1996 Yvon Lambert Collection, Villeneuve d'Ascq, Kunst." Traveling exhibition. 1988 Le Palais des Nations, Geneva, Switzerland. Musee d'Art Modernede la communaute Tabakfabrik Krens, Donau Festival, Stein-am-Rhein, "Dialogue of Peace." 1995 de Lille, France. 1992 Germany. "Das glaserneU-Boot." 1988 Abbaye Royale de Fontevraud, France. "5e Ateliers Stedelijk Museum, Amsterdam, The Netherlands. Video Installations lnternationaux des Pays de la Loire." 1988 "The Luminous Image." 1984 1998/1997 DuMont Kunsthalle, Cologne, Germany. "Made in Messegelande DOsseldorf, Germany. "Von l1ier Auf Schritt und Tritt [Step by Step] Cologne, Germany." 1988 aus." 1984 Two tapes, one projector, and one monitor Neue Gesellschaft fur Bildende Kunst, Berlin, Stadtisches Kunstmuseum, Bonn, Germany. Anton KernGallery, New York, 1997 Germany. "Vollbild." 1988 "Sa mm lung deutscher Kunst seit 1945." 1984 Goethe-lnstitut,Yaounde, Cameroon, Africa, 1998 The Power Plant, Toronto, Canada. "Encl1antment/ Kunsthalle, Wilhelmshaven, Germany. 1997 Disturbance." 1988 "Kunstlandschaft Bundesrepublik." 1984 Blick nicht zu tief hinein Bildmuseet, Umea, Sweden. "U-Media." 1988 BrOcke Museum, Berlin, Germany. "Die Stipendiaten One tape, projector, and object Documenta 8, Kassel, Germany. 1988 der Karl Schmidt-Rottluff Fcirderung."1984 Sammlung Dumont-Schutte, Cologne, Germany, Stichtung De Appel Foundation, Amsterdam, Kunstverein, Bonn, Germany. "Ansatz kritischer 1997 The Netherlands. "Nightfire." 1988 Kunst heute." 1984 Centre Genevois de Gravure Contemporaine, Walter Phillips Gallery, Banff, Canada. "Agit Prop/ Nothing to add Geneva, Switzerland. "Cinq pieces avec vue; Performance in Banff." 1982 Two tapes and projectors and glass 2e semaine internationale de video." 1987 ARC, Musee d'Art Modernede la Ville de Paris, HfG, Karlsruhe, Germany, 1996 Musee National d'Art Moderne, centre Georges France. "XII Biennale." 1982 Anton Kern Gallery, NewYrn·k, 1997 Kunstverein Kain, Germany. "Video Kunst in Pompidou, Paris, France. "L'epoque,la mode, 1996 la morale, la passion." 1987 Deutschland 1953-1982, Ars Viva 82/83." Besenre in Stedelijk Museum, Amsterdam, The Netherlands. Traveling exhibition. 1982 Two tapes, projector, and monitors "The Arts for Television." Traveling exhibition. Kunstverein Kain, Germany. "10 in Cologne." 1981 Sprengel Museum, Hannover, Germany, 1996-97 1987 ARC, Musee d'Art Moderne de la Ville de Paris, Bund Deutscher lndustrie, Cologne, Germany. France. "Art Allemagne Aujourd'hui." 1981 Mir hat es den Kopf verdreht [It TurnedMy Head] "Einblicke: 35 Jahre Kunstforderung im WOrttembergischer Kunstverein, Stuttgart, Two tapes, projectors, and text Kulturkreis des BDI." 1987 Germany. "Szenen der Volkskunst." 1981 Museum fur Gegenwartskunst, Museum fur Gegenwartskunst, Basel, Switzerland. Staatliche Kunsthalle, Baden-Baden, Germany. Basel, Switzerland, 1996 "Neue Videos aus der BRD." 1987 "Videotape." 1981 1996/1995 Kunstverein, Bonn, Germany. "Wechselstrome." 1987 Rheinisches Landesmuseum, Bonn, Germany. 48 Die zwei Seiten der Medaille Shoto Museum, Shibuya, Japan. "Deutsche "Freunde-Amis... ?" 1980 [The Two Sides of the Coin] Zeichnungen der Gegenwart." 1986 Kunstverein Kain, Germany. "Mein Koiner Dom." Two tapes, projectors, and text Long Beach Museum of Art, Long Beach, California. 1980 Firehouse, Harlem, New York, 1996 "Remembrances of Things Past." 1986 A Space, Toronto, Canada. "German Video and Kunstraum DOsseldorf, Germany, 1996 Karl Schmidt-Rottluff Stipendium, Mathildenhohe, Performance." Traveling exhibition. 1980 Darmstadt, Germany. 1985 KOnstlerhaus Stuttgart, Studio Galerie, Stuttgart, 1995 Palazzo della Societa Promotrice delle Belle Arti, Germany. "Video im Abendland." 1979 vom Kommen und vom Ge hen Turin, Italy. "Rheingold." 1985 Museum Folkwang, Essen, Germany. [Coming and Going] By the River 3, Porin Taidemuseum, Pon, Finland. "Videowochen Essen '79." 1979 One tape and projector "International Photography Today." 1985 Kunstverein, Bonn, Germany. "Stellungsnahme." Galerie Ribbentrop, Eltville, Germany, 1996 Nationalgalerie, Berlin, Germany. "Kunst in der 1979 Galerie Planita, Rome, Italy, 1996 Bundesrepublik Deutschland, 1945-1985." 1985 Neue Galerie, Aachen, Germany. "Die Grenze." Standig auf dem Sprung sein SkulptuI·enmuseum Glaskasten, Marl, Germany. Traveling exhibition. 1978 [Constantly on the Move] "1. Marler Video-Kunst-Preis." 1985 Kunstverein Kain, Germany. "Feldforschung." 1978 Three tapes Kunsthalle/Kunstmuseum, Bern, Switzerland. Galerie Magers, Bonn, Germany. "Kunst und Le Palais des Nations, UNO, "Alles und noch viel mehr." 1985 Architektur." 1978 Geneva, Switzerland, 1995 1994 1993/1992 Videothek Tabakkol/egium oder mir brennt es unter Hans-Guck-in-die-Luft Eight tapes and seating denNageln One tape and video projector [exists in unique edition only] Four tapes and text Galerie der Stadt Esslingen, Galerie Daniel Buchholz, Cologne, Germany, 1991 Kunst- und Ausstellungshalle der BRD, Villa Merkel, Germany, 1993 1991/1990 Bonn, Germany, 1994 Humboldt Universitat, Berlin, Germany, 1993 wenn die wand an den Tisch ruckt The Museum of Contemporary Art, 1993/1991 Two tapes and text Helsinki, Finland, 1995 Mit dem Kopf durch die Wand Galerie Yvon Lambert, Paris, France, 1990 Lagerbestande Twelve tapes and wall of monitors Taormina Arte, Taormina, Italy, 1990 Three tapes and screen Collection Haus der Geschichte der BRD, Galerie Eigen+Art, Leipzig, Germany, 1990 Galerie Eigen+Art, Leipzig, Germany, 1994 Bonn, Germany Metropolis, Martin Gropius-Bau, Badischer Kunstverein, Karlsruhe, Germany, 1995 Berlin, Germany, 1991 1992/1991 Neues Museum Weserburg, Bremen, Germany, 1995 Kunsthalle Nurnberg, Germany, 1991 Im Auge behalten [Keep in View] Jenaer Kunstverein, Jena, Germany, 1991 1994/1993 Four tapes SchloB, Dresden, Germany, 1991 Mit der Faust in der Tasche Molteplici Culture, Museo del Folklore, Fukui International Video Biennial Fukui, Eigl1t tapes, projector, and text Rome, Italy, 1992 Japan, 1991 Museo de Arte Reina Sofia, Madrid, Spain, 1994 Chateau de Beychevelle, France, 1992 Galerie fur Zeitgenbssische Kunst, Museum of Modern Art, New York, 1995 Stichtung De Appel Foundation, Leipzig, Germany, 1991 Martin Gropius-Bau, Berlin, Germany, 1997 Amsterdam, The Netherlands, 1993 Galerie Ribbentrop, Eltville, Germany, 1991 Mediale, Deichtorhallen, Hamburg, Germany, 1993 1993 Fundaci6 Joan Mir6, Albertinum, Staatliche Kunstsammlungen, Hals uber Kopf [Head over Heels] Barcelona, Spain, 1992 Dresden, Germany, 1994/1995 Two tapes and text Koiner Kunstmarkt, Germany, 1992 Galerie der Stadt Esslingen, 1992/1989 Kunsthalle Dusseldorf, Germany, 1993 Villa Merkel, Germany, 1993 United Colors StiidtischesMuseum, SchloB Morsbroich, Kunstverein Braunschweig, Germany, 1993 Six tapes and projector Leverkusen, Germany, 1997 Barbara Gladstone Gallery, New York, 1993 Musee d'Art Contemporain de Montreal, Private Collection, Berlin, Germany 49 Galerie Stampa, Basel, Switzerland, 1994 Canada, 1992 Collection Zentrum fur Kunst- und Galerie Eigen+Art, Leipzig, Germany, 1994 Medientechnologie, Karlsruhe, Germany 1991 15. Stockholm Art Fair, Sweden, 1995 Bellende Hunde beiBen nicht 1991/1989 Chicago Art Fair, Illinois, 1995 Three tapes and text Auf den fahrenden Zug springen Galerie Planita, Rome, Italy, 1996 Galerie Tanit, Munich, Germany, 1991 Two tapes and text Filmmuseum, Frankfurt, Germany, 1997 Galerie fur zeitgenbssische Kunst, Galleria Franz Paludetto, Turin, Italy, 1991 Goethe-lnstitut, Yaounde, Cameroon, 1997 Leipzig, Germany, 1991 Galerie der Stadt Esslingen, Villa Merkel, Safer Video Collection Stadtische Galerie im Lenbachhaus, Germany, 1993 One camera, monitor, condom, and text Munich, Germany Braunschweiger Kunstverein, Germany, 1993 Galerie der Stadt Esslingen, StiidtischeGalerie Gbppingen, Germany, 1994 Scharte Hunde [Vicious Dogs] Villa Merkel, Germany, 1993 Three tapes and text 1990 Braunschweiger Kunstverein Braunschweig, Jack Shainman Gallery, New York, 1992 Niemand ist mehr dart, wo er anting Germany, 1993 Ecole des Beaux Arts, Bordeaux, France, 1992 [Nobody is where they started] wandelhalle, Cologne, Germany, 1993 Goethe-lnstitut, London, England, 1997 One tape, pedestal, monitor and object Medien Biennale, Leipzig, Germany, 1994 Galerie Ascan Crone, Hamburg, Germany, 1990 Collection Museum des Landes Nieder6sterreich, Centre Georges Pompidou, Paris, France, 1987 Kunstverein Braunschweig, Germany, 1990 Stein/Krems, Austria Documenta 8, Kassel, Germany, 1987 Galerie du Genie, Paris, France, 1990 A 11 Art Forum, Munich, Germany, 1987 Visa vis Galerie Eigen+Art, Leipzig, Germany, 1990 Pumphuset, Copenhagen, Denmark, 1988 Two tapes and text Galerie Ribbentrop, Eltville, Germany, 1991 Kijkhuis, The Hague, The Netherlands, 1990 Abbaye Royale de Fontevraud, France, 1988 Collection Haus der Geschichte der BRD, Centro de Arte Reina Sofia, Madrid, Spain, 1989 Kunsthalle Dusseldorf, Germany, 1989 Bonn, Germany Stichtung De Appel Foundation, Amsterdam, Kunsthaus, Zurich, Switzerland, 1989 The Netherlands, 1991 Centro de Arte Reina Sofia, Madrid, Spain, 1989 1989/1990 Musee National d'Art Moderne, Niemand ist mehr dart, wo er hin wollte Castello di Rivoli, Turin, Italy, 1989 Centre Georges Pompidou, Paris, Frnnce,1992 [Nobody is there anymore, where he Collection Franz Paludetto, Turin, Italy Collection Musee National d'Art Moderne, wanted to be] Collection FRAC Pays de la Loire, France Centre Georges Pompidou, Paris, France One tape, text, and glasses Frau Holle ein Schnippchen schlagen Galerie Ascan Crone, Hamburg, Germany, 1990 1986/84 [Frau Holle Outwitted] Galerie Eigen+Art, Leipzig, Get-many, 1990 As if memories could deceive me One tape and seating Galerie Ribbentrop, Eltville, Germany, 1991 Three tapes and objects Du Mont Kunsthalle, Cologne, Germany, 1988 Jack Shainman Gallery, New York, 1992 ICA, Boston, Massachusetts, 1986 Galerie Yvon Lambert, Paris, France, 1988 Galerie der Stadt Esslingen, Long Beach Museum of Art, Galerie Etienne Ficheroulle, Brussels, Belgium, 1990 Villa Merkel, Germany, 1993 Los Angeles, California, 1986 Galerie der Stadt Esslingen, Kunstverein Braunschweig, Germany, 1993 Bildmuseet, umea, Sweden, 1987 Villa Merkel, Germany, 1993 Martin Gropius Bau, Berlin, Germany, 1997 Power Plant, Toronto, Canada, 1988 Braunschweiger Kunstverein, Germany, 1993 Collection Haus der Geschichte der BRD, Museo Nacional Centro de Arte Reina Sofia, Private Collection, Brussels, Belgium Bonn, Germany Madrid, Spain, 1989 1987 Collection National Galerie, Berlin, Germany 1989 Der Elefant im Porzellanladen Ya tienen asiento 1985/84 Four tapes and object Three tapes and text Jubelnd lief das Volk durch die StraBen Centre Genevois de Gravure Contemporaine, Museo Nacional Centro de Arte Reina Sofia, Two tapes, objects, and text 50 Geneva, Switzerland, 1987 Madrid, Spain, 1989 Ausstellungshalle Mathildenh6he, Badischer Kunstverein, Karlsruhe, Germany, 1988 Darmstadt, Germany, 1985 Vogel friB oder stirb Stadtische Galerie, Erlangen, Germany, 1988 Time Based Arts, Amsterdam, The Netherlands, 1986 Two tapes K61nischer Kunstverein, Cologne, Germany, 1989 Musee d'Art Contemporain de Montreal, Kongresshalle, Berlin, Germany, 1989 Schlag auf Schlag und Hieb auf Hieb Canada, 1989 Kijkhuis, The Hague, The Netherlands, 1990 Two tapes, objects, and text Castello di Rivara, Turin, Italy, 1989 Haus der Kunst, Munich, Germany, 1990 Palazzo Pomotrice, Turin, Italy, 1985 Galerie Etienne Ficheroulle, Brussels, Belgium, 1990 Collection Bayerische Staats-Gemaldesammlung, Porin Taidemuseo, Pori, Finland, 1985 Munich, Germany Galerie der Stadt Esslingen, Die Einen den Anderen (A,B,C,D) Villa Merkel, Germany, 1993 1986 [The Ones to the Others] Braunschweiger Kunstverein, Germany, 1993 Dans la vision peripherique du temoin Three tapes, objects, and text 1988 [Dem Augenzeugen im Blickwinkel stehn; Museum van Heedendaagse Kunst, Der Duft van Freiheit und Abenteuer On the Peripheral Vision of the Witness] Ghent, Belgium, 1985 Three tapes and text Two tapes and seating Neue Gesellschaft fur Bildende Kunst, [exists in unique edition only] [exists as a unique edition only] Berlin, Germany, 1985 Donau Festival, Stein/Krems, Austria, 1988 Musee National d'Art Moderne, Skulpturenmuseum, Marl, Germany, 1985 Circulo de Bellas Artes, Madrid, Spain, 1986 Das Schweigen deutscher Raume erschreckt mich Stadtische Kunsthalle, Stichtung De Appel Foundation, Amsterdam, Two tapes, objects, and text Recklinghausen, Germany, 1980 The Netherlands, 1987 Galerie Magers, Bonn, Germany, 1982 Die Verlorenheit des Spie/ers Galerie Hant, Frankfurt, Germany, 1989 Galerie Stampa, Basel, Switzerland, 1983 Two tapes and text Musee National d'Art Moderne, Walter Phillips Gallery, Banff, Canada, 1983 Galerie Stampa, Basel, Switzerland, 1980 Centre Georges Pompidou, Paris, France, 1990 Long Beach Museum of Art, Hochschule St. Gallen, Germany, 1981 Fundaci6 Caixa de Pensions, Barcelona, Spain, 1991 Los Angeles, California, 1983 Stiidtische Galerie im Lenbacl1l1aus, Wexner Art Center, Columbus, Ohio, 1991 Badischer Kunstverein, Karlsruhe, Germany, 1988 Munich, Germany, 1981 San Francisco Museum of Modern Art, Stadtische Galerie, Erlangen, Germany, 1988 San Francisco, California, 1992 Museo Nacional Centro de Arte Reina Sofia, Vom Turm zu Babel an den Uferndes Rheins Madrid, Spain, 1989 Two tapes and text 1984 K6Inischer Kunstverein, Cologne, Germany, 1980 Dreihandiges Klavierkonzert fur entsetzlich Das im Entwischen erwischte verstimmte lnstrumente Three tapes and object Im zusammenhang ist da, nicht erklarbar, Three tapes, objects, and text Walter Phillips Gallery, Banff, Canada, 1983 doch zu erzahlen Stedelijk Museum, Amsterdam, Two tapes and text The Netherlands, 1984 1981 StiidtischeGalerie im Lenbachhaus, Notwehr oder das arme Tier bekommen ELAC, Lyon, France, 1985 Munich, Germany, 1981 Two tapes and text Galerie Stampa, Basel, Switzerland, 1981 Man hetzt Hunde auf den Stier Stedelijk Museum, Amsterdam, Stedelijk Museum, Amsterdam, one tape, object, and text The Netherlands, 1982 The Netherlands, 1982 Galerie Magers, Bonn, Germany, 1984 Ablenkung mein Stichwort Collection Stadtisches Kunstmuseum, Three tapes 1978 D0sseldorf, Germany Die unwahrheit der vernunft K6Inischer Kunstverein, Cologne, Germany, 1982 Two tapes and text Badischer Kunstverein, Karlsruhe, Germany, 1982 1984/82 Koiner Kunstverein/Marlis Gruterich, Die Norm ist geschafft Kunsthalle N0rnberg, Nurnberg, Germany, 1982 Cologne, Germany, 1979 Two tapes and object Galerie ak, Frankfurt, Germany, 1983 41st Biennale, Venice, Italy, 1984 1981/80 51 700 lntellektuel/e beten einen 6/tank an Collection Staatliche Kunstsammlung Four tapes and text 1978/77 Liechtenstein, Vaduz Die Grenze Museum Folkwang, Essen, Germany, 1981 Three tapes 1983 Neue Galerie, Aachen, Germany, 1978 Tip, tip, tip was sol/ dieser Mann sein 1979 Oder um nicht Sch/agworte zu gebrauchen Stadtisches Kunstmuseum, Bonn, Germany, 1978 Two tapes and object One tape and text CAPC, Bordeaux, France, 1978 Galerie Rieker, Heilbronn, Germany, 1983 K6Inischer Kunstverein, Cologne, Germany, 1979 Kunsthalle Wilhelmshaven, Germany, 1984 1976 DerAmerikaner, der den Columbus zuerst Der Konsum meiner eigenen Kritik 1982 entdeckte, machte eine base Entdeckung [The Consumption of my own Criticism] Freud gegen Marxist die Devise K6Inischer Kunstverein, Cologne, Germany, 1981 Two tapes and objects Two tapes and text Museum Ludwig, Cologne, Germany, 1982 Kunstausstellungen Gutenbergstrasse, Biennale des jeunes artistes, ARC, Paris, Stuttgart, Germany, 1978 France, 1982 Ats wurde ich standig gegen wande reden Skulpturenmuseum, Marl, Germany, 1981 Nationalgalerie, Berlin, Germany, 1983 Two tapes and text Technische Hochschule, Eindhoven, Rheinisches Landesmuseum, Bonn, Germany, 1980 The Netherlands, 1984 Selected Bibliography

Books and Exhibition Catalogues Bermuda-Dreieck fur Fotografie. Photo Recycling Cleveland Center for Contemporary Art. Alte Mensa der Universitat K6In. wo UnterdnJckung Photo. Kassel, Germany: Bermuda-Dreieck Old Glory,The American Flag in Contemporary herrscht,wachst Widerstand.Cologne, fur Fotografie, 1982. Art. Cleveland, Ohio: Cleveland Center for Germany: Alte Mensa der Universitat K6In, 1977. Bischoff, Ulrich. Marcel Odenbach. Madrid, Contemporary Art, 1994. ARC/Musee d'Art moderne de la Ville de Paris. Spain: Museo Nacional Centro de Arte Reina Damsch-Wiehager, Renate. Marcel Odenbach: XII Biennale de Paris. Paris, France: ARC/ Sofia, 1989. Video-Arbeiten, tnstallationen, Zeichnungen Musee d'Art moderne de la Ville de Paris, 1982. --. Renta Preis. N0rnberg, Germany: 1988-93. Stuttgart, Germany: Edition Cantz, 1993. --.ArtAl!emagneAujourd'hui. Paris, France: Kunsthalle Nurnberg, 1991. Deutsch-Franz6sisches Jugendwerk. Aachen­ ARC/Musee d'Art moderne de la Ville de Bischoff, Ulrich, Helmut Kronthaler, and Sarrah Die Grenze. Aachen, Germany: Deutsch­ Paris, 1981. Preuhs. 4x1 imAlbertinum: Marlene Dumas, Franz6sisches Jugendwerk, Neue GaleI·ie, 1978. Ateliers lnternationaux des Pays de la Loire. Gunter Fruhtrunk, Louise Lawler, Marcel --. Egal, Hauptsache gut! Bonn, Germany: Ateliers lnternationauxdes Pays de la Loire. Odenbach. Dresden, Germany: Kunstsamm­ Deutscl1-Franz6sisches Jugendwerk; Nantes, France: Ateliers lnternationaux des lungen, Gemaldegalerie Neue Meister, 1994. Marseille, France: Deutsch-Franz6sisches Pays de la Loire, 1988. Bonner Kunstverein. Ansatzpunkte kritischer Kunst Jugendwerk, 1983. Ausstellungshallen Mathildenh6he. Karl Schmid­ heute. Bonn, Germany: Bonn Kunstverein; Documenta. Documenta 6. Kassel, Germany: Rottluff Stipendium. Darmstadt. Germany: Berlin, Germany: Neue Gesellschaft fur P.Dierich, 1977. Ausstellungshallen Mathildenh6he, 1985. bildende Kunst. 1984. --. Documenta 8. Kassel, Germany: The Ban ff Center. Agit Prop/Performance in --.Kunst Fonds Zehn Jahre. Bonn, Germany: Documenta, 1987. Bonn Kunstverein, 1991. Donaufestival. Das glaserneU-Boot. Stein am 52 Banff. Banff, Canada: Walter Phillips GalleI·y, The Banff Center, 1982. --. Stellungnahme. Bonn, Germany: Bonn Rhein, Switzerland: Donaufestival, 1988. Bellour, Raymond.Art from Kain. Liverpool, Kunstverein, 1979. Duguet, Anne Marie. Cinq pieces avec vue, England: Tate Gallery, 1989. --. Wechselstrome. Bonn, Germany: Bonn 2e semaine internationalede video. Ghent, --. Eye fort: Video Self-portraits. New York: Kunstverein, 1987. Belgium: centre Genevois de Gravure Independent curators Incorporated, 1989. Bund Deutscher lndustrie. Einblicke: 35 Jahre Contemporaine, 1987. --. L' epoque, la mode, la morale, la passion. Kunstforderung im Kulturkreis des BO/. K6In, DuMont Kunsthalle. Made in Cologne. Cologne, Paris, France: Musee National d'Art Moderne, Germany: Bund Deutscher lndustrie, 1987. Germany: Edition Klaus Honnef, 1988. Centre Georges Pompidou, 1987. Cameron, Dan. cucido y Crudo. Madrid, Spain: Edition Irene Adelmann/Harlekin Art. Art Hats. Bellour, Raymond, Bernard Blistene, and Marlis Museo Nacional Centro de Arte Reina Sofia, Wiesbaden, Germany: Edition Irene Gruterich. Dans la vision peripherique du 1994. Adelmann/Harlekin Art. 1983. temoin. Paris, France: Musee National d'Art --. Deutschlandbilder: Kunst aus einem Electronic Arts Intermix. Electronic Arts Intermix. Moderne de la Ville de Paris, Centre National geteilten Land. Cologne, Germany: Dumont New Yo1-k: Edition LoI·i Zippay, 1991. Georges Pompidou, 1987. Buchverlag, 1997. F6rderkreis der Leipziger Galerie fur Bergob, Christine. The SpaceBetween the Castello di Rivara and Franz Paludetto. SeiArtisti Zeitgen6ssische Kunst. zone D-tnnenraum. Keys. London, England: Anthony Reynolds Tedeschi. Turin, Italy: Casteloo di Rivara and Leipzig, Germany: F6rderkreis der Leipziger Gallery, 1986. Franz Paludetto, 1989. Galerie fur Zeitgen6ssische Kunst. 1991. Fukui InternationalVideo Biennale. 4"' Fukui --. Kunstminen. Dusseldo1·f, Germany: Museum of Contemporary Art, Finnish National International Video Biennale. Fukui, Japan: Kunstmuseum Dusseldorf, 1990. Gallery.Ars 1995. Helsinki, Finland: Museum Fukui International Video Biennale, 1991. Kunstl1alle, Kunstmuseum. Alles und noc/1 of Contemporary Art, Finish National Gallery, Fuller, Gregory. Endzeitstimmung. Cologne, vie/ mehr: das poetische ABC. Bern, 1995. Germany: DuMontTaschenbucher, 1994. Switzerland, 1985. Nationalgalerie. 1945-85, Kunst in der Galerie Pl1ilomene Magers. Kunst und Architektur. Kunsthalle Wilhelmsl1afen. Kunstlandschaft Bundesrepub/ik Deutsch/and. Berlin, Bonn, Germany: Galerie Philomene Magers, Bundesrepub/ik. Wilhelmshafen, Germany, Germany: Nationalgalerie, 1985. 1977. 1984. Neue Gesellschaft fur bildende Kunst. Vollbild. --. Nature Marte. Bonn, Germany: GaleI·ie Kunstlerhaus Stuttgart Reuchlinstrasse e.V. Berlin, Germany: Neue Gesellscl1aft fur Philomene Magers and Kunstfonds e.v., 1988. Anlasslich der Ausstellung in der Galeria Studio bildende Kunst, 1988. Gruterich, Marlis. Het Lumineuze Beeld­ Warszawa. Stuttgart, Germany: Kunstlerhaus Pickshaus, Peter Moritz. Rheingo/d-40 artisti The Luminous Image. Amsterdam, Stuttgart Reuchlinstrasse e.v, 1980. da Colonia e ousseldorf. Turin, Italy: Societa The Netherlands: Stedelijk Museum, 1984. London, Barbara. Video-Spaces. New York: Promotrice delie belle Arti, 1985. Herzogenrath, Wulf and Edith Decker. Video­ Museum of Modern Art, 1995. PorinTaidemuseo. By the River: International Skulptur· Retrospectiv und Aktuell. 1963-1989. Lux, Ulla. Marcel Odenbach: The Two Sides Photography Today. Pori, Finland: PoI·in Cologne, Germany: DuMont, 1989. of the Coin. Dusseldorf, Germany: Kunstraum Taidemuseo, 1985. Huffman, Kathy Rae. Video:A Retrospective. Dusseldorf, 1996. The Power Plant. Enchantment/Disturbance. Long Beach, California: Long Beach Museum Malscl1, Friedemann and Yilmaz Dziewier. Toronto, Canada: The Power Plant, 1988. of Art, 1984. Marcel Odenbach, leichnungen 1975-77. Puvogel, Renate. Marcel Odenbach. London, Huffman, Kathy Rae and Dorine Mignot, editors. Liechtenstein, Vaduz: Staatlich England: Goethe lnstitut, 1997. Tile Arts for Television. Los Angeles, California: Kunstsammulung; Cologne, Germany: Verlag Rein, Ingrid. Marcel Odenbach: Videoarbeiten. Museum of Contemporary Art; Amsterdam, der BuchhandlungWalter Konig, 1997. Essen, Germany: Museum Folkwang, 1981. The Netherlands: Stedelijk Museum, 1987. Meyer, Wernerand Renate Damsch-Wiehager. Relyea, Lane, editor. Remembrances of Things lnstitut fur Auslandsbeziehungen. Video-Skulptur luge luge: die Eisenbahn in der Past: Collected Writings and Exhibition in Deutsch/and seit 1963. Stuttgart, Germany: zeitgenossischen Kunst. Stuttgart, Germany: Catalog. Long Beach, California:Long Beach lnstitut fur Auslanclsbeziehungen, 1994. Cantz Verlag, 1994. Museum of Art, 1986. Moltkerei Werkstatt. Bei Lebendigem Leibe. Rheinisches Landesmuseum. Freunde-Amis ... ? Joachimides, Cl1ristos M. and Norman Rosenthal. 53 Metropolis. Ostfildern,Germany: Edition Cologne, GeI·many: Moltkerei Werkstatt, 1981. Stipendiaten des oeutsch-Franzosischen Cantz, 1991. Musee d'Art contemporain de Montreal. Jugendwerkes 1976-79. Bonn, Germany: K6Inischer Kunstverein. 10 in Kain. Cologne, Blickpunkte. Montreal, Canada: Musee d'Art Rheinisches Landesmuseum; Recklinghausen, Germany: K6Inischer Kunstverein, 1981. contemporain de Montreal, 1990. Germany: Stadtische Kunsthalle --.Mein Koiner Dom. Cologne, GeI·many: --. Pour la suite du Monde. Montreal, Recklinghausen, 1980. K6Inischer Kunstverein and Museen der Canada: Le Musee d'Art Contemporain de Riley, Robert and Kathy Rae Huffman. As if Memo­ Stadt, 1980. Montreal, 1992. ries Could Deceive Me. Boston, Massachusetts: --. Videokunst in Deutsch/and 1963-1982: Musee d'Art Moderne de la Communaute urbaine Institute of contemporary Al"t, 1986. Ars Viva 82-83. Cologne,Germany: K6Inischer de Lille. Yvon Lambert Collectionne. Villeneuve Saint-Gervais Geneve. 4e semaine Internationale Kunstverein, 1982. d'Ascq, France: Musee d'Art Moderne de la de Video. Geneva, Switzerland: Saint-Gervais Kunstforeningen. Koiner Kunst. Copenhagen, communaute urbaine de Lille, 1992. Geneve, 1991. Denmark: Kunstforeningen, 1988. Museum Folkwang. Videowochen Essen '79. Sand, Gabriele. Marcel Odenbach, Besenrein. Kunsthalle Dusseldorf. Deutschsein? Eine Essen, Germany: Museum Folkwang, 1979. Hannover,Germany: Sprengel Museum, 1996. Ausstellung gegen Fremdenhass und Museum fur Gegenwartskunst. Neue Videos Shoto Kunstmuseum. Deutsche leichnungen Gewalt. Dusseldorf, Germany: Kunsthalle aus der BRO. Basel, Switzerland: Museum der Gegenwart. Shibuya, Japan: Shoto Dusseldorf, 1993. fur Gegenwartskunst, 1987. Kunstmuseum, 1986. Skulpturenmuseum Glaskasten. 1. Videokunst­ Wurttembergischer Kunstverein. Szenen der Preis der Stadt Marl. Marl, Germany: Volkskunst. Stuttgart, Germany: wurttem­ Skulpturenmuseum Glaskasten, 1984. bergiscl1er Kunstvei-ein, 1981. Smolik, Noemi, Andreas Vowinkel, and MaI·lis Zdenek, Felix and Gary Indiana. House and Gruterich. Stehen ist Nichtumfallen. Garden. Hamburg, Germany: Ascan Crone, Karlsruhe, Germany: Badischer Kunstverein, 1987. 1988. Stadtisches Kunstmuseum. Sammlung Deutscher Magazine, Journal Kunst seit 1945. Bonn, Germany: Stadtische and Newspaper Articles Kunstmuseum, 1983. Ashei-, Dan. "Marcel Odenbach." Journalof Stadtische Kunstalle. Karl Schmidt-Rottiuff Contemporary Art 7, no. 1 (Summer 1994) Stipendium. Dusseldorf, Germany: Stadtische Barton, Heather. "The Logics of Motility." Hybrid, Kunsthalle, 1989. no. 2 (April/May 1993) Stichting de Appel. tnscapes. Amsterdam, Cameron, Dan. "The Ties that Bind." Art and Tl1e Netherlands: Stichting de Appel, 1991. Auction (February 1993) --. Marcel Odenbach: Keep in View. Herzogenrath, Wulf. "Marcel Odenbach" in Stuttgart, Germany: Edition Cantz, 1993. Kunst/er, Kritisches Lexikon der --. Nightfire. Amsterdam, The Netherlands: Gegenwartskunst 31, no. 20 (1995) Stichting de Appel, 1987. Mantegna, Gianfranco. "Television and Straka, Barbara and Noemi Smolik. Im Its Shadow." Arts Magazine 65, no. 5 Tangoschritt zum Ader/ass: Marcel (January 1991) Odenbach/Klaus van Bruch. Berlin, Nierhoff, Wout. "Marcel Odenbach." Kunst Bulletin, Germany: Neue Gesellschaft fur bildende nr. 3 (Ma1·ch 1993) Kunst, 1985. Pe1-ree, Rob. "Marcel Odenbach, en het besmette Taormina Arte Palermo. Dissensi Tra Film Video Duitse verieden." Kunst Bee/d (February 1993) Televisione. Palermo, Italy: Taormina Arte Palermo, 1991. Articles and Publications 54 Venice Bienale. XU Bienale di Venezia. Venice, by the Artist Italy: Venice Bienale, 1984. Odenbach, Marcel. " ... als ein Auto Vettese, Angela. Moltep/ici Culture. Rome, Italy: blitzeschnelle ... " GI Prisma, aus der Arbeit Museo del Folklore, 1992. des Goethe lnstituts (February 1994) Virilio, Paul. Passage de !'Image. Paris, France: --. German Video and Performance. Toronto, Musee National d'Art Moderne de la Ville de Canada: A Space Gallery, 1980. Paris and Centre Georges Pompidou, 1990. --. Zeitzeichen, Stationen Biidender Kunst in Vowinkel, Andreas. Koiner Kunst/er pers6nlich Nordrhein-westfalen. Kain, Germany: Edition vorgestelit. Cologne, Germany: Kblniscl1er Karl Ruhrberg, DuMont Buchverlag, 1989. Kunstverein, 1979 Odenbach, Marcel and Dieter Daniels. --. Marcel Odenbach-Volkmar Taube. Moving Image. Barcelona, Spain: Fundacio Frankfurt, Germany: Galerie Hant, 1989. Joan Miro, 1992. Wallraf-Richartz Museum and Museum Ludwig. Odenbach, Marcel, Paul Vil"ilio and Gregorio Deutsche Zeichnungen der Gegenwart. Magnani. Dialoghi Tra Film Video Televisione. Cologne, Germany: Wallraf-Richartz Museum Palermo, Italy: Taormina Arte PaleIrno, 1990. and Museum Ludwig, 1982. The New Museum The New Museum The New Museum Staff Board ofTrustee Artists' Advisory Board Security Kimball Augustus Saul Dennison, Janine Antoni Volunteer Coordinator Ricl1ard Barr President Doug Ashford Technical Systems Manager Kim Boatner James C.A. McClennen, Judith Barry Bookstore Clerk Glen Brown Vice President Xu Bing Executive Assistant, Director's Office VictoI·ia Brown Paul T.Schnell, Nayland Blake Installation Coordinator Tom Brumley Vice President Barbara Bloom Senior Curator Dan Cameron Robert J. Shiffler, Tania Bruguera Bookstore Clerk Matthew Connors Vice President Shu Lea Chang Curatorial Associate Anne Ellegood Laura Skoler, Janine Cirincione Finance and Administration Manager Rika Yihua Feng Vice President Renee Cox curatorial Administrator/ Dieter Bogner Jimmie Durham Publications Manager Melanie Franklin Jean Carey Bond Amy Hauft Membership Coordinator Donna Gesualdo Henry M. Buhl Mary Heilmann Registrar/Exhibitions Manager John Hatfield Allen A. Gold ring Kathy High Associate Educator Claudia Hernandez Manuel E. Gonzalez Deboral1 Kass Grants Manager Yolanda Hunt Maren Hensler Byron Kim Security Elon Joseph Toby Devan Lewis Inigo Manglano-ovalle Director of Operations Patricia Kirshner Mary Macbeth Looker Paul Miller Admissions Marija Kotevska Steven M. Pesner Mariko Mori Assistant Manager, Bookstore Beth Krumholz Carole Rifkind Donald Odita Public Programs Associate Raina Lampkins-Fielder Patrick Savin Gabriel Orozco Maintainer Dwayne Langston Herman Schwartzman, Esq. Joanna Osborne Bigfeather Admissions Susan Lutjen Marcia Tucker Pep6n OsoI·io Admissions Zulema Mejias Catalina Parra Adjunct Curator Gerardo Mosquera Vera G. List, Ernesto Pujol Security Svetlana Pavlova 55 Emerita Paul Ramirez-Jones Security Marianna Pombrick Henry Luce 111, Al Ruppersberg Security Michael Rechner Life Trustee Carolee Schneemann Security Robert Santiago Amy Sillman Assistant Registrar Sefa Saglam Diana Thater curator of Education Gregory Sholette Rirkrit Tiravanija Admissions Boris Sterin CaI·melita Tropicana Special Events Manager Maureen Sullivan Nari Ward Deputy Director Dennis Szakacs Fred Wilson Administrative Assistant Victor Teng Lynne Yamamoto Bookstore Clerk Kimberly Tomes Mel Ziegler Director Marcia Tucker Bookstore Manager David Tweet Accountant David Youngwood Exhibition Contributors

Curator Dan Cameron, Senior Curator at the New Museum of Dan Cameron Contemporary Art, has published over two hundred Exhibition supervision texts on art in various international art publications, John Hatfield including Artforum, Arts, Parkett, Frieze, and Flash Art. He has contributed to numerous museum catalogues Curatorial administrator for such institutions as the Royal Academy of Art, Melanie Franklin London; Stedjelik Museum, Amsterdam; Carnegie Programs coordinator Museum, Pittsburgh; Center for Contemporary Art, Raina Lampkins-Fielder Glasgow; and Berkeley Art Museum, Berkeley. As an independent curator, Cameron has organized large­ Assistant registrar scale exhibitions of contemporary art at several major Seta Saglam venues, including the Aperto at the Biennale di Venezia Installation coordinator (1988), "Cocido y Crudo" (Centro Renia Sofia, Madrid, Tom Brumley 1994-95), and "Threshold" (Fundacao de Serralves, Oporto, 1995) He attended Syracuse University and Bennington College, earning a B.A. in 1979. Catalogue

Production Kobena Mercer is a professor in the Africana Studies Melanie Franklin Department at New York University. Published articles include Engendered Species: Danny Tisdale and Keith Editor Piper (Artforum, summer 1992). Black Art and the Tim Yohn Burden of Representation (Third Text, Spring 1990), Design and Skin Head Sex Thing: Racial Differenceand the Kathleen Oginski Homoerotic Imaginary(New Formations, Spring 1992). His essays have appeared in such books as Black Male: Printer Representation of Masculinity in Contemporary The Stinehour Press American Art (1994), Mirage: Enigmas of Race, Difference and Desire (1995), and Tile Fact of Blackness: Frantz Photo Credits Fanon and Visual Representation (1996). In 1994, his book Welcome to The Jungle: New Positions in Black Jolin Bessler: p. 37 Cultural Studies was published by Routledge Press. A. Biondo: pp. 6, 20, 38 (top), 39 (top) Tony Cokes: p. 28 Dr. Theodora Viscl1eI· is an art critic and curator at the Louis Lussier: pp. 40, 41 Museum of Contemporary Art in Basel, Switzerland. Cary Markerink: p. 32 She l1as published two books on Joseph Beuys (1983 Marcel Odenbach: pp. 19, 30, 38 (bottom), and 1991) and numerous essays on contempornryart. 39 (bottom), 42, and cover She has organized exhibitions with Gary Hill (1994). llya Lothar Schnepf: pp. 10, 13, 23, 43 Kabakov (1995), Robert Gober (1995), Andrea Zittel and Christoph Simon: p. 24 Dan Graham (1996), Katharina Fritsch (1997), Matthew Barney (1998), Elizabeth Peyton (1998), and others.