Born London
EDUCATION
1977-78
—Brighton Polytechnic
1978-81
—St Martins School of Art, BA Hons
1981-82
—Chelsea School of Art, MA
SOLO EXHIBITIONS
2009
—MTB (Military Training Base), Alma Enterprises, London
2008
—'NATO' Black Dog Publishing, London, UK
—Annely Juda Fine Art, London, England
—Galerie Lorenz, Frankfurt, Germany
—Alchemy P•P•O•W Gallery, New York, NY
—HEXEN 2039 Kunstverein Langenhagen, Germany
2007
—HEXEN 2039 Skolska 28, Prague, Czech Republic http://www.skolska28.cz/
—HEXEN 2039 New Art Gallery Walsall, UK
—HEXEN 2039 Book launch and screening, City Lights, San Francisco, USA
—HEXEN 2039 Screening, Star and Shadow Cinema, Newcastle upon Tyne, UK
2006
—HEXEN2039 Multi-venue project across London. Installation: CHELSEA space; Screening: Warburg Institute; Interverventions: Ognisko Polskie, Science Museum, British Museum; Event: Dana Centre and the internet. Funded by Arts Council of England.
—VESNA (video installation) Commission for 'Art under construction: the Balkans in context', City Atrium,Social Sciences Building, City University, London, England
2004
—Operation Swanlake, Annely Juda Fine Art, London, England.
—Kunstlerhaus Bethanien, Berlin, Germany.
—MOP project space, Sydney, Australia.
2001
—Rosalind Brodsky Music case history. Briefcase project, Hollywood Hotel + mobile, Sydney
2000
—Sightings/Archives from the Institute of Militronics and Advanced Time Interventionality Digimatter/Grey Matter, Sydney
—Sightings, Greenaway Gallery, Adelaide
1999
—Odyssey (an investigation into the lives of Rosalind Brodsky and Pope Alice) Institute of Modern Art, Brisbane
—No Other Symptoms - Time Travelling with Rosalind Brodsky (CD ROM and video installation) Artspace, Sydney.
—No Other Symptoms - Time Travelling with Rosalind Brodsky CD ROM - Launch event with performance (involving Richard Grayson, Susan Hiller, Pauline van Mourik Broekman, Elaine Pyke and James Flint) and Ghosts of Maresfield Gardens video installation, Freud Museum, London, England.
1997
—Dying for your sins (CD ROM) Australian Centre for Contemporary Art, Melbourne.
1996
—The Tannery-project space, London, England.
—Dying for your sins (CD ROM Installation) Institute of Modern Art, Brisbane.
—Kitsch'n Shrink Greenaway Gallery, Adelaide.
1995
—Mizuma Art Gallery, Tokyo.
1994
—Q.Would you recognise a Virtual Paradise?and other paintings Contemporary Art Centre of South Australia.
—Q.Would you recognise a Virtual Paradise? Australian Centre for Contemporary Art, Melbourne.
1993
—Q.Would you recognise a Virtual Paradise? Exeter Hotel, Adelaide.
—Recorded Evidence:Prosthetic Speech [RE] Gallery, Adelaide.
—Software Union Gallery, University of Adelaide .
1992
Edward Totah Gallery, London.
—Between the Clues lies the Evidence, PostWest, Adelaide.
1990
—Edward Totah Gallery, London.
—Kerlin Gallery, Dublin.
—Ikon Gallery, Birmingham: Major Arts Council touring exhibition
Traveled to:
—Spacex
—Exeter
—Oldham Art Gallery
—The Minories
—Colchester
—Darlington Arts Centre
—Nottingham Castle Art Gallery
1988
—Edward Totah Gallery, London.
1985
—Edward Totah Gallery, London.
GROUP EXHIBITIONS
2010
—Making Ships in Bottles, Café Gallery, Centre of Southwark Park, London
2009
—Planet of Signs, Le Plateau Art Center, Paris, France
—Reinventing Ritual: Contemporary Art and Design for Jewish Life, The Jewish Museum, Manhattan, NY
2008
—By Invitation Only 2, Kinz, Tillou + Feigen, NY, USA
—Bad Year Blimp, Alma Enterprises, London, England
—The Disarmory Show, a dBfoundation project, 201 Mulberry Street, New York, USA
—Gegen den Strich, Bielefelder Kunstverein, Germany
2007
—Gegen den Strich, Kunstlerhaus Bethanien, Berlin, Germany
—How We May Be, Late at the Tate, Tate Britain, London, England
—Jerwood Drawing Prize, Jerwood Gallery, London and UK tour
—3Things (curated by Donald Smith) RUN Gallery, London, England
—ARTIST MAKES VIDEO: art rage survey 1994-1998, art rage: artworks for television, DELL Gallery@QCA , Brisbane, Australia
—Annely Juda - A Celebration, Annely Juda Fine Art, London, England
—FILE RIO (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, Centro Cultural da Oi Futuro, Rio de Janeiro, Brazil
2006
—Flash on the Screen Basekamp space, Philadelphia, USA
—DUSK by Raul Zamudio, (curatorial section of Digital Video Art Fair (DiVA)) Lummus Park, Ocean Drive, Miami Beach, FL, USA
—Drawing from Turner Clore Gallery, Tate Britain, London, England
—FILE 2006 (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil.
—EN 2039" website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil
2005
—The Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal, The Center for Art and Visual Culture, University of Maryland Baltimore County, USA and touring USA
—NATO, project space at Annely Juda Fine Art, Frieze, London.
—ICOLS Strategy Defense and Arms Fair The Performance Space, Sydney, Australia
—Glasgow International ICOLS Strategy Defense and Arms Fair RISK, CCA, Glasgow, Scotland
—ICOLS audio, finetuned, ETA Project Space, Hove, UK
—10th Anniversary Exhibition, Mizuma Art Gallery, Tokyo, Japan
—Don't Call it Performance Konceptkonstmuseum, Rydboholm, Sweden
—Bodies Through Technology, Tompkins County Public Library, Ithaca, New York, USA.
—Operation Swanlake, Transmediale.05 Haus der Kulturen der Welt, Berlin, Germany
2004
—Don't Call it Performance Centro Andaluz de Arte Contempor‡neo,Seville, Spain; Domus Artium 2002 (DA2) Salamanca, Spain; El Museo del Barrio, New York, USA
—CITY OF WOMEN 10th International Festival of Contemporary Arts, Gallery Skuc, Ljubljana, Slovenia
—ICOLS, Collectivity and critical collective/cooperative cultural action, Oliver Gallery, University of South Florida, Tampa FL USA.
—ICOLS, Connect the Dots The LeRoy Neiman Gallery, Columbia University, New York, USA.
—ICOLS Strategy Defense and Arms Fair, ferry between Helsinki, Stockholm, Mariehamn, Tallin, ISEA 2004.
—Media Forum of the XXVI Moscow International Film Festival, ClubnaBrestskoj, Moscow, Russia.
—PLANET B Das B-Movie in der zeitgenšssichen Kunst, Magazin4 Vorarlberger Kunstverein, KŸnstlerhaus Palais Thurn & Taxis, Bregenz, Austria
—Operation Swanlake, FILE 2004- festival internacional de linguagem eletr™nica, Sesi Gallery, S‹o Paulo, Brazil
—Contact Zones, New World Gallery @ Radio Free Hamptons, Sag Harbor, New York, USA.
—Digital Salon, The ART Mission, Binghamton, NY, USA.
—Eurographics 2004, WTC, Grenoble, France.
—Metis:Time/Beam me up ANU School of Art Gallery, Canberra, Australia.
—Unframed, Standpoint Gallery, London.
—Fly Utopia! transmediale.04, Haus der Kulturen der Welt, Berlin, Germany.
2003
—Don't Call it Performance, Centro de Arte Reina Sof'a, Madrid
Traveled to:
—Centro Parraga, Murcia, Spain
—New York Calling P.S.1 Australian Studio project, Long Island City, NY USA
—Paradies (Paradise) MAIS V, Bunker under Alexanderplatz, Berlin, Germany
—ICOLS AUDIO juniradio Berlin104.1 08.-30. juni
—FILE 2003- festival internacional de linguagem eletr™nica, Museum of Image and Sound (MIS) S‹o Paulo, Brazil
—wywh wish you were here, First Draft Gallery, Sydney, Australia
—ICOLS How to be a perfect guest Sharjah International Biennial 6, Sharjah Art Museums and Expo Centre Sharjah, United Arab Emirates.
—ICOLS Glasgow Event, Wasps Studios, Glasgow, Scotland.
—ICOLS The Esplanade, Theatres on the Bay, Singapore.
2002
—Gaze Travelling artroom - gallery suryun, Cologne, Germany
—Connecting Principle Newcastle University UK
—ICOLS launch event, Museum of Contemporary Art, Sydney, Australiia.
—(The World May Be) Fantastic, Biennale of Sydney, MCA Sydney, Australia.
—Underwood Audio 2 (The Communist Manifesto, by Rosalind Brodsky and the Satellites of Lvov) & cd launch event Underwood St, London.
—Irish Museum of Modern Art net.art exhibition
—ICOLS in Art meets Archive Sydney State Records Centre, Sydney, Australia.
2001
—LE NUMERIQUE : nouveau médium de l'art- From 01.10.01 to 01.11.01 Galerie de Pret d'oevres d'Art, Bruxelles, Belgium.
—Penthouse and Pavement, Melbourne.
—Model Citizen/No More Ice Cream (An ICOLS project with Bronia Iwanczak) Artspace, Sydney
—Disaster Tourism Rubyayre, Sydney.
—New Releases (video) 4a Gallery, Sydney and tour.
2000
—Electronic Art Festival, Cyberslag Foundation, Groningen, Netherlands
—Gene spill, Imperial Slacks Gallery Sydney
—Spooky-Ghosts, Spirits and the Uncanny, Glen Eira City Gallery, Melbourne.
—Chemistry, Art Gallery of South Australia, Adelaide.
—PUSAN International Contemporary Art Festival, Metropolitan Museum of Art, Pusan, South Korea.
—Moving Image Festival, Youthworks shop window installation SALA 2000, Adelaide.
—New Thinking is Rare, South Australian Touring Exhibition Program.
—F I L E Festival internacional de linguagem eletrönica, Museum of Image and Sound (MIS) São Paulo, Brazil
—World Wide Video Festival, Amsterdam, Netherlands
—The Noorderzon Festival, Groningen, Netherlands. http
—Sonar Festival/CD ROM a la carta, Carrer de les Flors 22, Barcelona
—Chip Melbourne International Film Festival
—Manifest/o, Zagreb, Croatia.
—Festival of Independent Press, Museo de la Memoria, Tlaxcala, Mexico.
—LIVE-STOCK ram/fm, 72 hour audio event, ARC, Stockton on Tees, UK.
—Urban Futures 2000 International Conference and Electronic Art Exhibition, Johannesburg University Art Gallery
1999
—Love and Consciousness, Artopiques Gallery, Paris, France.
—Confined, HERE Gallery, New York, USA. (Presumed Innocent collaboration)
—Sex and Consciousness, Artopiques Gallery, Paris, France.
—WRO 99 - 7th International Media Art Biennale - Wroclaw, Poland.
—21, Spacex, Exeter, UK.
—National Digital Art Awards exhibition, Institute of Modern Art, Brisbane.
—Women in Film and Television Festival (WIFT) Festival, Sydney.
—Fusion, St Kilda Film Festival, Melbourne.
—2nd International show of CD ROMs, Media Centre d'Art i Disseny, Barcelona.
—Contact Zones, Johnson Museum of Art, Cornell University, USA and travelling to Centro de la Imagen,Mexico City, Virginia film festival and touring US and Canada 2000-2001.
—Fast + Wide, Broadway Media Centre, Nottingham, U.K.
1998
—Third International Video Summit Videomedeja, Kulturni Centar-Art Klub, —Novog Sada, Yugoslavia.
—ArtRage, ABC TV, Australia.
—Interact (video screening)The Exhibition Centre, Melbourne.
—Kino-Eye: Cybercities, Royal Palace, Antwerp, Belgium.
—Xobject space, Dusseldorf, Germany.
—corpoREAL, Tullie House, Carlisle, U.K.
—Videonale 8, Bonn Kunstverein, Germany
—Isea 98, The Tea Factory, Liverpool, U.K
—Pandaemonium Festival, Lux Centre/Standpoint Gallery, London.
—European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
—National Digital Art Awards exhibition, I.M.A. Brisbane.
—Prix Ars Electronica 98, Linz, Austria. http://www.aec.at
—Underbelly, Cosmopolitan Cinema Complex, Adelaide.
—Throw Down a Shape Supermild, sound event, Adelaide, Australia 4 November, 1998
—The Plato Problem, University of S.A. Art Museum window (with Richard Grayson).
1997
—Technoscience Hybrid Workspace, Documenta X, Kassel, Germany.
—Wardrobe, Madlove Gallery, Adelaide and tour ('98).
—Heteronymous (curated by, Achille Bonito Oliva and Anna Maria Nassisi) San Michele a Ripa, Rome, Italy.
—Pass Go and other board games, The City Gallery, Leicester, U.K.
—Time Travelling with Rosalind Brodsky, Internet project for Electronic Writing —Research Ensemble @ http://www.ensemble.va.com.au/tableau/suzy/
—On a Clear Day, European Media Art Festival, Osnabrück, Germany
—Thin Skin, The Performance Space, Sydney.
—Imprint 93 and related ephemera, Norwich Gallery, Norwich, U.K.
—Time Travelling with Rosalind Brodsky, Canberra Festival of Contemporary Arts.
1996
—Artists' Week : Compost Telstra Adelaide Festival '96.
—Foyer, Temporary space, Adelaide.
—White Hysteria, Contemporary Art Centre of South Australia; Stripp, Melbourne.
—White Hysteria(waiting room), Cleveland project space, London;The Physics —Room, Christchurch, New Zealand.
—ICA/Toshiba Art and Innovation Commission, shortlist exhibition, ICA, London.
—On a Clear Day (CD ROM ,Website and publication project, curated by John Paul Bichard) ICA, London; Cambridge Darkroom; John Hansard Gallery, Southampton; First Site, Colchester; Focal Point, Southend; Oldham Art Gallery & Middlesborough Art Gallery
—Domestic Disturbances, Fifth Experimenta Media Arts Festival, National Gallery of Victoria, Melbourne, Noosa Regional Gallery and touring.
1995
—It`s a Pleasure, Royal Festival Hall, London.
—U.K. Wit and Excess, C.A.C. South Australia, A.C.C.A. Melbourne, Ivan Docherty, Sydney, I.M.A. Brisbane.
—Street Gallery Mishima Ave shopping arcade festival, Sizuoka, Japan.
—Frank Thing, Sym Choon Gallery, Adelaide.
—Parallel Internet gallery and journal web project. http://www.va.com.au/parallel/x1/gallery
—Weird Science, Australia Centre, Manila, Phillipines.
—Technothelylogia, Monash University Gallery, Melbourne.
—ROMulus and RAMbo-Body language in cyberspace, Canberra School of Art Gallery.
—Pretext:Heteronyms, Rear Window, Clink St. Studios, London.
—Contemporary Art Society market Royal Festival Hall, London.
1994
—Flat, Union Gallery, University of Adelaide.
—Whitechapel Open Whitechapel Art Gallery, London.
—Presumed Innocent collaboration, Exeter Hotel, Adelaide.
—Lead and Follow, Atlantis, London.
1993/5
—New Voices - Jeunes Artistes Britanniques, Musee National d'Histoire et d'Art a Luxembourg; Centre d'Art Santa Monica Barcelona; Museo de Bellas Artes Bilbao; Centro Culturel Galileo Madrid; Sala de Veronicas, Murcia; Pescadera Viega Sala de Arte, Jerez; Kulturhistorisches Museum, Magdeborg, Germany.
1993
—Hit and Run, A Presumed Innocent collaborative event, [RE] Gallery, Adelaide.
—Moving into View - work from the Arts Council collection, Royal Festival Hall, London.
—The return of the Cadavre Exquis, The Drawing Center, N.Y. U.S.A.
—VITEA: A.I.P.#7, Fifth Sculpture Triennial, R.M.I.T. Faculty Gallery, Melbourne.
—The Disaster Show, with Presumed Innocent, Union Gallery, Adelaide University.
—Critical City project, domestic space, Adelaide.
1992-1997
—"New Voices", British Council touring exhibition. Venues:
—14/02/1997 MACEDONIA, SKOPJE, MUSEUM OF MODERN ART
—04/12/1996 CZECH REPUBLIC, PRAGUE, CZECH MUSEUM OF FINE ARTS, —THE HOUSE OF THE BLACK MADONNA
—31/10/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK
05/08/1996 SLOVAKIA, BRATISLAVA, MIRBACHOV PALACE
29/05/1996 RUSSIA, NIZHNII NOVGOROD, KREMLIN MUSEUM
18/04/1996 RUSSIA, ST PETERSBURG, THE RUSSIAN MUSEUM
11/03/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK OF GREECE
19/02/1996 GREECE, ATHENS, ART HALLS OF THE CULTURAL CENTRE OF THE MUNICIPALITY OF ATHENS
11/01/1996 ROMANIA, BUCHAREST, NATIONAL THEATRE GALLERIES
12/10/1995 GERMANY, MAGDEBURG, KULTURHISTORISCHES MUSEUM
02/12/1994 SPAIN, JEREZ, SALA PESCADERIA VIEJA, AYUNTAMIENTO DE JEREZ
04/11/1994 SPAIN, MURCIA, VERONICAS, SALA DE EXPOSICIONES
05/07/1994 SPAIN, MADRID, CENTRO CULTURAL GALILEO
03/05/1994 SPAIN, BILBAO, MUSEO DE BELLAS ARTES DE BILBAO
10/03/1994 SPAIN, BARCELONA, CENTRE DE ART SANTA MONICA
29/11/1993 TURKEY, IZMIR, IZFAS GALLERY
18/10/1993 TURKEY, ANKARA, STATE FINE ARTS GALLERY
20/09/1993 TURKEY, ISTANBUL, ISTANBUL GREATER CITY MUNICIPALITY TAKSIM ART GALLERY
05/03/1993 LUXEMBOURG, MUSEE D'ART ET D'HISTOIRE
30/09/1992 BELGIUM, BRUSSELS, EEC PRESIDENCY EXHIBITION
23/09/1992 BELGIUM, BRUSSELS, LA BORSCHETTE
1992
Whitechapel Open, Whitechapel Art Gallery, London.
Blast from the Past, Minories Art Gallery, Colchester.
Walls 1, Union Gallery, Adelaide University.
20th Century Women's Art, New Hall College, University of Cambridge.
Scene of the Crime? APresumed Innocent collaborative installation, Post West, Adelaide.
EdwardTotah Gallery, London.
Nothing is {Hidden} (collaborative installation with Pamela Golden, Andrew Renton and LindaLevinson),
Rear Window, Lambs Conduit St, London. http://www.rear-window.org.uk/nothing_is_hidden.html
1991
A Painting Exhibition in Two Parts Todd Gallery, London.
1990
Decoy, Serpentine Gallery, London.
Global Art, Brent Gallery and Galleria, Houston, Texas.
London passim, Casa Veneta, Trieste.
Whitechapel Open, Whitechapel Art Gallery, London.
1989
XXI Festival International de la Peinture, Cagnes sur Mer , France.
Whitechapel Open, Whitechapel Art Gallery, London.
John Moores, Walker Art gallery, Liverpool (3rd prize).
1988
New Brits: Contemporary British and Scottish Painting The Contemporary Arts Center, Cincinnati, Ohio, and tour of USA Museums.
Object and Image: British Art in the 1980's City Museum and Art Gallery Stoke on Trent.
Figuring out the '80's, Laing Art Gallery, Newcastle upon Tyne.
Something solid, Cornerhouse Galley, Manchester.
Whitechapel Open, Whitechapel Art Gallery, London
4 London Artists, Nancy Hoffman Gallery, New York.
It's a still-life, Arts Council Collection, South Bank Centre, London and Tour.
1987
Edward Totah Gallery , London.
Edward Bates Gallery, Chicago.
1986
The Golden Thread? Classical Mythology in Contemporary Art, Harris Museum and Art Gallery, Preston, Milton Keynes Exhibition Gallery, Royal Albert Memorial Museum, Exeter, Bradford Art galleries and Museums, Bradford. 1986-87.
Love, Sacred and Profane, Plymouth Arts Centre and Stoke Museum.
Interference Riverside Studios, London.
Camden Annual, Camden Arts Centre, London.
4 British Artists, Edward Bates Gallery, Chicago, USA.
1985
Nature Morte, Edward Totah Gallery, London.
Open Exhibition Riverside Studios, London.
1984
Whitechapel Open, Whitechapel Art Gallery, London.
Galerie Davidson, Berlin. (2 person show)
Warwick Arts Trust, London.
1982-83
Images for Today, Touring exhibition sponsored by Sainsburys
1981
Stowells Trophy, Royal Academy, London.
COLLABORATIVE ORGANISATIONS
1991 Founder member of NIH (Nothing is {Hidden} ) London/NY based
1992 Founded PI (Presumed Innocent) Adelaide/NY based
2000 Founded The International Corporation of Lost Structures (ICOLS) http://www.icols.org
PUBLIC COLLECTIONS
Arts Council of England
Art Gallery of South Australia
Australian Centre for the Moving Image
AXA Collection
British Council
EMI Paris
Griffith University, Queensland
Leeds City Council
Leicester County Council
New Hall Cambridge
Tate Britain
Wolverhampton Art Gallery
International Libraries (cd rom collections):
Tate Britain, London
British Museum, London
UCLA, Santa Rosa Junior College, California, USA
University of Auckland
University of East London
Sydney College of the Arts
Rhodes University, South Africa
The Rose Golden Archive of New Media Art, The Division of Rare and Manuscript Collections, Carl A. Kroch Library Cornell University, Ithaca, NY, USA
L'Espace Multimédia Gantner, France
Fundacio Antoni Tapies Biblioteca, Barcelona
BIBLIOGRAPHY
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http://melbourne.citysearch.com.au/E/E/MELBO/0006/66/43/
Annemarie Lopez - Gene Spill CitySearch
http://sydney.citysearch.com.au/E/E/SYDNE/0007/06/11/
Sarah Thomas/John Neylon - Chemistry catalogue Art Gallery of South Australia 2000
I.M.A.T.I. From the Rosalind Brodsky Archives Greenaway Gallery cat. Sept 2000
Katy Deepwell - n.paradoxa (UK)Vol 6, July 2000
Courtney Kidd - Critic's picks Sydney Morning Herald 18 Aug 2000
Daniel Palmer - No Other Symptoms Photofile 59, Aug 2000
Mike Leggett - Redefining hybridity: CD-ROM possibilities RealTime 38 Aug-Sept 2000
www.rtimearts.com/~opencity/rt40.html
De Decker Geert - Sztuka Fabryka - http://www.sztuka-fabryka.be/review/publi01.htm
Taru Elfving - No Other Symptoms Make (UK) No.87 March-May 2000
Michael Gibbs - Time Travel Art Monthly (UK) No 235 April 2000
Sally O'Reilly - London Arts Online feature, www.londonart.co.uk (Excerpts from CD ROM )
Linda Carroli - Odyssey Broadsheet Vol28 summer 2000
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Joni Taylor - Time travel is your only means of escape RealTime 35 Feb 2000
Marek Kohn - No Other Symptoms The Sunday Review, The Independent on Sunday (UK) 16/1/2000
No Other Symptoms - Time Travelling with Rosalind Brodsky CD ROM with 124 page colour hardback book. Published by Black Dog Publishing Ltd, UK ISBN: 19013366X Dec1999
Jyanni Steffensen - Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety: Social, Political, Economic and Cultural Issues, ed. John Armitage and Joanne Roberts (Newcastle: University of Northumbria, 1999)
Linda Marie Walker - Rosalind Brodsky Cookery Show Artlink Vol 19 no.4 Summer 1999
Jyanni Steffensen - PI in New York. Broadsheet Vol 28 No2 Winter 1999
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Jenny Jones - Isea 98 Make (U.K.) No. 82 Dec 98-Feb 99
Jyanni Steffensen - Point, Click, Point, Click, Boing. Broadsheet Vol 27 No 4 Summer 1998
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Honor Harger - Shape-Shifting: A review of Throw Down a Shape Supermild, Adelaide, Australia 4 November, 1998
http://radioqualia.va.com.au/ctl/texts/hh3.html
Innerscapes - An anthology of artist's writings, Ed: Maurizio Pellegrin, Publ: Trieste Contemporanea 1998 http://www.tscont.ts.it/pubblicazioni.htm
Emma McGlade - Isea 98 Bigmouth Liverpool
Artist pages - Arkzin (Zagreb) No 4 (100/101) 12.'97./01.'98.
Georgy Downey - hot links Broadsheet Vol 26 No 3 Spring 1997
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Dugal McCrow - On a Clear Day liveart magazine (U.K.)Issue 14/15 May-July 1997
Jyanni Steffensen - Kitsch'n Shrink Globe E internet journal
http://www.arts.monash.edu.au/visarts/globe/issue4/sttxt.html
Jyanni Steffensen - triple treats RealTime 17 Feb-Mar 1997
http://sysx.apana.org.au/realtime
James Flint - Wired (U.K.) 3.01 Jan 1997
Tony White - On a Clear Day Wired (U.K.) 3.02 Feb 1997
Achille Bonito Oliva + Claudio Di Biagio - Heteronymous catalogue essays, 1997
Heteronymous TimeOut (Rome) May 1997
Piece of Paper Press No.013 (ed. Tony White, U.K.) Vibrators from the House of Brodsky 1997
David Barrett - On a Clear Day Frieze Issue 33 1997
Brian Lynch - Suzanne Treister, Art Gallery of South Australia Db Issue 145 1997
David O`Halloran - Visual Arts Program Telstra Adelaide Festival 1996
Sarah Thomas - Raking through Compost Broadsheet Vol 25 No2 Winter 1996
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
John Paul Bichard (ed) On a Clear Day comic book and CD ROM
Jill Bennett - Compost Art+Text no.54 1996
Brett Buttfield - White Hysteria Db (Adelaide) Issue #121 June/July 1996
John Neylon - White Hysteria Adelaide Review July 1996
Stephanie Radok - White Hysteria Artlink Vol 16 no.4 Summer 1996
Tania Guha - White Hysteria TimeOut Aug 7-14 1996
Artist`s page with Kazuko Shiraishi, Hanatsubaki magazine Tokyo,September 1996
Ian Howard - Faults, functions and fantasy Brisbane Courier Mail Sept 5 1996
Richard Grayson - Dying for your sins catalogue essay, Institute of Modern Art, Brisbane 1996
Interview with Mutual Reality http:/www.widemedia.com/mutual/ re. ICA/Toshiba comm.
Pauline van Mourik Broekman - On a Clear Day Mute-digitalartcritique Autumn 1996 issue 6
http://www.metamute.com/mute_online
Louise Nunn - At home in Adelaide Adelaide Advertiser Nov 19 1996
Catriona Murtagh - Dying for your sins Mesh Issue 10. Spring 1996
http:/www.peg.apc.org/~experimenta
Chris Chapman - Banana Creme, Wet Dream etc. Catalogue essay for Kitsch'n Shrink, Greenaway Gallery Adelaide 1996
Shiralee Saul - Domestic Disturbances catalogue essay, National Gallery of Victoria Melbourne,1996
Linda Carroli - The Castle as Interzone Broadsheet Vol 25 No4 Summer 1996/7
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Leah Kharibian - It's a Pleasure Royal Festival Hall catalogue and selected quotes,1995
Richard Grayson - Catalogue essay, Mizuma Art Gallery Tokyo, 1995
Sue Hubbard - It's a Pleasure TimeOut Feb 1-8 1995
Informer National The Face no.76 Jan 1995
Anne Brennan/June Mary Scott - Catalogue essays "U.K. Wit and Excess" CAC Adelaide 1995
anon - Weird Science The Manila Times 12.8.95
Zoe Soufoulis/Zara Stanhope - Technothelylogia catalogue essays, Monash University 1995
Francis Hagan - Artist profile Art + Tech (U.K.) 2.01 edition 1995
Sarah Kent - Pretext:Heteronyms TimeOut 22-29 Nov 1995
Stella Santacatterina - Art after Indifference Pretext:Heteronyms cat. essay, Rear Window publications(U.K.) 1995
Adrian Searle - Works for a complex age New Voices catalogue, British Council 1995
Mark Durden - Pretext:Heteronyms Art Monthly (U.K.) no.192 Dec/Jan 1995/6
Jenny McFarlane - ROMulus and RAMbo Photofile Nov 1995 no.46
Jyanni Steffensen - Parallel Gallery and Journal Photofile, Nov 1995 no.46
Anna Clabburn - Technothelylogia World Art 4/1995
Richard Grayson/Catherine Lumby - Catalogue essays for Q.Would you recognise a virtual paradise? CAC Adelaide, A.C.C.A. Melbourne. 1994
Steve Wigg - Impolite questions Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
AnneRobertson - Flat Agenda Issue 37, July 1994
Richard Grayson - Between the clues lies the evidence (Post West Gallery 1992) The Post West Book [Pub.+ Ed. Alan Cruickshank] Adelaide 1994
Stephanie Radok - Critical mass/city art/artists initiatives Artlink Vol 14 No 2 1994
Julianne Pierce - Selecting the morph tool Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Olga Spiegel - La Vanguardia 19 March 1994
Steve Wigg - Virtual history Artlink Vol 14 No 3,Spring 1994
John McEwen - Whitechapel Open Daily Telegraph 15 May 1994
Corina Mersch - Luxemburger Land No 13/2 April 1993
Brett Buttfield - Db Magazine (Adelaide) #49, 18-31 August 1993
Ken Bolton - Artist run alternatives Art + Australia Vol 31 No 2 1993
Jyanni Steffensen - Virtual(ly) real desire; Software Broadsheet (Adelaide) Vol 22 & No 3, Spring 1993
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
& in Salient: SA Visual Art 1992-95 Anthology, [Pub. + Ed. Alan Cruickshank] Adelaide Festival, 1996
Samuel Fessler - When canvas meets screen Hampstead & Highgate Express 14/2/1992
John McEwen - Sunday Telegraph 16/2/1992
Adrian Searle - TimeOut 19-26 Feb 1992
Charles Hall - Arts Review March 1992
Andrew Renton - Flash Art May/June 1992
Catherine Lumby - Art + Text 43 September 1992
Catherine Lumby - Artlink Vol 12 No 3 Spring 1992
Tony Godfrey - A British Painting for the 90's Art in America April 1991
Robert Collins/James Josephs - Catalogue essays, Edward Totah/Ikon Gallery catalogue 1990
Tom Lubbock - Independent on Sunday 1/4/1990
Sarah Kent - TimeOut April 18-25 1990
Mark Currah - City Limits May 3-10 1990
Nikkei Art June 1990
Andrea Schlieker - Decoy catalogue essay, Serpentine Gallery 1990
Sarah Kent - Decoy- Lie of the Land TimeOut May 2-9 1990
Rose Jennings - Nature Studies City Limits May 3-10 1990
William Feaver - Landscapes of the video age Sunday Observer 13/5/1990
Andrew Graham - Dixon Decoy at the Serpentine Gallery The Independent 15/5/1990
Tim Hilton - Nebulous Landscapes The Guardian 16/5/1990
Sue Hubbard - Bath contemporary art fair 20/20 May 1990
Susan Chadwick - The Houston Post 1/7/1990
Andrew Hoellering - Suzanne Treister, Spacex Exeter The Guardian 29/8/1990
Sotiris Kyriacou - Artscribe Sept/Oct 1990
Kazu Kaido - Ikebana Sogetsu Spring 1989
Carolyn Cohen - 40 under 40 Art & Design Vol 5, no. 3/4 1989
William Feaver - Character cats and shepherd's pie skies The Observer 22/10/1989
Marina Vaizey - British art finds a new freedom Sunday Times 29/10/1989
Sarah Kent - Back for Moores 20/20 Nov 1989
Robin Dutt - The Independent 26/1/ 1988
Allen Robertson - TimeOut Feb 3-10 1988
Matthew Collings - City Limits 4-11 Feb 1988
Mary Rose Beaumont - Arts Review 12/2/1988
Tony Godfrey - The Burlington Magazine April 1988
David Lovely - Something Solid Arts Review May 1988
Tony Godfrey - Classicism in painting today Art & Design June 1988
Lynne Cooke - Art International Autumn 1988
Higgins and Cohen - New British Painting Phaidon 1988
Peggy Cyphers - New York in review Arts Magazine Oct 1988
Marjorie Allthorpe-Guyton The Golden Thread? Catalogue essay, Harris Museum and Art Gallery, Preston, UK
John Roberts - Interference Artscribe sept/oct 1986
Greg Hilty and Kate Macfarlane - 'Interference' catalogue essays. publ. Riverside Studios, London 1986
LECTURING
1983-1996 Visiting lecturer at St Martins School of Art, Chelsea School of Art,Trent Polytechnic, Bath School of Art, Coventry Polytechnic, Royal College of Art, Goldsmith's College, Kingston Polytechnic, Central/St Martins, Camberwell, Ruskin Oxford, Glasgow School of Art, Monash University (Melbourne), University of Leeds, Sydney College, University of South Australia, Onkaparinga TAFE (South Australia).
1999-2000 Reading University, Wimbledon School of Art, University of Northumbria at Newcastle (upon-Tyne), Goldsmith's College, University of Western Sydney-Nepean, Sydney College of the Arts.
2001 University of Newcastle upon Tyne (UK), University of Newcastle (Australia).
2002 UTS Sydney, University of Newcastle, Australia. University of Westminster, UK.
2003 Brighton University, UK. Wimbledon School of Art, UK.
2004 UniversitŠt der KŸnste, FakultŠt Bildende Kunst, Institut fŸr Kunst im Kontext, Berlin.
2007 University of Northumbria, Newcastle upon Tyne, UK. 2007
2007 Visiting lecturer at Berkeley University of California; Pomona College, Claremont, Los Angeles and New York University (NYU), USA.
2007 University of Gwent, Wales; University of Derby, UK.
2008 Wimbledon School of Art, London; University of Brighton, UK; University of Westminster, UK.
AWARDS/GRANTS
2006 Arts Council England (Grant for Hexen 2039 curated by Tania Nasielski)
1999 National Digital Art Prize, Australia, 3rd prize.
1998 Australia Council, New Media Fund.
1998 Australian Film Commission, multimedia completion funding.
1997 Australia Council, New York studio residency (for 98/9).
1996 South Australian Department of Arts and Cultural Development. New Work grant.
1995 Australia Council, professional development grant.
1994 British Council, travel grant. Tokyo.
1994 South Australian Department of Arts and Cultural Development. New Work grant.
1992 British Council, travel grant, Australia.
1989 John Moores, Liverpool, 3rd prize.
WRITING
Ambient (male) identity Broadsheet, vol 26, no.4. Summer 1997/98
Dean Whitehorn, Catalogue essay, Experimental Art Foundation,Adelaide 1997
UK Es & Whizz Broadsheet, vol 25, no.1. Autumn 1996
White Hysteria - interview with Bala Starr, Broadsheet, vol 25, no.2 Winter 1996
Patricia Piccinini & Alison Main Mesh- Experimenta media arts journal #8/9 Autumn/Winter 1996
Bad Girls, ICA London, Artlink Autumn 1994
Monstrous Gorgeous, Artlink Vol 14 no.4 Summer 1994/5
Mehmet Adil, Broadsheet Vol 23 no.4 Summer 1994
Bodiless Bodies of Work, Richard Grayson Performance Space, Sydney,catalogue essay 1995
Alex Rizkalla Broadsheet,vol 24 ,no.2 Winter 1995
Japophile/Hi Tack, Broadsheet Vol.22 No.2. June 1993/Salient 1996
Belshazzar, Richard Grayson Post West catalogue (Adelaide)1992
Forensic, Broadsheet Vol. 21. No.3 Sept 1992
TV
PRESUMED INNOCENT-DISASTER Documentary by Heather Croall for "Carpet Burns" SBS Australia. Dec 1993
CONFERENCES
2000 'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', Next 1.0: New Extensions of Existing Technologies, Karlstad University, Sweden. Paper presented by Jyanni Steffensen.
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject' Verve at Artist's week, Telstra Adelaide Festival 2000, Ngapartji CMC. Paper presented by Jyanni Steffensen.
1999 Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety, School of Social, Political and Economic Sciences,University of Northumbria, Newcastle, UK. Paper presented by Jyanni Steffensen.
'Invading Ancestral Spaces through the Privileged Violence of Technology'futureScreen 99: AvAtArs | phantom agents dLux media arts at the Powerhouse Museum, Sydney. Paper presented by Jyanni Steffensen.
1994 Still Photography? International symposium on the transition from analog to digital imaging. University of Melbourne. Paper presented by myself.
CURATING
1997 Wardrobe Madlove Gallery, Adelaide; The Performance Space, Sydney; I.M.A. Brisbane; P.I.C.A. Perth.
1996 White Hysteria Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room) Cleveland project space,Lotta Hammer Gallery, London; ThePhysics Room, Christchurch, New Zealand.
1994 Flat Union Gallery, Adelaide University (with L.E.Young).By Invitation Only 2', Kinz, Tillou + Feigen, NY, USA
'Bad Year Blimp', Alma Enterprises, London, England
'The Disarmory Show', a dBfoundation project, 201 Mulberry Street, New York, USA
'Gegen den Strich' Bielefelder Kunstverein, Germany
2007
'Gegen den Strich' Kunstlerhaus Bethanien, Berlin, Germany
'How We May Be', Late at the Tate, Tate Britain, London, England
Jerwood Drawing Prize, Jerwood Gallery, London and UK tour
3Things (curated by Donald Smith) RUN Gallery, London, England
ARTIST MAKES VIDEO: art rage survey 1994-1998, art rage: artworks for television, DELL Gallery@QCA , Brisbane, Australia
'Annely Juda - A Celebration', Annely Juda Fine Art, London, England
FILE RIO (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, Centro Cultural da Oi Futuro, Rio de Janeiro, Brazil
2006
Flash on the Screen Basekamp space, Philadelphia, USA
DUSK by Raul Zamudio, (curatorial section of Digital Video Art Fair (DiVA)) Lummus Park, Ocean Drive, Miami Beach, FL, USA
Drawing from Turner Clore Gallery, Tate Britain, London, England
FILE 2006 (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil.
EN 2039" website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil
2005
The Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal, The Center for Art and Visual Culture, University of Maryland Baltimore County, USA and touring USA
http://www.umbc.edu/fineartsgallery/past_blur.html
NATO, project space at Annely Juda Fine Art, Frieze, London.
ICOLS Strategy Defense and Arms Fair The Performance Space, Sydney, Australia
Glasgow International ICOLS Strategy Defense and Arms Fair RISK, CCA, Glasgow, Scotland
ICOLS audio, finetuned, ETA Project Space, Hove, UK
10th Anniversary Exhibition, Mizuma Art Gallery, Tokyo, Japan
Don't Call it Performance Konceptkonstmuseum, Rydboholm, Sweden
Bodies Through Technology, Tompkins County Public Library, Ithaca, New York, USA.
Operation Swanlake, Transmediale.05 Haus der Kulturen der Welt, Berlin, Germany
2004
Don't Call it Performance Centro Andaluz de Arte Contempor‡neo,Seville, Spain; Domus Artium 2002 (DA2) Salamanca, Spain; El Museo del Barrio, New York, USA.
CITY OF WOMEN 10th International Festival of Contemporary Arts, Gallery Skuc, Ljubljana, Slovenia. http://www.cityofwomen-a.si/
ICOLS, Collectivity and critical collective/cooperative cultural action, Oliver Gallery, University of South Florida, Tampa FL USA.
ICOLS, Connect the Dots The LeRoy Neiman Gallery, Columbia University, New York, USA.
ICOLS Strategy Defense and Arms Fair, ferry between Helsinki, Stockholm, Mariehamn, Tallin, ISEA 2004.
Media Forum of the XXVI Moscow International Film Festival, ClubnaBrestskoj, Moscow, Russia.
PLANET B Das B-Movie in der zeitgenšssichen Kunst, Magazin4 Vorarlberger Kunstverein, KŸnstlerhaus Palais Thurn & Taxis, Bregenz, Austria. http://www.magazin4.at/ausstellung_sommer04.htm
Operation Swanlake, FILE 2004- festival internacional de linguagem eletr™nica, Sesi Gallery, S‹o Paulo, Brazil. http://www.file.org.br
Contact Zones, New World Gallery @ Radio Free Hamptons, Sag Harbor, New York, USA.
Digital Salon, The ART Mission, Binghamton, NY, USA.
Eurographics 2004, WTC, Grenoble, France.
Metis:Time/Beam me up ANU School of Art Gallery, Canberra, Australia.
Unframed, Standpoint Gallery, London.
Fly Utopia! transmediale.04, Haus der Kulturen der Welt, Berlin, Germany.
2003
Don't Call it Performance, Centro de Arte Reina Sof'a, Madrid;Centro Parraga, Murcia, Spain
New York Calling P.S.1 Australian Studio project, Long Island City, NY USA
Paradies (Paradise) MAIS V, Bunker under Alexanderplatz, Berlin, Germany
ICOLS AUDIO juniradio Berlin104.1 08.-30. juni http://www.juniradio.net
FILE 2003- festival internacional de linguagem eletr™nica, Museum of Image and Sound (MIS) S‹o Paulo, Brazil. http://www.file.org.br
wywh wish you were here, First Draft Gallery, Sydney, Australia
ICOLS How to be a perfect guest Sharjah International Biennial 6, Sharjah Art Museums and Expo Centre Sharjah, United Arab Emirates.
ICOLS Glasgow Event, Wasps Studios, Glasgow, Scotland.
ICOLS The Esplanade, Theatres on the Bay, Singapore.
2002
Gaze Travelling artroom - gallery suryun, Cologne, Germany
Connecting Principle Newcastle University UK http://www.ncl.ac.uk/connectingprinciple
ICOLS launch event, Museum of Contemporary Art, Sydney, Australiia.
(The World May Be) Fantastic, Biennale of Sydney, MCA Sydney, Australia. www.biennaleofsydney.com.au
Underwood Audio 2 (The Communist Manifesto, by Rosalind Brodsky and the Satellites of Lvov) & cd launch event Underwood St, London.
Irish Museum of Modern Art net.art exhibition
http://www.irishmuseumofmodernart.com/netart_open.htm
ICOLS in Art meets Archive Sydney State Records Centre, Sydney, Australia.
2001
LE NUMERIQUE : nouveau médium de l'art- From 01.10.01 to 01.11.01 Galerie de Pret d'oevres d'Art, Bruxelles, Belgium.
Penthouse and Pavement, Melbourne.
Model Citizen/No More Ice Cream (An ICOLS project with Bronia Iwanczak) Artspace, Sydney, http://www.artspace.org.au/ & images at: http://www.icols.org/pages/TreisterIwanczak/Creche.html
Disaster Tourism Rubyayre, Sydney.
New Releases (video) 4a Gallery, Sydney and tour.
2000
Electronic Art Festival, Cyberslag Foundation, Groningen, Netherlands. http://www.cyberslag.com
Gene spill, Imperial Slacks Gallery Sydney. http://ensemble.va.com.au/genespill
Spooky-Ghosts, Spirits and the Uncanny, Glen Eira City Gallery, Melbourne.
Chemistry, Art Gallery of South Australia, Adelaide.
PUSAN International Contemporary Art Festival, Metropolitan Museum of Art, Pusan,
South Korea.
Moving Image Festival, Youthworks shop window installation SALA 2000, Adelaide.
New Thinking is Rare, South Australian Touring Exhibition Program.
F I L E Festival internacional de linguagem eletrönica, Museum of Image and Sound (MIS) São Paulo, Brazil.
(Second place/offline) http://www.file.org.br
World Wide Video Festival, Amsterdam, Netherlands. http://www.wwvf.nl
The Noorderzon Festival, Groningen, Netherlands. http://www.xs4all.nl/~paleis/noorderzon/index.html
Sonar Festival/CD ROM a la carta, Carrer de les Flors 22, Barcelona.
Chip Melbourne International Film Festival.
Manifest/o, Zagreb, Croatia.
Festival of Independent Press, Museo de la Memoria, Tlaxcala, Mexico. http://www.prodigyweb.net.mx/fcr/index.html
LIVE-STOCK ram/fm, 72 hour audio event, ARC, Stockton on Tees, UK. http://www.live-stock.org
Urban Futures 2000 International Conference and Electronic Art Exhibition, Johannesburg University Art Gallery. http://sunsite.wits.ac.za/urbanfutures or http://www.wits.ac.za/urbanfutures/uf/index.htm
1999
Love and Consciousness, Artopiques Gallery, Paris, France.
Confined, HERE Gallery, New York, USA. (Presumed Innocent collaboration)
Sex and Consciousness, Artopiques Gallery, Paris, France.
WRO 99 - 7th International Media Art Biennale - Wroclaw, Poland.
21, Spacex, Exeter, UK.
National Digital Art Awards exhibition, Institute of Modern Art, Brisbane.
Women in Film and Television Festival (WIFT) Festival, Sydney.
Fusion, St Kilda Film Festival, Melbourne.
2nd International show of CD ROMs, Media Centre d'Art i Disseny, Barcelona. http://www.mecad.org
Contact Zones, Johnson Museum of Art, Cornell University, USA and travelling to Centro de la Imagen,Mexico City, Virginia film festival and touring US and Canada 2000-2001. http://contactzones.cit.cornell.edu/
Fast + Wide, Broadway Media Centre, Nottingham, U.K.
1998
Third International Video Summit Videomedeja, Kulturni Centar-Art Klub, Novog Sada, Yugoslavia.
ArtRage, ABC TV, Australia.
Interact (video screening)The Exhibition Centre, Melbourne.
Kino-Eye: Cybercities, Royal Palace, Antwerp, Belgium.
Xobject space, Dusseldorf, Germany.
corpoREAL, Tullie House, Carlisle, U.K.
Videonale 8, Bonn Kunstverein, Germany
Isea 98, The Tea Factory, Liverpool, U.K
Pandaemonium Festival, Lux Centre/Standpoint Gallery, London.
European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
National Digital Art Awards exhibition, I.M.A. Brisbane.
Prix Ars Electronica 98, Linz, Austria. http://www.aec.at
Underbelly, Cosmopolitan Cinema Complex, Adelaide.
Throw Down a Shape Supermild, sound event, Adelaide, Australia 4 November, 1998
The Plato Problem, University of S.A. Art Museum window (with Richard Grayson).
1997
Technoscience Hybrid Workspace, Documenta X, Kassel, Germany.
Wardrobe, Madlove Gallery, Adelaide and tour ('98).
Heteronymous (curated by, Achille Bonito Oliva and Anna Maria Nassisi) San Michele a Ripa, Rome, Italy.
Pass Go and other board games, The City Gallery, Leicester, U.K.
Time Travelling with Rosalind Brodsky, Internet project for Electronic Writing Research Ensemble @ http://www.ensemble.va.com.au/tableau/suzy/
On a Clear Day, European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
Thin Skin, The Performance Space, Sydney.
Imprint 93 and related ephemera, Norwich Gallery, Norwich, U.K.
Time Travelling with Rosalind Brodsky, Canberra Festival of Contemporary Arts.
1996
Artists' Week : Compost Telstra Adelaide Festival '96.
Foyer, Temporary space, Adelaide.
White Hysteria, Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room), Cleveland project space, London;The Physics Room, Christchurch, New Zealand.
ICA/Toshiba Art and Innovation Commission, shortlist exhibition, ICA, London.
On a Clear Day (CD ROM ,Website and publication project, curated by John Paul Bichard) ICA, London; Cambridge Darkroom; John Hansard Gallery, Southampton; First Site, Colchester; Focal Point, Southend; Oldham Art Gallery & Middlesborough Art Gallery. http://www.backspace.org/clearday/
Domestic Disturbances, Fifth Experimenta Media Arts Festival, National Gallery of Victoria, Melbourne, Noosa Regional Gallery and touring.
1995
It`s a Pleasure, Royal Festival Hall, London.
U.K. Wit and Excess, C.A.C. South Australia, A.C.C.A. Melbourne, Ivan Docherty, Sydney, I.M.A. Brisbane.
Street Gallery Mishima Ave shopping arcade festival, Sizuoka, Japan.
Frank Thing, Sym Choon Gallery, Adelaide.
Parallel Internet gallery and journal web project. http://www.va.com.au/parallel/x1/gallery
Weird Science, Australia Centre, Manila, Phillipines.
Technothelylogia, Monash University Gallery, Melbourne.
ROMulus and RAMbo-Body language in cyberspace, Canberra School of Art Gallery.
Pretext:Heteronyms, Rear Window, Clink St. Studios, London.
Contemporary Art Society market Royal Festival Hall, London.
1994
Flat, Union Gallery, University of Adelaide.
Whitechapel Open Whitechapel Art Gallery, London.
Presumed Innocent collaboration, Exeter Hotel, Adelaide.
Lead and Follow, Atlantis, London.
1993/5
New Voices - Jeunes Artistes Britanniques, Musee National d'Histoire et d'Art a Luxembourg; Centre d'Art Santa Monica Barcelona; Museo de Bellas Artes Bilbao; Centro Culturel Galileo Madrid; Sala de Veronicas, Murcia; Pescadera Viega Sala de Arte, Jerez; Kulturhistorisches Museum, Magdeborg, Germany.
1993
Hit and Run, A Presumed Innocent collaborative event, [RE] Gallery, Adelaide.
Moving into View - work from the Arts Council collection, Royal Festival Hall, London.
The return of the Cadavre Exquis, The Drawing Center, N.Y. U.S.A.
VITEA: A.I.P.#7, Fifth Sculpture Triennial, R.M.I.T. Faculty Gallery, Melbourne.
The Disaster Show, with Presumed Innocent, Union Gallery, Adelaide University.
Critical City project, domestic space, Adelaide.
1992-1997
"New Voices", British Council touring exhibition. Venues:
14/02/1997 MACEDONIA, SKOPJE, MUSEUM OF MODERN ART
04/12/1996 CZECH REPUBLIC, PRAGUE, CZECH MUSEUM OF FINE ARTS, THE HOUSE OF THE BLACK MADONNA
31/10/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK
05/08/1996 SLOVAKIA, BRATISLAVA, MIRBACHOV PALACE
29/05/1996 RUSSIA, NIZHNII NOVGOROD, KREMLIN MUSEUM
18/04/1996 RUSSIA, ST PETERSBURG, THE RUSSIAN MUSEUM
11/03/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK OF GREECE
19/02/1996 GREECE, ATHENS, ART HALLS OF THE CULTURAL CENTRE OF THE MUNICIPALITY OF ATHENS
11/01/1996 ROMANIA, BUCHAREST, NATIONAL THEATRE GALLERIES
12/10/1995 GERMANY, MAGDEBURG, KULTURHISTORISCHES MUSEUM
02/12/1994 SPAIN, JEREZ, SALA PESCADERIA VIEJA, AYUNTAMIENTO DE JEREZ
04/11/1994 SPAIN, MURCIA, VERONICAS, SALA DE EXPOSICIONES
05/07/1994 SPAIN, MADRID, CENTRO CULTURAL GALILEO
03/05/1994 SPAIN, BILBAO, MUSEO DE BELLAS ARTES DE BILBAO
10/03/1994 SPAIN, BARCELONA, CENTRE DE ART SANTA MONICA
29/11/1993 TURKEY, IZMIR, IZFAS GALLERY
18/10/1993 TURKEY, ANKARA, STATE FINE ARTS GALLERY
20/09/1993 TURKEY, ISTANBUL, ISTANBUL GREATER CITY MUNICIPALITY TAKSIM ART GALLERY
05/03/1993 LUXEMBOURG, MUSEE D'ART ET D'HISTOIRE
30/09/1992 BELGIUM, BRUSSELS, EEC PRESIDENCY EXHIBITION
23/09/1992 BELGIUM, BRUSSELS, LA BORSCHETTE
1992
Whitechapel Open, Whitechapel Art Gallery, London.
Blast from the Past, Minories Art Gallery, Colchester.
Walls 1, Union Gallery, Adelaide University.
20th Century Women's Art, New Hall College, University of Cambridge.
Scene of the Crime? APresumed Innocent collaborative installation, Post West, Adelaide.
EdwardTotah Gallery, London.
Nothing is {Hidden} (collaborative installation with Pamela Golden, Andrew Renton and LindaLevinson),
Rear Window, Lambs Conduit St, London. http://www.rear-window.org.uk/nothing_is_hidden.html
1991
A Painting Exhibition in Two Parts Todd Gallery, London.
1990
Decoy, Serpentine Gallery, London.
Global Art, Brent Gallery and Galleria, Houston, Texas.
London passim, Casa Veneta, Trieste.
Whitechapel Open, Whitechapel Art Gallery, London.
1989
XXI Festival International de la Peinture, Cagnes sur Mer , France.
Whitechapel Open, Whitechapel Art Gallery, London.
John Moores, Walker Art gallery, Liverpool (3rd prize).
1988
New Brits: Contemporary British and Scottish Painting The Contemporary Arts Center, Cincinnati, Ohio, and tour of USA Museums.
Object and Image: British Art in the 1980's City Museum and Art Gallery Stoke on Trent.
Figuring out the '80's, Laing Art Gallery, Newcastle upon Tyne.
Something solid, Cornerhouse Galley, Manchester.
Whitechapel Open, Whitechapel Art Gallery, London
4 London Artists, Nancy Hoffman Gallery, New York.
It's a still-life, Arts Council Collection, South Bank Centre, London and Tour.
1987
Edward Totah Gallery , London.
Edward Bates Gallery, Chicago.
1986
The Golden Thread? Classical Mythology in Contemporary Art, Harris Museum and Art Gallery, Preston, Milton Keynes Exhibition Gallery, Royal Albert Memorial Museum, Exeter, Bradford Art galleries and Museums, Bradford. 1986-87.
Love, Sacred and Profane, Plymouth Arts Centre and Stoke Museum.
Interference Riverside Studios, London.
Camden Annual, Camden Arts Centre, London.
4 British Artists, Edward Bates Gallery, Chicago, USA.
1985
Nature Morte, Edward Totah Gallery, London.
Open Exhibition Riverside Studios, London.
1984
Whitechapel Open, Whitechapel Art Gallery, London.
Galerie Davidson, Berlin. (2 person show)
Warwick Arts Trust, London.
1982-83
Images for Today, Touring exhibition sponsored by Sainsburys
1981
Stowells Trophy, Royal Academy, London.
COLLABORATIVE ORGANISATIONS
1991 Founder member of NIH (Nothing is {Hidden} ) London/NY based
1992 Founded PI (Presumed Innocent) Adelaide/NY based
2000 Founded The International Corporation of Lost Structures (ICOLS) http://www.icols.org
PUBLIC COLLECTIONS
Arts Council of England
Art Gallery of South Australia
Australian Centre for the Moving Image
AXA Collection
British Council
EMI Paris
Griffith University, Queensland
Leeds City Council
Leicester County Council
New Hall Cambridge
Tate Britain
Wolverhampton Art Gallery
International Libraries (cd rom collections):
Tate Britain, London
British Museum, London
UCLA, Santa Rosa Junior College, California, USA
University of Auckland
University of East London
Sydney College of the Arts
Rhodes University, South Africa
The Rose Golden Archive of New Media Art, The Division of Rare and Manuscript Collections, Carl A. Kroch Library Cornell University, Ithaca, NY, USA
L'Espace Multimédia Gantner, France
Fundacio Antoni Tapies Biblioteca, Barcelona
BIBLIOGRAPHY
Daniel Soar, 'NATO: The Military Codification System for the Ordering of Everything in the World', London Review of Books, 6 Nov 2008
Eve Sullivan, 'NATO: The Military Codification System for the Ordering of Everything in the World', Contemporary, Issue 97, 2008
Jorn Ebner, 'Suzanne Treister at Annely Juda London', Frankfurter Allgemeine, 4 Oct 2008
Albert Mobilio, 'NATO: The Military Codification System for the Ordering of Everything in the World', Bookforum, Sept/Oct/Nov 2008
Inke Arns, 'Radar: Inke Arns Ÿber Suzanne Treister', ART das kunstmagazin, 15 Sept 2008 http://www.art-magazin.de/kunst/10402/radar
Suzanne Treister 3 Projects - catalogue, publ. Annely Juda Fine Art, with essay by Richard Grayson
'NATO The Military Codification System for the Ordering of Everything in the World' Suzanne Treister
with essay by Marek Kohn. Black Dog Publishing Ltd, London
'ICOLS department of Future Projections' - artist page, Futures Magazine, 2007
Tony Ozuna, Connect the dots Ð In a blending of fact and fantasy, lessons for a troubled age (Hexen 2039 at Skolska 28) Prague Post Oct 1 2007 http://www.praguepost.com/articles/2007/09/26/connect-the-dots.php
Christoph Tannert, Valeria Schulte-Fischedick, Christian Schindler 'Gegen den Strich', catalogue publ. KŸnstlerhaus Bethanien, 2007
Tom Lubbock, '5 Best Exhibitions' Suzanne Treister, Hexen 2039 New Art Gallery Walsall,The Independent, 28th June 2007
Annely Juda - A Celebration, Annely Juda Fine Art, London, 2007
VESNA artist pages, The Balkans - special issue, Third Text, 85, Vol 21, Issue 2, March 2007
Suzanne Treister, chapter in: 'Videogames and Art', Ed. Andy Clarke, Grethe Mitchell, Publ. Intellect Books, UK and University of Chicago Press, 2007
Dan Smith, 'Unnatural Histories' Art Monthly, No 304, March 2007
Jonathan Griffin, 'Suzanne Treister Hexen 2039' Frieze, issue 105, March 2007
Sherman Sam, 'Suzanne Treister Hexen 2039' The Brooklyn Rail, February 2007 and online at http://www.brooklynrail.org/
Eve Sullivan 'Suzanne Treister: Hexen 2039', Contemporary, no 90, 2007
Gabriel Coxhead 'Digital Art- Infinite Editions' Ftmagazine/Financial Times, January 27/28 2007
Cameron Bain 'Scrying Stranger Aeons', Mute, 16 Jan 2007 http://www.metamute.org/en/Scrying-Stranger-Aeons
Raimundas Malasauskas, 'Looking back/ most significant solo shows of 2006 (Suzanne Treister Hexen 2039)', Frieze, Issue 104, January-February 2007
Louisa Buck 'Hexen 2039 - Warburg Screening' The Art Newspaper London Diary Volume XV, No. 175, December 2006
David Barrett 'Suzanne Treister, Chelsea Space' Art Monthly No 302 Dec-Jan 06-07
Helen Sumpter 'HEXEN 2039' TimeOut, November 15-22 2006
'HEXEN 2039 new military-occult technologies for psychological warfare', Black Dog Publishing, London, 2006
(with essay 'Waiting for the Gift of Sound and Vision' by Richard Grayson)
'Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal' Essays by Lynne Tillman, Marina Warner, Mark Alice Durant and Jane D. Marsching. Publ. Center for Art and Visual Culture, University of Maryland Baltimore County USA. Dist. DAP New York 2006
Artists page (NATO) Mister Motley, Magazine over Kunst, Amsterdam, nummer 9 Ð 'idealen!' 2006
Suzanne Treister, 'From Fictional Video Game Stills to Time Travelling with Rosalind Brodsky 1991-2005' Journal of Media Practice, Intellect Books, Vol 7 Number 1 2006
Modern Art: A Critical Introduction 2nd edition, Pam Meecham & Julie Sheldon, Publ. Routledge London 2005
Paco Barragan, Roselee Goldberg, Coco Fusco - No lo Llames Performance/DonÕt call it Performance Exhibition cat.Publ. Fundacion Salamanca Ciudad de Cultura & El Museo del Barrio, New York 2004
Bettina Knaup, Sabina Potocki with essay by Katy Deepwell, Mesto Zensk/City of Women catalogue, Ljubljana, Slovenia, 2004
Paul Brown - Operation Swanlake RealTime No 63 2004 www.realtimearts.net
PLANET B Die €sthetik des B-movies in der zeitgenšssischen Kunst. Catalogue, dist, www.revolver-books.de 2004
Artist pages n.paradoxa Volume 14 - Dreams of the Future, July 2004
Jean Wainwright - Operation Swanlake Art Monthly (UK) No 278 July - August 2004
Rebecca Geldard - Operation Swanlake TimeOut No. 1765 June 16-23 2004
Operation Swanlake - poster/cat, Annely Juda Fine Art, London, UK 2004
Merryn Gates - Metis time:04 catalogue, publ. Canberra Contemporary Art Space, 2004
Kathy Rae Huffman 'Science by Artists', Publisher: Cornerhouse Publications, Nov 2004
Pam Skelton - Unframed: the Practices and Politics of Women Painting ed. Rosemary Betterton, Publ. IB Taurus, London, 2003
Michael Duncan - Self created worlds Art in America Oct 2002
Jeff Gibson - Biennale of Sydney Artforum Fall 2002
Alexie Glass - Fantastic Voyage Monument No. 47 April/May 2002
Andrew Frost - Sydney Biennale a-z definitive guide Metaphysics, Pataphysics, Astrophysics, Literature, History, Jazz etc Australian Style No 62 May 2002
Michael Smith - of fakes and UFOs, artists and aliens The Drum Media 21 May 2002
Samantha Selinger-Morris - In your dreams HQ May 2002
Bruce James - Why the Biennale is a bit of a miracle Sydney Morning Herald 17.5.2002
Rachel Withers - Sydney Biennale diary Artforum online http://www.artforum.com/diary/id=2853 May 2002
Fietta Jarque - El capital siempre determina a las biendes El Pais 16.2.2002
Michael Bodey - A conspiracy to open our minds Daily Telegraph 13.3.2002
Flash Art (Italy) A Sydney apre la Biennale: la finzione a di scena April/May 2002
Simon Rees - 2002 Biennale of Sydney Flash Art No 225 July/Sept 2002
Sharon Verghis - Stand by for BiennaleÕs showcase of the strange Sydney Morning Herald 13.3.2002
Benjamin Genocchio - As good as a wink The Weekend Australian 25/26.5.2002
Jennifer Sexton - Odds favour unreal event The Australian 13.3.2002
Victoria Hynes - Really Fantastic Ð Intrigue, ingenuity and eccentricity Sydney Morning Herald 11.5.2002
Jennifer Sexton - Purely personal The Weekend Australian-Review 11/12.5.2002
Gene Autry - Aliens stole my biennale Art Monthly (Australia) no. 150 June 2002
Hannah Fink - Fabulous-Biennale of Sydney Art Monthly (Australia) no. 151 July 2002
Courtney Kidd - (The world may be) fantastic! State of the Arts www.stateart.com.au May-Aug 2002
Sotiris Kyriacou - Biennale of Sydney Contemporary June,July,Aug 2002
Various writers Critical Interventions-Biennale of Sydney 2002 Publ. Artspace Sydney 2002
Sasha Grishin - Biennale of Sydney Canberra Times 10.6.2002
Richard Grayson - Grasshopper Worlds 2002 Biennale of Sydney catalogue
Marek Kohn - Bizarre New World (artist essay) 2002 Biennale of Sydney catalogue
John McPhee - Art is the prize for raiders of the state archives Sydney Morning Herald 8.5.2002
Victoria Hynes - Critic's picks ICOLS [Art meets Archive] Sydney Morning Herald 7/6/2002
Alex Gawronsky - Model Citizen-Artspace Broadsheet Vol 31 no1 Autumn 2002
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', chapter by Jyanni Steffensen in:
_Reload_Rethinking Women + Cyberculture, ed. Mary Flanagan and Austin Booth. MIT Press 2002
Chapter on Rosalind Brodsky in Digital Thinking: New Metaphors for Technoscienceand Technoculture by Jyanni
Steffensen. Durham, NC: Duke University Press, 2001
Mike Leggett - Time Travelling with Rosalind Brodsky Leonardo 34.1 (2001) 76
http://muse.jhu.edu/demo/leonardo/v034/34.1leggett.html
Verena Kuni - Passwort: Transit. eMigrantinnen im elektronischen Raum 2000
http://www.kunst.uni-mainz.de/~kuni/abs-exi.htm
Mike Leggett - The Speed of Light
http://www.msstate.edu/Fineart_Online/Backissues/Vol_14/faf_v14_n08/text/feature.html
Kelly Ford - Spooky: Ghost, Spirits And The Uncanny
http://melbourne.citysearch.com.au/E/E/MELBO/0006/66/43/
Annemarie Lopez - Gene Spill CitySearch
http://sydney.citysearch.com.au/E/E/SYDNE/0007/06/11/
Sarah Thomas/John Neylon - Chemistry catalogue Art Gallery of South Australia 2000
I.M.A.T.I. From the Rosalind Brodsky Archives Greenaway Gallery cat. Sept 2000
Katy Deepwell - n.paradoxa (UK)Vol 6, July 2000
Courtney Kidd - Critic's picks Sydney Morning Herald 18 Aug 2000
Daniel Palmer - No Other Symptoms Photofile 59, Aug 2000
Mike Leggett - Redefining hybridity: CD-ROM possibilities RealTime 38 Aug-Sept 2000
www.rtimearts.com/~opencity/rt40.html
De Decker Geert - Sztuka Fabryka - http://www.sztuka-fabryka.be/review/publi01.htm
Taru Elfving - No Other Symptoms Make (UK) No.87 March-May 2000
Michael Gibbs - Time Travel Art Monthly (UK) No 235 April 2000
Sally O'Reilly - London Arts Online feature, www.londonart.co.uk (Excerpts from CD ROM )
Linda Carroli - Odyssey Broadsheet Vol28 summer 2000
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Joni Taylor - Time travel is your only means of escape RealTime 35 Feb 2000
Marek Kohn - No Other Symptoms The Sunday Review, The Independent on Sunday (UK) 16/1/2000
No Other Symptoms - Time Travelling with Rosalind Brodsky CD ROM with 124 page colour hardback book. Published by Black Dog Publishing Ltd, UK ISBN: 19013366X Dec1999
Jyanni Steffensen - Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety: Social, Political, Economic and Cultural Issues, ed. John Armitage and Joanne Roberts (Newcastle: University of Northumbria, 1999)
Linda Marie Walker - Rosalind Brodsky Cookery Show Artlink Vol 19 no.4 Summer 1999
Jyanni Steffensen - PI in New York. Broadsheet Vol 28 No2 Winter 1999
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Jenny Jones - Isea 98 Make (U.K.) No. 82 Dec 98-Feb 99
Jyanni Steffensen - Point, Click, Point, Click, Boing. Broadsheet Vol 27 No 4 Summer 1998
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Honor Harger - Shape-Shifting: A review of Throw Down a Shape Supermild, Adelaide, Australia 4 November, 1998
http://radioqualia.va.com.au/ctl/texts/hh3.html
Innerscapes - An anthology of artist's writings, Ed: Maurizio Pellegrin, Publ: Trieste Contemporanea 1998 http://www.tscont.ts.it/pubblicazioni.htm
Emma McGlade - Isea 98 Bigmouth Liverpool
Artist pages - Arkzin (Zagreb) No 4 (100/101) 12.'97./01.'98.
Georgy Downey - hot links Broadsheet Vol 26 No 3 Spring 1997
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Dugal McCrow - On a Clear Day liveart magazine (U.K.)Issue 14/15 May-July 1997
Jyanni Steffensen - Kitsch'n Shrink Globe E internet journal
http://www.arts.monash.edu.au/visarts/globe/issue4/sttxt.html
Jyanni Steffensen - triple treats RealTime 17 Feb-Mar 1997
http://sysx.apana.org.au/realtime
James Flint - Wired (U.K.) 3.01 Jan 1997
Tony White - On a Clear Day Wired (U.K.) 3.02 Feb 1997
Achille Bonito Oliva + Claudio Di Biagio - Heteronymous catalogue essays, 1997
Heteronymous TimeOut (Rome) May 1997
Piece of Paper Press No.013 (ed. Tony White, U.K.) Vibrators from the House of Brodsky 1997
David Barrett - On a Clear Day Frieze Issue 33 1997
Brian Lynch - Suzanne Treister, Art Gallery of South Australia Db Issue 145 1997
David O`Halloran - Visual Arts Program Telstra Adelaide Festival 1996
Sarah Thomas - Raking through Compost Broadsheet Vol 25 No2 Winter 1996
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
John Paul Bichard (ed) On a Clear Day comic book and CD ROM
Jill Bennett - Compost Art+Text no.54 1996
Brett Buttfield - White Hysteria Db (Adelaide) Issue #121 June/July 1996
John Neylon - White Hysteria Adelaide Review July 1996
Stephanie Radok - White Hysteria Artlink Vol 16 no.4 Summer 1996
Tania Guha - White Hysteria TimeOut Aug 7-14 1996
Artist`s page with Kazuko Shiraishi, Hanatsubaki magazine Tokyo,September 1996
Ian Howard - Faults, functions and fantasy Brisbane Courier Mail Sept 5 1996
Richard Grayson - Dying for your sins catalogue essay, Institute of Modern Art, Brisbane 1996
Interview with Mutual Reality http:/www.widemedia.com/mutual/ re. ICA/Toshiba comm.
Pauline van Mourik Broekman - On a Clear Day Mute-digitalartcritique Autumn 1996 issue 6
http://www.metamute.com/mute_online
Louise Nunn - At home in Adelaide Adelaide Advertiser Nov 19 1996
Catriona Murtagh - Dying for your sins Mesh Issue 10. Spring 1996
http:/www.peg.apc.org/~experimenta
Chris Chapman - Banana Creme, Wet Dream etc. Catalogue essay for Kitsch'n Shrink, Greenaway Gallery Adelaide 1996
Shiralee Saul - Domestic Disturbances catalogue essay, National Gallery of Victoria Melbourne,1996
Linda Carroli - The Castle as Interzone Broadsheet Vol 25 No4 Summer 1996/7
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Leah Kharibian - It's a Pleasure Royal Festival Hall catalogue and selected quotes,1995
Richard Grayson - Catalogue essay, Mizuma Art Gallery Tokyo, 1995
Sue Hubbard - It's a Pleasure TimeOut Feb 1-8 1995
Informer National The Face no.76 Jan 1995
Anne Brennan/June Mary Scott - Catalogue essays "U.K. Wit and Excess" CAC Adelaide 1995
anon - Weird Science The Manila Times 12.8.95
Zoe Soufoulis/Zara Stanhope - Technothelylogia catalogue essays, Monash University 1995
Francis Hagan - Artist profile Art + Tech (U.K.) 2.01 edition 1995
Sarah Kent - Pretext:Heteronyms TimeOut 22-29 Nov 1995
Stella Santacatterina - Art after Indifference Pretext:Heteronyms cat. essay, Rear Window publications(U.K.) 1995
Adrian Searle - Works for a complex age New Voices catalogue, British Council 1995
Mark Durden - Pretext:Heteronyms Art Monthly (U.K.) no.192 Dec/Jan 1995/6
Jenny McFarlane - ROMulus and RAMbo Photofile Nov 1995 no.46
Jyanni Steffensen - Parallel Gallery and Journal Photofile, Nov 1995 no.46
Anna Clabburn - Technothelylogia World Art 4/1995
Richard Grayson/Catherine Lumby - Catalogue essays for Q.Would you recognise a virtual paradise? CAC Adelaide, A.C.C.A. Melbourne. 1994
Steve Wigg - Impolite questions Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
AnneRobertson - Flat Agenda Issue 37, July 1994
Richard Grayson - Between the clues lies the evidence (Post West Gallery 1992) The Post West Book [Pub.+ Ed. Alan Cruickshank] Adelaide 1994
Stephanie Radok - Critical mass/city art/artists initiatives Artlink Vol 14 No 2 1994
Julianne Pierce - Selecting the morph tool Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Olga Spiegel - La Vanguardia 19 March 1994
Steve Wigg - Virtual history Artlink Vol 14 No 3,Spring 1994
John McEwen - Whitechapel Open Daily Telegraph 15 May 1994
Corina Mersch - Luxemburger Land No 13/2 April 1993
Brett Buttfield - Db Magazine (Adelaide) #49, 18-31 August 1993
Ken Bolton - Artist run alternatives Art + Australia Vol 31 No 2 1993
Jyanni Steffensen - Virtual(ly) real desire; Software Broadsheet (Adelaide) Vol 22 & No 3, Spring 1993
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
& in Salient: SA Visual Art 1992-95 Anthology, [Pub. + Ed. Alan Cruickshank] Adelaide Festival, 1996
Samuel Fessler - When canvas meets screen Hampstead & Highgate Express 14/2/1992
John McEwen - Sunday Telegraph 16/2/1992
Adrian Searle - TimeOut 19-26 Feb 1992
Charles Hall - Arts Review March 1992
Andrew Renton - Flash Art May/June 1992
Catherine Lumby - Art + Text 43 September 1992
Catherine Lumby - Artlink Vol 12 No 3 Spring 1992
Tony Godfrey - A British Painting for the 90's Art in America April 1991
Robert Collins/James Josephs - Catalogue essays, Edward Totah/Ikon Gallery catalogue 1990
Tom Lubbock - Independent on Sunday 1/4/1990
Sarah Kent - TimeOut April 18-25 1990
Mark Currah - City Limits May 3-10 1990
Nikkei Art June 1990
Andrea Schlieker - Decoy catalogue essay, Serpentine Gallery 1990
Sarah Kent - Decoy- Lie of the Land TimeOut May 2-9 1990
Rose Jennings - Nature Studies City Limits May 3-10 1990
William Feaver - Landscapes of the video age Sunday Observer 13/5/1990
Andrew Graham - Dixon Decoy at the Serpentine Gallery The Independent 15/5/1990
Tim Hilton - Nebulous Landscapes The Guardian 16/5/1990
Sue Hubbard - Bath contemporary art fair 20/20 May 1990
Susan Chadwick - The Houston Post 1/7/1990
Andrew Hoellering - Suzanne Treister, Spacex Exeter The Guardian 29/8/1990
Sotiris Kyriacou - Artscribe Sept/Oct 1990
Kazu Kaido - Ikebana Sogetsu Spring 1989
Carolyn Cohen - 40 under 40 Art & Design Vol 5, no. 3/4 1989
William Feaver - Character cats and shepherd's pie skies The Observer 22/10/1989
Marina Vaizey - British art finds a new freedom Sunday Times 29/10/1989
Sarah Kent - Back for Moores 20/20 Nov 1989
Robin Dutt - The Independent 26/1/ 1988
Allen Robertson - TimeOut Feb 3-10 1988
Matthew Collings - City Limits 4-11 Feb 1988
Mary Rose Beaumont - Arts Review 12/2/1988
Tony Godfrey - The Burlington Magazine April 1988
David Lovely - Something Solid Arts Review May 1988
Tony Godfrey - Classicism in painting today Art & Design June 1988
Lynne Cooke - Art International Autumn 1988
Higgins and Cohen - New British Painting Phaidon 1988
Peggy Cyphers - New York in review Arts Magazine Oct 1988
Marjorie Allthorpe-Guyton The Golden Thread? Catalogue essay, Harris Museum and Art Gallery, Preston, UK
John Roberts - Interference Artscribe sept/oct 1986
Greg Hilty and Kate Macfarlane - 'Interference' catalogue essays. publ. Riverside Studios, London 1986
LECTURING
1983-1996 Visiting lecturer at St Martins School of Art, Chelsea School of Art,Trent Polytechnic, Bath School of Art, Coventry Polytechnic, Royal College of Art, Goldsmith's College, Kingston Polytechnic, Central/St Martins, Camberwell, Ruskin Oxford, Glasgow School of Art, Monash University (Melbourne), University of Leeds, Sydney College, University of South Australia, Onkaparinga TAFE (South Australia).
1999-2000 Reading University, Wimbledon School of Art, University of Northumbria at Newcastle (upon-Tyne), Goldsmith's College, University of Western Sydney-Nepean, Sydney College of the Arts.
2001 University of Newcastle upon Tyne (UK), University of Newcastle (Australia).
2002 UTS Sydney, University of Newcastle, Australia. University of Westminster, UK.
2003 Brighton University, UK. Wimbledon School of Art, UK.
2004 UniversitŠt der KŸnste, FakultŠt Bildende Kunst, Institut fŸr Kunst im Kontext, Berlin.
2007 University of Northumbria, Newcastle upon Tyne, UK. 2007
2007 Visiting lecturer at Berkeley University of California; Pomona College, Claremont, Los Angeles and New York University (NYU), USA.
2007 University of Gwent, Wales; University of Derby, UK.
2008 Wimbledon School of Art, London; University of Brighton, UK; University of Westminster, UK.
AWARDS/GRANTS
2006 Arts Council England (Grant for Hexen 2039 curated by Tania Nasielski)
1999 National Digital Art Prize, Australia, 3rd prize.
1998 Australia Council, New Media Fund.
1998 Australian Film Commission, multimedia completion funding.
1997 Australia Council, New York studio residency (for 98/9).
1996 South Australian Department of Arts and Cultural Development. New Work grant.
1995 Australia Council, professional development grant.
1994 British Council, travel grant. Tokyo.
1994 South Australian Department of Arts and Cultural Development. New Work grant.
1992 British Council, travel grant, Australia.
1989 John Moores, Liverpool, 3rd prize.
WRITING
Ambient (male) identity Broadsheet, vol 26, no.4. Summer 1997/98
Dean Whitehorn, Catalogue essay, Experimental Art Foundation,Adelaide 1997
UK Es & Whizz Broadsheet, vol 25, no.1. Autumn 1996
White Hysteria - interview with Bala Starr, Broadsheet, vol 25, no.2 Winter 1996
Patricia Piccinini & Alison Main Mesh- Experimenta media arts journal #8/9 Autumn/Winter 1996
Bad Girls, ICA London, Artlink Autumn 1994
Monstrous Gorgeous, Artlink Vol 14 no.4 Summer 1994/5
Mehmet Adil, Broadsheet Vol 23 no.4 Summer 1994
Bodiless Bodies of Work, Richard Grayson Performance Space, Sydney,catalogue essay 1995
Alex Rizkalla Broadsheet,vol 24 ,no.2 Winter 1995
Japophile/Hi Tack, Broadsheet Vol.22 No.2. June 1993/Salient 1996
Belshazzar, Richard Grayson Post West catalogue (Adelaide)1992
Forensic, Broadsheet Vol. 21. No.3 Sept 1992
TV
PRESUMED INNOCENT-DISASTER Documentary by Heather Croall for "Carpet Burns" SBS Australia. Dec 1993
CONFERENCES
2000 'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', Next 1.0: New Extensions of Existing Technologies, Karlstad University, Sweden. Paper presented by Jyanni Steffensen.
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject' Verve at Artist's week, Telstra Adelaide Festival 2000, Ngapartji CMC. Paper presented by Jyanni Steffensen.
1999 Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety, School of Social, Political and Economic Sciences,University of Northumbria, Newcastle, UK. Paper presented by Jyanni Steffensen.
'Invading Ancestral Spaces through the Privileged Violence of Technology'futureScreen 99: AvAtArs | phantom agents dLux media arts at the Powerhouse Museum, Sydney. Paper presented by Jyanni Steffensen.
1994 Still Photography? International symposium on the transition from analog to digital imaging. University of Melbourne. Paper presented by myself.
CURATING
1997 Wardrobe Madlove Gallery, Adelaide; The Performance Space, Sydney; I.M.A. Brisbane; P.I.C.A. Perth.
1996 White Hysteria Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room) Cleveland project space,Lotta Hammer Gallery, London; ThePhysics Room, Christchurch, New Zealand.
1994 Flat Union Gallery, Adelaide University (with L.E.Young).By Invitation Only 2', Kinz, Tillou + Feigen, NY, USA
'Bad Year Blimp', Alma Enterprises, London, England
'The Disarmory Show', a dBfoundation project, 201 Mulberry Street, New York, USA
'Gegen den Strich' Bielefelder Kunstverein, Germany
2007
'Gegen den Strich' Kunstlerhaus Bethanien, Berlin, Germany
'How We May Be', Late at the Tate, Tate Britain, London, England
Jerwood Drawing Prize, Jerwood Gallery, London and UK tour
3Things (curated by Donald Smith) RUN Gallery, London, England
ARTIST MAKES VIDEO: art rage survey 1994-1998, art rage: artworks for television, DELL Gallery@QCA , Brisbane, Australia
'Annely Juda - A Celebration', Annely Juda Fine Art, London, England
FILE RIO (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, Centro Cultural da Oi Futuro, Rio de Janeiro, Brazil
2006
Flash on the Screen Basekamp space, Philadelphia, USA
DUSK by Raul Zamudio, (curatorial section of Digital Video Art Fair (DiVA)) Lummus Park, Ocean Drive, Miami Beach, FL, USA
Drawing from Turner Clore Gallery, Tate Britain, London, England
FILE 2006 (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil.
EN 2039" website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil
2005
The Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal, The Center for Art and Visual Culture, University of Maryland Baltimore County, USA and touring USA
http://www.umbc.edu/fineartsgallery/past_blur.html
NATO, project space at Annely Juda Fine Art, Frieze, London.
ICOLS Strategy Defense and Arms Fair The Performance Space, Sydney, Australia
Glasgow International ICOLS Strategy Defense and Arms Fair RISK, CCA, Glasgow, Scotland
ICOLS audio, finetuned, ETA Project Space, Hove, UK
10th Anniversary Exhibition, Mizuma Art Gallery, Tokyo, Japan
Don't Call it Performance Konceptkonstmuseum, Rydboholm, Sweden
Bodies Through Technology, Tompkins County Public Library, Ithaca, New York, USA.
Operation Swanlake, Transmediale.05 Haus der Kulturen der Welt, Berlin, Germany
2004
Don't Call it Performance Centro Andaluz de Arte Contempor‡neo,Seville, Spain; Domus Artium 2002 (DA2) Salamanca, Spain; El Museo del Barrio, New York, USA.
CITY OF WOMEN 10th International Festival of Contemporary Arts, Gallery Skuc, Ljubljana, Slovenia. http://www.cityofwomen-a.si/
ICOLS, Collectivity and critical collective/cooperative cultural action, Oliver Gallery, University of South Florida, Tampa FL USA.
ICOLS, Connect the Dots The LeRoy Neiman Gallery, Columbia University, New York, USA.
ICOLS Strategy Defense and Arms Fair, ferry between Helsinki, Stockholm, Mariehamn, Tallin, ISEA 2004.
Media Forum of the XXVI Moscow International Film Festival, ClubnaBrestskoj, Moscow, Russia.
PLANET B Das B-Movie in der zeitgenšssichen Kunst, Magazin4 Vorarlberger Kunstverein, KŸnstlerhaus Palais Thurn & Taxis, Bregenz, Austria. http://www.magazin4.at/ausstellung_sommer04.htm
Operation Swanlake, FILE 2004- festival internacional de linguagem eletr™nica, Sesi Gallery, S‹o Paulo, Brazil. http://www.file.org.br
Contact Zones, New World Gallery @ Radio Free Hamptons, Sag Harbor, New York, USA.
Digital Salon, The ART Mission, Binghamton, NY, USA.
Eurographics 2004, WTC, Grenoble, France.
Metis:Time/Beam me up ANU School of Art Gallery, Canberra, Australia.
Unframed, Standpoint Gallery, London.
Fly Utopia! transmediale.04, Haus der Kulturen der Welt, Berlin, Germany.
2003
Don't Call it Performance, Centro de Arte Reina Sof'a, Madrid;Centro Parraga, Murcia, Spain
New York Calling P.S.1 Australian Studio project, Long Island City, NY USA
Paradies (Paradise) MAIS V, Bunker under Alexanderplatz, Berlin, Germany
ICOLS AUDIO juniradio Berlin104.1 08.-30. juni http://www.juniradio.net
FILE 2003- festival internacional de linguagem eletr™nica, Museum of Image and Sound (MIS) S‹o Paulo, Brazil. http://www.file.org.br
wywh wish you were here, First Draft Gallery, Sydney, Australia
ICOLS How to be a perfect guest Sharjah International Biennial 6, Sharjah Art Museums and Expo Centre Sharjah, United Arab Emirates.
ICOLS Glasgow Event, Wasps Studios, Glasgow, Scotland.
ICOLS The Esplanade, Theatres on the Bay, Singapore.
2002
Gaze Travelling artroom - gallery suryun, Cologne, Germany
Connecting Principle Newcastle University UK http://www.ncl.ac.uk/connectingprinciple
ICOLS launch event, Museum of Contemporary Art, Sydney, Australiia.
(The World May Be) Fantastic, Biennale of Sydney, MCA Sydney, Australia. www.biennaleofsydney.com.au
Underwood Audio 2 (The Communist Manifesto, by Rosalind Brodsky and the Satellites of Lvov) & cd launch event Underwood St, London.
Irish Museum of Modern Art net.art exhibition
http://www.irishmuseumofmodernart.com/netart_open.htm
ICOLS in Art meets Archive Sydney State Records Centre, Sydney, Australia.
2001
LE NUMERIQUE : nouveau médium de l'art- From 01.10.01 to 01.11.01 Galerie de Pret d'oevres d'Art, Bruxelles, Belgium.
Penthouse and Pavement, Melbourne.
Model Citizen/No More Ice Cream (An ICOLS project with Bronia Iwanczak) Artspace, Sydney, http://www.artspace.org.au/ & images at: http://www.icols.org/pages/TreisterIwanczak/Creche.html
Disaster Tourism Rubyayre, Sydney.
New Releases (video) 4a Gallery, Sydney and tour.
2000
Electronic Art Festival, Cyberslag Foundation, Groningen, Netherlands. http://www.cyberslag.com
Gene spill, Imperial Slacks Gallery Sydney. http://ensemble.va.com.au/genespill
Spooky-Ghosts, Spirits and the Uncanny, Glen Eira City Gallery, Melbourne.
Chemistry, Art Gallery of South Australia, Adelaide.
PUSAN International Contemporary Art Festival, Metropolitan Museum of Art, Pusan,
South Korea.
Moving Image Festival, Youthworks shop window installation SALA 2000, Adelaide.
New Thinking is Rare, South Australian Touring Exhibition Program.
F I L E Festival internacional de linguagem eletrönica, Museum of Image and Sound (MIS) São Paulo, Brazil.
(Second place/offline) http://www.file.org.br
World Wide Video Festival, Amsterdam, Netherlands. http://www.wwvf.nl
The Noorderzon Festival, Groningen, Netherlands. http://www.xs4all.nl/~paleis/noorderzon/index.html
Sonar Festival/CD ROM a la carta, Carrer de les Flors 22, Barcelona.
Chip Melbourne International Film Festival.
Manifest/o, Zagreb, Croatia.
Festival of Independent Press, Museo de la Memoria, Tlaxcala, Mexico. http://www.prodigyweb.net.mx/fcr/index.html
LIVE-STOCK ram/fm, 72 hour audio event, ARC, Stockton on Tees, UK. http://www.live-stock.org
Urban Futures 2000 International Conference and Electronic Art Exhibition, Johannesburg University Art Gallery. http://sunsite.wits.ac.za/urbanfutures or http://www.wits.ac.za/urbanfutures/uf/index.htm
1999
Love and Consciousness, Artopiques Gallery, Paris, France.
Confined, HERE Gallery, New York, USA. (Presumed Innocent collaboration)
Sex and Consciousness, Artopiques Gallery, Paris, France.
WRO 99 - 7th International Media Art Biennale - Wroclaw, Poland.
21, Spacex, Exeter, UK.
National Digital Art Awards exhibition, Institute of Modern Art, Brisbane.
Women in Film and Television Festival (WIFT) Festival, Sydney.
Fusion, St Kilda Film Festival, Melbourne.
2nd International show of CD ROMs, Media Centre d'Art i Disseny, Barcelona. http://www.mecad.org
Contact Zones, Johnson Museum of Art, Cornell University, USA and travelling to Centro de la Imagen,Mexico City, Virginia film festival and touring US and Canada 2000-2001. http://contactzones.cit.cornell.edu/
Fast + Wide, Broadway Media Centre, Nottingham, U.K.
1998
Third International Video Summit Videomedeja, Kulturni Centar-Art Klub, Novog Sada, Yugoslavia.
ArtRage, ABC TV, Australia.
Interact (video screening)The Exhibition Centre, Melbourne.
Kino-Eye: Cybercities, Royal Palace, Antwerp, Belgium.
Xobject space, Dusseldorf, Germany.
corpoREAL, Tullie House, Carlisle, U.K.
Videonale 8, Bonn Kunstverein, Germany
Isea 98, The Tea Factory, Liverpool, U.K
Pandaemonium Festival, Lux Centre/Standpoint Gallery, London.
European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
National Digital Art Awards exhibition, I.M.A. Brisbane.
Prix Ars Electronica 98, Linz, Austria. http://www.aec.at
Underbelly, Cosmopolitan Cinema Complex, Adelaide.
Throw Down a Shape Supermild, sound event, Adelaide, Australia 4 November, 1998
The Plato Problem, University of S.A. Art Museum window (with Richard Grayson).
1997
Technoscience Hybrid Workspace, Documenta X, Kassel, Germany.
Wardrobe, Madlove Gallery, Adelaide and tour ('98).
Heteronymous (curated by, Achille Bonito Oliva and Anna Maria Nassisi) San Michele a Ripa, Rome, Italy.
Pass Go and other board games, The City Gallery, Leicester, U.K.
Time Travelling with Rosalind Brodsky, Internet project for Electronic Writing Research Ensemble @ http://www.ensemble.va.com.au/tableau/suzy/
On a Clear Day, European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
Thin Skin, The Performance Space, Sydney.
Imprint 93 and related ephemera, Norwich Gallery, Norwich, U.K.
Time Travelling with Rosalind Brodsky, Canberra Festival of Contemporary Arts.
1996
Artists' Week : Compost Telstra Adelaide Festival '96.
Foyer, Temporary space, Adelaide.
White Hysteria, Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room), Cleveland project space, London;The Physics Room, Christchurch, New Zealand.
ICA/Toshiba Art and Innovation Commission, shortlist exhibition, ICA, London.
On a Clear Day (CD ROM ,Website and publication project, curated by John Paul Bichard) ICA, London; Cambridge Darkroom; John Hansard Gallery, Southampton; First Site, Colchester; Focal Point, Southend; Oldham Art Gallery & Middlesborough Art Gallery. http://www.backspace.org/clearday/
Domestic Disturbances, Fifth Experimenta Media Arts Festival, National Gallery of Victoria, Melbourne, Noosa Regional Gallery and touring.
1995
It`s a Pleasure, Royal Festival Hall, London.
U.K. Wit and Excess, C.A.C. South Australia, A.C.C.A. Melbourne, Ivan Docherty, Sydney, I.M.A. Brisbane.
Street Gallery Mishima Ave shopping arcade festival, Sizuoka, Japan.
Frank Thing, Sym Choon Gallery, Adelaide.
Parallel Internet gallery and journal web project. http://www.va.com.au/parallel/x1/gallery
Weird Science, Australia Centre, Manila, Phillipines.
Technothelylogia, Monash University Gallery, Melbourne.
ROMulus and RAMbo-Body language in cyberspace, Canberra School of Art Gallery.
Pretext:Heteronyms, Rear Window, Clink St. Studios, London.
Contemporary Art Society market Royal Festival Hall, London.
1994
Flat, Union Gallery, University of Adelaide.
Whitechapel Open Whitechapel Art Gallery, London.
Presumed Innocent collaboration, Exeter Hotel, Adelaide.
Lead and Follow, Atlantis, London.
1993/5
New Voices - Jeunes Artistes Britanniques, Musee National d'Histoire et d'Art a Luxembourg; Centre d'Art Santa Monica Barcelona; Museo de Bellas Artes Bilbao; Centro Culturel Galileo Madrid; Sala de Veronicas, Murcia; Pescadera Viega Sala de Arte, Jerez; Kulturhistorisches Museum, Magdeborg, Germany.
1993
Hit and Run, A Presumed Innocent collaborative event, [RE] Gallery, Adelaide.
Moving into View - work from the Arts Council collection, Royal Festival Hall, London.
The return of the Cadavre Exquis, The Drawing Center, N.Y. U.S.A.
VITEA: A.I.P.#7, Fifth Sculpture Triennial, R.M.I.T. Faculty Gallery, Melbourne.
The Disaster Show, with Presumed Innocent, Union Gallery, Adelaide University.
Critical City project, domestic space, Adelaide.
1992-1997
"New Voices", British Council touring exhibition. Venues:
14/02/1997 MACEDONIA, SKOPJE, MUSEUM OF MODERN ART
04/12/1996 CZECH REPUBLIC, PRAGUE, CZECH MUSEUM OF FINE ARTS, THE HOUSE OF THE BLACK MADONNA
31/10/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK
05/08/1996 SLOVAKIA, BRATISLAVA, MIRBACHOV PALACE
29/05/1996 RUSSIA, NIZHNII NOVGOROD, KREMLIN MUSEUM
18/04/1996 RUSSIA, ST PETERSBURG, THE RUSSIAN MUSEUM
11/03/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK OF GREECE
19/02/1996 GREECE, ATHENS, ART HALLS OF THE CULTURAL CENTRE OF THE MUNICIPALITY OF ATHENS
11/01/1996 ROMANIA, BUCHAREST, NATIONAL THEATRE GALLERIES
12/10/1995 GERMANY, MAGDEBURG, KULTURHISTORISCHES MUSEUM
02/12/1994 SPAIN, JEREZ, SALA PESCADERIA VIEJA, AYUNTAMIENTO DE JEREZ
04/11/1994 SPAIN, MURCIA, VERONICAS, SALA DE EXPOSICIONES
05/07/1994 SPAIN, MADRID, CENTRO CULTURAL GALILEO
03/05/1994 SPAIN, BILBAO, MUSEO DE BELLAS ARTES DE BILBAO
10/03/1994 SPAIN, BARCELONA, CENTRE DE ART SANTA MONICA
29/11/1993 TURKEY, IZMIR, IZFAS GALLERY
18/10/1993 TURKEY, ANKARA, STATE FINE ARTS GALLERY
20/09/1993 TURKEY, ISTANBUL, ISTANBUL GREATER CITY MUNICIPALITY TAKSIM ART GALLERY
05/03/1993 LUXEMBOURG, MUSEE D'ART ET D'HISTOIRE
30/09/1992 BELGIUM, BRUSSELS, EEC PRESIDENCY EXHIBITION
23/09/1992 BELGIUM, BRUSSELS, LA BORSCHETTE
1992
Whitechapel Open, Whitechapel Art Gallery, London.
Blast from the Past, Minories Art Gallery, Colchester.
Walls 1, Union Gallery, Adelaide University.
20th Century Women's Art, New Hall College, University of Cambridge.
Scene of the Crime? APresumed Innocent collaborative installation, Post West, Adelaide.
EdwardTotah Gallery, London.
Nothing is {Hidden} (collaborative installation with Pamela Golden, Andrew Renton and LindaLevinson),
Rear Window, Lambs Conduit St, London. http://www.rear-window.org.uk/nothing_is_hidden.html
1991
A Painting Exhibition in Two Parts Todd Gallery, London.
1990
Decoy, Serpentine Gallery, London.
Global Art, Brent Gallery and Galleria, Houston, Texas.
London passim, Casa Veneta, Trieste.
Whitechapel Open, Whitechapel Art Gallery, London.
1989
XXI Festival International de la Peinture, Cagnes sur Mer , France.
Whitechapel Open, Whitechapel Art Gallery, London.
John Moores, Walker Art gallery, Liverpool (3rd prize).
1988
New Brits: Contemporary British and Scottish Painting The Contemporary Arts Center, Cincinnati, Ohio, and tour of USA Museums.
Object and Image: British Art in the 1980's City Museum and Art Gallery Stoke on Trent.
Figuring out the '80's, Laing Art Gallery, Newcastle upon Tyne.
Something solid, Cornerhouse Galley, Manchester.
Whitechapel Open, Whitechapel Art Gallery, London
4 London Artists, Nancy Hoffman Gallery, New York.
It's a still-life, Arts Council Collection, South Bank Centre, London and Tour.
1987
Edward Totah Gallery , London.
Edward Bates Gallery, Chicago.
1986
The Golden Thread? Classical Mythology in Contemporary Art, Harris Museum and Art Gallery, Preston, Milton Keynes Exhibition Gallery, Royal Albert Memorial Museum, Exeter, Bradford Art galleries and Museums, Bradford. 1986-87.
Love, Sacred and Profane, Plymouth Arts Centre and Stoke Museum.
Interference Riverside Studios, London.
Camden Annual, Camden Arts Centre, London.
4 British Artists, Edward Bates Gallery, Chicago, USA.
1985
Nature Morte, Edward Totah Gallery, London.
Open Exhibition Riverside Studios, London.
1984
Whitechapel Open, Whitechapel Art Gallery, London.
Galerie Davidson, Berlin. (2 person show)
Warwick Arts Trust, London.
1982-83
Images for Today, Touring exhibition sponsored by Sainsburys
1981
Stowells Trophy, Royal Academy, London.
COLLABORATIVE ORGANISATIONS
1991 Founder member of NIH (Nothing is {Hidden} ) London/NY based
1992 Founded PI (Presumed Innocent) Adelaide/NY based
2000 Founded The International Corporation of Lost Structures (ICOLS) http://www.icols.org
PUBLIC COLLECTIONS
Arts Council of England
Art Gallery of South Australia
Australian Centre for the Moving Image
AXA Collection
British Council
EMI Paris
Griffith University, Queensland
Leeds City Council
Leicester County Council
New Hall Cambridge
Tate Britain
Wolverhampton Art Gallery
International Libraries (cd rom collections):
Tate Britain, London
British Museum, London
UCLA, Santa Rosa Junior College, California, USA
University of Auckland
University of East London
Sydney College of the Arts
Rhodes University, South Africa
The Rose Golden Archive of New Media Art, The Division of Rare and Manuscript Collections, Carl A. Kroch Library Cornell University, Ithaca, NY, USA
L'Espace Multimédia Gantner, France
Fundacio Antoni Tapies Biblioteca, Barcelona
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Louise Nunn - At home in Adelaide Adelaide Advertiser Nov 19 1996
Catriona Murtagh - Dying for your sins Mesh Issue 10. Spring 1996
http:/www.peg.apc.org/~experimenta
Chris Chapman - Banana Creme, Wet Dream etc. Catalogue essay for Kitsch'n Shrink, Greenaway Gallery Adelaide 1996
Shiralee Saul - Domestic Disturbances catalogue essay, National Gallery of Victoria Melbourne,1996
Linda Carroli - The Castle as Interzone Broadsheet Vol 25 No4 Summer 1996/7
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Leah Kharibian - It's a Pleasure Royal Festival Hall catalogue and selected quotes,1995
Richard Grayson - Catalogue essay, Mizuma Art Gallery Tokyo, 1995
Sue Hubbard - It's a Pleasure TimeOut Feb 1-8 1995
Informer National The Face no.76 Jan 1995
Anne Brennan/June Mary Scott - Catalogue essays "U.K. Wit and Excess" CAC Adelaide 1995
anon - Weird Science The Manila Times 12.8.95
Zoe Soufoulis/Zara Stanhope - Technothelylogia catalogue essays, Monash University 1995
Francis Hagan - Artist profile Art + Tech (U.K.) 2.01 edition 1995
Sarah Kent - Pretext:Heteronyms TimeOut 22-29 Nov 1995
Stella Santacatterina - Art after Indifference Pretext:Heteronyms cat. essay, Rear Window publications(U.K.) 1995
Adrian Searle - Works for a complex age New Voices catalogue, British Council 1995
Mark Durden - Pretext:Heteronyms Art Monthly (U.K.) no.192 Dec/Jan 1995/6
Jenny McFarlane - ROMulus and RAMbo Photofile Nov 1995 no.46
Jyanni Steffensen - Parallel Gallery and Journal Photofile, Nov 1995 no.46
Anna Clabburn - Technothelylogia World Art 4/1995
Richard Grayson/Catherine Lumby - Catalogue essays for Q.Would you recognise a virtual paradise? CAC Adelaide, A.C.C.A. Melbourne. 1994
Steve Wigg - Impolite questions Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
AnneRobertson - Flat Agenda Issue 37, July 1994
Richard Grayson - Between the clues lies the evidence (Post West Gallery 1992) The Post West Book [Pub.+ Ed. Alan Cruickshank] Adelaide 1994
Stephanie Radok - Critical mass/city art/artists initiatives Artlink Vol 14 No 2 1994
Julianne Pierce - Selecting the morph tool Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Olga Spiegel - La Vanguardia 19 March 1994
Steve Wigg - Virtual history Artlink Vol 14 No 3,Spring 1994
John McEwen - Whitechapel Open Daily Telegraph 15 May 1994
Corina Mersch - Luxemburger Land No 13/2 April 1993
Brett Buttfield - Db Magazine (Adelaide) #49, 18-31 August 1993
Ken Bolton - Artist run alternatives Art + Australia Vol 31 No 2 1993
Jyanni Steffensen - Virtual(ly) real desire; Software Broadsheet (Adelaide) Vol 22 & No 3, Spring 1993
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
& in Salient: SA Visual Art 1992-95 Anthology, [Pub. + Ed. Alan Cruickshank] Adelaide Festival, 1996
Samuel Fessler - When canvas meets screen Hampstead & Highgate Express 14/2/1992
John McEwen - Sunday Telegraph 16/2/1992
Adrian Searle - TimeOut 19-26 Feb 1992
Charles Hall - Arts Review March 1992
Andrew Renton - Flash Art May/June 1992
Catherine Lumby - Art + Text 43 September 1992
Catherine Lumby - Artlink Vol 12 No 3 Spring 1992
Tony Godfrey - A British Painting for the 90's Art in America April 1991
Robert Collins/James Josephs - Catalogue essays, Edward Totah/Ikon Gallery catalogue 1990
Tom Lubbock - Independent on Sunday 1/4/1990
Sarah Kent - TimeOut April 18-25 1990
Mark Currah - City Limits May 3-10 1990
Nikkei Art June 1990
Andrea Schlieker - Decoy catalogue essay, Serpentine Gallery 1990
Sarah Kent - Decoy- Lie of the Land TimeOut May 2-9 1990
Rose Jennings - Nature Studies City Limits May 3-10 1990
William Feaver - Landscapes of the video age Sunday Observer 13/5/1990
Andrew Graham - Dixon Decoy at the Serpentine Gallery The Independent 15/5/1990
Tim Hilton - Nebulous Landscapes The Guardian 16/5/1990
Sue Hubbard - Bath contemporary art fair 20/20 May 1990
Susan Chadwick - The Houston Post 1/7/1990
Andrew Hoellering - Suzanne Treister, Spacex Exeter The Guardian 29/8/1990
Sotiris Kyriacou - Artscribe Sept/Oct 1990
Kazu Kaido - Ikebana Sogetsu Spring 1989
Carolyn Cohen - 40 under 40 Art & Design Vol 5, no. 3/4 1989
William Feaver - Character cats and shepherd's pie skies The Observer 22/10/1989
Marina Vaizey - British art finds a new freedom Sunday Times 29/10/1989
Sarah Kent - Back for Moores 20/20 Nov 1989
Robin Dutt - The Independent 26/1/ 1988
Allen Robertson - TimeOut Feb 3-10 1988
Matthew Collings - City Limits 4-11 Feb 1988
Mary Rose Beaumont - Arts Review 12/2/1988
Tony Godfrey - The Burlington Magazine April 1988
David Lovely - Something Solid Arts Review May 1988
Tony Godfrey - Classicism in painting today Art & Design June 1988
Lynne Cooke - Art International Autumn 1988
Higgins and Cohen - New British Painting Phaidon 1988
Peggy Cyphers - New York in review Arts Magazine Oct 1988
Marjorie Allthorpe-Guyton The Golden Thread? Catalogue essay, Harris Museum and Art Gallery, Preston, UK
John Roberts - Interference Artscribe sept/oct 1986
Greg Hilty and Kate Macfarlane - 'Interference' catalogue essays. publ. Riverside Studios, London 1986
LECTURING
1983-1996 Visiting lecturer at St Martins School of Art, Chelsea School of Art,Trent Polytechnic, Bath School of Art, Coventry Polytechnic, Royal College of Art, Goldsmith's College, Kingston Polytechnic, Central/St Martins, Camberwell, Ruskin Oxford, Glasgow School of Art, Monash University (Melbourne), University of Leeds, Sydney College, University of South Australia, Onkaparinga TAFE (South Australia).
1999-2000 Reading University, Wimbledon School of Art, University of Northumbria at Newcastle (upon-Tyne), Goldsmith's College, University of Western Sydney-Nepean, Sydney College of the Arts.
2001 University of Newcastle upon Tyne (UK), University of Newcastle (Australia).
2002 UTS Sydney, University of Newcastle, Australia. University of Westminster, UK.
2003 Brighton University, UK. Wimbledon School of Art, UK.
2004 UniversitŠt der KŸnste, FakultŠt Bildende Kunst, Institut fŸr Kunst im Kontext, Berlin.
2007 University of Northumbria, Newcastle upon Tyne, UK. 2007
2007 Visiting lecturer at Berkeley University of California; Pomona College, Claremont, Los Angeles and New York University (NYU), USA.
2007 University of Gwent, Wales; University of Derby, UK.
2008 Wimbledon School of Art, London; University of Brighton, UK; University of Westminster, UK.
AWARDS/GRANTS
2006 Arts Council England (Grant for Hexen 2039 curated by Tania Nasielski)
1999 National Digital Art Prize, Australia, 3rd prize.
1998 Australia Council, New Media Fund.
1998 Australian Film Commission, multimedia completion funding.
1997 Australia Council, New York studio residency (for 98/9).
1996 South Australian Department of Arts and Cultural Development. New Work grant.
1995 Australia Council, professional development grant.
1994 British Council, travel grant. Tokyo.
1994 South Australian Department of Arts and Cultural Development. New Work grant.
1992 British Council, travel grant, Australia.
1989 John Moores, Liverpool, 3rd prize.
WRITING
Ambient (male) identity Broadsheet, vol 26, no.4. Summer 1997/98
Dean Whitehorn, Catalogue essay, Experimental Art Foundation,Adelaide 1997
UK Es & Whizz Broadsheet, vol 25, no.1. Autumn 1996
White Hysteria - interview with Bala Starr, Broadsheet, vol 25, no.2 Winter 1996
Patricia Piccinini & Alison Main Mesh- Experimenta media arts journal #8/9 Autumn/Winter 1996
Bad Girls, ICA London, Artlink Autumn 1994
Monstrous Gorgeous, Artlink Vol 14 no.4 Summer 1994/5
Mehmet Adil, Broadsheet Vol 23 no.4 Summer 1994
Bodiless Bodies of Work, Richard Grayson Performance Space, Sydney,catalogue essay 1995
Alex Rizkalla Broadsheet,vol 24 ,no.2 Winter 1995
Japophile/Hi Tack, Broadsheet Vol.22 No.2. June 1993/Salient 1996
Belshazzar, Richard Grayson Post West catalogue (Adelaide)1992
Forensic, Broadsheet Vol. 21. No.3 Sept 1992
TV
PRESUMED INNOCENT-DISASTER Documentary by Heather Croall for "Carpet Burns" SBS Australia. Dec 1993
CONFERENCES
2000 'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', Next 1.0: New Extensions of Existing Technologies, Karlstad University, Sweden. Paper presented by Jyanni Steffensen.
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject' Verve at Artist's week, Telstra Adelaide Festival 2000, Ngapartji CMC. Paper presented by Jyanni Steffensen.
1999 Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety, School of Social, Political and Economic Sciences,University of Northumbria, Newcastle, UK. Paper presented by Jyanni Steffensen.
'Invading Ancestral Spaces through the Privileged Violence of Technology'futureScreen 99: AvAtArs | phantom agents dLux media arts at the Powerhouse Museum, Sydney. Paper presented by Jyanni Steffensen.
1994 Still Photography? International symposium on the transition from analog to digital imaging. University of Melbourne. Paper presented by myself.
CURATING
1997 Wardrobe Madlove Gallery, Adelaide; The Performance Space, Sydney; I.M.A. Brisbane; P.I.C.A. Perth.
1996 White Hysteria Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room) Cleveland project space,Lotta Hammer Gallery, London; ThePhysics Room, Christchurch, New Zealand.
1994 Flat Union Gallery, Adelaide University (with L.E.Young).
EDUCATION
1977-78
—Brighton Polytechnic
1978-81
—St Martins School of Art, BA Hons
1981-82
—Chelsea School of Art, MA
SOLO EXHIBITIONS
2009
—MTB (Military Training Base), Alma Enterprises, London
2008
—'NATO' Black Dog Publishing, London, UK
—Annely Juda Fine Art, London, England
—Galerie Lorenz, Frankfurt, Germany
—Alchemy P•P•O•W Gallery, New York, NY
—HEXEN 2039 Kunstverein Langenhagen, Germany
2007
—HEXEN 2039 Skolska 28, Prague, Czech Republic http://www.skolska28.cz/
—HEXEN 2039 New Art Gallery Walsall, UK
—HEXEN 2039 Book launch and screening, City Lights, San Francisco, USA
—HEXEN 2039 Screening, Star and Shadow Cinema, Newcastle upon Tyne, UK
2006
—HEXEN2039 Multi-venue project across London. Installation: CHELSEA space; Screening: Warburg Institute; Interverventions: Ognisko Polskie, Science Museum, British Museum; Event: Dana Centre and the internet. Funded by Arts Council of England.
—VESNA (video installation) Commission for 'Art under construction: the Balkans in context', City Atrium,Social Sciences Building, City University, London, England
2004
—Operation Swanlake, Annely Juda Fine Art, London, England.
—Kunstlerhaus Bethanien, Berlin, Germany.
—MOP project space, Sydney, Australia.
2001
—Rosalind Brodsky Music case history. Briefcase project, Hollywood Hotel + mobile, Sydney
2000
—Sightings/Archives from the Institute of Militronics and Advanced Time Interventionality Digimatter/Grey Matter, Sydney
—Sightings, Greenaway Gallery, Adelaide
1999
—Odyssey (an investigation into the lives of Rosalind Brodsky and Pope Alice) Institute of Modern Art, Brisbane
—No Other Symptoms - Time Travelling with Rosalind Brodsky (CD ROM and video installation) Artspace, Sydney.
—No Other Symptoms - Time Travelling with Rosalind Brodsky CD ROM - Launch event with performance (involving Richard Grayson, Susan Hiller, Pauline van Mourik Broekman, Elaine Pyke and James Flint) and Ghosts of Maresfield Gardens video installation, Freud Museum, London, England.
1997
—Dying for your sins (CD ROM) Australian Centre for Contemporary Art, Melbourne.
1996
—The Tannery-project space, London, England.
—Dying for your sins (CD ROM Installation) Institute of Modern Art, Brisbane.
—Kitsch'n Shrink Greenaway Gallery, Adelaide.
1995
—Mizuma Art Gallery, Tokyo.
1994
—Q.Would you recognise a Virtual Paradise?and other paintings Contemporary Art Centre of South Australia.
—Q.Would you recognise a Virtual Paradise? Australian Centre for Contemporary Art, Melbourne.
1993
—Q.Would you recognise a Virtual Paradise? Exeter Hotel, Adelaide.
—Recorded Evidence:Prosthetic Speech [RE] Gallery, Adelaide.
—Software Union Gallery, University of Adelaide .
1992
Edward Totah Gallery, London.
—Between the Clues lies the Evidence, PostWest, Adelaide.
1990
—Edward Totah Gallery, London.
—Kerlin Gallery, Dublin.
—Ikon Gallery, Birmingham: Major Arts Council touring exhibition
Traveled to:
—Spacex
—Exeter
—Oldham Art Gallery
—The Minories
—Colchester
—Darlington Arts Centre
—Nottingham Castle Art Gallery
1988
—Edward Totah Gallery, London.
1985
—Edward Totah Gallery, London.
GROUP EXHIBITIONS
2010
—Making Ships in Bottles, Café Gallery, Centre of Southwark Park, London
2009
—Planet of Signs, Le Plateau Art Center, Paris, France
—Reinventing Ritual: Contemporary Art and Design for Jewish Life, The Jewish Museum, Manhattan, NY
2008
—By Invitation Only 2, Kinz, Tillou + Feigen, NY, USA
—Bad Year Blimp, Alma Enterprises, London, England
—The Disarmory Show, a dBfoundation project, 201 Mulberry Street, New York, USA
—Gegen den Strich, Bielefelder Kunstverein, Germany
2007
—Gegen den Strich, Kunstlerhaus Bethanien, Berlin, Germany
—How We May Be, Late at the Tate, Tate Britain, London, England
—Jerwood Drawing Prize, Jerwood Gallery, London and UK tour
—3Things (curated by Donald Smith) RUN Gallery, London, England
—ARTIST MAKES VIDEO: art rage survey 1994-1998, art rage: artworks for television, DELL Gallery@QCA , Brisbane, Australia
—Annely Juda - A Celebration, Annely Juda Fine Art, London, England
—FILE RIO (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, Centro Cultural da Oi Futuro, Rio de Janeiro, Brazil
2006
—Flash on the Screen Basekamp space, Philadelphia, USA
—DUSK by Raul Zamudio, (curatorial section of Digital Video Art Fair (DiVA)) Lummus Park, Ocean Drive, Miami Beach, FL, USA
—Drawing from Turner Clore Gallery, Tate Britain, London, England
—FILE 2006 (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil.
—EN 2039" website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil
2005
—The Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal, The Center for Art and Visual Culture, University of Maryland Baltimore County, USA and touring USA
—NATO, project space at Annely Juda Fine Art, Frieze, London.
—ICOLS Strategy Defense and Arms Fair The Performance Space, Sydney, Australia
—Glasgow International ICOLS Strategy Defense and Arms Fair RISK, CCA, Glasgow, Scotland
—ICOLS audio, finetuned, ETA Project Space, Hove, UK
—10th Anniversary Exhibition, Mizuma Art Gallery, Tokyo, Japan
—Don't Call it Performance Konceptkonstmuseum, Rydboholm, Sweden
—Bodies Through Technology, Tompkins County Public Library, Ithaca, New York, USA.
—Operation Swanlake, Transmediale.05 Haus der Kulturen der Welt, Berlin, Germany
2004
—Don't Call it Performance Centro Andaluz de Arte Contempor‡neo,Seville, Spain; Domus Artium 2002 (DA2) Salamanca, Spain; El Museo del Barrio, New York, USA
—CITY OF WOMEN 10th International Festival of Contemporary Arts, Gallery Skuc, Ljubljana, Slovenia
—ICOLS, Collectivity and critical collective/cooperative cultural action, Oliver Gallery, University of South Florida, Tampa FL USA.
—ICOLS, Connect the Dots The LeRoy Neiman Gallery, Columbia University, New York, USA.
—ICOLS Strategy Defense and Arms Fair, ferry between Helsinki, Stockholm, Mariehamn, Tallin, ISEA 2004.
—Media Forum of the XXVI Moscow International Film Festival, ClubnaBrestskoj, Moscow, Russia.
—PLANET B Das B-Movie in der zeitgenšssichen Kunst, Magazin4 Vorarlberger Kunstverein, KŸnstlerhaus Palais Thurn & Taxis, Bregenz, Austria
—Operation Swanlake, FILE 2004- festival internacional de linguagem eletr™nica, Sesi Gallery, S‹o Paulo, Brazil
—Contact Zones, New World Gallery @ Radio Free Hamptons, Sag Harbor, New York, USA.
—Digital Salon, The ART Mission, Binghamton, NY, USA.
—Eurographics 2004, WTC, Grenoble, France.
—Metis:Time/Beam me up ANU School of Art Gallery, Canberra, Australia.
—Unframed, Standpoint Gallery, London.
—Fly Utopia! transmediale.04, Haus der Kulturen der Welt, Berlin, Germany.
2003
—Don't Call it Performance, Centro de Arte Reina Sof'a, Madrid
Traveled to:
—Centro Parraga, Murcia, Spain
—New York Calling P.S.1 Australian Studio project, Long Island City, NY USA
—Paradies (Paradise) MAIS V, Bunker under Alexanderplatz, Berlin, Germany
—ICOLS AUDIO juniradio Berlin104.1 08.-30. juni
—FILE 2003- festival internacional de linguagem eletr™nica, Museum of Image and Sound (MIS) S‹o Paulo, Brazil
—wywh wish you were here, First Draft Gallery, Sydney, Australia
—ICOLS How to be a perfect guest Sharjah International Biennial 6, Sharjah Art Museums and Expo Centre Sharjah, United Arab Emirates.
—ICOLS Glasgow Event, Wasps Studios, Glasgow, Scotland.
—ICOLS The Esplanade, Theatres on the Bay, Singapore.
2002
—Gaze Travelling artroom - gallery suryun, Cologne, Germany
—Connecting Principle Newcastle University UK
—ICOLS launch event, Museum of Contemporary Art, Sydney, Australiia.
—(The World May Be) Fantastic, Biennale of Sydney, MCA Sydney, Australia.
—Underwood Audio 2 (The Communist Manifesto, by Rosalind Brodsky and the Satellites of Lvov) & cd launch event Underwood St, London.
—Irish Museum of Modern Art net.art exhibition
—ICOLS in Art meets Archive Sydney State Records Centre, Sydney, Australia.
2001
—LE NUMERIQUE : nouveau médium de l'art- From 01.10.01 to 01.11.01 Galerie de Pret d'oevres d'Art, Bruxelles, Belgium.
—Penthouse and Pavement, Melbourne.
—Model Citizen/No More Ice Cream (An ICOLS project with Bronia Iwanczak) Artspace, Sydney
—Disaster Tourism Rubyayre, Sydney.
—New Releases (video) 4a Gallery, Sydney and tour.
2000
—Electronic Art Festival, Cyberslag Foundation, Groningen, Netherlands
—Gene spill, Imperial Slacks Gallery Sydney
—Spooky-Ghosts, Spirits and the Uncanny, Glen Eira City Gallery, Melbourne.
—Chemistry, Art Gallery of South Australia, Adelaide.
—PUSAN International Contemporary Art Festival, Metropolitan Museum of Art, Pusan, South Korea.
—Moving Image Festival, Youthworks shop window installation SALA 2000, Adelaide.
—New Thinking is Rare, South Australian Touring Exhibition Program.
—F I L E Festival internacional de linguagem eletrönica, Museum of Image and Sound (MIS) São Paulo, Brazil
—World Wide Video Festival, Amsterdam, Netherlands
—The Noorderzon Festival, Groningen, Netherlands. http
—Sonar Festival/CD ROM a la carta, Carrer de les Flors 22, Barcelona
—Chip Melbourne International Film Festival
—Manifest/o, Zagreb, Croatia.
—Festival of Independent Press, Museo de la Memoria, Tlaxcala, Mexico.
—LIVE-STOCK ram/fm, 72 hour audio event, ARC, Stockton on Tees, UK.
—Urban Futures 2000 International Conference and Electronic Art Exhibition, Johannesburg University Art Gallery
1999
—Love and Consciousness, Artopiques Gallery, Paris, France.
—Confined, HERE Gallery, New York, USA. (Presumed Innocent collaboration)
—Sex and Consciousness, Artopiques Gallery, Paris, France.
—WRO 99 - 7th International Media Art Biennale - Wroclaw, Poland.
—21, Spacex, Exeter, UK.
—National Digital Art Awards exhibition, Institute of Modern Art, Brisbane.
—Women in Film and Television Festival (WIFT) Festival, Sydney.
—Fusion, St Kilda Film Festival, Melbourne.
—2nd International show of CD ROMs, Media Centre d'Art i Disseny, Barcelona.
—Contact Zones, Johnson Museum of Art, Cornell University, USA and travelling to Centro de la Imagen,Mexico City, Virginia film festival and touring US and Canada 2000-2001.
—Fast + Wide, Broadway Media Centre, Nottingham, U.K.
1998
—Third International Video Summit Videomedeja, Kulturni Centar-Art Klub, —Novog Sada, Yugoslavia.
—ArtRage, ABC TV, Australia.
—Interact (video screening)The Exhibition Centre, Melbourne.
—Kino-Eye: Cybercities, Royal Palace, Antwerp, Belgium.
—Xobject space, Dusseldorf, Germany.
—corpoREAL, Tullie House, Carlisle, U.K.
—Videonale 8, Bonn Kunstverein, Germany
—Isea 98, The Tea Factory, Liverpool, U.K
—Pandaemonium Festival, Lux Centre/Standpoint Gallery, London.
—European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
—National Digital Art Awards exhibition, I.M.A. Brisbane.
—Prix Ars Electronica 98, Linz, Austria. http://www.aec.at
—Underbelly, Cosmopolitan Cinema Complex, Adelaide.
—Throw Down a Shape Supermild, sound event, Adelaide, Australia 4 November, 1998
—The Plato Problem, University of S.A. Art Museum window (with Richard Grayson).
1997
—Technoscience Hybrid Workspace, Documenta X, Kassel, Germany.
—Wardrobe, Madlove Gallery, Adelaide and tour ('98).
—Heteronymous (curated by, Achille Bonito Oliva and Anna Maria Nassisi) San Michele a Ripa, Rome, Italy.
—Pass Go and other board games, The City Gallery, Leicester, U.K.
—Time Travelling with Rosalind Brodsky, Internet project for Electronic Writing —Research Ensemble @ http://www.ensemble.va.com.au/tableau/suzy/
—On a Clear Day, European Media Art Festival, Osnabrück, Germany
—Thin Skin, The Performance Space, Sydney.
—Imprint 93 and related ephemera, Norwich Gallery, Norwich, U.K.
—Time Travelling with Rosalind Brodsky, Canberra Festival of Contemporary Arts.
1996
—Artists' Week : Compost Telstra Adelaide Festival '96.
—Foyer, Temporary space, Adelaide.
—White Hysteria, Contemporary Art Centre of South Australia; Stripp, Melbourne.
—White Hysteria(waiting room), Cleveland project space, London;The Physics —Room, Christchurch, New Zealand.
—ICA/Toshiba Art and Innovation Commission, shortlist exhibition, ICA, London.
—On a Clear Day (CD ROM ,Website and publication project, curated by John Paul Bichard) ICA, London; Cambridge Darkroom; John Hansard Gallery, Southampton; First Site, Colchester; Focal Point, Southend; Oldham Art Gallery & Middlesborough Art Gallery
—Domestic Disturbances, Fifth Experimenta Media Arts Festival, National Gallery of Victoria, Melbourne, Noosa Regional Gallery and touring.
1995
—It`s a Pleasure, Royal Festival Hall, London.
—U.K. Wit and Excess, C.A.C. South Australia, A.C.C.A. Melbourne, Ivan Docherty, Sydney, I.M.A. Brisbane.
—Street Gallery Mishima Ave shopping arcade festival, Sizuoka, Japan.
—Frank Thing, Sym Choon Gallery, Adelaide.
—Parallel Internet gallery and journal web project. http://www.va.com.au/parallel/x1/gallery
—Weird Science, Australia Centre, Manila, Phillipines.
—Technothelylogia, Monash University Gallery, Melbourne.
—ROMulus and RAMbo-Body language in cyberspace, Canberra School of Art Gallery.
—Pretext:Heteronyms, Rear Window, Clink St. Studios, London.
—Contemporary Art Society market Royal Festival Hall, London.
1994
—Flat, Union Gallery, University of Adelaide.
—Whitechapel Open Whitechapel Art Gallery, London.
—Presumed Innocent collaboration, Exeter Hotel, Adelaide.
—Lead and Follow, Atlantis, London.
1993/5
—New Voices - Jeunes Artistes Britanniques, Musee National d'Histoire et d'Art a Luxembourg; Centre d'Art Santa Monica Barcelona; Museo de Bellas Artes Bilbao; Centro Culturel Galileo Madrid; Sala de Veronicas, Murcia; Pescadera Viega Sala de Arte, Jerez; Kulturhistorisches Museum, Magdeborg, Germany.
1993
—Hit and Run, A Presumed Innocent collaborative event, [RE] Gallery, Adelaide.
—Moving into View - work from the Arts Council collection, Royal Festival Hall, London.
—The return of the Cadavre Exquis, The Drawing Center, N.Y. U.S.A.
—VITEA: A.I.P.#7, Fifth Sculpture Triennial, R.M.I.T. Faculty Gallery, Melbourne.
—The Disaster Show, with Presumed Innocent, Union Gallery, Adelaide University.
—Critical City project, domestic space, Adelaide.
1992-1997
—"New Voices", British Council touring exhibition. Venues:
—14/02/1997 MACEDONIA, SKOPJE, MUSEUM OF MODERN ART
—04/12/1996 CZECH REPUBLIC, PRAGUE, CZECH MUSEUM OF FINE ARTS, —THE HOUSE OF THE BLACK MADONNA
—31/10/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK
05/08/1996 SLOVAKIA, BRATISLAVA, MIRBACHOV PALACE
29/05/1996 RUSSIA, NIZHNII NOVGOROD, KREMLIN MUSEUM
18/04/1996 RUSSIA, ST PETERSBURG, THE RUSSIAN MUSEUM
11/03/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK OF GREECE
19/02/1996 GREECE, ATHENS, ART HALLS OF THE CULTURAL CENTRE OF THE MUNICIPALITY OF ATHENS
11/01/1996 ROMANIA, BUCHAREST, NATIONAL THEATRE GALLERIES
12/10/1995 GERMANY, MAGDEBURG, KULTURHISTORISCHES MUSEUM
02/12/1994 SPAIN, JEREZ, SALA PESCADERIA VIEJA, AYUNTAMIENTO DE JEREZ
04/11/1994 SPAIN, MURCIA, VERONICAS, SALA DE EXPOSICIONES
05/07/1994 SPAIN, MADRID, CENTRO CULTURAL GALILEO
03/05/1994 SPAIN, BILBAO, MUSEO DE BELLAS ARTES DE BILBAO
10/03/1994 SPAIN, BARCELONA, CENTRE DE ART SANTA MONICA
29/11/1993 TURKEY, IZMIR, IZFAS GALLERY
18/10/1993 TURKEY, ANKARA, STATE FINE ARTS GALLERY
20/09/1993 TURKEY, ISTANBUL, ISTANBUL GREATER CITY MUNICIPALITY TAKSIM ART GALLERY
05/03/1993 LUXEMBOURG, MUSEE D'ART ET D'HISTOIRE
30/09/1992 BELGIUM, BRUSSELS, EEC PRESIDENCY EXHIBITION
23/09/1992 BELGIUM, BRUSSELS, LA BORSCHETTE
1992
Whitechapel Open, Whitechapel Art Gallery, London.
Blast from the Past, Minories Art Gallery, Colchester.
Walls 1, Union Gallery, Adelaide University.
20th Century Women's Art, New Hall College, University of Cambridge.
Scene of the Crime? APresumed Innocent collaborative installation, Post West, Adelaide.
EdwardTotah Gallery, London.
Nothing is {Hidden} (collaborative installation with Pamela Golden, Andrew Renton and LindaLevinson),
Rear Window, Lambs Conduit St, London. http://www.rear-window.org.uk/nothing_is_hidden.html
1991
A Painting Exhibition in Two Parts Todd Gallery, London.
1990
Decoy, Serpentine Gallery, London.
Global Art, Brent Gallery and Galleria, Houston, Texas.
London passim, Casa Veneta, Trieste.
Whitechapel Open, Whitechapel Art Gallery, London.
1989
XXI Festival International de la Peinture, Cagnes sur Mer , France.
Whitechapel Open, Whitechapel Art Gallery, London.
John Moores, Walker Art gallery, Liverpool (3rd prize).
1988
New Brits: Contemporary British and Scottish Painting The Contemporary Arts Center, Cincinnati, Ohio, and tour of USA Museums.
Object and Image: British Art in the 1980's City Museum and Art Gallery Stoke on Trent.
Figuring out the '80's, Laing Art Gallery, Newcastle upon Tyne.
Something solid, Cornerhouse Galley, Manchester.
Whitechapel Open, Whitechapel Art Gallery, London
4 London Artists, Nancy Hoffman Gallery, New York.
It's a still-life, Arts Council Collection, South Bank Centre, London and Tour.
1987
Edward Totah Gallery , London.
Edward Bates Gallery, Chicago.
1986
The Golden Thread? Classical Mythology in Contemporary Art, Harris Museum and Art Gallery, Preston, Milton Keynes Exhibition Gallery, Royal Albert Memorial Museum, Exeter, Bradford Art galleries and Museums, Bradford. 1986-87.
Love, Sacred and Profane, Plymouth Arts Centre and Stoke Museum.
Interference Riverside Studios, London.
Camden Annual, Camden Arts Centre, London.
4 British Artists, Edward Bates Gallery, Chicago, USA.
1985
Nature Morte, Edward Totah Gallery, London.
Open Exhibition Riverside Studios, London.
1984
Whitechapel Open, Whitechapel Art Gallery, London.
Galerie Davidson, Berlin. (2 person show)
Warwick Arts Trust, London.
1982-83
Images for Today, Touring exhibition sponsored by Sainsburys
1981
Stowells Trophy, Royal Academy, London.
COLLABORATIVE ORGANISATIONS
1991 Founder member of NIH (Nothing is {Hidden} ) London/NY based
1992 Founded PI (Presumed Innocent) Adelaide/NY based
2000 Founded The International Corporation of Lost Structures (ICOLS) http://www.icols.org
PUBLIC COLLECTIONS
Arts Council of England
Art Gallery of South Australia
Australian Centre for the Moving Image
AXA Collection
British Council
EMI Paris
Griffith University, Queensland
Leeds City Council
Leicester County Council
New Hall Cambridge
Tate Britain
Wolverhampton Art Gallery
International Libraries (cd rom collections):
Tate Britain, London
British Museum, London
UCLA, Santa Rosa Junior College, California, USA
University of Auckland
University of East London
Sydney College of the Arts
Rhodes University, South Africa
The Rose Golden Archive of New Media Art, The Division of Rare and Manuscript Collections, Carl A. Kroch Library Cornell University, Ithaca, NY, USA
L'Espace Multimédia Gantner, France
Fundacio Antoni Tapies Biblioteca, Barcelona
BIBLIOGRAPHY
Daniel Soar, 'NATO: The Military Codification System for the Ordering of Everything in the World', London Review of Books, 6 Nov 2008
Eve Sullivan, 'NATO: The Military Codification System for the Ordering of Everything in the World', Contemporary, Issue 97, 2008
Jorn Ebner, 'Suzanne Treister at Annely Juda London', Frankfurter Allgemeine, 4 Oct 2008
Albert Mobilio, 'NATO: The Military Codification System for the Ordering of Everything in the World', Bookforum, Sept/Oct/Nov 2008
Inke Arns, 'Radar: Inke Arns Ÿber Suzanne Treister', ART das kunstmagazin, 15 Sept 2008 http://www.art-magazin.de/kunst/10402/radar
Suzanne Treister 3 Projects - catalogue, publ. Annely Juda Fine Art, with essay by Richard Grayson
'NATO The Military Codification System for the Ordering of Everything in the World' Suzanne Treister
with essay by Marek Kohn. Black Dog Publishing Ltd, London
'ICOLS department of Future Projections' - artist page, Futures Magazine, 2007
Tony Ozuna, Connect the dots Ð In a blending of fact and fantasy, lessons for a troubled age (Hexen 2039 at Skolska 28) Prague Post Oct 1 2007 http://www.praguepost.com/articles/2007/09/26/connect-the-dots.php
Christoph Tannert, Valeria Schulte-Fischedick, Christian Schindler 'Gegen den Strich', catalogue publ. KŸnstlerhaus Bethanien, 2007
Tom Lubbock, '5 Best Exhibitions' Suzanne Treister, Hexen 2039 New Art Gallery Walsall,The Independent, 28th June 2007
Annely Juda - A Celebration, Annely Juda Fine Art, London, 2007
VESNA artist pages, The Balkans - special issue, Third Text, 85, Vol 21, Issue 2, March 2007
Suzanne Treister, chapter in: 'Videogames and Art', Ed. Andy Clarke, Grethe Mitchell, Publ. Intellect Books, UK and University of Chicago Press, 2007
Dan Smith, 'Unnatural Histories' Art Monthly, No 304, March 2007
Jonathan Griffin, 'Suzanne Treister Hexen 2039' Frieze, issue 105, March 2007
Sherman Sam, 'Suzanne Treister Hexen 2039' The Brooklyn Rail, February 2007 and online at http://www.brooklynrail.org/
Eve Sullivan 'Suzanne Treister: Hexen 2039', Contemporary, no 90, 2007
Gabriel Coxhead 'Digital Art- Infinite Editions' Ftmagazine/Financial Times, January 27/28 2007
Cameron Bain 'Scrying Stranger Aeons', Mute, 16 Jan 2007 http://www.metamute.org/en/Scrying-Stranger-Aeons
Raimundas Malasauskas, 'Looking back/ most significant solo shows of 2006 (Suzanne Treister Hexen 2039)', Frieze, Issue 104, January-February 2007
Louisa Buck 'Hexen 2039 - Warburg Screening' The Art Newspaper London Diary Volume XV, No. 175, December 2006
David Barrett 'Suzanne Treister, Chelsea Space' Art Monthly No 302 Dec-Jan 06-07
Helen Sumpter 'HEXEN 2039' TimeOut, November 15-22 2006
'HEXEN 2039 new military-occult technologies for psychological warfare', Black Dog Publishing, London, 2006
(with essay 'Waiting for the Gift of Sound and Vision' by Richard Grayson)
'Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal' Essays by Lynne Tillman, Marina Warner, Mark Alice Durant and Jane D. Marsching. Publ. Center for Art and Visual Culture, University of Maryland Baltimore County USA. Dist. DAP New York 2006
Artists page (NATO) Mister Motley, Magazine over Kunst, Amsterdam, nummer 9 Ð 'idealen!' 2006
Suzanne Treister, 'From Fictional Video Game Stills to Time Travelling with Rosalind Brodsky 1991-2005' Journal of Media Practice, Intellect Books, Vol 7 Number 1 2006
Modern Art: A Critical Introduction 2nd edition, Pam Meecham & Julie Sheldon, Publ. Routledge London 2005
Paco Barragan, Roselee Goldberg, Coco Fusco - No lo Llames Performance/DonÕt call it Performance Exhibition cat.Publ. Fundacion Salamanca Ciudad de Cultura & El Museo del Barrio, New York 2004
Bettina Knaup, Sabina Potocki with essay by Katy Deepwell, Mesto Zensk/City of Women catalogue, Ljubljana, Slovenia, 2004
Paul Brown - Operation Swanlake RealTime No 63 2004 www.realtimearts.net
PLANET B Die €sthetik des B-movies in der zeitgenšssischen Kunst. Catalogue, dist, www.revolver-books.de 2004
Artist pages n.paradoxa Volume 14 - Dreams of the Future, July 2004
Jean Wainwright - Operation Swanlake Art Monthly (UK) No 278 July - August 2004
Rebecca Geldard - Operation Swanlake TimeOut No. 1765 June 16-23 2004
Operation Swanlake - poster/cat, Annely Juda Fine Art, London, UK 2004
Merryn Gates - Metis time:04 catalogue, publ. Canberra Contemporary Art Space, 2004
Kathy Rae Huffman 'Science by Artists', Publisher: Cornerhouse Publications, Nov 2004
Pam Skelton - Unframed: the Practices and Politics of Women Painting ed. Rosemary Betterton, Publ. IB Taurus, London, 2003
Michael Duncan - Self created worlds Art in America Oct 2002
Jeff Gibson - Biennale of Sydney Artforum Fall 2002
Alexie Glass - Fantastic Voyage Monument No. 47 April/May 2002
Andrew Frost - Sydney Biennale a-z definitive guide Metaphysics, Pataphysics, Astrophysics, Literature, History, Jazz etc Australian Style No 62 May 2002
Michael Smith - of fakes and UFOs, artists and aliens The Drum Media 21 May 2002
Samantha Selinger-Morris - In your dreams HQ May 2002
Bruce James - Why the Biennale is a bit of a miracle Sydney Morning Herald 17.5.2002
Rachel Withers - Sydney Biennale diary Artforum online http://www.artforum.com/diary/id=2853 May 2002
Fietta Jarque - El capital siempre determina a las biendes El Pais 16.2.2002
Michael Bodey - A conspiracy to open our minds Daily Telegraph 13.3.2002
Flash Art (Italy) A Sydney apre la Biennale: la finzione a di scena April/May 2002
Simon Rees - 2002 Biennale of Sydney Flash Art No 225 July/Sept 2002
Sharon Verghis - Stand by for BiennaleÕs showcase of the strange Sydney Morning Herald 13.3.2002
Benjamin Genocchio - As good as a wink The Weekend Australian 25/26.5.2002
Jennifer Sexton - Odds favour unreal event The Australian 13.3.2002
Victoria Hynes - Really Fantastic Ð Intrigue, ingenuity and eccentricity Sydney Morning Herald 11.5.2002
Jennifer Sexton - Purely personal The Weekend Australian-Review 11/12.5.2002
Gene Autry - Aliens stole my biennale Art Monthly (Australia) no. 150 June 2002
Hannah Fink - Fabulous-Biennale of Sydney Art Monthly (Australia) no. 151 July 2002
Courtney Kidd - (The world may be) fantastic! State of the Arts www.stateart.com.au May-Aug 2002
Sotiris Kyriacou - Biennale of Sydney Contemporary June,July,Aug 2002
Various writers Critical Interventions-Biennale of Sydney 2002 Publ. Artspace Sydney 2002
Sasha Grishin - Biennale of Sydney Canberra Times 10.6.2002
Richard Grayson - Grasshopper Worlds 2002 Biennale of Sydney catalogue
Marek Kohn - Bizarre New World (artist essay) 2002 Biennale of Sydney catalogue
John McPhee - Art is the prize for raiders of the state archives Sydney Morning Herald 8.5.2002
Victoria Hynes - Critic's picks ICOLS [Art meets Archive] Sydney Morning Herald 7/6/2002
Alex Gawronsky - Model Citizen-Artspace Broadsheet Vol 31 no1 Autumn 2002
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', chapter by Jyanni Steffensen in:
_Reload_Rethinking Women + Cyberculture, ed. Mary Flanagan and Austin Booth. MIT Press 2002
Chapter on Rosalind Brodsky in Digital Thinking: New Metaphors for Technoscienceand Technoculture by Jyanni
Steffensen. Durham, NC: Duke University Press, 2001
Mike Leggett - Time Travelling with Rosalind Brodsky Leonardo 34.1 (2001) 76
http://muse.jhu.edu/demo/leonardo/v034/34.1leggett.html
Verena Kuni - Passwort: Transit. eMigrantinnen im elektronischen Raum 2000
http://www.kunst.uni-mainz.de/~kuni/abs-exi.htm
Mike Leggett - The Speed of Light
http://www.msstate.edu/Fineart_Online/Backissues/Vol_14/faf_v14_n08/text/feature.html
Kelly Ford - Spooky: Ghost, Spirits And The Uncanny
http://melbourne.citysearch.com.au/E/E/MELBO/0006/66/43/
Annemarie Lopez - Gene Spill CitySearch
http://sydney.citysearch.com.au/E/E/SYDNE/0007/06/11/
Sarah Thomas/John Neylon - Chemistry catalogue Art Gallery of South Australia 2000
I.M.A.T.I. From the Rosalind Brodsky Archives Greenaway Gallery cat. Sept 2000
Katy Deepwell - n.paradoxa (UK)Vol 6, July 2000
Courtney Kidd - Critic's picks Sydney Morning Herald 18 Aug 2000
Daniel Palmer - No Other Symptoms Photofile 59, Aug 2000
Mike Leggett - Redefining hybridity: CD-ROM possibilities RealTime 38 Aug-Sept 2000
www.rtimearts.com/~opencity/rt40.html
De Decker Geert - Sztuka Fabryka - http://www.sztuka-fabryka.be/review/publi01.htm
Taru Elfving - No Other Symptoms Make (UK) No.87 March-May 2000
Michael Gibbs - Time Travel Art Monthly (UK) No 235 April 2000
Sally O'Reilly - London Arts Online feature, www.londonart.co.uk (Excerpts from CD ROM )
Linda Carroli - Odyssey Broadsheet Vol28 summer 2000
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Joni Taylor - Time travel is your only means of escape RealTime 35 Feb 2000
Marek Kohn - No Other Symptoms The Sunday Review, The Independent on Sunday (UK) 16/1/2000
No Other Symptoms - Time Travelling with Rosalind Brodsky CD ROM with 124 page colour hardback book. Published by Black Dog Publishing Ltd, UK ISBN: 19013366X Dec1999
Jyanni Steffensen - Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety: Social, Political, Economic and Cultural Issues, ed. John Armitage and Joanne Roberts (Newcastle: University of Northumbria, 1999)
Linda Marie Walker - Rosalind Brodsky Cookery Show Artlink Vol 19 no.4 Summer 1999
Jyanni Steffensen - PI in New York. Broadsheet Vol 28 No2 Winter 1999
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Jenny Jones - Isea 98 Make (U.K.) No. 82 Dec 98-Feb 99
Jyanni Steffensen - Point, Click, Point, Click, Boing. Broadsheet Vol 27 No 4 Summer 1998
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Honor Harger - Shape-Shifting: A review of Throw Down a Shape Supermild, Adelaide, Australia 4 November, 1998
http://radioqualia.va.com.au/ctl/texts/hh3.html
Innerscapes - An anthology of artist's writings, Ed: Maurizio Pellegrin, Publ: Trieste Contemporanea 1998 http://www.tscont.ts.it/pubblicazioni.htm
Emma McGlade - Isea 98 Bigmouth Liverpool
Artist pages - Arkzin (Zagreb) No 4 (100/101) 12.'97./01.'98.
Georgy Downey - hot links Broadsheet Vol 26 No 3 Spring 1997
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Dugal McCrow - On a Clear Day liveart magazine (U.K.)Issue 14/15 May-July 1997
Jyanni Steffensen - Kitsch'n Shrink Globe E internet journal
http://www.arts.monash.edu.au/visarts/globe/issue4/sttxt.html
Jyanni Steffensen - triple treats RealTime 17 Feb-Mar 1997
http://sysx.apana.org.au/realtime
James Flint - Wired (U.K.) 3.01 Jan 1997
Tony White - On a Clear Day Wired (U.K.) 3.02 Feb 1997
Achille Bonito Oliva + Claudio Di Biagio - Heteronymous catalogue essays, 1997
Heteronymous TimeOut (Rome) May 1997
Piece of Paper Press No.013 (ed. Tony White, U.K.) Vibrators from the House of Brodsky 1997
David Barrett - On a Clear Day Frieze Issue 33 1997
Brian Lynch - Suzanne Treister, Art Gallery of South Australia Db Issue 145 1997
David O`Halloran - Visual Arts Program Telstra Adelaide Festival 1996
Sarah Thomas - Raking through Compost Broadsheet Vol 25 No2 Winter 1996
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
John Paul Bichard (ed) On a Clear Day comic book and CD ROM
Jill Bennett - Compost Art+Text no.54 1996
Brett Buttfield - White Hysteria Db (Adelaide) Issue #121 June/July 1996
John Neylon - White Hysteria Adelaide Review July 1996
Stephanie Radok - White Hysteria Artlink Vol 16 no.4 Summer 1996
Tania Guha - White Hysteria TimeOut Aug 7-14 1996
Artist`s page with Kazuko Shiraishi, Hanatsubaki magazine Tokyo,September 1996
Ian Howard - Faults, functions and fantasy Brisbane Courier Mail Sept 5 1996
Richard Grayson - Dying for your sins catalogue essay, Institute of Modern Art, Brisbane 1996
Interview with Mutual Reality http:/www.widemedia.com/mutual/ re. ICA/Toshiba comm.
Pauline van Mourik Broekman - On a Clear Day Mute-digitalartcritique Autumn 1996 issue 6
http://www.metamute.com/mute_online
Louise Nunn - At home in Adelaide Adelaide Advertiser Nov 19 1996
Catriona Murtagh - Dying for your sins Mesh Issue 10. Spring 1996
http:/www.peg.apc.org/~experimenta
Chris Chapman - Banana Creme, Wet Dream etc. Catalogue essay for Kitsch'n Shrink, Greenaway Gallery Adelaide 1996
Shiralee Saul - Domestic Disturbances catalogue essay, National Gallery of Victoria Melbourne,1996
Linda Carroli - The Castle as Interzone Broadsheet Vol 25 No4 Summer 1996/7
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Leah Kharibian - It's a Pleasure Royal Festival Hall catalogue and selected quotes,1995
Richard Grayson - Catalogue essay, Mizuma Art Gallery Tokyo, 1995
Sue Hubbard - It's a Pleasure TimeOut Feb 1-8 1995
Informer National The Face no.76 Jan 1995
Anne Brennan/June Mary Scott - Catalogue essays "U.K. Wit and Excess" CAC Adelaide 1995
anon - Weird Science The Manila Times 12.8.95
Zoe Soufoulis/Zara Stanhope - Technothelylogia catalogue essays, Monash University 1995
Francis Hagan - Artist profile Art + Tech (U.K.) 2.01 edition 1995
Sarah Kent - Pretext:Heteronyms TimeOut 22-29 Nov 1995
Stella Santacatterina - Art after Indifference Pretext:Heteronyms cat. essay, Rear Window publications(U.K.) 1995
Adrian Searle - Works for a complex age New Voices catalogue, British Council 1995
Mark Durden - Pretext:Heteronyms Art Monthly (U.K.) no.192 Dec/Jan 1995/6
Jenny McFarlane - ROMulus and RAMbo Photofile Nov 1995 no.46
Jyanni Steffensen - Parallel Gallery and Journal Photofile, Nov 1995 no.46
Anna Clabburn - Technothelylogia World Art 4/1995
Richard Grayson/Catherine Lumby - Catalogue essays for Q.Would you recognise a virtual paradise? CAC Adelaide, A.C.C.A. Melbourne. 1994
Steve Wigg - Impolite questions Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
AnneRobertson - Flat Agenda Issue 37, July 1994
Richard Grayson - Between the clues lies the evidence (Post West Gallery 1992) The Post West Book [Pub.+ Ed. Alan Cruickshank] Adelaide 1994
Stephanie Radok - Critical mass/city art/artists initiatives Artlink Vol 14 No 2 1994
Julianne Pierce - Selecting the morph tool Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Olga Spiegel - La Vanguardia 19 March 1994
Steve Wigg - Virtual history Artlink Vol 14 No 3,Spring 1994
John McEwen - Whitechapel Open Daily Telegraph 15 May 1994
Corina Mersch - Luxemburger Land No 13/2 April 1993
Brett Buttfield - Db Magazine (Adelaide) #49, 18-31 August 1993
Ken Bolton - Artist run alternatives Art + Australia Vol 31 No 2 1993
Jyanni Steffensen - Virtual(ly) real desire; Software Broadsheet (Adelaide) Vol 22 & No 3, Spring 1993
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
& in Salient: SA Visual Art 1992-95 Anthology, [Pub. + Ed. Alan Cruickshank] Adelaide Festival, 1996
Samuel Fessler - When canvas meets screen Hampstead & Highgate Express 14/2/1992
John McEwen - Sunday Telegraph 16/2/1992
Adrian Searle - TimeOut 19-26 Feb 1992
Charles Hall - Arts Review March 1992
Andrew Renton - Flash Art May/June 1992
Catherine Lumby - Art + Text 43 September 1992
Catherine Lumby - Artlink Vol 12 No 3 Spring 1992
Tony Godfrey - A British Painting for the 90's Art in America April 1991
Robert Collins/James Josephs - Catalogue essays, Edward Totah/Ikon Gallery catalogue 1990
Tom Lubbock - Independent on Sunday 1/4/1990
Sarah Kent - TimeOut April 18-25 1990
Mark Currah - City Limits May 3-10 1990
Nikkei Art June 1990
Andrea Schlieker - Decoy catalogue essay, Serpentine Gallery 1990
Sarah Kent - Decoy- Lie of the Land TimeOut May 2-9 1990
Rose Jennings - Nature Studies City Limits May 3-10 1990
William Feaver - Landscapes of the video age Sunday Observer 13/5/1990
Andrew Graham - Dixon Decoy at the Serpentine Gallery The Independent 15/5/1990
Tim Hilton - Nebulous Landscapes The Guardian 16/5/1990
Sue Hubbard - Bath contemporary art fair 20/20 May 1990
Susan Chadwick - The Houston Post 1/7/1990
Andrew Hoellering - Suzanne Treister, Spacex Exeter The Guardian 29/8/1990
Sotiris Kyriacou - Artscribe Sept/Oct 1990
Kazu Kaido - Ikebana Sogetsu Spring 1989
Carolyn Cohen - 40 under 40 Art & Design Vol 5, no. 3/4 1989
William Feaver - Character cats and shepherd's pie skies The Observer 22/10/1989
Marina Vaizey - British art finds a new freedom Sunday Times 29/10/1989
Sarah Kent - Back for Moores 20/20 Nov 1989
Robin Dutt - The Independent 26/1/ 1988
Allen Robertson - TimeOut Feb 3-10 1988
Matthew Collings - City Limits 4-11 Feb 1988
Mary Rose Beaumont - Arts Review 12/2/1988
Tony Godfrey - The Burlington Magazine April 1988
David Lovely - Something Solid Arts Review May 1988
Tony Godfrey - Classicism in painting today Art & Design June 1988
Lynne Cooke - Art International Autumn 1988
Higgins and Cohen - New British Painting Phaidon 1988
Peggy Cyphers - New York in review Arts Magazine Oct 1988
Marjorie Allthorpe-Guyton The Golden Thread? Catalogue essay, Harris Museum and Art Gallery, Preston, UK
John Roberts - Interference Artscribe sept/oct 1986
Greg Hilty and Kate Macfarlane - 'Interference' catalogue essays. publ. Riverside Studios, London 1986
LECTURING
1983-1996 Visiting lecturer at St Martins School of Art, Chelsea School of Art,Trent Polytechnic, Bath School of Art, Coventry Polytechnic, Royal College of Art, Goldsmith's College, Kingston Polytechnic, Central/St Martins, Camberwell, Ruskin Oxford, Glasgow School of Art, Monash University (Melbourne), University of Leeds, Sydney College, University of South Australia, Onkaparinga TAFE (South Australia).
1999-2000 Reading University, Wimbledon School of Art, University of Northumbria at Newcastle (upon-Tyne), Goldsmith's College, University of Western Sydney-Nepean, Sydney College of the Arts.
2001 University of Newcastle upon Tyne (UK), University of Newcastle (Australia).
2002 UTS Sydney, University of Newcastle, Australia. University of Westminster, UK.
2003 Brighton University, UK. Wimbledon School of Art, UK.
2004 UniversitŠt der KŸnste, FakultŠt Bildende Kunst, Institut fŸr Kunst im Kontext, Berlin.
2007 University of Northumbria, Newcastle upon Tyne, UK. 2007
2007 Visiting lecturer at Berkeley University of California; Pomona College, Claremont, Los Angeles and New York University (NYU), USA.
2007 University of Gwent, Wales; University of Derby, UK.
2008 Wimbledon School of Art, London; University of Brighton, UK; University of Westminster, UK.
AWARDS/GRANTS
2006 Arts Council England (Grant for Hexen 2039 curated by Tania Nasielski)
1999 National Digital Art Prize, Australia, 3rd prize.
1998 Australia Council, New Media Fund.
1998 Australian Film Commission, multimedia completion funding.
1997 Australia Council, New York studio residency (for 98/9).
1996 South Australian Department of Arts and Cultural Development. New Work grant.
1995 Australia Council, professional development grant.
1994 British Council, travel grant. Tokyo.
1994 South Australian Department of Arts and Cultural Development. New Work grant.
1992 British Council, travel grant, Australia.
1989 John Moores, Liverpool, 3rd prize.
WRITING
Ambient (male) identity Broadsheet, vol 26, no.4. Summer 1997/98
Dean Whitehorn, Catalogue essay, Experimental Art Foundation,Adelaide 1997
UK Es & Whizz Broadsheet, vol 25, no.1. Autumn 1996
White Hysteria - interview with Bala Starr, Broadsheet, vol 25, no.2 Winter 1996
Patricia Piccinini & Alison Main Mesh- Experimenta media arts journal #8/9 Autumn/Winter 1996
Bad Girls, ICA London, Artlink Autumn 1994
Monstrous Gorgeous, Artlink Vol 14 no.4 Summer 1994/5
Mehmet Adil, Broadsheet Vol 23 no.4 Summer 1994
Bodiless Bodies of Work, Richard Grayson Performance Space, Sydney,catalogue essay 1995
Alex Rizkalla Broadsheet,vol 24 ,no.2 Winter 1995
Japophile/Hi Tack, Broadsheet Vol.22 No.2. June 1993/Salient 1996
Belshazzar, Richard Grayson Post West catalogue (Adelaide)1992
Forensic, Broadsheet Vol. 21. No.3 Sept 1992
TV
PRESUMED INNOCENT-DISASTER Documentary by Heather Croall for "Carpet Burns" SBS Australia. Dec 1993
CONFERENCES
2000 'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', Next 1.0: New Extensions of Existing Technologies, Karlstad University, Sweden. Paper presented by Jyanni Steffensen.
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject' Verve at Artist's week, Telstra Adelaide Festival 2000, Ngapartji CMC. Paper presented by Jyanni Steffensen.
1999 Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety, School of Social, Political and Economic Sciences,University of Northumbria, Newcastle, UK. Paper presented by Jyanni Steffensen.
'Invading Ancestral Spaces through the Privileged Violence of Technology'futureScreen 99: AvAtArs | phantom agents dLux media arts at the Powerhouse Museum, Sydney. Paper presented by Jyanni Steffensen.
1994 Still Photography? International symposium on the transition from analog to digital imaging. University of Melbourne. Paper presented by myself.
CURATING
1997 Wardrobe Madlove Gallery, Adelaide; The Performance Space, Sydney; I.M.A. Brisbane; P.I.C.A. Perth.
1996 White Hysteria Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room) Cleveland project space,Lotta Hammer Gallery, London; ThePhysics Room, Christchurch, New Zealand.
1994 Flat Union Gallery, Adelaide University (with L.E.Young).By Invitation Only 2', Kinz, Tillou + Feigen, NY, USA
'Bad Year Blimp', Alma Enterprises, London, England
'The Disarmory Show', a dBfoundation project, 201 Mulberry Street, New York, USA
'Gegen den Strich' Bielefelder Kunstverein, Germany
2007
'Gegen den Strich' Kunstlerhaus Bethanien, Berlin, Germany
'How We May Be', Late at the Tate, Tate Britain, London, England
Jerwood Drawing Prize, Jerwood Gallery, London and UK tour
3Things (curated by Donald Smith) RUN Gallery, London, England
ARTIST MAKES VIDEO: art rage survey 1994-1998, art rage: artworks for television, DELL Gallery@QCA , Brisbane, Australia
'Annely Juda - A Celebration', Annely Juda Fine Art, London, England
FILE RIO (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, Centro Cultural da Oi Futuro, Rio de Janeiro, Brazil
2006
Flash on the Screen Basekamp space, Philadelphia, USA
DUSK by Raul Zamudio, (curatorial section of Digital Video Art Fair (DiVA)) Lummus Park, Ocean Drive, Miami Beach, FL, USA
Drawing from Turner Clore Gallery, Tate Britain, London, England
FILE 2006 (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil.
EN 2039" website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil
2005
The Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal, The Center for Art and Visual Culture, University of Maryland Baltimore County, USA and touring USA
http://www.umbc.edu/fineartsgallery/past_blur.html
NATO, project space at Annely Juda Fine Art, Frieze, London.
ICOLS Strategy Defense and Arms Fair The Performance Space, Sydney, Australia
Glasgow International ICOLS Strategy Defense and Arms Fair RISK, CCA, Glasgow, Scotland
ICOLS audio, finetuned, ETA Project Space, Hove, UK
10th Anniversary Exhibition, Mizuma Art Gallery, Tokyo, Japan
Don't Call it Performance Konceptkonstmuseum, Rydboholm, Sweden
Bodies Through Technology, Tompkins County Public Library, Ithaca, New York, USA.
Operation Swanlake, Transmediale.05 Haus der Kulturen der Welt, Berlin, Germany
2004
Don't Call it Performance Centro Andaluz de Arte Contempor‡neo,Seville, Spain; Domus Artium 2002 (DA2) Salamanca, Spain; El Museo del Barrio, New York, USA.
CITY OF WOMEN 10th International Festival of Contemporary Arts, Gallery Skuc, Ljubljana, Slovenia. http://www.cityofwomen-a.si/
ICOLS, Collectivity and critical collective/cooperative cultural action, Oliver Gallery, University of South Florida, Tampa FL USA.
ICOLS, Connect the Dots The LeRoy Neiman Gallery, Columbia University, New York, USA.
ICOLS Strategy Defense and Arms Fair, ferry between Helsinki, Stockholm, Mariehamn, Tallin, ISEA 2004.
Media Forum of the XXVI Moscow International Film Festival, ClubnaBrestskoj, Moscow, Russia.
PLANET B Das B-Movie in der zeitgenšssichen Kunst, Magazin4 Vorarlberger Kunstverein, KŸnstlerhaus Palais Thurn & Taxis, Bregenz, Austria. http://www.magazin4.at/ausstellung_sommer04.htm
Operation Swanlake, FILE 2004- festival internacional de linguagem eletr™nica, Sesi Gallery, S‹o Paulo, Brazil. http://www.file.org.br
Contact Zones, New World Gallery @ Radio Free Hamptons, Sag Harbor, New York, USA.
Digital Salon, The ART Mission, Binghamton, NY, USA.
Eurographics 2004, WTC, Grenoble, France.
Metis:Time/Beam me up ANU School of Art Gallery, Canberra, Australia.
Unframed, Standpoint Gallery, London.
Fly Utopia! transmediale.04, Haus der Kulturen der Welt, Berlin, Germany.
2003
Don't Call it Performance, Centro de Arte Reina Sof'a, Madrid;Centro Parraga, Murcia, Spain
New York Calling P.S.1 Australian Studio project, Long Island City, NY USA
Paradies (Paradise) MAIS V, Bunker under Alexanderplatz, Berlin, Germany
ICOLS AUDIO juniradio Berlin104.1 08.-30. juni http://www.juniradio.net
FILE 2003- festival internacional de linguagem eletr™nica, Museum of Image and Sound (MIS) S‹o Paulo, Brazil. http://www.file.org.br
wywh wish you were here, First Draft Gallery, Sydney, Australia
ICOLS How to be a perfect guest Sharjah International Biennial 6, Sharjah Art Museums and Expo Centre Sharjah, United Arab Emirates.
ICOLS Glasgow Event, Wasps Studios, Glasgow, Scotland.
ICOLS The Esplanade, Theatres on the Bay, Singapore.
2002
Gaze Travelling artroom - gallery suryun, Cologne, Germany
Connecting Principle Newcastle University UK http://www.ncl.ac.uk/connectingprinciple
ICOLS launch event, Museum of Contemporary Art, Sydney, Australiia.
(The World May Be) Fantastic, Biennale of Sydney, MCA Sydney, Australia. www.biennaleofsydney.com.au
Underwood Audio 2 (The Communist Manifesto, by Rosalind Brodsky and the Satellites of Lvov) & cd launch event Underwood St, London.
Irish Museum of Modern Art net.art exhibition
http://www.irishmuseumofmodernart.com/netart_open.htm
ICOLS in Art meets Archive Sydney State Records Centre, Sydney, Australia.
2001
LE NUMERIQUE : nouveau médium de l'art- From 01.10.01 to 01.11.01 Galerie de Pret d'oevres d'Art, Bruxelles, Belgium.
Penthouse and Pavement, Melbourne.
Model Citizen/No More Ice Cream (An ICOLS project with Bronia Iwanczak) Artspace, Sydney, http://www.artspace.org.au/ & images at: http://www.icols.org/pages/TreisterIwanczak/Creche.html
Disaster Tourism Rubyayre, Sydney.
New Releases (video) 4a Gallery, Sydney and tour.
2000
Electronic Art Festival, Cyberslag Foundation, Groningen, Netherlands. http://www.cyberslag.com
Gene spill, Imperial Slacks Gallery Sydney. http://ensemble.va.com.au/genespill
Spooky-Ghosts, Spirits and the Uncanny, Glen Eira City Gallery, Melbourne.
Chemistry, Art Gallery of South Australia, Adelaide.
PUSAN International Contemporary Art Festival, Metropolitan Museum of Art, Pusan,
South Korea.
Moving Image Festival, Youthworks shop window installation SALA 2000, Adelaide.
New Thinking is Rare, South Australian Touring Exhibition Program.
F I L E Festival internacional de linguagem eletrönica, Museum of Image and Sound (MIS) São Paulo, Brazil.
(Second place/offline) http://www.file.org.br
World Wide Video Festival, Amsterdam, Netherlands. http://www.wwvf.nl
The Noorderzon Festival, Groningen, Netherlands. http://www.xs4all.nl/~paleis/noorderzon/index.html
Sonar Festival/CD ROM a la carta, Carrer de les Flors 22, Barcelona.
Chip Melbourne International Film Festival.
Manifest/o, Zagreb, Croatia.
Festival of Independent Press, Museo de la Memoria, Tlaxcala, Mexico. http://www.prodigyweb.net.mx/fcr/index.html
LIVE-STOCK ram/fm, 72 hour audio event, ARC, Stockton on Tees, UK. http://www.live-stock.org
Urban Futures 2000 International Conference and Electronic Art Exhibition, Johannesburg University Art Gallery. http://sunsite.wits.ac.za/urbanfutures or http://www.wits.ac.za/urbanfutures/uf/index.htm
1999
Love and Consciousness, Artopiques Gallery, Paris, France.
Confined, HERE Gallery, New York, USA. (Presumed Innocent collaboration)
Sex and Consciousness, Artopiques Gallery, Paris, France.
WRO 99 - 7th International Media Art Biennale - Wroclaw, Poland.
21, Spacex, Exeter, UK.
National Digital Art Awards exhibition, Institute of Modern Art, Brisbane.
Women in Film and Television Festival (WIFT) Festival, Sydney.
Fusion, St Kilda Film Festival, Melbourne.
2nd International show of CD ROMs, Media Centre d'Art i Disseny, Barcelona. http://www.mecad.org
Contact Zones, Johnson Museum of Art, Cornell University, USA and travelling to Centro de la Imagen,Mexico City, Virginia film festival and touring US and Canada 2000-2001. http://contactzones.cit.cornell.edu/
Fast + Wide, Broadway Media Centre, Nottingham, U.K.
1998
Third International Video Summit Videomedeja, Kulturni Centar-Art Klub, Novog Sada, Yugoslavia.
ArtRage, ABC TV, Australia.
Interact (video screening)The Exhibition Centre, Melbourne.
Kino-Eye: Cybercities, Royal Palace, Antwerp, Belgium.
Xobject space, Dusseldorf, Germany.
corpoREAL, Tullie House, Carlisle, U.K.
Videonale 8, Bonn Kunstverein, Germany
Isea 98, The Tea Factory, Liverpool, U.K
Pandaemonium Festival, Lux Centre/Standpoint Gallery, London.
European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
National Digital Art Awards exhibition, I.M.A. Brisbane.
Prix Ars Electronica 98, Linz, Austria. http://www.aec.at
Underbelly, Cosmopolitan Cinema Complex, Adelaide.
Throw Down a Shape Supermild, sound event, Adelaide, Australia 4 November, 1998
The Plato Problem, University of S.A. Art Museum window (with Richard Grayson).
1997
Technoscience Hybrid Workspace, Documenta X, Kassel, Germany.
Wardrobe, Madlove Gallery, Adelaide and tour ('98).
Heteronymous (curated by, Achille Bonito Oliva and Anna Maria Nassisi) San Michele a Ripa, Rome, Italy.
Pass Go and other board games, The City Gallery, Leicester, U.K.
Time Travelling with Rosalind Brodsky, Internet project for Electronic Writing Research Ensemble @ http://www.ensemble.va.com.au/tableau/suzy/
On a Clear Day, European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
Thin Skin, The Performance Space, Sydney.
Imprint 93 and related ephemera, Norwich Gallery, Norwich, U.K.
Time Travelling with Rosalind Brodsky, Canberra Festival of Contemporary Arts.
1996
Artists' Week : Compost Telstra Adelaide Festival '96.
Foyer, Temporary space, Adelaide.
White Hysteria, Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room), Cleveland project space, London;The Physics Room, Christchurch, New Zealand.
ICA/Toshiba Art and Innovation Commission, shortlist exhibition, ICA, London.
On a Clear Day (CD ROM ,Website and publication project, curated by John Paul Bichard) ICA, London; Cambridge Darkroom; John Hansard Gallery, Southampton; First Site, Colchester; Focal Point, Southend; Oldham Art Gallery & Middlesborough Art Gallery. http://www.backspace.org/clearday/
Domestic Disturbances, Fifth Experimenta Media Arts Festival, National Gallery of Victoria, Melbourne, Noosa Regional Gallery and touring.
1995
It`s a Pleasure, Royal Festival Hall, London.
U.K. Wit and Excess, C.A.C. South Australia, A.C.C.A. Melbourne, Ivan Docherty, Sydney, I.M.A. Brisbane.
Street Gallery Mishima Ave shopping arcade festival, Sizuoka, Japan.
Frank Thing, Sym Choon Gallery, Adelaide.
Parallel Internet gallery and journal web project. http://www.va.com.au/parallel/x1/gallery
Weird Science, Australia Centre, Manila, Phillipines.
Technothelylogia, Monash University Gallery, Melbourne.
ROMulus and RAMbo-Body language in cyberspace, Canberra School of Art Gallery.
Pretext:Heteronyms, Rear Window, Clink St. Studios, London.
Contemporary Art Society market Royal Festival Hall, London.
1994
Flat, Union Gallery, University of Adelaide.
Whitechapel Open Whitechapel Art Gallery, London.
Presumed Innocent collaboration, Exeter Hotel, Adelaide.
Lead and Follow, Atlantis, London.
1993/5
New Voices - Jeunes Artistes Britanniques, Musee National d'Histoire et d'Art a Luxembourg; Centre d'Art Santa Monica Barcelona; Museo de Bellas Artes Bilbao; Centro Culturel Galileo Madrid; Sala de Veronicas, Murcia; Pescadera Viega Sala de Arte, Jerez; Kulturhistorisches Museum, Magdeborg, Germany.
1993
Hit and Run, A Presumed Innocent collaborative event, [RE] Gallery, Adelaide.
Moving into View - work from the Arts Council collection, Royal Festival Hall, London.
The return of the Cadavre Exquis, The Drawing Center, N.Y. U.S.A.
VITEA: A.I.P.#7, Fifth Sculpture Triennial, R.M.I.T. Faculty Gallery, Melbourne.
The Disaster Show, with Presumed Innocent, Union Gallery, Adelaide University.
Critical City project, domestic space, Adelaide.
1992-1997
"New Voices", British Council touring exhibition. Venues:
14/02/1997 MACEDONIA, SKOPJE, MUSEUM OF MODERN ART
04/12/1996 CZECH REPUBLIC, PRAGUE, CZECH MUSEUM OF FINE ARTS, THE HOUSE OF THE BLACK MADONNA
31/10/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK
05/08/1996 SLOVAKIA, BRATISLAVA, MIRBACHOV PALACE
29/05/1996 RUSSIA, NIZHNII NOVGOROD, KREMLIN MUSEUM
18/04/1996 RUSSIA, ST PETERSBURG, THE RUSSIAN MUSEUM
11/03/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK OF GREECE
19/02/1996 GREECE, ATHENS, ART HALLS OF THE CULTURAL CENTRE OF THE MUNICIPALITY OF ATHENS
11/01/1996 ROMANIA, BUCHAREST, NATIONAL THEATRE GALLERIES
12/10/1995 GERMANY, MAGDEBURG, KULTURHISTORISCHES MUSEUM
02/12/1994 SPAIN, JEREZ, SALA PESCADERIA VIEJA, AYUNTAMIENTO DE JEREZ
04/11/1994 SPAIN, MURCIA, VERONICAS, SALA DE EXPOSICIONES
05/07/1994 SPAIN, MADRID, CENTRO CULTURAL GALILEO
03/05/1994 SPAIN, BILBAO, MUSEO DE BELLAS ARTES DE BILBAO
10/03/1994 SPAIN, BARCELONA, CENTRE DE ART SANTA MONICA
29/11/1993 TURKEY, IZMIR, IZFAS GALLERY
18/10/1993 TURKEY, ANKARA, STATE FINE ARTS GALLERY
20/09/1993 TURKEY, ISTANBUL, ISTANBUL GREATER CITY MUNICIPALITY TAKSIM ART GALLERY
05/03/1993 LUXEMBOURG, MUSEE D'ART ET D'HISTOIRE
30/09/1992 BELGIUM, BRUSSELS, EEC PRESIDENCY EXHIBITION
23/09/1992 BELGIUM, BRUSSELS, LA BORSCHETTE
1992
Whitechapel Open, Whitechapel Art Gallery, London.
Blast from the Past, Minories Art Gallery, Colchester.
Walls 1, Union Gallery, Adelaide University.
20th Century Women's Art, New Hall College, University of Cambridge.
Scene of the Crime? APresumed Innocent collaborative installation, Post West, Adelaide.
EdwardTotah Gallery, London.
Nothing is {Hidden} (collaborative installation with Pamela Golden, Andrew Renton and LindaLevinson),
Rear Window, Lambs Conduit St, London. http://www.rear-window.org.uk/nothing_is_hidden.html
1991
A Painting Exhibition in Two Parts Todd Gallery, London.
1990
Decoy, Serpentine Gallery, London.
Global Art, Brent Gallery and Galleria, Houston, Texas.
London passim, Casa Veneta, Trieste.
Whitechapel Open, Whitechapel Art Gallery, London.
1989
XXI Festival International de la Peinture, Cagnes sur Mer , France.
Whitechapel Open, Whitechapel Art Gallery, London.
John Moores, Walker Art gallery, Liverpool (3rd prize).
1988
New Brits: Contemporary British and Scottish Painting The Contemporary Arts Center, Cincinnati, Ohio, and tour of USA Museums.
Object and Image: British Art in the 1980's City Museum and Art Gallery Stoke on Trent.
Figuring out the '80's, Laing Art Gallery, Newcastle upon Tyne.
Something solid, Cornerhouse Galley, Manchester.
Whitechapel Open, Whitechapel Art Gallery, London
4 London Artists, Nancy Hoffman Gallery, New York.
It's a still-life, Arts Council Collection, South Bank Centre, London and Tour.
1987
Edward Totah Gallery , London.
Edward Bates Gallery, Chicago.
1986
The Golden Thread? Classical Mythology in Contemporary Art, Harris Museum and Art Gallery, Preston, Milton Keynes Exhibition Gallery, Royal Albert Memorial Museum, Exeter, Bradford Art galleries and Museums, Bradford. 1986-87.
Love, Sacred and Profane, Plymouth Arts Centre and Stoke Museum.
Interference Riverside Studios, London.
Camden Annual, Camden Arts Centre, London.
4 British Artists, Edward Bates Gallery, Chicago, USA.
1985
Nature Morte, Edward Totah Gallery, London.
Open Exhibition Riverside Studios, London.
1984
Whitechapel Open, Whitechapel Art Gallery, London.
Galerie Davidson, Berlin. (2 person show)
Warwick Arts Trust, London.
1982-83
Images for Today, Touring exhibition sponsored by Sainsburys
1981
Stowells Trophy, Royal Academy, London.
COLLABORATIVE ORGANISATIONS
1991 Founder member of NIH (Nothing is {Hidden} ) London/NY based
1992 Founded PI (Presumed Innocent) Adelaide/NY based
2000 Founded The International Corporation of Lost Structures (ICOLS) http://www.icols.org
PUBLIC COLLECTIONS
Arts Council of England
Art Gallery of South Australia
Australian Centre for the Moving Image
AXA Collection
British Council
EMI Paris
Griffith University, Queensland
Leeds City Council
Leicester County Council
New Hall Cambridge
Tate Britain
Wolverhampton Art Gallery
International Libraries (cd rom collections):
Tate Britain, London
British Museum, London
UCLA, Santa Rosa Junior College, California, USA
University of Auckland
University of East London
Sydney College of the Arts
Rhodes University, South Africa
The Rose Golden Archive of New Media Art, The Division of Rare and Manuscript Collections, Carl A. Kroch Library Cornell University, Ithaca, NY, USA
L'Espace Multimédia Gantner, France
Fundacio Antoni Tapies Biblioteca, Barcelona
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Tony White - On a Clear Day Wired (U.K.) 3.02 Feb 1997
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Steve Wigg - Virtual history Artlink Vol 14 No 3,Spring 1994
John McEwen - Whitechapel Open Daily Telegraph 15 May 1994
Corina Mersch - Luxemburger Land No 13/2 April 1993
Brett Buttfield - Db Magazine (Adelaide) #49, 18-31 August 1993
Ken Bolton - Artist run alternatives Art + Australia Vol 31 No 2 1993
Jyanni Steffensen - Virtual(ly) real desire; Software Broadsheet (Adelaide) Vol 22 & No 3, Spring 1993
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
& in Salient: SA Visual Art 1992-95 Anthology, [Pub. + Ed. Alan Cruickshank] Adelaide Festival, 1996
Samuel Fessler - When canvas meets screen Hampstead & Highgate Express 14/2/1992
John McEwen - Sunday Telegraph 16/2/1992
Adrian Searle - TimeOut 19-26 Feb 1992
Charles Hall - Arts Review March 1992
Andrew Renton - Flash Art May/June 1992
Catherine Lumby - Art + Text 43 September 1992
Catherine Lumby - Artlink Vol 12 No 3 Spring 1992
Tony Godfrey - A British Painting for the 90's Art in America April 1991
Robert Collins/James Josephs - Catalogue essays, Edward Totah/Ikon Gallery catalogue 1990
Tom Lubbock - Independent on Sunday 1/4/1990
Sarah Kent - TimeOut April 18-25 1990
Mark Currah - City Limits May 3-10 1990
Nikkei Art June 1990
Andrea Schlieker - Decoy catalogue essay, Serpentine Gallery 1990
Sarah Kent - Decoy- Lie of the Land TimeOut May 2-9 1990
Rose Jennings - Nature Studies City Limits May 3-10 1990
William Feaver - Landscapes of the video age Sunday Observer 13/5/1990
Andrew Graham - Dixon Decoy at the Serpentine Gallery The Independent 15/5/1990
Tim Hilton - Nebulous Landscapes The Guardian 16/5/1990
Sue Hubbard - Bath contemporary art fair 20/20 May 1990
Susan Chadwick - The Houston Post 1/7/1990
Andrew Hoellering - Suzanne Treister, Spacex Exeter The Guardian 29/8/1990
Sotiris Kyriacou - Artscribe Sept/Oct 1990
Kazu Kaido - Ikebana Sogetsu Spring 1989
Carolyn Cohen - 40 under 40 Art & Design Vol 5, no. 3/4 1989
William Feaver - Character cats and shepherd's pie skies The Observer 22/10/1989
Marina Vaizey - British art finds a new freedom Sunday Times 29/10/1989
Sarah Kent - Back for Moores 20/20 Nov 1989
Robin Dutt - The Independent 26/1/ 1988
Allen Robertson - TimeOut Feb 3-10 1988
Matthew Collings - City Limits 4-11 Feb 1988
Mary Rose Beaumont - Arts Review 12/2/1988
Tony Godfrey - The Burlington Magazine April 1988
David Lovely - Something Solid Arts Review May 1988
Tony Godfrey - Classicism in painting today Art & Design June 1988
Lynne Cooke - Art International Autumn 1988
Higgins and Cohen - New British Painting Phaidon 1988
Peggy Cyphers - New York in review Arts Magazine Oct 1988
Marjorie Allthorpe-Guyton The Golden Thread? Catalogue essay, Harris Museum and Art Gallery, Preston, UK
John Roberts - Interference Artscribe sept/oct 1986
Greg Hilty and Kate Macfarlane - 'Interference' catalogue essays. publ. Riverside Studios, London 1986
LECTURING
1983-1996 Visiting lecturer at St Martins School of Art, Chelsea School of Art,Trent Polytechnic, Bath School of Art, Coventry Polytechnic, Royal College of Art, Goldsmith's College, Kingston Polytechnic, Central/St Martins, Camberwell, Ruskin Oxford, Glasgow School of Art, Monash University (Melbourne), University of Leeds, Sydney College, University of South Australia, Onkaparinga TAFE (South Australia).
1999-2000 Reading University, Wimbledon School of Art, University of Northumbria at Newcastle (upon-Tyne), Goldsmith's College, University of Western Sydney-Nepean, Sydney College of the Arts.
2001 University of Newcastle upon Tyne (UK), University of Newcastle (Australia).
2002 UTS Sydney, University of Newcastle, Australia. University of Westminster, UK.
2003 Brighton University, UK. Wimbledon School of Art, UK.
2004 UniversitŠt der KŸnste, FakultŠt Bildende Kunst, Institut fŸr Kunst im Kontext, Berlin.
2007 University of Northumbria, Newcastle upon Tyne, UK. 2007
2007 Visiting lecturer at Berkeley University of California; Pomona College, Claremont, Los Angeles and New York University (NYU), USA.
2007 University of Gwent, Wales; University of Derby, UK.
2008 Wimbledon School of Art, London; University of Brighton, UK; University of Westminster, UK.
AWARDS/GRANTS
2006 Arts Council England (Grant for Hexen 2039 curated by Tania Nasielski)
1999 National Digital Art Prize, Australia, 3rd prize.
1998 Australia Council, New Media Fund.
1998 Australian Film Commission, multimedia completion funding.
1997 Australia Council, New York studio residency (for 98/9).
1996 South Australian Department of Arts and Cultural Development. New Work grant.
1995 Australia Council, professional development grant.
1994 British Council, travel grant. Tokyo.
1994 South Australian Department of Arts and Cultural Development. New Work grant.
1992 British Council, travel grant, Australia.
1989 John Moores, Liverpool, 3rd prize.
WRITING
Ambient (male) identity Broadsheet, vol 26, no.4. Summer 1997/98
Dean Whitehorn, Catalogue essay, Experimental Art Foundation,Adelaide 1997
UK Es & Whizz Broadsheet, vol 25, no.1. Autumn 1996
White Hysteria - interview with Bala Starr, Broadsheet, vol 25, no.2 Winter 1996
Patricia Piccinini & Alison Main Mesh- Experimenta media arts journal #8/9 Autumn/Winter 1996
Bad Girls, ICA London, Artlink Autumn 1994
Monstrous Gorgeous, Artlink Vol 14 no.4 Summer 1994/5
Mehmet Adil, Broadsheet Vol 23 no.4 Summer 1994
Bodiless Bodies of Work, Richard Grayson Performance Space, Sydney,catalogue essay 1995
Alex Rizkalla Broadsheet,vol 24 ,no.2 Winter 1995
Japophile/Hi Tack, Broadsheet Vol.22 No.2. June 1993/Salient 1996
Belshazzar, Richard Grayson Post West catalogue (Adelaide)1992
Forensic, Broadsheet Vol. 21. No.3 Sept 1992
TV
PRESUMED INNOCENT-DISASTER Documentary by Heather Croall for "Carpet Burns" SBS Australia. Dec 1993
CONFERENCES
2000 'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', Next 1.0: New Extensions of Existing Technologies, Karlstad University, Sweden. Paper presented by Jyanni Steffensen.
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject' Verve at Artist's week, Telstra Adelaide Festival 2000, Ngapartji CMC. Paper presented by Jyanni Steffensen.
1999 Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety, School of Social, Political and Economic Sciences,University of Northumbria, Newcastle, UK. Paper presented by Jyanni Steffensen.
'Invading Ancestral Spaces through the Privileged Violence of Technology'futureScreen 99: AvAtArs | phantom agents dLux media arts at the Powerhouse Museum, Sydney. Paper presented by Jyanni Steffensen.
1994 Still Photography? International symposium on the transition from analog to digital imaging. University of Melbourne. Paper presented by myself.
CURATING
1997 Wardrobe Madlove Gallery, Adelaide; The Performance Space, Sydney; I.M.A. Brisbane; P.I.C.A. Perth.
1996 White Hysteria Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room) Cleveland project space,Lotta Hammer Gallery, London; ThePhysics Room, Christchurch, New Zealand.
1994 Flat Union Gallery, Adelaide University (with L.E.Young).By Invitation Only 2', Kinz, Tillou + Feigen, NY, USA
'Bad Year Blimp', Alma Enterprises, London, England
'The Disarmory Show', a dBfoundation project, 201 Mulberry Street, New York, USA
'Gegen den Strich' Bielefelder Kunstverein, Germany
2007
'Gegen den Strich' Kunstlerhaus Bethanien, Berlin, Germany
'How We May Be', Late at the Tate, Tate Britain, London, England
Jerwood Drawing Prize, Jerwood Gallery, London and UK tour
3Things (curated by Donald Smith) RUN Gallery, London, England
ARTIST MAKES VIDEO: art rage survey 1994-1998, art rage: artworks for television, DELL Gallery@QCA , Brisbane, Australia
'Annely Juda - A Celebration', Annely Juda Fine Art, London, England
FILE RIO (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, Centro Cultural da Oi Futuro, Rio de Janeiro, Brazil
2006
Flash on the Screen Basekamp space, Philadelphia, USA
DUSK by Raul Zamudio, (curatorial section of Digital Video Art Fair (DiVA)) Lummus Park, Ocean Drive, Miami Beach, FL, USA
Drawing from Turner Clore Gallery, Tate Britain, London, England
FILE 2006 (HEXEN 2039 website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil.
EN 2039" website) - festival internacional de linguagem eletr™nica, SESI Gallery, Sao Paulo, Brazil
2005
The Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal, The Center for Art and Visual Culture, University of Maryland Baltimore County, USA and touring USA
http://www.umbc.edu/fineartsgallery/past_blur.html
NATO, project space at Annely Juda Fine Art, Frieze, London.
ICOLS Strategy Defense and Arms Fair The Performance Space, Sydney, Australia
Glasgow International ICOLS Strategy Defense and Arms Fair RISK, CCA, Glasgow, Scotland
ICOLS audio, finetuned, ETA Project Space, Hove, UK
10th Anniversary Exhibition, Mizuma Art Gallery, Tokyo, Japan
Don't Call it Performance Konceptkonstmuseum, Rydboholm, Sweden
Bodies Through Technology, Tompkins County Public Library, Ithaca, New York, USA.
Operation Swanlake, Transmediale.05 Haus der Kulturen der Welt, Berlin, Germany
2004
Don't Call it Performance Centro Andaluz de Arte Contempor‡neo,Seville, Spain; Domus Artium 2002 (DA2) Salamanca, Spain; El Museo del Barrio, New York, USA.
CITY OF WOMEN 10th International Festival of Contemporary Arts, Gallery Skuc, Ljubljana, Slovenia. http://www.cityofwomen-a.si/
ICOLS, Collectivity and critical collective/cooperative cultural action, Oliver Gallery, University of South Florida, Tampa FL USA.
ICOLS, Connect the Dots The LeRoy Neiman Gallery, Columbia University, New York, USA.
ICOLS Strategy Defense and Arms Fair, ferry between Helsinki, Stockholm, Mariehamn, Tallin, ISEA 2004.
Media Forum of the XXVI Moscow International Film Festival, ClubnaBrestskoj, Moscow, Russia.
PLANET B Das B-Movie in der zeitgenšssichen Kunst, Magazin4 Vorarlberger Kunstverein, KŸnstlerhaus Palais Thurn & Taxis, Bregenz, Austria. http://www.magazin4.at/ausstellung_sommer04.htm
Operation Swanlake, FILE 2004- festival internacional de linguagem eletr™nica, Sesi Gallery, S‹o Paulo, Brazil. http://www.file.org.br
Contact Zones, New World Gallery @ Radio Free Hamptons, Sag Harbor, New York, USA.
Digital Salon, The ART Mission, Binghamton, NY, USA.
Eurographics 2004, WTC, Grenoble, France.
Metis:Time/Beam me up ANU School of Art Gallery, Canberra, Australia.
Unframed, Standpoint Gallery, London.
Fly Utopia! transmediale.04, Haus der Kulturen der Welt, Berlin, Germany.
2003
Don't Call it Performance, Centro de Arte Reina Sof'a, Madrid;Centro Parraga, Murcia, Spain
New York Calling P.S.1 Australian Studio project, Long Island City, NY USA
Paradies (Paradise) MAIS V, Bunker under Alexanderplatz, Berlin, Germany
ICOLS AUDIO juniradio Berlin104.1 08.-30. juni http://www.juniradio.net
FILE 2003- festival internacional de linguagem eletr™nica, Museum of Image and Sound (MIS) S‹o Paulo, Brazil. http://www.file.org.br
wywh wish you were here, First Draft Gallery, Sydney, Australia
ICOLS How to be a perfect guest Sharjah International Biennial 6, Sharjah Art Museums and Expo Centre Sharjah, United Arab Emirates.
ICOLS Glasgow Event, Wasps Studios, Glasgow, Scotland.
ICOLS The Esplanade, Theatres on the Bay, Singapore.
2002
Gaze Travelling artroom - gallery suryun, Cologne, Germany
Connecting Principle Newcastle University UK http://www.ncl.ac.uk/connectingprinciple
ICOLS launch event, Museum of Contemporary Art, Sydney, Australiia.
(The World May Be) Fantastic, Biennale of Sydney, MCA Sydney, Australia. www.biennaleofsydney.com.au
Underwood Audio 2 (The Communist Manifesto, by Rosalind Brodsky and the Satellites of Lvov) & cd launch event Underwood St, London.
Irish Museum of Modern Art net.art exhibition
http://www.irishmuseumofmodernart.com/netart_open.htm
ICOLS in Art meets Archive Sydney State Records Centre, Sydney, Australia.
2001
LE NUMERIQUE : nouveau médium de l'art- From 01.10.01 to 01.11.01 Galerie de Pret d'oevres d'Art, Bruxelles, Belgium.
Penthouse and Pavement, Melbourne.
Model Citizen/No More Ice Cream (An ICOLS project with Bronia Iwanczak) Artspace, Sydney, http://www.artspace.org.au/ & images at: http://www.icols.org/pages/TreisterIwanczak/Creche.html
Disaster Tourism Rubyayre, Sydney.
New Releases (video) 4a Gallery, Sydney and tour.
2000
Electronic Art Festival, Cyberslag Foundation, Groningen, Netherlands. http://www.cyberslag.com
Gene spill, Imperial Slacks Gallery Sydney. http://ensemble.va.com.au/genespill
Spooky-Ghosts, Spirits and the Uncanny, Glen Eira City Gallery, Melbourne.
Chemistry, Art Gallery of South Australia, Adelaide.
PUSAN International Contemporary Art Festival, Metropolitan Museum of Art, Pusan,
South Korea.
Moving Image Festival, Youthworks shop window installation SALA 2000, Adelaide.
New Thinking is Rare, South Australian Touring Exhibition Program.
F I L E Festival internacional de linguagem eletrönica, Museum of Image and Sound (MIS) São Paulo, Brazil.
(Second place/offline) http://www.file.org.br
World Wide Video Festival, Amsterdam, Netherlands. http://www.wwvf.nl
The Noorderzon Festival, Groningen, Netherlands. http://www.xs4all.nl/~paleis/noorderzon/index.html
Sonar Festival/CD ROM a la carta, Carrer de les Flors 22, Barcelona.
Chip Melbourne International Film Festival.
Manifest/o, Zagreb, Croatia.
Festival of Independent Press, Museo de la Memoria, Tlaxcala, Mexico. http://www.prodigyweb.net.mx/fcr/index.html
LIVE-STOCK ram/fm, 72 hour audio event, ARC, Stockton on Tees, UK. http://www.live-stock.org
Urban Futures 2000 International Conference and Electronic Art Exhibition, Johannesburg University Art Gallery. http://sunsite.wits.ac.za/urbanfutures or http://www.wits.ac.za/urbanfutures/uf/index.htm
1999
Love and Consciousness, Artopiques Gallery, Paris, France.
Confined, HERE Gallery, New York, USA. (Presumed Innocent collaboration)
Sex and Consciousness, Artopiques Gallery, Paris, France.
WRO 99 - 7th International Media Art Biennale - Wroclaw, Poland.
21, Spacex, Exeter, UK.
National Digital Art Awards exhibition, Institute of Modern Art, Brisbane.
Women in Film and Television Festival (WIFT) Festival, Sydney.
Fusion, St Kilda Film Festival, Melbourne.
2nd International show of CD ROMs, Media Centre d'Art i Disseny, Barcelona. http://www.mecad.org
Contact Zones, Johnson Museum of Art, Cornell University, USA and travelling to Centro de la Imagen,Mexico City, Virginia film festival and touring US and Canada 2000-2001. http://contactzones.cit.cornell.edu/
Fast + Wide, Broadway Media Centre, Nottingham, U.K.
1998
Third International Video Summit Videomedeja, Kulturni Centar-Art Klub, Novog Sada, Yugoslavia.
ArtRage, ABC TV, Australia.
Interact (video screening)The Exhibition Centre, Melbourne.
Kino-Eye: Cybercities, Royal Palace, Antwerp, Belgium.
Xobject space, Dusseldorf, Germany.
corpoREAL, Tullie House, Carlisle, U.K.
Videonale 8, Bonn Kunstverein, Germany
Isea 98, The Tea Factory, Liverpool, U.K
Pandaemonium Festival, Lux Centre/Standpoint Gallery, London.
European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
National Digital Art Awards exhibition, I.M.A. Brisbane.
Prix Ars Electronica 98, Linz, Austria. http://www.aec.at
Underbelly, Cosmopolitan Cinema Complex, Adelaide.
Throw Down a Shape Supermild, sound event, Adelaide, Australia 4 November, 1998
The Plato Problem, University of S.A. Art Museum window (with Richard Grayson).
1997
Technoscience Hybrid Workspace, Documenta X, Kassel, Germany.
Wardrobe, Madlove Gallery, Adelaide and tour ('98).
Heteronymous (curated by, Achille Bonito Oliva and Anna Maria Nassisi) San Michele a Ripa, Rome, Italy.
Pass Go and other board games, The City Gallery, Leicester, U.K.
Time Travelling with Rosalind Brodsky, Internet project for Electronic Writing Research Ensemble @ http://www.ensemble.va.com.au/tableau/suzy/
On a Clear Day, European Media Art Festival, Osnabrück, Germany. http://www.emaf.de
Thin Skin, The Performance Space, Sydney.
Imprint 93 and related ephemera, Norwich Gallery, Norwich, U.K.
Time Travelling with Rosalind Brodsky, Canberra Festival of Contemporary Arts.
1996
Artists' Week : Compost Telstra Adelaide Festival '96.
Foyer, Temporary space, Adelaide.
White Hysteria, Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room), Cleveland project space, London;The Physics Room, Christchurch, New Zealand.
ICA/Toshiba Art and Innovation Commission, shortlist exhibition, ICA, London.
On a Clear Day (CD ROM ,Website and publication project, curated by John Paul Bichard) ICA, London; Cambridge Darkroom; John Hansard Gallery, Southampton; First Site, Colchester; Focal Point, Southend; Oldham Art Gallery & Middlesborough Art Gallery. http://www.backspace.org/clearday/
Domestic Disturbances, Fifth Experimenta Media Arts Festival, National Gallery of Victoria, Melbourne, Noosa Regional Gallery and touring.
1995
It`s a Pleasure, Royal Festival Hall, London.
U.K. Wit and Excess, C.A.C. South Australia, A.C.C.A. Melbourne, Ivan Docherty, Sydney, I.M.A. Brisbane.
Street Gallery Mishima Ave shopping arcade festival, Sizuoka, Japan.
Frank Thing, Sym Choon Gallery, Adelaide.
Parallel Internet gallery and journal web project. http://www.va.com.au/parallel/x1/gallery
Weird Science, Australia Centre, Manila, Phillipines.
Technothelylogia, Monash University Gallery, Melbourne.
ROMulus and RAMbo-Body language in cyberspace, Canberra School of Art Gallery.
Pretext:Heteronyms, Rear Window, Clink St. Studios, London.
Contemporary Art Society market Royal Festival Hall, London.
1994
Flat, Union Gallery, University of Adelaide.
Whitechapel Open Whitechapel Art Gallery, London.
Presumed Innocent collaboration, Exeter Hotel, Adelaide.
Lead and Follow, Atlantis, London.
1993/5
New Voices - Jeunes Artistes Britanniques, Musee National d'Histoire et d'Art a Luxembourg; Centre d'Art Santa Monica Barcelona; Museo de Bellas Artes Bilbao; Centro Culturel Galileo Madrid; Sala de Veronicas, Murcia; Pescadera Viega Sala de Arte, Jerez; Kulturhistorisches Museum, Magdeborg, Germany.
1993
Hit and Run, A Presumed Innocent collaborative event, [RE] Gallery, Adelaide.
Moving into View - work from the Arts Council collection, Royal Festival Hall, London.
The return of the Cadavre Exquis, The Drawing Center, N.Y. U.S.A.
VITEA: A.I.P.#7, Fifth Sculpture Triennial, R.M.I.T. Faculty Gallery, Melbourne.
The Disaster Show, with Presumed Innocent, Union Gallery, Adelaide University.
Critical City project, domestic space, Adelaide.
1992-1997
"New Voices", British Council touring exhibition. Venues:
14/02/1997 MACEDONIA, SKOPJE, MUSEUM OF MODERN ART
04/12/1996 CZECH REPUBLIC, PRAGUE, CZECH MUSEUM OF FINE ARTS, THE HOUSE OF THE BLACK MADONNA
31/10/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK
05/08/1996 SLOVAKIA, BRATISLAVA, MIRBACHOV PALACE
29/05/1996 RUSSIA, NIZHNII NOVGOROD, KREMLIN MUSEUM
18/04/1996 RUSSIA, ST PETERSBURG, THE RUSSIAN MUSEUM
11/03/1996 GREECE, THESSALONIKI, CULTURAL CENTRE FOR THE NATIONAL BANK OF GREECE
19/02/1996 GREECE, ATHENS, ART HALLS OF THE CULTURAL CENTRE OF THE MUNICIPALITY OF ATHENS
11/01/1996 ROMANIA, BUCHAREST, NATIONAL THEATRE GALLERIES
12/10/1995 GERMANY, MAGDEBURG, KULTURHISTORISCHES MUSEUM
02/12/1994 SPAIN, JEREZ, SALA PESCADERIA VIEJA, AYUNTAMIENTO DE JEREZ
04/11/1994 SPAIN, MURCIA, VERONICAS, SALA DE EXPOSICIONES
05/07/1994 SPAIN, MADRID, CENTRO CULTURAL GALILEO
03/05/1994 SPAIN, BILBAO, MUSEO DE BELLAS ARTES DE BILBAO
10/03/1994 SPAIN, BARCELONA, CENTRE DE ART SANTA MONICA
29/11/1993 TURKEY, IZMIR, IZFAS GALLERY
18/10/1993 TURKEY, ANKARA, STATE FINE ARTS GALLERY
20/09/1993 TURKEY, ISTANBUL, ISTANBUL GREATER CITY MUNICIPALITY TAKSIM ART GALLERY
05/03/1993 LUXEMBOURG, MUSEE D'ART ET D'HISTOIRE
30/09/1992 BELGIUM, BRUSSELS, EEC PRESIDENCY EXHIBITION
23/09/1992 BELGIUM, BRUSSELS, LA BORSCHETTE
1992
Whitechapel Open, Whitechapel Art Gallery, London.
Blast from the Past, Minories Art Gallery, Colchester.
Walls 1, Union Gallery, Adelaide University.
20th Century Women's Art, New Hall College, University of Cambridge.
Scene of the Crime? APresumed Innocent collaborative installation, Post West, Adelaide.
EdwardTotah Gallery, London.
Nothing is {Hidden} (collaborative installation with Pamela Golden, Andrew Renton and LindaLevinson),
Rear Window, Lambs Conduit St, London. http://www.rear-window.org.uk/nothing_is_hidden.html
1991
A Painting Exhibition in Two Parts Todd Gallery, London.
1990
Decoy, Serpentine Gallery, London.
Global Art, Brent Gallery and Galleria, Houston, Texas.
London passim, Casa Veneta, Trieste.
Whitechapel Open, Whitechapel Art Gallery, London.
1989
XXI Festival International de la Peinture, Cagnes sur Mer , France.
Whitechapel Open, Whitechapel Art Gallery, London.
John Moores, Walker Art gallery, Liverpool (3rd prize).
1988
New Brits: Contemporary British and Scottish Painting The Contemporary Arts Center, Cincinnati, Ohio, and tour of USA Museums.
Object and Image: British Art in the 1980's City Museum and Art Gallery Stoke on Trent.
Figuring out the '80's, Laing Art Gallery, Newcastle upon Tyne.
Something solid, Cornerhouse Galley, Manchester.
Whitechapel Open, Whitechapel Art Gallery, London
4 London Artists, Nancy Hoffman Gallery, New York.
It's a still-life, Arts Council Collection, South Bank Centre, London and Tour.
1987
Edward Totah Gallery , London.
Edward Bates Gallery, Chicago.
1986
The Golden Thread? Classical Mythology in Contemporary Art, Harris Museum and Art Gallery, Preston, Milton Keynes Exhibition Gallery, Royal Albert Memorial Museum, Exeter, Bradford Art galleries and Museums, Bradford. 1986-87.
Love, Sacred and Profane, Plymouth Arts Centre and Stoke Museum.
Interference Riverside Studios, London.
Camden Annual, Camden Arts Centre, London.
4 British Artists, Edward Bates Gallery, Chicago, USA.
1985
Nature Morte, Edward Totah Gallery, London.
Open Exhibition Riverside Studios, London.
1984
Whitechapel Open, Whitechapel Art Gallery, London.
Galerie Davidson, Berlin. (2 person show)
Warwick Arts Trust, London.
1982-83
Images for Today, Touring exhibition sponsored by Sainsburys
1981
Stowells Trophy, Royal Academy, London.
COLLABORATIVE ORGANISATIONS
1991 Founder member of NIH (Nothing is {Hidden} ) London/NY based
1992 Founded PI (Presumed Innocent) Adelaide/NY based
2000 Founded The International Corporation of Lost Structures (ICOLS) http://www.icols.org
PUBLIC COLLECTIONS
Arts Council of England
Art Gallery of South Australia
Australian Centre for the Moving Image
AXA Collection
British Council
EMI Paris
Griffith University, Queensland
Leeds City Council
Leicester County Council
New Hall Cambridge
Tate Britain
Wolverhampton Art Gallery
International Libraries (cd rom collections):
Tate Britain, London
British Museum, London
UCLA, Santa Rosa Junior College, California, USA
University of Auckland
University of East London
Sydney College of the Arts
Rhodes University, South Africa
The Rose Golden Archive of New Media Art, The Division of Rare and Manuscript Collections, Carl A. Kroch Library Cornell University, Ithaca, NY, USA
L'Espace Multimédia Gantner, France
Fundacio Antoni Tapies Biblioteca, Barcelona
BIBLIOGRAPHY
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Modern Art: A Critical Introduction 2nd edition, Pam Meecham & Julie Sheldon, Publ. Routledge London 2005
Paco Barragan, Roselee Goldberg, Coco Fusco - No lo Llames Performance/DonÕt call it Performance Exhibition cat.Publ. Fundacion Salamanca Ciudad de Cultura & El Museo del Barrio, New York 2004
Bettina Knaup, Sabina Potocki with essay by Katy Deepwell, Mesto Zensk/City of Women catalogue, Ljubljana, Slovenia, 2004
Paul Brown - Operation Swanlake RealTime No 63 2004 www.realtimearts.net
PLANET B Die €sthetik des B-movies in der zeitgenšssischen Kunst. Catalogue, dist, www.revolver-books.de 2004
Artist pages n.paradoxa Volume 14 - Dreams of the Future, July 2004
Jean Wainwright - Operation Swanlake Art Monthly (UK) No 278 July - August 2004
Rebecca Geldard - Operation Swanlake TimeOut No. 1765 June 16-23 2004
Operation Swanlake - poster/cat, Annely Juda Fine Art, London, UK 2004
Merryn Gates - Metis time:04 catalogue, publ. Canberra Contemporary Art Space, 2004
Kathy Rae Huffman 'Science by Artists', Publisher: Cornerhouse Publications, Nov 2004
Pam Skelton - Unframed: the Practices and Politics of Women Painting ed. Rosemary Betterton, Publ. IB Taurus, London, 2003
Michael Duncan - Self created worlds Art in America Oct 2002
Jeff Gibson - Biennale of Sydney Artforum Fall 2002
Alexie Glass - Fantastic Voyage Monument No. 47 April/May 2002
Andrew Frost - Sydney Biennale a-z definitive guide Metaphysics, Pataphysics, Astrophysics, Literature, History, Jazz etc Australian Style No 62 May 2002
Michael Smith - of fakes and UFOs, artists and aliens The Drum Media 21 May 2002
Samantha Selinger-Morris - In your dreams HQ May 2002
Bruce James - Why the Biennale is a bit of a miracle Sydney Morning Herald 17.5.2002
Rachel Withers - Sydney Biennale diary Artforum online http://www.artforum.com/diary/id=2853 May 2002
Fietta Jarque - El capital siempre determina a las biendes El Pais 16.2.2002
Michael Bodey - A conspiracy to open our minds Daily Telegraph 13.3.2002
Flash Art (Italy) A Sydney apre la Biennale: la finzione a di scena April/May 2002
Simon Rees - 2002 Biennale of Sydney Flash Art No 225 July/Sept 2002
Sharon Verghis - Stand by for BiennaleÕs showcase of the strange Sydney Morning Herald 13.3.2002
Benjamin Genocchio - As good as a wink The Weekend Australian 25/26.5.2002
Jennifer Sexton - Odds favour unreal event The Australian 13.3.2002
Victoria Hynes - Really Fantastic Ð Intrigue, ingenuity and eccentricity Sydney Morning Herald 11.5.2002
Jennifer Sexton - Purely personal The Weekend Australian-Review 11/12.5.2002
Gene Autry - Aliens stole my biennale Art Monthly (Australia) no. 150 June 2002
Hannah Fink - Fabulous-Biennale of Sydney Art Monthly (Australia) no. 151 July 2002
Courtney Kidd - (The world may be) fantastic! State of the Arts www.stateart.com.au May-Aug 2002
Sotiris Kyriacou - Biennale of Sydney Contemporary June,July,Aug 2002
Various writers Critical Interventions-Biennale of Sydney 2002 Publ. Artspace Sydney 2002
Sasha Grishin - Biennale of Sydney Canberra Times 10.6.2002
Richard Grayson - Grasshopper Worlds 2002 Biennale of Sydney catalogue
Marek Kohn - Bizarre New World (artist essay) 2002 Biennale of Sydney catalogue
John McPhee - Art is the prize for raiders of the state archives Sydney Morning Herald 8.5.2002
Victoria Hynes - Critic's picks ICOLS [Art meets Archive] Sydney Morning Herald 7/6/2002
Alex Gawronsky - Model Citizen-Artspace Broadsheet Vol 31 no1 Autumn 2002
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', chapter by Jyanni Steffensen in:
_Reload_Rethinking Women + Cyberculture, ed. Mary Flanagan and Austin Booth. MIT Press 2002
Chapter on Rosalind Brodsky in Digital Thinking: New Metaphors for Technoscienceand Technoculture by Jyanni
Steffensen. Durham, NC: Duke University Press, 2001
Mike Leggett - Time Travelling with Rosalind Brodsky Leonardo 34.1 (2001) 76
http://muse.jhu.edu/demo/leonardo/v034/34.1leggett.html
Verena Kuni - Passwort: Transit. eMigrantinnen im elektronischen Raum 2000
http://www.kunst.uni-mainz.de/~kuni/abs-exi.htm
Mike Leggett - The Speed of Light
http://www.msstate.edu/Fineart_Online/Backissues/Vol_14/faf_v14_n08/text/feature.html
Kelly Ford - Spooky: Ghost, Spirits And The Uncanny
http://melbourne.citysearch.com.au/E/E/MELBO/0006/66/43/
Annemarie Lopez - Gene Spill CitySearch
http://sydney.citysearch.com.au/E/E/SYDNE/0007/06/11/
Sarah Thomas/John Neylon - Chemistry catalogue Art Gallery of South Australia 2000
I.M.A.T.I. From the Rosalind Brodsky Archives Greenaway Gallery cat. Sept 2000
Katy Deepwell - n.paradoxa (UK)Vol 6, July 2000
Courtney Kidd - Critic's picks Sydney Morning Herald 18 Aug 2000
Daniel Palmer - No Other Symptoms Photofile 59, Aug 2000
Mike Leggett - Redefining hybridity: CD-ROM possibilities RealTime 38 Aug-Sept 2000
www.rtimearts.com/~opencity/rt40.html
De Decker Geert - Sztuka Fabryka - http://www.sztuka-fabryka.be/review/publi01.htm
Taru Elfving - No Other Symptoms Make (UK) No.87 March-May 2000
Michael Gibbs - Time Travel Art Monthly (UK) No 235 April 2000
Sally O'Reilly - London Arts Online feature, www.londonart.co.uk (Excerpts from CD ROM )
Linda Carroli - Odyssey Broadsheet Vol28 summer 2000
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Joni Taylor - Time travel is your only means of escape RealTime 35 Feb 2000
Marek Kohn - No Other Symptoms The Sunday Review, The Independent on Sunday (UK) 16/1/2000
No Other Symptoms - Time Travelling with Rosalind Brodsky CD ROM with 124 page colour hardback book. Published by Black Dog Publishing Ltd, UK ISBN: 19013366X Dec1999
Jyanni Steffensen - Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety: Social, Political, Economic and Cultural Issues, ed. John Armitage and Joanne Roberts (Newcastle: University of Northumbria, 1999)
Linda Marie Walker - Rosalind Brodsky Cookery Show Artlink Vol 19 no.4 Summer 1999
Jyanni Steffensen - PI in New York. Broadsheet Vol 28 No2 Winter 1999
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Jenny Jones - Isea 98 Make (U.K.) No. 82 Dec 98-Feb 99
Jyanni Steffensen - Point, Click, Point, Click, Boing. Broadsheet Vol 27 No 4 Summer 1998
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Honor Harger - Shape-Shifting: A review of Throw Down a Shape Supermild, Adelaide, Australia 4 November, 1998
http://radioqualia.va.com.au/ctl/texts/hh3.html
Innerscapes - An anthology of artist's writings, Ed: Maurizio Pellegrin, Publ: Trieste Contemporanea 1998 http://www.tscont.ts.it/pubblicazioni.htm
Emma McGlade - Isea 98 Bigmouth Liverpool
Artist pages - Arkzin (Zagreb) No 4 (100/101) 12.'97./01.'98.
Georgy Downey - hot links Broadsheet Vol 26 No 3 Spring 1997
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Dugal McCrow - On a Clear Day liveart magazine (U.K.)Issue 14/15 May-July 1997
Jyanni Steffensen - Kitsch'n Shrink Globe E internet journal
http://www.arts.monash.edu.au/visarts/globe/issue4/sttxt.html
Jyanni Steffensen - triple treats RealTime 17 Feb-Mar 1997
http://sysx.apana.org.au/realtime
James Flint - Wired (U.K.) 3.01 Jan 1997
Tony White - On a Clear Day Wired (U.K.) 3.02 Feb 1997
Achille Bonito Oliva + Claudio Di Biagio - Heteronymous catalogue essays, 1997
Heteronymous TimeOut (Rome) May 1997
Piece of Paper Press No.013 (ed. Tony White, U.K.) Vibrators from the House of Brodsky 1997
David Barrett - On a Clear Day Frieze Issue 33 1997
Brian Lynch - Suzanne Treister, Art Gallery of South Australia Db Issue 145 1997
David O`Halloran - Visual Arts Program Telstra Adelaide Festival 1996
Sarah Thomas - Raking through Compost Broadsheet Vol 25 No2 Winter 1996
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
John Paul Bichard (ed) On a Clear Day comic book and CD ROM
Jill Bennett - Compost Art+Text no.54 1996
Brett Buttfield - White Hysteria Db (Adelaide) Issue #121 June/July 1996
John Neylon - White Hysteria Adelaide Review July 1996
Stephanie Radok - White Hysteria Artlink Vol 16 no.4 Summer 1996
Tania Guha - White Hysteria TimeOut Aug 7-14 1996
Artist`s page with Kazuko Shiraishi, Hanatsubaki magazine Tokyo,September 1996
Ian Howard - Faults, functions and fantasy Brisbane Courier Mail Sept 5 1996
Richard Grayson - Dying for your sins catalogue essay, Institute of Modern Art, Brisbane 1996
Interview with Mutual Reality http:/www.widemedia.com/mutual/ re. ICA/Toshiba comm.
Pauline van Mourik Broekman - On a Clear Day Mute-digitalartcritique Autumn 1996 issue 6
http://www.metamute.com/mute_online
Louise Nunn - At home in Adelaide Adelaide Advertiser Nov 19 1996
Catriona Murtagh - Dying for your sins Mesh Issue 10. Spring 1996
http:/www.peg.apc.org/~experimenta
Chris Chapman - Banana Creme, Wet Dream etc. Catalogue essay for Kitsch'n Shrink, Greenaway Gallery Adelaide 1996
Shiralee Saul - Domestic Disturbances catalogue essay, National Gallery of Victoria Melbourne,1996
Linda Carroli - The Castle as Interzone Broadsheet Vol 25 No4 Summer 1996/7
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Leah Kharibian - It's a Pleasure Royal Festival Hall catalogue and selected quotes,1995
Richard Grayson - Catalogue essay, Mizuma Art Gallery Tokyo, 1995
Sue Hubbard - It's a Pleasure TimeOut Feb 1-8 1995
Informer National The Face no.76 Jan 1995
Anne Brennan/June Mary Scott - Catalogue essays "U.K. Wit and Excess" CAC Adelaide 1995
anon - Weird Science The Manila Times 12.8.95
Zoe Soufoulis/Zara Stanhope - Technothelylogia catalogue essays, Monash University 1995
Francis Hagan - Artist profile Art + Tech (U.K.) 2.01 edition 1995
Sarah Kent - Pretext:Heteronyms TimeOut 22-29 Nov 1995
Stella Santacatterina - Art after Indifference Pretext:Heteronyms cat. essay, Rear Window publications(U.K.) 1995
Adrian Searle - Works for a complex age New Voices catalogue, British Council 1995
Mark Durden - Pretext:Heteronyms Art Monthly (U.K.) no.192 Dec/Jan 1995/6
Jenny McFarlane - ROMulus and RAMbo Photofile Nov 1995 no.46
Jyanni Steffensen - Parallel Gallery and Journal Photofile, Nov 1995 no.46
Anna Clabburn - Technothelylogia World Art 4/1995
Richard Grayson/Catherine Lumby - Catalogue essays for Q.Would you recognise a virtual paradise? CAC Adelaide, A.C.C.A. Melbourne. 1994
Steve Wigg - Impolite questions Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
AnneRobertson - Flat Agenda Issue 37, July 1994
Richard Grayson - Between the clues lies the evidence (Post West Gallery 1992) The Post West Book [Pub.+ Ed. Alan Cruickshank] Adelaide 1994
Stephanie Radok - Critical mass/city art/artists initiatives Artlink Vol 14 No 2 1994
Julianne Pierce - Selecting the morph tool Broadsheet Vol 23 No 2 Winter 1994
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
Olga Spiegel - La Vanguardia 19 March 1994
Steve Wigg - Virtual history Artlink Vol 14 No 3,Spring 1994
John McEwen - Whitechapel Open Daily Telegraph 15 May 1994
Corina Mersch - Luxemburger Land No 13/2 April 1993
Brett Buttfield - Db Magazine (Adelaide) #49, 18-31 August 1993
Ken Bolton - Artist run alternatives Art + Australia Vol 31 No 2 1993
Jyanni Steffensen - Virtual(ly) real desire; Software Broadsheet (Adelaide) Vol 22 & No 3, Spring 1993
http://www.cacsa.org.au/publish/broadsheet/index_frames.html
& in Salient: SA Visual Art 1992-95 Anthology, [Pub. + Ed. Alan Cruickshank] Adelaide Festival, 1996
Samuel Fessler - When canvas meets screen Hampstead & Highgate Express 14/2/1992
John McEwen - Sunday Telegraph 16/2/1992
Adrian Searle - TimeOut 19-26 Feb 1992
Charles Hall - Arts Review March 1992
Andrew Renton - Flash Art May/June 1992
Catherine Lumby - Art + Text 43 September 1992
Catherine Lumby - Artlink Vol 12 No 3 Spring 1992
Tony Godfrey - A British Painting for the 90's Art in America April 1991
Robert Collins/James Josephs - Catalogue essays, Edward Totah/Ikon Gallery catalogue 1990
Tom Lubbock - Independent on Sunday 1/4/1990
Sarah Kent - TimeOut April 18-25 1990
Mark Currah - City Limits May 3-10 1990
Nikkei Art June 1990
Andrea Schlieker - Decoy catalogue essay, Serpentine Gallery 1990
Sarah Kent - Decoy- Lie of the Land TimeOut May 2-9 1990
Rose Jennings - Nature Studies City Limits May 3-10 1990
William Feaver - Landscapes of the video age Sunday Observer 13/5/1990
Andrew Graham - Dixon Decoy at the Serpentine Gallery The Independent 15/5/1990
Tim Hilton - Nebulous Landscapes The Guardian 16/5/1990
Sue Hubbard - Bath contemporary art fair 20/20 May 1990
Susan Chadwick - The Houston Post 1/7/1990
Andrew Hoellering - Suzanne Treister, Spacex Exeter The Guardian 29/8/1990
Sotiris Kyriacou - Artscribe Sept/Oct 1990
Kazu Kaido - Ikebana Sogetsu Spring 1989
Carolyn Cohen - 40 under 40 Art & Design Vol 5, no. 3/4 1989
William Feaver - Character cats and shepherd's pie skies The Observer 22/10/1989
Marina Vaizey - British art finds a new freedom Sunday Times 29/10/1989
Sarah Kent - Back for Moores 20/20 Nov 1989
Robin Dutt - The Independent 26/1/ 1988
Allen Robertson - TimeOut Feb 3-10 1988
Matthew Collings - City Limits 4-11 Feb 1988
Mary Rose Beaumont - Arts Review 12/2/1988
Tony Godfrey - The Burlington Magazine April 1988
David Lovely - Something Solid Arts Review May 1988
Tony Godfrey - Classicism in painting today Art & Design June 1988
Lynne Cooke - Art International Autumn 1988
Higgins and Cohen - New British Painting Phaidon 1988
Peggy Cyphers - New York in review Arts Magazine Oct 1988
Marjorie Allthorpe-Guyton The Golden Thread? Catalogue essay, Harris Museum and Art Gallery, Preston, UK
John Roberts - Interference Artscribe sept/oct 1986
Greg Hilty and Kate Macfarlane - 'Interference' catalogue essays. publ. Riverside Studios, London 1986
LECTURING
1983-1996 Visiting lecturer at St Martins School of Art, Chelsea School of Art,Trent Polytechnic, Bath School of Art, Coventry Polytechnic, Royal College of Art, Goldsmith's College, Kingston Polytechnic, Central/St Martins, Camberwell, Ruskin Oxford, Glasgow School of Art, Monash University (Melbourne), University of Leeds, Sydney College, University of South Australia, Onkaparinga TAFE (South Australia).
1999-2000 Reading University, Wimbledon School of Art, University of Northumbria at Newcastle (upon-Tyne), Goldsmith's College, University of Western Sydney-Nepean, Sydney College of the Arts.
2001 University of Newcastle upon Tyne (UK), University of Newcastle (Australia).
2002 UTS Sydney, University of Newcastle, Australia. University of Westminster, UK.
2003 Brighton University, UK. Wimbledon School of Art, UK.
2004 UniversitŠt der KŸnste, FakultŠt Bildende Kunst, Institut fŸr Kunst im Kontext, Berlin.
2007 University of Northumbria, Newcastle upon Tyne, UK. 2007
2007 Visiting lecturer at Berkeley University of California; Pomona College, Claremont, Los Angeles and New York University (NYU), USA.
2007 University of Gwent, Wales; University of Derby, UK.
2008 Wimbledon School of Art, London; University of Brighton, UK; University of Westminster, UK.
AWARDS/GRANTS
2006 Arts Council England (Grant for Hexen 2039 curated by Tania Nasielski)
1999 National Digital Art Prize, Australia, 3rd prize.
1998 Australia Council, New Media Fund.
1998 Australian Film Commission, multimedia completion funding.
1997 Australia Council, New York studio residency (for 98/9).
1996 South Australian Department of Arts and Cultural Development. New Work grant.
1995 Australia Council, professional development grant.
1994 British Council, travel grant. Tokyo.
1994 South Australian Department of Arts and Cultural Development. New Work grant.
1992 British Council, travel grant, Australia.
1989 John Moores, Liverpool, 3rd prize.
WRITING
Ambient (male) identity Broadsheet, vol 26, no.4. Summer 1997/98
Dean Whitehorn, Catalogue essay, Experimental Art Foundation,Adelaide 1997
UK Es & Whizz Broadsheet, vol 25, no.1. Autumn 1996
White Hysteria - interview with Bala Starr, Broadsheet, vol 25, no.2 Winter 1996
Patricia Piccinini & Alison Main Mesh- Experimenta media arts journal #8/9 Autumn/Winter 1996
Bad Girls, ICA London, Artlink Autumn 1994
Monstrous Gorgeous, Artlink Vol 14 no.4 Summer 1994/5
Mehmet Adil, Broadsheet Vol 23 no.4 Summer 1994
Bodiless Bodies of Work, Richard Grayson Performance Space, Sydney,catalogue essay 1995
Alex Rizkalla Broadsheet,vol 24 ,no.2 Winter 1995
Japophile/Hi Tack, Broadsheet Vol.22 No.2. June 1993/Salient 1996
Belshazzar, Richard Grayson Post West catalogue (Adelaide)1992
Forensic, Broadsheet Vol. 21. No.3 Sept 1992
TV
PRESUMED INNOCENT-DISASTER Documentary by Heather Croall for "Carpet Burns" SBS Australia. Dec 1993
CONFERENCES
2000 'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject', Next 1.0: New Extensions of Existing Technologies, Karlstad University, Sweden. Paper presented by Jyanni Steffensen.
'Doing it digitally: Rosalind Brodsky and the art of the virtual female subject' Verve at Artist's week, Telstra Adelaide Festival 2000, Ngapartji CMC. Paper presented by Jyanni Steffensen.
1999 Brodsky Economics and the Jewish Science or How to Finance Time Travel from the Production of Virtual Vibrators', Exploring Cybersociety, School of Social, Political and Economic Sciences,University of Northumbria, Newcastle, UK. Paper presented by Jyanni Steffensen.
'Invading Ancestral Spaces through the Privileged Violence of Technology'futureScreen 99: AvAtArs | phantom agents dLux media arts at the Powerhouse Museum, Sydney. Paper presented by Jyanni Steffensen.
1994 Still Photography? International symposium on the transition from analog to digital imaging. University of Melbourne. Paper presented by myself.
CURATING
1997 Wardrobe Madlove Gallery, Adelaide; The Performance Space, Sydney; I.M.A. Brisbane; P.I.C.A. Perth.
1996 White Hysteria Contemporary Art Centre of South Australia; Stripp, Melbourne.
White Hysteria(waiting room) Cleveland project space,Lotta Hammer Gallery, London; ThePhysics Room, Christchurch, New Zealand.
1994 Flat Union Gallery, Adelaide University (with L.E.Young).