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Angela Bulloch<br />
Born 1966 in Rainy River, Ontario, Canada.<br />
Lives and works in London and Berlin.<br />
Education<br />
1985-<br />
88<br />
Goldsmiths College, University of London, B.A. (Hons.) Fine Art.<br />
Awards and grants<br />
2002 ASEF (Asia-Europe Foundation) Cultural Gran<br />
1994 Two months artist residency, ARCUS -project, Moriya, Japan<br />
1989 Whitechapel Artists’ Award<br />
Teaching/Lectureships<br />
2001-<br />
03<br />
Solo Exhibitions<br />
2009<br />
2008<br />
Guest professorship of Sculpture, Akademie für Bildende Künste,<br />
Vienna<br />
Cristina Guerra Contemporary Art, Lisbon<br />
Galería Helga de Alvear, Madrid<br />
ARCO, Madrid<br />
Galerie Kreo, Paris<br />
Air de Paris, Paris<br />
Zhang Jiang Public Art Project, Shanghai<br />
X Wohnungen Neukölln (with Michael Iber), Gropiusstadt Neukölln<br />
The space that time forgot, Lenbachhaus, Kunstbau, Munich<br />
V, Galerie Eva Presenhuber, Zürich<br />
2007 Repeat Refrain, Enel Contemporanea, Ara Pacis, Rome<br />
Are you coming or going, around? , Esther Schipper, Berlin<br />
2006 Angela Bulloch, The Power Plant, Toronto<br />
Angela Bulloch, De Pont Museum voor Hedenda agse Kunst, Tilburg<br />
We Are Medi(eval) (with Liam Gillick), Cubitt Artists, London<br />
Yuko Gothic Grid , Micheline Szwajcer, Antwerp<br />
2005 Angela Bulloch, Modern Art, Oxford<br />
To the Power of 4, Secession Wien, Vienna (cat.)<br />
Angela Bulloch, Le Consortium, Dijon<br />
The missing 13th, Galeria Helga de Alvear, Madrid<br />
2004 Antimatter 3 , Galerie Eva Presenhuber, Zurich<br />
Angela Bulloch, Engholm Engelhorn Galerie, Vienna<br />
2003 Angela Bulloch/Matrix 206. Macromatrix: For your Pleasure, UC<br />
Berkeley Art<br />
Museum and Pacific Film Archive, Berkeley<br />
New Work 8: Angela Bulloch, World Reflections, Aspen Art Museum,<br />
Aspen<br />
Disco Floor_Bootleg: 4, Installation am Medienturm Graz, Graz
2002<br />
Search and Arrest, Y8 International Sivananda Yoga Center, Hamburg<br />
Angela Bulloch, 1301 PE Brian D. Butler, Santa Monica<br />
Macro World: One Hour 3 and Canned, Schipper & Krome, Berlin<br />
Angela Bulloch: Chain, Galerie Micheline Szwajcer, Antwerp<br />
Angela Bulloch, Institute of Visual Culture, Cambridge<br />
2001 Matrix, Magnani, London<br />
Z Point, Kunsthaus Glarus, Glarus<br />
2000 Prototypes, Hauser & Wirth & Presenhuber, Zurich<br />
BLOW_UP T.V., Schipper & Krome, Berlin<br />
From the Eiffel Tower to the Riesenrad, Galerie Kerstin Engholm,<br />
Vienna<br />
Headless with Legs + Tripping, 1301PE, Los Angeles<br />
1999 Angela Bulloch, Sylvie Fleury, Mehdi Chouakri, Berlin<br />
1998 Codes, Schipper und Krome, Berlin<br />
Superstructure, Museum für Gegenwartskunst Zürich, Zurich (cat.)<br />
Sounds Off, Robert Prime Gallery, London<br />
1997 Vehicles, Le Consortium, Centre d’Art Contemporain, Dijon<br />
Soundbank, Kunstverein Ludwigsburg<br />
1996 Galerie Walcheturm, Zurich<br />
Robert Prime, London<br />
1995 Mudslinger, Schipper & Krome, Cologne<br />
From the chink to Panorama Island, PADT, London<br />
Marc Foxx Gallery with 1301/Brian Butler, Santa Monica<br />
1994 Kunstverein in Hamburg, Hamburg:F.R.A.C. Languedoc -Roussillon;<br />
Aldebaran,<br />
Baillargues, France<br />
1993 Centre pour la Création Contemporaine, Tours, France (cat.)<br />
Rules Series, Esther Schipper and Friesenwall 116a, Cologne<br />
1301, Santa Monica, California<br />
The art of survival/baby-doll saloon with Sylvie Fleury, Laure Genillard,<br />
London<br />
1992 Esther Schipper, Cologne<br />
Galleria Locus Solus, Genoa<br />
1991 Le Case d'Arte, Milan<br />
1990 Interim Art, London<br />
APAC Centre d'Art Contemporain, Nevers (cat.)<br />
Galerie Claire Burrus, Paris<br />
Esther Schipper, Cologne<br />
Group Exhibitions<br />
2009 Iluminated Sculpture, San Diego Museum of Art, San Diego<br />
2008 Theanyspacewhatever, Solomon R. Guggenheim Museum, New York<br />
Martian Museum of Terrestrial Art, Barbican Art Gallery, London<br />
2007 Ensemble, ICA, Philadelphia
Kunstmaschinen. Maschinenkunst, Schirn Kunsthalle, Frankfurt<br />
Cosmic Dreams, Centro Cultural Andratx, Mallorca<br />
The Suspended Moment, Z33, Hasselt<br />
Klang im Bild, Opelvillen, Rüsselsheim<br />
Cuestion Xeracional, OCGAC, Sant Diago de Compostel la<br />
2006 From Damien Hirst’s Murderme Collection: In the Darkest Hour there<br />
will be<br />
Light, Serpentine Gallery, London<br />
Bewegung im Quadrat: Das Quadrat in Malerei, Kinetischer Kunst und<br />
Animation, Museum Ritter, Waldenbuch<br />
Anstoss Berlin: Kunst macht W elt, Haus am Waldsee, Berlin<br />
Abstract Art Now: Strictly Geometrical , Wilhelm Hack Museum,<br />
Ludwigshafen<br />
Collection Helga de Alvear, Centro Cultural de Belem, Lisboa<br />
Galleri MGM, Oslo<br />
Tate Triennial , Tate Britain, London<br />
Satellite Of Love , Witte de With, Rot terdam<br />
Backdrop, Bloomberg Space, London<br />
Lichtkunst aus Kunstlicht , Museum für Neue Kunst, Karlsruhe<br />
Wrong, Klosterfelde Linienstraße, Berlin<br />
2005 36 x 27 x 10 , White Cube - Palast der Republik, Berlin<br />
Ambiance, K21, Düsseldorf<br />
Possession, Gerry Bibby/Paul-Lincke-Ufer 33, Berlin<br />
Agua, Sin Ti No Soy, Valencia Biennale, Valencia<br />
Extreme Abstraction, Albright Knox Art Gallery, Buffalo<br />
Preis der Freunde der Nationalgalerie , Hamburger Bahnhof, Museum für<br />
Gegenwartskunst, Berlin<br />
EN/OF 001-030, Museum Kurhaus, Kleve<br />
Nach Rokytník: Die Sammlung der EVN , MUMOK, Wien<br />
Bidibidobidiboo, Fondazione Sandretto Re Rebaudengo, Torino<br />
The Suspended Moment , CRAC Alsace, Altkirch<br />
Someone Somewhere Is Furiously Traveling Towards You , La Casa<br />
Encendida, Madrid<br />
Collection 2, Fondation pour l’Art Contemporain Claudine et Jean -Marc<br />
Salomon,<br />
Alex<br />
La Traicion De La Escultura , Mario Sequeira Gallery, Braga<br />
2004 Funny Cuts – Cartoons und Comics in der Zeitgenössischen Kunst,<br />
Staatsgalerie, Stuttgart<br />
Villette Numerique (cur. by Benjamin Weill), Parc et Grand Hall La<br />
Vilette, Paris<br />
Specific Objects, Galerie Mehdi Chouakri, Berlin<br />
Raison et Sentiments. Collection FNAC, CRAC Alsace, Altkirch<br />
100 Artists See God , Contemporary Jewish Museum, San Francisco /<br />
Laguna<br />
Art Museum, Laguna Beach / ICA, London<br />
ein-leuchten, Museum der Moderne, Salzburg (cat.)<br />
Open, Arcadia University Art Gallery, Glenside<br />
Performative Installation #5: Performative Architektur , Galerie für<br />
zeitgenössische Kunst, Leipzig<br />
Live and let die!, Schiffbau, Zurich<br />
club transmediale, Maria am Ostbahnhof, Berlin<br />
2003 Poème/image, Kunsthaus Schloss Wendlinghausen, Dörentrup<br />
Form Specific, Moderna Galerija, Ljubljana<br />
Utopia Station, La Biennale di Venezia, Venice<br />
EN/OF Editionen, Heeresbäckerei Guestroom, Berlin
Brightness, Museum of Modern Art, Dubrovnik<br />
Conceptualisms, Akademie der Künste, Berlin<br />
Cromatic Sensation, Gallery Hyundai, Seoul<br />
Einbildung – Das Wahrnehmen in der Kunst, Kunsthaus Graz, Graz<br />
It's in our hands , Migrosmuseum für Gegenwartskunst Zürich, Z urich<br />
Coollustre, Collection Lambert en Avignon, Avignon<br />
Playlist, Palais de Tokyo, Paris<br />
One on One – Installations from the Collection (1968 – 1988), Van<br />
Abbemuseum, Eindhoven<br />
Favorites +, Galerie Fortlaan 17, Ghent<br />
2002 Frequenzen (Hz). Audiovisuelle Räume, Schirn Kunsthalle, Frankfurt a.<br />
M.<br />
Hell, Neugerriemschneider, Berlin<br />
Inter/re/views, Kunstpunkt Berlin, Berlin<br />
Ars Lucis et Umbrae. Licht und Schatten als selbständige Medien in der<br />
Kunst,<br />
Museum im Kinsky, Vienna<br />
Häuser für Leipzig. KünstlerInn en als ArchitektInnen, Galerie für<br />
zeitgenössische<br />
Kunst, Leipzig<br />
Claude Monet ... bis zum digitalen Impressionismus, Fondation Beyeler,<br />
Riehen/Basel<br />
Sweet Nothing. (Liege)Stätten des sommerlichen Nichtstuns, Kunsthaus<br />
Baselland, Muttenz<br />
Remix, Tate Liverpool, Liverpool<br />
Once Again, John Hansard Gallery, Southampton<br />
Touch: Relational Art from the 1990‘s to now, San Francisco Art<br />
Institute, San<br />
Francisco<br />
To Whom It May Concern, CCAC Wattis Institute for Contemporary Arts,<br />
San<br />
Francisco<br />
Favorites, Galerie & Edition Artelier, Graz<br />
Shanghai Biennial, Shanghai<br />
No Ghost Just a Shell, (with Imke Wagener), Institute of Visual<br />
Culture,<br />
Cambridge<br />
2001 L’Esprit de famille, MAMCO, Geneva<br />
art>music, Museum of Contemporary Art, Sydney<br />
Wertwechsel. Zum Wert des Kunstwerks, Museum für angewandte<br />
Kunst,<br />
Cologne<br />
Connivence, Biennale de Lyon, Lyon<br />
Arbeit Essen Angst, Kokerei Zollverein, Essen<br />
Der Dritte Sektor, Kunstverein Wolfsburg, Galerie für zeitgenössische<br />
Kunst,<br />
Leipzig<br />
Wechselstrom. Sammlung Hauser & W irth/Teil2, Lokremise St. Gallen<br />
(cat.)<br />
Timewave Zero/The Politics of Ecstasy, Grazer Kunstverein, Graz<br />
1301 PE Brian Butler, Los Angeles<br />
2000 The World is not enough with Sylvie Fleury, Galerie Mehdi Chouakri,<br />
Berlin<br />
Against Design, ICA, University of Pennsylvania, Philadelphia<br />
Sonic Boom - The Art of Sound, Hayward Gallery, London<br />
Presumed Innocent, CAPC, Bordeaux (cat.)<br />
Dire Aids. Arte nell’epoca dell’Aids, Palazzo della Promotrice delle Belle
Arti,<br />
Turin<br />
M(odel) 4∞, BüroFriedrich, Berlin<br />
media art 2000 - escape, media_city Seoul 2000, Seoul Metropolitan<br />
Museum<br />
Seoul<br />
EIN/räumen. Arbeiten im Museum, Hamburger Kunsthalle, Hamburg<br />
Außendienst. Kunstprojekte in öffentlichen Räumen Hamburgs,<br />
Kulturbehörde<br />
und Kunstverein in Hamburg, Hamburg<br />
Version_2000, Centre pour l’image contemporaine Saint -Gervais,<br />
Geneva<br />
1999 Common People, Fondazione, Re Rebaudengo per l’Arte, Guarene d’Alba<br />
Video Store II, by bdv, XN99 Espace des Arts, Chalon -sur-Saone;<br />
l’Espace<br />
Lausannois d’Art Contemporain, Lausanne<br />
Sweetie: Female Identity in British Video with Sylvie Fleury, The British<br />
School at<br />
Rome, Rome<br />
Bankside Browser, St. Christopher’s House, organised by the Tate<br />
Gallery of<br />
Modern Art, London<br />
Etcetera, Spacex Gallery, Exeter<br />
To Design For, Le Spot, Le Havre<br />
Power, Galerie für Zeitgenössische Kunst, Leipzig<br />
Borderline PILOT - the audience from a distance, Museum van Bommel<br />
van<br />
Dam, Venlo<br />
Essential Things, curated by Guy Mannes Abbot, Robert Prime Gallery,<br />
London<br />
At Home with Art, curated by Colin Painter (t ouring exhibition), Tate<br />
Gallery,<br />
London<br />
Here to stay. Arts Council Collection purchases from the 1990s, The<br />
Potteries<br />
Museum & Art Gallery, Stoke on Trent<br />
Tendenzen der 80er und 90er Jahre, museum für neue kunst zkm,<br />
Karlsruhe<br />
Strengthening Wind from Changing Directions - International Avant<br />
Garde<br />
since 1960: The Paul Maenz Collection, Neues Museum Weimar<br />
Space, Schipper & Krome, Berlin<br />
1998 Emotion - Young British and American Art from the Goetz Collection,<br />
Deichtorhalle, Hamburg<br />
Typische Hand bewegung, Künstlerwerkstatt, Munich<br />
John Armleder, Angela Bulloch, Pierre Joseph, Jonathan Monk, Le Spot,<br />
Studio<br />
d’Art Contemporain, Le Havre<br />
N.IGS./WI.UU.OX/W.OKS.MH/Y.IM, FRAC Poitou-Charentes<br />
Z.U.P. Zone a urbaniser en priorité, Fonds Régional d’Art<br />
Contemporain,<br />
Marseille<br />
Weather Everything, curated by Eric Troncy, Galerie für zeitgenössische<br />
Kunst,<br />
Leipzig<br />
UK Maximum Diversity. Zeitgenössische Kunst aus England, Atelierhaus<br />
der
Akademie der Bildenden Künste, Wien; Galerie Krinzinger in der B .<br />
Fabrik,<br />
Bregenz<br />
Patchwork in Progress 3. La Nuit, l’oubli, Fondation Mamco et le Musée<br />
d’art<br />
moderne et contemporain, Genève<br />
Kunst und Parlament. Kunst für das Reichstagsgebäude und das Paul -<br />
Löbe- und Marie-Elisabeth-Lüders-Haus, Deutscher Bundestag, Berlin<br />
Kunstausstellung Holderbank, Holderbank AG, Holderbank<br />
Lifestyle. Internationale Kunst in den Grenzbereichen von Mode,<br />
Design, Styling, Interieur und Werbung, Kunsthaus Bregenz, Bregenz<br />
Art Club Berlin, Pavillon Mies van der Rohe, Barcelon a<br />
MAI 98. Positionen zeitgenössischer Kunst seit den 60er Jahren,<br />
Kunsthalle<br />
Köln am Neumarkt, Cologne<br />
Crossings, Kunsthalle Wien, Vienna<br />
Fast Forward (Trade Marks), Kunstverein in Hamburg, Hamburg<br />
Fast Forward (Body Check), Kunstverein in Hamburg, Hambu rg<br />
Entropy at Home , Suermondt Ludwig Museum, Aachen<br />
Inglenook, Feigen Contemporary, New York<br />
Root, Chisenhale Gallery, London<br />
London Calling, The British School at Rome, Rome<br />
Art from the UK, Sammlung Goetz, München (cat.)<br />
Vive la Vie! Le Parvis, Centre d' art contemporain, Pau<br />
1997 Kunst.Arbeit, Sammlung SüdwestLB, SüdwestLB forum, Stuttgart<br />
Life/Live, Centro Cultural de Belém, Portugal<br />
Such is Life with Sylvie Fleury, video programme curated by<br />
Jonathan Watkins, Serpentine Gallery, Bookshop, London<br />
Rooms with a View: Environments for Video, Guggenheim Museum<br />
SoHo,<br />
New York (cat.)<br />
Material Culture. The Object in British Art of the 1980s and '90s,<br />
Hayward Gallery, London (cat.)<br />
Moment Ginza, une proposition de Dominique Gonzalez -Foerster, Le<br />
Magasin,<br />
Grenoble; Färgfabriken, Stockholm (cat.)<br />
Performance Anxiety, Museum of Contemporary Art, Chicago (cat.)<br />
Was Nun? Schipper & Krome, Berlin<br />
ca-ca poo-poo, Kölnischer Kunstverein, Cologne<br />
Tanti Video with Sylvie Fleury, Arcate Art Fabrica, Turin<br />
Kunst in der Leipziger Messe, Glashalle, Messegelände Leipzig<br />
Flexible, Museum für Gegenwartskunst, Zurich<br />
Connexions Implicites, l’École Nationale Supérieure des Beaux -Arts,<br />
Paris (cat.)<br />
Group Show at Robert Prime, London<br />
Persona X, Salzburger Kunstverein, Salz burg<br />
PopVideo, Kölnischer Kunstverein und Viva Zwei, Cologne<br />
Un toit pour tout le monde, Werke aus der Sammlung FRAC Languedoc -<br />
Roussillon, Künstlerhaus Bethanien, Berlin<br />
Private Face - Urban Space, Gas Works, Athens; Rethymnon Centre for<br />
Contemporary Art, Crete (cat.)<br />
Opening exhibition, LEA Gallery, London<br />
History - The Mag Collection, Ferens Art Gallery, Kingston upon Hull<br />
(cat.)<br />
Brain Multiples @ Art Metropole, Toronto<br />
Dramatically Different, curated by Eric Troncy and Yves Aupetitallot, Le<br />
Magasin,<br />
Grenoble
Medium of Exchange, CCH, Hamburg<br />
The Turner Prize 1997, Tate Gallery, London<br />
1996 Traffic, curated by Nicolas Bourriaud, CAPC Musée d’Art Contemporain,<br />
Bordeaux<br />
Kiss This, Focal Point Gallery, Southend -on-Sea<br />
Model Home, curated by Alanna Heiss, Clocktower Gallery, New York<br />
Gedraag je! Behave! Benimm Dich! Tiens-toi bien! Stedelijk Museum,<br />
Bureau<br />
Amsterdam, Amsterdam<br />
Multiple Pleasure, Tanya Bonakdar Gallery, New York<br />
Collezionismo a Torino, Castello di Rivoli, Museo d`Arte<br />
Contemporanea, Torino<br />
(cat.)<br />
Kunst in der neuen Messe Leipzig, curated by C. Schneider, Leipziger<br />
Messe,<br />
Leipzig (cat.)<br />
Niele Toroni/Angela Bulloch, Museum der Bildenden Künste, Leipzig<br />
Der Umbau Raum, Künstlerhaus Stuttgart, Stuttgart<br />
Dinner, organised by Giorgio S adotti, Cubitt Gallery, London<br />
The Cauldron, The Henry Moore Studio, Halifax (cat.)<br />
nach weimar, Kunstsammlungen zu Weimar, Weimar (cat.)<br />
Variations, op. 96, Hotel Saint Simon, Angoulême, France<br />
Escape Attempts, curated by GLOBE and Jack Jaeger; Christia nia,<br />
Copenhagen,<br />
Are you talking to me? curated by Peter Holst Henckel, Gallery Specta,<br />
Copenhagen<br />
Orte des Möglichen. Weibliche Positionen in der zeitgenössischen<br />
Kunst,<br />
Hypobank International S.A., Luxembourg; Achenbach Kunsthandel,<br />
Düsseldorf<br />
(cat.)<br />
Files - Art as Position in the Age of Global Technologies, Bunker, Berlin<br />
Itinerant Texts, commissioned by Bookworks, Camden Arts Centre,<br />
London<br />
Other Men’s Flowers, Galerie Aurel Scheibler, Cologne<br />
Supastore de Luxe, UP & Co, New York<br />
Life/Live, Musée d‘Art Moderne de la Ville de Paris, Paris (cat.); Centro<br />
de<br />
Exposiçoes do Centro Cultural de Belém, Portugal<br />
Full House. Junge Britische Kunst, Kunstmuseum Wolfsburg, Wolfsburg<br />
All in One, Schipper & Krome, Cologne<br />
1995 Corpus Delicti. London i 90’e rne, curated by Torben Christensen<br />
Kunstforeningen, Copenhagen (cat.) Das Ende der Avantgarde, Kunst<br />
als Dienstleistung, Kunsthalle der Hypo-Kulturstiftung, Munich (cat.)<br />
Toys, curated by Nicolas Bourriaud & Eric Troncy, Galerie Jousse<br />
Seguin, Paris<br />
Wohnzimmer, Schipper & Krome, Cologne<br />
Klangskulpturen, Augenmusik, Ludwig Museum, Koblenz (cat.)<br />
Collection, fin XXe, FRAC Poitou-Charentes, Angouleme (cat.)<br />
le labyrinthe moral, curated by Liam Gillick and Philippe Parreno, Le<br />
Consortium,<br />
Dijon<br />
Am Rande der Malerei (second part), Kunsthalle Bern, Bern (cat.)<br />
Space Odessey, curated by Helena Papadopoulos, Eleni Koroneou<br />
Gallery,<br />
Athens (cat.)<br />
How is everything? curated by Erwin Wurm and Martin Walde, Wiener<br />
Secession, Vienna
En passant...Urban Scenes in Contemporary Art, curated by Andreas<br />
Spiegel,<br />
Akademie der Bildende Künste, Vienna (cat.)<br />
Stoppage, curated by Liam Gillick, CCC, Tours and Villa Arson, Nice<br />
Faction Video, curated by Liam Gillick, Det Kongelige Danske<br />
Kunstakademi,<br />
Copenhagen<br />
444 & 222 Too, steam ironed by Georg Herold, South London Gallery<br />
Sage with Sam Taylor Wood, Gillian Wearing, Elizabeth Wright, Galerie<br />
Michel<br />
Rein, Tours<br />
X: KunstKanal. World tea Party, Mediapark, Cologne<br />
Never mind the Nineties, Kunst-Werke, Berlin<br />
1994 WM Karaoke, with Liam Gillick, curated by Georg Herold, Portikus,<br />
Frankfurt<br />
Surface de Réparation, curated by Eric Troncy, Espace FRAC, Dijon<br />
Surface de Réparation II, curated by Eric Troncy, Espace FRAC, Dijon<br />
(cat.)<br />
Le Consortium, with Sylvie Fleury, Dij on<br />
blurp/bleep, Westwerk e.V., Hamburg<br />
Wall to Wall, curated by Maureen Paley, Leeds City Art Gallery, Leeds<br />
(cat.)<br />
temporary translation(s), Sammlung Schürmann, Deichtorhallen,<br />
Hamburg (cat.)<br />
Sammlung Schürmann, Ludwig Museum, Aachen (cat.)<br />
Use Your Allusion - recent video art, Museum of Contemporary Art,<br />
Chicago<br />
Mixbild, Schipper & Krome, Cologne<br />
The Antidote, Centre 181 Gallery, London<br />
Cloni, A&M Bookstore, curated by Tommaso Corvi Mora, Milan<br />
Brian Butler-1301(L.A.), presents: Angela Bulloch, Meg Cranst on, Sarah<br />
Seager,<br />
Thaddeus Strode, Art & Public, Geneva<br />
Informationsdienst, Grazer Kunstverein, Graz<br />
Grand Prix de Monaco, curated by Axel Huber, Nice and Monaco<br />
Gradus ad Parnassum, Arbeiten zeitgenössischer Künstlerinnen,<br />
Kunsthaus<br />
Welker, Heidelberg<br />
New reality mix, performance and video weekend, Stockholm<br />
The Institute of Cultural Anxiety: Works from the Collection, curated by<br />
Jeremy<br />
Millar, ICA, London (cat.)<br />
1993 Viennese Story, curated by Jérome Sans, Wiener Secession, Vienna<br />
(cat.)<br />
Documentario 2, Spazio Opos, Milan<br />
Tutto Tondo, Monika Sprüth Galerie, Cologne<br />
Galerie Walcheturm, Zurich<br />
Aperto ‘93, Biennale di Venezia, Venice (cat.)<br />
Esther Shipper at the Christopher Grimes Gallery, Santa Monica, CA<br />
Summer 93, Air de Paris, Nice<br />
Nulle part et partout, carte blanche à Ami Barak, Espace Paul Boyé,<br />
Sète<br />
My little Toilet, curated by Jonathan Monk, Glasgow<br />
London Photo Race, Friesenwall 120, Cologne<br />
Christmas Shop, Air de Paris, Paris<br />
Unplugged: The Demo Video Tape , curated by Nicolas Bourriaud,<br />
Holiday Inn,<br />
Cologne
Dokumentationsraum, Esther Schipper, Cologne<br />
Dancing Girls with Kate Daw, Store 5, Melbourne, Australia<br />
An old song and a new drink with Liam Gillick, Café Beaubourg, Paris<br />
1992 Il faut construire l'hacienda, curated by Nicolas Bourri aud, Eric Troncy<br />
and Alain<br />
Julien-Laferrière, CCC Tours (cat.)<br />
Etats Specifiques - 11 Artistes Anglais, Musée des Beaux-Arts André<br />
Malraux,<br />
Le Havre (cat.)<br />
Lying on top of the building the clouds seemed no nearer than they<br />
had when I was lying on the street, Monika Sprüth Galerie, Cologne;<br />
Le Case<br />
d‘Arte, Milan<br />
Still, Andrea Rosen Gallery, New York<br />
Dirty Data - Sammlung Schürmann, Ludwig Forum für Internationale<br />
Kunst,<br />
Aachen (cat.)<br />
Angela Bulloch, Adam Chodzko..., instructions received by Lia m Gillick,<br />
Gio’<br />
Marconi, Milan (cat.)<br />
Lily van der Stokker, Angela Bulloch, Stephane Magnin - Wall Drawings,<br />
Air<br />
De Paris, Nice<br />
Molteplici Culture, curated by Liam Gillick & Paul Mittleman, Rome<br />
(cat.)<br />
Informationsdienst (travelling exhibition), organ ized by Ute Meta<br />
Bauer, Tina<br />
Geissler, Sandra Hasenteufel; First presented in Ausstellungsraum<br />
Künstlerhaus Suttgart, Stuttgart<br />
Manifesto, curated by Benjamin Weil, Daniel Buchholz, Cologne;<br />
Castello di<br />
Rivara, Torino; Wacoal Arts Center, Tokyo; Urbi et Orbi, Paris<br />
Group Show, Esther Schipper, Cologne<br />
ON, Interim Art, London (cat.)<br />
1991 Reve, Fantasie, curated by D. Gonzalez-Foerster, Elein Fleiss, Bernard<br />
Joisten,<br />
Galerie de Mois, Paris<br />
Angela Bulloch, Sarah Seager and Craig Wood, Interim Art, Lo ndon<br />
Victoria Miro Gallery, London<br />
No Man's Time, Villa Arson, Nice (cat.)<br />
Broken English, Serpentine Gallery, London (cat.)<br />
Proiezioni, Castello de Rivara, Turin<br />
Plastic Fantastic Lover (object a), curated by Catherine Liu,<br />
BlumHelman<br />
Warehouse, New Yo rk (cat.)<br />
Devices, curated by Bruce Ferguson, Josh Baer Gallery, New York<br />
Marking Time, The Drawing Center, New York<br />
1990 Common Market, curated by Barbara Steffens, Richard Kulenschmidt<br />
Gallery,<br />
Los Angeles<br />
The Köln Show, Cologne (cat.)<br />
In Loving Co rrespondence, Massimo Audiello Gallery, New York<br />
Seven Obsessions, Whitechapel Art Gallery, London<br />
1989 Home Truths, six british artists, curated by Kate MacFarlane, Castello<br />
di Rivara,<br />
Torino
Bulloch, Hume, Landy, Esther Schipper, Cologne<br />
1988 Freeze Part 1, PLA Building, Docklands, London<br />
Freeze Part 3, PLA Building, Docklands, London (cat.)<br />
Public Commissions<br />
2007 Anyang Public Art Project, Anyang, Korea<br />
2002 Pacific Rim, Nord LB, Hannover<br />
Millbank Millenium Pier, London<br />
2001 Swiss Re, Zurich<br />
2000 RGB Benches, City of Laignes (Burgundy)<br />
1999 RGB Benches, Fondation de France, Association le Coin du Miroir,<br />
Laignes<br />
(Burgundy)<br />
Aspidistras in Alphaville (Decimal System), Winterthur Insurance,<br />
Winterthur<br />
1998/<br />
2001<br />
Seats of Power and S pheres of Influence, Deutscher Bundestag,<br />
Paul-Löbe-Haus, Berlin<br />
1998 Pedestrian Pixel System: 55, O.K. Centrum für Gegenwartskunst,<br />
Linz, Austria<br />
1996 Belisha Beacon Indicator System, Messehallen, Leipzig<br />
BIBLIOGRAPHY<br />
Monographic publicati ons<br />
Exh.cat. The Space that Time forgot, Kunstbau im Lenbachhaus München. Verlag<br />
der Buchhandlung Walther König, Köln, 2008<br />
Prime Numbers. Angela Bulloch, Verlag der Buchhandlung Walther König, Köln,<br />
2006.<br />
Exh.cat. Angela Bulloch, Secession, Vienna 2005.<br />
Pixel Book, Kunsthaus Glarus, Glarus 2001.<br />
Rule Book. Angela Bulloch, ed. Stefan Kalmár, Book Works, London 2000.<br />
Satellite - Angela Bulloch, ed. Stefan Kalmár and Angela Bulloch, Museum für<br />
Gegenwartskunst, Zurich, le Consortium, Dijon, 1998.<br />
Exh.cat. Angela Bulloch, ed. CCC-Tours, FRAC - Languedoc-Roussillon,<br />
Kunstverein<br />
Hamburg, Hamburg, 1994.<br />
Exh.cat. Angela Bulloch, essay by Eric Troncy, APAC, Nevers, 1990.<br />
Publications<br />
Montblanc Cutting Edge Art Collection , Hamburg 2007.<br />
Gillick, Liam, Proxemics, Selected Writings (1988 -2006), JRP Ringier and Les<br />
Presses du Réel, 2006.
In the darkest hour there may be light, Serpentine Gallery, London, 2006.<br />
Exh.cat. Lichtkunst aus Kunstlicht , ZKM, Karlsruhe, Hatje Cantz Verlag, 2006.<br />
Exh.cat. Anstoss Berlin, Haus am Waldsee, Berlin, 2006.<br />
Exh.cat. Abstract Art Now. Strictly Geometrical? , Wilhelm-Hack-Museum,<br />
Ludwigshafen,<br />
2006.<br />
Exh.cat. Tate Triennial, New British Art, ed. by Beatrix Ruf and Clarrie Wallis,<br />
Tate<br />
Publishing, 2006.<br />
Exh.cat. Des Deux Cotés Du Rhin, Snoeck, Cologne, 2005.<br />
Exh.cat. Extreme Abstraction, Albright-Knox Art Gallery, 2005.<br />
Exh.cat. the suspended moment, CRAC Alsace, Altkirch, 2005.<br />
Art at 30 St Mary Axe London, Swiss Reinsurance Company, Zurich, 2005.<br />
Exh.cat. Preis Der Nati onagalerie Für Junge Kunst, Hamburger Bahnhof, Berlin,<br />
2005.<br />
Exh.cat. EVN 95-05, MUMOK, Vienna, 2005.<br />
Exh.cat. Playlist, Palais de Tokyo, Paris, 2004.<br />
Exh.cat. Ein-leuchten, Museum der Moderne, Salzburg, 2004.<br />
Exh.cat. Funny Cuts, Cartoons und Comics in d er zeitgenössischen Kunst,<br />
Staatsgalerie<br />
Stuttgart, 2004.<br />
100 Artists See God , Independent Curators International, New York, 2004.<br />
Cream 3. Contemporary Art in Culture, ed. Gilda Williams, London 2003, pp. 92 -<br />
95<br />
Frieze Art Fair Yearbook 2003 -4, ed. Anna Starling, London 2003<br />
Exh.cat. No Ghost just a Shell, Van Abbemuseum, Eindhoven 2003.<br />
Exh.cat. episode - Chromatic Sensation, Gallery Hyundai, Seoul 2003<br />
Performative Installation - architektur, Siemens Art Programm, 2003.<br />
Bourriaud, Nicolas, Postproduction, Collection Documents sur l’art, Dijon 2003.<br />
Exh.cat. Brightness, Modern Museum of Art, Dubrovnik, 2003.<br />
Material_o1, The Institute of Visual Culture (ed.), Cambridge, 2002.<br />
EVN Sammlung. Ankäufe 2000 -2002, EVN AG, Wien 2002.<br />
Once Again, John Hansard Gallery, Southampton, 2002.<br />
Woman Artists. Künstlerinnen im 20. und 21. Jahrhundert, Uta Grosenick, Köln<br />
2001,<br />
p. 66-71.<br />
Sonic Boom, Hayward Gallery, London, 2000.<br />
Against Design, ICA, University of Pennsylvania, Philadelphia, 2000.<br />
Dire AIDS. Arte nell’epoca dell’AIDS, Milan, 2000.<br />
Documentary Notes, Public Art Develoment Trust, London, 2000.<br />
At Home with Art, ed. Colin Painter, London, 1999.<br />
Power, ed. Jan Winkelmann, Galerie für zeitgenössische Kunst, Leipzig, 1999.<br />
Art at the Turn of the Millenn ium, ed. Burkhard Riemschneider and Uta Grosenik,<br />
Cologne<br />
1999.<br />
Die Sammlung Paul Maenz, Neues Museum Weimar, Cantz Verlag, Ostfildern,<br />
1998.<br />
Exh.cat. Emotion, ed. Zdenek Felix, Deichtorhallen, Hamburg, 1998.<br />
Mai 98 - Positionen zeitgenössischer Kunst seit den 60er Jahren, ed. Brigitte<br />
Oetker und<br />
Christiane Schneider, Oktagon, Cologne, 1998.
Exh.cat. Here to stay, ed. Hayward Galery Publishing, by Susan May, London,<br />
1998.<br />
[realisation] kunst in der leipziger messe , ed. Brigitte Oetker and Christiane<br />
Schneider,<br />
Oktagon, Cologne, 1997.<br />
Un Toit pour tout le monde , FRAC Languedoc-Rousillon, Montpellier, 1997.<br />
EVN Sammlung, Ottenstein, 1997.<br />
Exh.cat. Flexible, Museum für Gegenwartskunst, Zurich, 1997.<br />
Exh.cat. Art from the UK (Teil II), Sammlung Goetz, München, 1997.<br />
Exh.cat. Traffic, Nicolas Bourriaud, CAPC Musée d'art contemporain, Bordeaux,<br />
1996.<br />
Exh.cat. nach weimar, Klaus Biesenbach and Nicolas Schafhausen, Kunstsammlung<br />
zu<br />
Weimar, Weimar, 1996.<br />
ProjekteProjects, Kunst in der neuen Messe Leipzig , ed. Christiane Schneider and<br />
Brigitte<br />
Oetker, Leipzig, 1996.<br />
Exh.cat. Live/life, la scène artistique au Royaume Uni en 1996 de nouvelles<br />
aventures, ARC,<br />
Musée d'Art Moderne de la Ville de Paris, 1996.<br />
Collezionismo, Le opere di sei collezionisti d'A rte Contemporenea , Castello di<br />
Rivoli, Museo<br />
d'arte Contemporenea, Torino, 1996.<br />
Am Rande der Malerei, Kunsthalle Bern, Bern, 1995.<br />
Das Ende der Avantgarde, Kunst Als Dienstleistung, Sammlung Schürmann ,<br />
Kunsthalle der<br />
Hypo-Kulturstiftung, Munich, 1995 .<br />
Exh.cat. Corpus Delicti, London i 90'erne , Torben Christensen and Andrew<br />
Renton,<br />
Kunstforeningen, Copenhagen, 1995.<br />
Exh.cat. Klang Skupturen Augenmusik Ludwig Museum im Deutschherrenhaus,<br />
Städtische<br />
Museen, Koblenz, 1995.<br />
Collection, fin XXe, 1983 -1995, douze ans d'acquisition d'art contemporain en<br />
Poitou<br />
Charentes, Olivier Chupin, ed. FRAC Poitou -Charentes, 1995.<br />
Exh.cat. temporary translation(s), Sammlung Schürmann, Kunst der Gegenwart<br />
und<br />
Fotografie, Deichtorhallen Hamburg, Hamburg, 1995.<br />
Wall to Wall, essay by Liam Gillick, The Southbank Centre, London, 1994<br />
Exh.cat. L‘endroit Ideal (Ideal Place), ed. Eric Troncy, L‘Ile du Roy, Centre d‘art<br />
et Jardin, Val<br />
de Reuil, 1993.<br />
Art & Business, ed. Marjorie Jacobsen, Thames & Hudson, London, 1 993.<br />
Exh.cat. Viennese Story, ed. Jérôme Sans, Vienna Secession, Vienna, 1993.<br />
Documentario 2, ed. Marco Cigolani, Milan, 1993.<br />
Il faut construire l'hacienda, Eric Troncy and Nicolas Bourriaud, CCC, Tours, 1992.<br />
Exh.cat. Dirty Data - Sammlung Schürmann, Ludwig Forum für internationale<br />
Kunst, Prof.<br />
Wilhelm Schürmann, Aachen, 1992.<br />
États specifiques, essays by Michael Archer and Francoise Cohen, Musée des<br />
Beaux-Arts<br />
Andre Malraux, Le Havre, 1992.
Il Mistero dei 100 Dollari Scomparsi, (instructions recei ved by Liam Gillick) , Gio‘<br />
Marconi,<br />
Milan, 1992.<br />
Molteplici Cultura, ed. Carolyn Christov-Barkargiev, Edizione Carte Segrete,<br />
Rome, 1992<br />
240 Minuten, Video compilation by Lothar Hempel and Georg Graw, Esther<br />
Schipper, Köln,<br />
1992.<br />
Exh.cat. No Man‘s Ti me, CNAC, Villa Arson, Nice, 1991.<br />
Exh.cat. Broken English, essay by Andrew Graham -Dixon, Serpentine Gallery,<br />
London,<br />
1991.<br />
Plastic Fantastic Lover, essay by Catherine Liu, Blum Helman, New York, 1991.<br />
Wechselstrom. Sammlung Hauser und Wirth in der Lokr emise, part 2, ed. Michaela<br />
Unterdörfer, Cologne, 1991.<br />
Exh.cat. art>music. An exhibition looking at crossovers between visual art and<br />
music,<br />
Museum of Contemporary Art, Sydney, 1991<br />
Exh.cat. Bulloch, Hume, Landy, essay by Andrew Renton, Esther Schip per,<br />
Cologne, 1990.<br />
Nachschub, ed. SPEX magazine, Köln Show, Cologne, 1990.<br />
Home Truths, essay by Kate Bush, Castello di Rivara, Torino, 1989.<br />
Articles and Reviews<br />
Gockel, Cornelia. ‘Wenn Pixel explodieren,’ Sueddeutsche Zeitung (February 15,<br />
2008):<br />
p. 14.<br />
Weskott, Hanne. ‘Alles einer Frage der Perspektive,’ SZ Extra. Sueddeutsche<br />
Zeitung (February 14, 2008): p. 4.<br />
Dattenberger, Simone. ‘Klänge einer Sternennacht,’ Münchner Merkur (February<br />
15, 2008).<br />
Popescu, Adina. Preview: The space that time forg ot, Lenbachhaus, Kunstbau,<br />
München, Artforum International. January 2008, XLVI, No.5, p. 163.<br />
‘The Producers.’ Roundtable, Artforum International XLVI, No.2, October 2007,<br />
pp. 352-359<br />
402.<br />
Prinz, Felix, ‘Welt aus den Angeln’ (review), Texte zur Kunst , September 2007,<br />
pp. 252 – 254.<br />
‘Angela Bulloch Installations’, www.wallpaper.com, May 2007.<br />
Rottmann, André, ‘Angela Bulloch at Esther Schipper, Berlin’, Critic’s Picks,<br />
www.artforum.com, April 2007.<br />
van den Hoven, Gerrit, ‘Angela Bulloch gaat door w aar Judd stopt’, Brabants<br />
Dagblad,<br />
02.01.2006.<br />
Seung-duk, Kim, ‘What Difference Does It Make?’, Frog, Nr. 3, spring/summer<br />
2006, pict.<br />
pp. 112 – 116.<br />
Seung-duk, Kim, ‘Power Interview, Angela Bulloch’s Pixel Odessey’, Art in Culture,<br />
Nr. 4,<br />
2006.<br />
Herbert, Martin, ‘Angela Bulloch’ , Artforum, Nr. 8, April 2006, pict. pp. 218 – 219.<br />
Van den Boogerd, Dominic, ‘Pixels en regels’, Metropolis M, nr. 1, 2006, pict. pp.<br />
14-15.
Dijksterhuis, Edo, ‘Specialistenblind’, Het Financieele Dagblad , 11.02.2006.<br />
Wesseling, Janneke, ‘Baarmoedersentsatie’, NRC Handelblad, 20.01.2006.<br />
de Coninck, Frits, ‘Betoverende pixels’, museum tijdschrift , Januar 2006.<br />
Leeb, Susanne, ‘Possession’, Texte zur Kunst , Dezember 2005, 15. Jahrgang, Heft<br />
50, pp.<br />
193-196, pict. p. 192.<br />
Diedrichsen, Diedrich, ‘Echos von Spiegelsounds in Headphones’, Texte zur Kunst,<br />
December 2005, 15. Jahrgang, Heft 50, pp. 42 -61, pict. pp. 42, 58.<br />
Bracewell, Michael, Art Review, December, 2005.<br />
Gray, Christopher, ‘Seeing the point of Bulloch’s work’, Th e Oxford Times,<br />
02.12.2005, p. 2.<br />
Moyer, Twyrlene, Sculpture, November, 2005.<br />
Walsh, Maria, ‘The Light Fantastic’, Art Monthly, December -January 2005 -06, pict.<br />
cover and<br />
pp. 1 – 4.<br />
Clark, Paula, ‘Angela Bulloch’, Oxfordshire Living, p. 63.<br />
Peacocke, Helen, ‘Basking in Light’, Weekend, Supplement to Oxford Times, 14.10<br />
2005.<br />
Hirsch, Faye, ‘Abstract Generations’, Art in America, October 2005, pp. 123 –<br />
129.<br />
Bulloch, Angela, ‘Ascend and Descend into the Light’, Sleek Magazine, Autumn<br />
2005, pp. 96<br />
- 101.<br />
Mayer, Mariano, ‘Angela Bulloch’, Ae Madrid, 36, January 2005, pp. 22 -23.<br />
Solana, Guillermo, ‘Películas ocultas de Angela Bulloch’, El Cultural, 27.1. -<br />
2.2.2005,<br />
pp. 26-27.<br />
Mayer, Mariano, ‘Angela Bulloch’, Neo2, 40, February 2005, pp. 68 -69.<br />
Rebollar, Mónica, ‘Angela Bulloch’, Lápiz, Nr. 210 -211, February-March 2005, p.<br />
189.<br />
Stunda, Hilary, ‘Aspen: A Cutting -Edge Museum and First -Rate Galleries’,<br />
Artnews, January<br />
2004.<br />
Affentranger-Kirchrath, Angelika, ‘Abstraktion in Pixelform’, Neue Zürcher<br />
Zeitung, Nr. 33,<br />
10.02.2004, p. 48.<br />
Blomberg, Katja, ‘Kunstrakete auf Traufhöhe’, Süddeutsche Zeitung, Nr. 91,<br />
20.04.2004, p.<br />
13.<br />
‘Einblick’, Nr. 51, taz Berlin, 23.6.2004, p. 28.<br />
Coles, Alex, ‘Angela Bulloch: A Storm in a Pixel’, Contemporary, Nr. 65, 200 4, pp.<br />
20-23.<br />
Behr, Martin, ‘Betrogen von den eigenen Augen. Grazer Kunsthaus eröffnet den<br />
Ausstellungsbetrieb: Einbildung – das Wahrnehmen in der Kunst’, Salzburger<br />
Nachrichten,<br />
25./26.10.2003.<br />
Schedlmayer, Nina, ‘Hinters Augenlicht geführt’, Profi l 45, 3.11.2003, p. 117.<br />
Hoffmann, Justin, ‘Timewave Zero - The Politics of Ecstasy’, Kunstforum<br />
International,<br />
Vol. 158, March 2002.<br />
Perret, Mai-Thu, ‘Angela Bulloch’ (review), Frieze, Nr. 65, March 2002, p. 89.<br />
Miller, John, ‘United Colors of BBC’, T exte zur Kunst, 12, 47, September 2002, pp.<br />
153-155.<br />
Desaive, P. Y., ‘Angela Bulloch: Pixels & Rules’, Flux News, 29, September –<br />
November
2002, p. 6.<br />
Farquharson, Alex, ‘Angela Bulloch’, Frieze, Nr. 71, November -December 2002, p.<br />
97.<br />
Ekroth, Power, ‘Ko nsthimmel över Berlin’, Res, October 10/2002, pp. 40 -46.<br />
Archer, Michael, ‘Angela Bulloch’, Camera Austria, Nr. 80, 2002, pp. 84 -85.<br />
Liebs, Holger, ‘Dingsda’, Süddeutsche Zeitung, 19.8.2002, p. 14.<br />
Marzahn, Alexander/Gerig, Karen, ‘Die Kunst, es so zu sage n, als wär es nie<br />
gesagt<br />
gewesen’, Basler Zeitung, 20.8.2002, p. 34.<br />
Rebentisch, Juliane, ‘Angela Bullochs digitale Reduktionen/Digital Reductions’,<br />
Parkett, 66,<br />
2002, pp. 20-28.<br />
Wilson, Andrew, ‘Vielleicht/Maybe’, Parkett, 66, 2002, pp. 36 -42.<br />
Prinzhorn, Martin, ‘Simulation der Simulation (und umgekehrt)/The Simulation of<br />
Simulation<br />
(and vice versa)’, Parkett, 66, 2002, pp. 50 -54.<br />
Babias, Marius/Waldvogel, Florian, Campus 2002, Kokerei Zollverein, Essen 2002,<br />
pp. 23,<br />
25.<br />
Sorbello, Marina, ‘Ange la Bulloch’, tema celeste, Nr. 83, 2001, p. 102.<br />
Allen, Jennifer, ‘Angela Bulloch’, Artforum, February 2001, p. 161.<br />
Rönnau, Jens, ‘Ein/Räumen - Arbeiten im Museum’, Kunstforum International, 1 -<br />
3/2001.<br />
Möntmann, Nina, ‘Institutional Critique vs. Corporate Identity’, Texte zur Kunst,<br />
Nr. 41,<br />
3/2001<br />
Ruf, Beatrix, ‘Angela Bulloch thematisiert Ordnungssysteme mit Fehlern’, Impuls,<br />
4/2001, p.<br />
12.<br />
Mahoney, Elisabeth, ‘Total Object Complete with Missing Parts’, Tramway,<br />
Glasgow, 2001.<br />
‘Das Pixel in der Kuns t’, Fridolin, 13.09.2001, p. 13.<br />
Koch, Martina, ‘Stellwerk der Wahrnehmung’, St. Galler Tagblatt, 13.09.2001, p.<br />
23.<br />
Kock Marti, Claudia, ‘Auch 'Z Point' für Beatrix Ruf’, Glarner Nachrichten,<br />
12.09.2001, p. 11.<br />
‘Kunterbunte Welt in der Farbbox’, Glarner N achrichten, 6.9.2001, p. 31.<br />
Hilary Jay, ‘Are we having fun yet?’, Inquirer Magazine, pp. 11 -15 (also image on<br />
cover).<br />
Sonna, Birgit, ‘Verführung zur Kunst’, Lufthansa Magazin, 4/2000, pp. 6 -18.<br />
‘Zeit für Kunst/Time for Art’, Zeitgenössische Kunst am Haup tsitz der Winterthur<br />
Gruppe in<br />
Winterthur (Faltblatt), 2000.<br />
Jones, Jonathan, ‘A Home Of Your Own’, Frieze, Nr. 50, January -February 2000,<br />
pp. 50-53.<br />
Sozanski, Edward J., ‘Along the fuzzy boundary between design and art’,<br />
The Philadelphia Inquirer, 13.2.2000, p. 11.<br />
Röllin, Christian, ‘Art and Communication’, Winfo, March 2000, pp. 17 -20.<br />
‘Kunst-Szenen. In Pixeln sehen - Angela Bulloch’, Neue Zürcher Zeitung, no. 87,<br />
12.4.2000,<br />
p. 46.<br />
Jammers, Judith, ‘Pixel in der Dingwelt’, Berliner Zeitung, Nr . 247, 23.10.2000, p.<br />
16.<br />
UK Art 2000, The British Council, October - December 2000.<br />
Von Osten, Marion, ‘Es läuft alles nach Plan’, Texte zur Kunst, 09/2000, vol. 10,<br />
issue 39, pp. 189-196.
Blase, Christoph, ‘Leuchte, Pixel, leuchte hell’, Frankfurter Allgemeine Zeitung,<br />
Berlin<br />
pages, 1.11.2000, No. 254, p. BS4.<br />
Ebeling, Knut, ‘Das Maß der Pixel’, Der Tagesspiegel, No. 17 222, 4.11.2000, p.<br />
28.<br />
Sommer, Tim, ‘Wechselspiel von Macht und Unterordnung’, LVZ, 19.4.1999.<br />
Hellmich, Sigrun, ‘Hochexplosiver Stoff?’, Sächsische Zeitung, 15./16.5.1999.<br />
Müller, Ulrich, ‘Von Phall zu Fall’, Zitty, 13/99, p. 57.<br />
Bonik, Manuel, ‘Kunsthauptstadt Berlin’, GQ, 12/99, p. 60 -68.<br />
Troncy, Éric, ‘Que choisir?’ BeauxArts magazine, numéro spécial, Qu’est -ce que<br />
l’art<br />
(aujourd’hui)/What is art (today), December 1999, pp. 102 -105.<br />
‘Art to Die for’, The Guardian Weekend, 09.10.1999, pp. 68 -70.<br />
Reust, Hans Rudolf, ‘Angela Bulloch’, Artforum, issue 37, December 1998.<br />
Winkelmann, Jan, ‘Angela Bulloch’, artist, issue 35, 2/1998, p. 4-7.<br />
Manuel Bonik, ‘Berühren erlaubt’, Spiegel Kultur Extra (Spiegel Online, 17/98).<br />
Ebeling, Knut, ‘Wie die Lichtorgel im Partykeller’, Der Tagesspiegel, No. 16385,<br />
4.7.1998, p.<br />
28.<br />
Lindner, Norman, ‘Installationen von Angela Bulloch in der Galerie Schipper &<br />
Krome’, taz<br />
die tageszeitung, 23.6.1998, p. 24.<br />
Hauffen, Michael, ‘Angela Bulloch’, Kunstforum International, Vol. 141,<br />
Juli/September 1998,<br />
p. 420.<br />
David Perreau, ‘Replay’, Omnibus, Nr. 25, July 1998, p. 13.<br />
Fabienne Fulchéri, ‘Bouffée d’o xygène au Havre’, Technikart, Nr. 21, 1998, p.<br />
100.<br />
May, Susan, ‘Angela Bulloch’, Here to stay. Arts Council Collection purchase of the<br />
1990s,<br />
London, 1998, pp. 22 -23.<br />
Tsingou, Emily, ‘Angela Bulloch’, Flash Art, March/April 1997, p. 122.<br />
Bussel, David, ‘Angela Bulloch’, Frieze, No. 35, June -August 1997.<br />
Sonna, Birgit, ‘Der Rest ist Schwitzen’, SZ, No. 198, 29.8.1997.<br />
Shone, Richard, ‘Head Turners’, Artforum, issue 36, September 1997.<br />
Jahn, Andrea, ‘Angela Bulloch: Sound Bank’, Springer, Hefte für Gegen wartskunst,<br />
Vol. 2, issue 3/97, p. 73.<br />
‘Go shoot yourself’, ISM, 13/12/1997, p. 26 ff.<br />
Vogel, Sabine B., ‘Setz dich, es geht los’, FAZ Frankfurter Allgemeine Zeitung,<br />
15.09.1997,<br />
p. 30.<br />
Cross, Andrew, ‘Angela Bulloch’, Art Monthly, No. 202, Dec./Jan . 1996.<br />
Roshani, Anuschka, ‘Künstlerwahnsinn’, Spiegel Extra, issue 12.12.1996.<br />
Reust, Hans Rudolf, ‘Szenen aus Betaville’, Kunstforum, Vol. 135, 1996.<br />
‘Le bazar savant de l'art britanique’, Libération, 10.10.1996, p. 30.<br />
Gillick, Liam, ‘Like turning a cha ir into a switch’, Documents sur l`art, No. 8,<br />
1996.<br />
Muscionico, Daniele, ‘Meer aus Steckdose’, Neue Zürcher Zeitung, 18.9.1996.<br />
Spinelli, Claudia, ‘Klick, klack, Meer an, Meer aus’, Basler Zeitung, 28.8.1996.<br />
Schmitz, Rudolf, ‘Wo bleibt der Körper?’, FAZ Frankfurter Allgemeine Zeitung,<br />
23.11.1995.<br />
Cuvelier, Pascaline, FRAC Languedoc Roussillon 1994.<br />
Troncy, Eric, ‘CCC Tours’, Art Press 1994, p. 187.<br />
Archer, Michael, ‘Angela Bulloch’, Paletten, April 1994.
Papadopoulos, Helena, ‘Angela Bulloch, Sylvie Fle ury’, Flash Art, No. 176, 1994.<br />
Brignone, Patricia, ‘Angela Bulloch’, Artefactum, Summer 1994.<br />
Verzotti, Giorgio, ‘Angela Bulloch’, Artforum, April 1993.<br />
Volkart, Yvonne, ‘Eleven Women’, Flash Art, October 1993.<br />
Verzotti, Giorgio, review of Aperto‚ 93, Fl ash Art, October 1993.<br />
Lillingtion, David. review of ‘ON’ at Interim Art, Time Out, No. 1169, 13 -20<br />
January 1993.<br />
‘Plastic Fantastic Lover’, Arts Magazine, January 1992, p. 81.<br />
Kalin, Tom, ‘Plastic Fantastic Lover’, Artforum, January 1992, p. 120.<br />
Bonami, Francesco, ‘Plastic Fantastic Lover, Master and Mistresses’,<br />
Flash Art, No. 162, Jan./ Feb. 1992, p. 125.<br />
Bonami, Francesco, ‘Angela Bulloch -Lonesome Comedy’, Flash Art, No. 163,<br />
March/April<br />
1992.<br />
Cameron, Dan, ‘Don't look Now‘, Frieze, issue 3, 199 2, p. 4-8.<br />
Weil, Benjamin, ‘Cut it out’, Freeze, April/May 1992.<br />
Smolik, Noemi, Müll, ‘Kunst und Leben’, Kölner Stadtanzeiger, No. 164, 17 July<br />
1992.<br />
Weil, Benjamin, ‘Angela Bulloch’, Flash Art, No. 166, October 1992.<br />
Mack, Gerhard, ‘Mehrerlei Comics’, Kun st Bulletin, November 1992, p. 20 -23.<br />
Bourriaud, Nicolas, ‘The Work of Art in the Age of Ecological Recycling’, Flash Art,<br />
No. 167,<br />
Nov./Dec. 1992.<br />
‘Farbe per Funksignal’, Kölner Illustrierte, January 1991.<br />
Frank, Peter, ‘Common Market’, Boyd Webb, Dom inique Blain, Anthony Gormley,<br />
LA<br />
Weekly, February 16, 1991.<br />
Lebrero Stals, Jose. Flash Art, No. 157, March/April 1991.<br />
Gillick, Liam, ‘The Placebo Effect’, Arts Magazine, May 1991.<br />
Zahm Olivier, ‘Rêve, Fantasie’, Artforum, May 1991.<br />
Kent, Sarah, ‘Breaki ng Ground’, Time Out, No. 1095, August 14 -21, 1991.<br />
Troncy, Eric, ‘Soft Touch’, Artscribe, September 1991.<br />
Jouannais, Jean Yves, Artpress, October 1991.<br />
Smith, Roberta, ‘Plastic Fantastic Lover’, The New York Times, November 1, 1991.<br />
Verzotti, Giorgio, ‘No Man's Time‘, Artforum, November 1991.<br />
Troncy, Eric, ‘No Man's Time’, Flash Art, No. 161, Nov./Dec. 1991.<br />
Troncy, Eric, ‘Wall Drawings and Murals’, Flash Art, No. 170, 1991, p. 68 -70.<br />
Koether, Jutta, ‘Three from England’, Flash Art, Jan./Feb. 1990.<br />
Renton, Andrew, Blitz, March 1990.<br />
Renton, Andrew, ‘Plotting’, Performance, No. 62, 1990.<br />
Jennings, Rose, ‘City Limits’, March 8, 1990.<br />
Letter from London, Contemporanea, March 1990.<br />
Currah, Mark, City Limits, March 22, 1990.<br />
Lillington, David, ‘Time Out’, March 21, 1990.<br />
Renton, Andrew, Flash Art, No. 153, Summer 1990.<br />
McGeown, Martin, Art Press, No. 148, June 1990.<br />
Koether, Jutta, ‘It's a Maggot Farm, the B -Boys and Fly Girls of British Art: Five<br />
Statements and a Conversation’, Artscribe, Summer 1990.<br />
Graham-Dixon, Andrew, ‘The World of Interiors, The Independent’, August 28,<br />
1990.<br />
Zahm, Olivier, Art Press, No 150, September 1990.<br />
Feaver, William, ‘Exorcise classes for the obsessed’, The Observer, September 2,<br />
1990.<br />
Allthorpe-Guyton, Marjorie, ‘Seven Obsessio ns’, Artforum, November 1990.<br />
Gillick, Liam, ‘Seven Obsessions’, Flash Art, No. 155, Nov./Dec. 1990.<br />
Smolik, Noemi, ‘Werk ohne Schöpfer’, Kölner Stadtanzeiger, December 12, 1990.
Bulloch, Angela, ‘40 Under 40: The New Generation in Britain’, Art & Design,<br />
June/July 1989.<br />
Jeffrey, Ian, Freeze, London 1988.
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