Claire Fontaine
#clairefontaine #labiennaledivenezia, Stranieri Ovunque – Foreigners Everywhere is the title of the Venice Biennale 2024
Selected Works
Untitled (No Present)
2013Wall mounted or suspended neon, 6500K. 12mm neon glass, back-painted. Frame mounted electronic transformer
20 × 177 × 5 cm (7 ⅞ × 69 ⅝ × 2 inches)
Foreigners Everywhere/Stranieri Ovunque
2004-24Installation at The 60th International Art Exhibition, La Biennale di Venezia, 2004-24, Photography by Marco Zorzanello. Image courtesy of the artist and La Biennale di Venezia
Foreigners Everywhere (Self-portrait)
2024double-sided, wall or window mounted neon, framework, transformers, cables and fittings
In a contemporary moment in which the concept of nomadism (and also the ease of being nomad) is at the highest levels of use, study and speculation, the curator Adriano Pedrosa chooses to compose his own title for this 60th Venice Biennale using the adjective “foreigners” (from the Latin extrānĕus > “foreigner” “stranger” or “external”). Foreigners Everywhere places us before a range of conditions of different nature and with infinite declinations, from the more strictly etymological ones to other more political and even psychological-introspective ones. “Wherever you go and wherever you are you will always meet foreigners and, meanwhile, you too are or have been foreign to something or someone, outside or inside you”. The work of the Italian-British collective Claire Fontaine (Fulvia Carnevale and James Thornhill) which opens the path of the string factories with the neon writing “Foreigners Everywhere”, makes us aware of this possibility, reminding us of this current human condition of estrangement and urging us to abandon any form of racism. Precisely racism or rather contemporary racisms - in their most diverse forms - are what Pedrosa wants to fight with this Biennial, starting from the world of art (and artists) to arrive at theorizing something more global, anthropological, which is part of all of us in our daily lives. -Maria Chiara Valacchi
On Fire
2023shaped lightbox, digital print, dimmer, transformer and cables
114 × 88 × 9.5 cm (44 ⅞ × 34 ⅝ × 3 ¾ inches)
Fontana Luminosa (Marco)
2023traditional Sicilian festival signage, wooden frame, led lamps, cables and transformer
310 × 162 × 10 cm (122 × 63 ¾ × 3 ⅞ inches)
Bump Key
2011suspended neon glass filled with argon
50 × 120 cm (19 ⅝ × 47 ¼ inches)
Italy (burnt/unburnt)
2011matchsticks
wall: 500 × 400 cm (196 ⅞ × 157 ½ inches)
Edition of 1 plus I AP
Left & Right
2023shaped lightbox, digital print, dimmer, transformer and cables
70 × 100 × 9.5 cm (27 ½ × 39 ⅜ × 3 ¾ inches)
Melting point
2023shaped lightbox, digital print, dimmer, transformer and cables
104 × 103 × 9.5 cm (41 × 40 ½ × 3 ¾ inches)
Order (Glovo)
2023eight stretchers, acrylic paint on canvas, and velcro
50 × 44 × 44 cm (19 ⅝ × 17 ⅜ × 17 ⅜ inches)
Order (Glovo)
2023eight stretchers, acrylic paint on canvas, and velcro
50 × 44 × 44 cm (19 ⅝ × 17 ⅜ × 17 ⅜ inches)
Order (Deliveroo)
2023eight stretchers, acrylic paint on canvas, and velcro
50 × 44 × 44 cm (19 ⅝ × 17 ⅜ × 17 ⅜ inches)
They hate us for our freedom
2013matchsticks
Dimensions variable
Installation view, MAXXI - Museo nazionale delle arti del XXI secolo, Rome
White Sight (Argon)
2022wall or window mounted neon, framework, electronic transformer and cables
60 × 60 × 5 cm (23 ⅝ × 23 ⅝ × 2 inches)
Beauty is a ready-made
2020LED three dimensional letters, framework and support
31 × 470 cm (12 ¼ × 185 inches)
‘Foreigners Everywhere (Persian)’ (2016), ‘Everywhere (Chinese)’ (2008), ‘Foreigners Everywhere (Tigrinya)’ (2016), ‘Foreigners Everywhere (Italian)’ (2004), ‘Foreigners Everywhere (Arabic)’ (2005), ‘Foreigners Everywhere (Kurdish)’ (2011), ‘Foreigners Everywhere (Mesopotamian Arabic)’ (2016), ‘Newsfloor (Il Manifesto)’ (2018)
2021neon, trasformers, cabling
Various dimensions
Installation view, MACTE – Museo di Arte Contemporanea, Termoli
Siamo con voi nella notte (2007-20)
2020Led letters, transformers and framework
1066 x 50 x 7 cm
Installation view, Museo Novecento, Florence
Sensitive content
2020Digital vinyl print on frameless industrial lightbox
160 × 160 × 6 cm (63 × 63 × 2 ⅜ inches) Edition of 3 plus II AP
Ettore Majorana
2019Wall based neon, framework, cables and transformers
120 × 270 × 1700 cm (47 ¼ × 106 ¼ × 669 ¼ inches)
Untitled (Postcard rack / #me too olympia)
2018postcard rack and renewable offset postcards
Dimensions variable
Evil/Good
2017Optional silver wall and frameless LED lightbox and perspex
110 × 100 × 22 cm (43 ¼ × 39 ⅜ × 8 ⅝ inches), Edition of 3 plus II AP
Untitled
20184 silkscreen on newsprint, framed with anti-UV, anti-reflective museum glass
Each:: 63.50 × 48.50 cm (25 × 19 ⅛ inches), Edition variable of 10 plus II AP
Yoda
2016mannequin, padding, polystyrene, mask, false eyeballs, eyelashes, wig, djellaba, trousers, cape, prayer shawls, leather prayer socks, slip on shoes, socks, t-shirt, leather gloves, metal base, armature, pot with chain and carpet
190 × 60 × 70 cm (74 ¾ × 23 ⅝ × 27 ½ inches)
Anonymous
2016mannequin, padding, eyelashes, mask, wig, scarf, combat trousers, trainers, socks, t-shirt, bicycle chain, hoodie, leather gloves, lighter, smoke bombs, pot with chain and plinth
245 × 45 × 45 cm (96 ½ × 17 ¾ × 17 ¾ inches)
Untitled (I do it because it’s right / it’s right because I do it)
2014-17back-painted neon for wall, ceiling or window mounting, framework, cables, sequencer and transformers
20 × 200 × 7 cm (7 ⅞ × 78 ¾ × 2 ¾ inches)
Untitled (I want it I get it therefore I am good / I want it I don’t get it therefore I am bad)
2014-17back-painted neon for wall, ceiling or window mounting, framework, cables, sequencer and transformers
50 × 150 × 5 cm (59 × 59 × 2 inches)
Untitled (I Am Your Voice)
2016wall mounted LED constructed letter
31 × 310 × 6 cm (12 ¼ × 122 × 2 ⅜ inches)
Untitled (pubblicità, pubblicità)
2015digital vinyl prints on frameless industrial light boxes (two elements)
160 × 123 × 10 cm (63 × 48 ⅜ × 3 ⅞ inches) Edition of 3 plus II AP
Ma l’Amor Mio Non Muore
2012neon, framework, transformer and cables
20 × 170 × 10 cm (7 ⅞ × 66 ⅞ × 3 ⅞ inches)
We are all (IV)
2012spraypaint on silkscreen, frame and anti-uv/anti reflection glass
91.3 × 91.3 cm (36 × 36 inches)
Foreigners Everywhere (Yiddish)
2010Color: Emerald Green / Argon : neon glass, framework, electronic transformer and cables
10 × 140 × 5 cm (3 7/8 × 55 1/8 × 2 inches)
Edition 3/5 + II AP
Foreigners Everywhere (Swahili)
2013Colour: 10mm glass, back-painted, framework, electronic transformer, cables
11 × 170 × 5 cm (4 3/8 × 66 7/8 × 2 inches)
Edition 2/5 + II AP
Foreigners Everywhere (Spanish)
2008Color: E12 Aqua /Argon : neon glass, framework, electronic transformer and cables
10 × 225 × 5 cm (3 7/8 × 88 5/8 × 2 inches)
Edition 2/5 + II AP
Foreigners Everywhere (Portuguese)
2009suspended, wall or window mounted neon, framework, electronic transformer and cables
120 × 3,040 × 45 mm: 12 × 300 × 4.5 cm (4 3/4 × 118 1/8 × 1 3/4 inches)
Edition 3/5 + II AP
Foreigners Everywhere (Romany)
2010neon, trasformers, cabling, framework
228 × 10 cm (89 3/4 × 3 7/8 inches)
Edition 3/5 + II AP
Foreigners Everywhere (Dutch)
2010suspended, wall or window mounted neon, framework, electronic transformer and cables
98 × 178 × 45 cm (38 5/8 × 70 1/8 × 17 3/4 inches)
Edition 2/3 + II AP
Foreigners Everywhere (Korean)
2013Tecnolux No. 44S (2800K : Argon/Mercury)10mm neon glass, backpainted, framework, electronic transformer and cables
14.8 × 153.5 × 5 cm (5 7/8 × 60 3/8 × 2 inches)
Edition 2/5 + II AP
Foreigners Everywhere (Greek)
2009Color: C.L. Designer 28 / Argon (Skin tone) : neon glass, framework, electronic transformer and cables
10 × 5 × 107 cm (3 7/8 × 2 × 42 1/8 inches)
AP II/II of an edition of 3 + II AP
Foreigners everywhere (arabic)
2005neon, trasformers, cabling, framework
18 × 100 × 4.5 cm (39 3/8 × 7 1/8 × 1 3/4 inches
AP II/II of an edition of 5 + II AP
Visions of the world, (Genova, 19. 07. 2001)
2007aluminium framework, graphics applied to opal plexiglas panel using translucent vinyl film, neon, cabling
91.44 × 61 cm (36 × 24 inches) Edition of 5 plus II AP
Visions of the world, (Catania)
2007aluminium framework, graphics applied to opal plexiglas panel using translucent vinyl film, neon, cabling
91.44 × 61 cm (36 × 24 inches) Edition of 5 plus II AP
Biography
Gallery Exhibitions
Other Venues
Selected Press
CV
2024
’Tra cielo e terra’, Riso, Palermo
‘Reproductions’, Mennour, Paris
‘Beauty is a Ready-made’, Maison Hermès Dosan Park, Seoul
2023
‘Readymade emotions’, T293, Rome
IL PERSONALE, Site Specific Installation (installed upon winning the 21st Premio Ermanno Casoli prize)
Elica, Fabriano
2022
‘Bientôt’, Air de Paris, Paris
‘Star Reply Forward Copy Info Delete’, Kunstraum Memphis, Austria
2020
‘Siamo Con Voi Nella Notte’, Museo Novecento, Florence
2019
‘Your Money and Your Life’, Galerias Municipais, Lisboa
‘OK NO’, SYNNIKA, Frankfurt am Main, Germany
‘La borsa e la vita’, Palazzo Ducale, Genoa, Italy
‘Les printemps seront silencieux’, Confort Morderne, Poitiers, France
2018
INCA, Institute for New Connotative Action, Portland, United States
‘Tutto è comune’, T293, Roma
‘Happy for no reason’, GagaReena, Los Angeles
‘Same war time zone’, Williamson|Knight (in collaboration with PNCA), Portland, United States
‘#displaced’, Städtischen Galerie Nordhorn, Germany
2017
‘I Am Your Voice’, KARST, Plymouth, United Kingdom
‘The Crack-Up’, Neuer Berliner Kunstverein, Berlin
2016
‘Claire Fontaine’, Museo Pietro Canonica a Villa Borghese, Rome
‘Claire Fontaine’, Académie de France à Rome – Villa Medici, Rome
‘MAY OUR ENEMIES NOT PROSPER’, Galerie Neu, Berlin
2015
‘The winter of discontent’, Carl Kostyál, London
‘Love is Never Enough’, Air de Paris, Paris
‘Stop Seeking Approval’, Metro Pictures, New York
‘Pretend to be dead’, T293, Rome
2013
‘Using Walls, Floors, and Ceilings’, The Jewish Museum, New York
‘Un regard sur l’Inventaire vol.1 et vol.3’, Frac Haute Normandie, Sotteville-lès-Rouen, France
‘Etrangers Partout’, Frac Provence-Alpes-Cote d’Azur, La Bouilladisse, France
‘Some Redemptions’, Metro Pictures, New York
‘1493’, Espacio 1414, Puerto Rico
‘Redemptions’, CCA Wattis Institute for Contemporary Arts, San Francisco
‘Sell Your Debt’, Queen’s Nails, San Francisco
2012
‘Carelessness Causes Fire’, Audain Gallery, Vancouver
‘1493’, Espace 1414, San Juan, Puerto Rico
‘Breakfast starts at midnight’, Index, Stockholm
‘Ma l’amor mio non muore’, T293, Rome
‘Équivalences et Généralités’, La Douane, Galerie Chantal Crousel, Paris
‘M-A-C-C-H-I-N-A-Z-I-O-N-I’, Museion, Bolzano, Italy
2011
‘M-A-N-I-P-U-L-A-T-I-O-N-S’, SIZ Gallery, Rijeka, Croatia
‘Working Together’, Metro Pictures, New York
‘The Assistants’, Petra, Mexico, D.F.
‘I’, Yama, Istanbul
‘The Interpreter’, Artist Projects, Art Brussels
‘P.I.G.S.’, MUSAC Contemporary Art Museum, Castilla y León, Spain
‘Some instructions for the sharing of private property’, Onestar Press, Paris
‘No Family Life’, Air de Paris, Paris
‘Fighting Gravity’, Regina Gallery, London
‘Fighting Gravity’, Regina Gallery, Moscow
‘Arando en el mar’, Gaga Galería de Arte Contemporáneo, Mexico, D.F.
2010
‘Consumption’, Helena Papadopoulos Gallery, Athens
‘Closed for Prayers’, Dvir Gallery, Hangar 2, Jaffa Port, Israel
‘Kultur ist ein Palast der aus Hundescheiße gebaut ist’, MD72, Mehringdamm 72, Berlin
‘Unbuilding’, Caterina Tognon Gallery, Venice
‘Economy’, Museum of Contemporary Art, North Miami
‘Future Tense’, Museo Tamayo Arte Contemporáneo, Mexico, D.F.
2009
‘Inhibitions’, Reena Spaulings, New York
‘After Marx April, After Mao June’, Aspen Art Museum, Aspen
‘Recessions’, Galerie Gabriele Senn, Wien
‘The Exhibition Formerly Known as Passengers’, CCA Wattis, San Francisco
‘Changement de Propriétaire’, Sorry We’re Closed, Bruxelles
‘Tamed’, Perché Napoli?, T293, Piazza Amendola, Naples, Italy
‘Call + 972 2 5 839 749’, Andres Janacu / Galería Perdida at Project Row House, Houston, United States
‘Interior Design for Bastards’, T293, Naples, Italy
‘Destroy and Rejuvenate’, Regina Gallery, Moscow
2008
‘Feux de Détresse’, Galerie Chantal Crousel, Paris
‘Lucky In The Misfortune’, Masion Descartes, Institut Français des Pays-Bas, Amsterdam
‘Asleep’, Dvir Gallery, Tel Aviv
‘They Hate Us For Our Freedom’, Contemporary Art Museum St.Louis, St. Louis, United States
‘Change’, Galerie Neu, Berlin
‘Counter-Poison’, Komplot, Bruxelles
‘Claire Fontaine’, Witte de With Center for Contemporary Art, Rotterdam, Netherlands
‘Tragitti periferici’, Facoltà di Architettura, Università degli studi di Catania, Catania, Italy
‘Instructions for the sharing of private property’, project space, The Kitchen, New York
‘Capitalism is not working’, House of Gaga, Mexico, D.F.
2007
‘Équivalences’, Centre d’Art Villa Arson, Nice, France
‘Utlendinger Overalt’, The White Tube, Oslo
‘Get Lost’, Module, Palais de Tokyo, Paris
‘How to cook a wolf / How to?’, Kunsthalle Zurich, Zurich
‘Taccuini Di Guerra Incivile’, T293, Naples, Italy
‘Téléphone Arabe’, Air de Paris, Paris
‘Footnotes on the state of exception’, Reena Spaulings Fine Art, New York
2006
‘Siamo tutti singolarità qualunque’, Il piccolo Museion, progetto Garutti, Museion, Bolzano, Italy
‘Couvrir Les Feux’, Zoo Galerie, Nantes, France
2005
‘Foreigners Everywhere’, Reena Spaulings Fine Art, New York
‘Requiem for Jean-Charles de Menezes’, Tratari, Graz, Austria
‘Etrangers Partout’, 21 rue Ste Marthe, Paris
‘Claire Fontaine’, Galerie Meerrettich im Glaspavillon an der Volksbühne, Berlin
2024
‘Angels. Cinquant’anni di storie del Pastificio Cerere’, Fondazione Pastificio Cerere, Rome
‘Readymade emotions’, GAM Milano
‘Form Matters, Matter Forms’, Kunst Museum Winterthur, Switzerland
‘Manifesta’, Barcelona, Spain
‘Festival del Paesaggio’, Anacapri, Naples
‘Panorama Italics’, Monferrato, Piedmont
‘Foreigners Everywhere’, Biennale di Venezia, Venice
‘Rifrazioni. 15 curatori x 15 artisti’, Accademia Nazionale di San Luca, Rome
‘ALIAS’, Museum Leuven, Leuven, BE
‘A Model’, Mudam, The Contemporary Art Museum of Luxembourg
2023
‘Wörthersee, Wörtersee’, Kunstraum Lakeside, Klagenfurt
2022
‘Pier Paolo Pasolini. Tutto è Santo’,
MAXXI Museo nazionale delle arti del XXI secolo, Rome
‘readymades belong to everyone®, Philippe Thomas declines his identity’, MACRO, Museum of Contemporary Art of Rome, Rome
2021
‘Every lie has an audience’, Marsèll, Milan
‘Mothering. Between Stockholm Syndrome and Acts of Production’, MUAC, Mexico City, Mexico
‘Vogliamo tutto. Una mostra sul lavoro, tra disillusione e riscatto’, OGR, Turin, Italy
‘Burning Speech’, Fondazione Sandretto Re Rebaudengo, Turin, Italy
62 Termoli Prize, MACTE, Contemporary Art Museum, Termoli, Molise, Italy
‘Claire Fontaine | Pasquarosa | Marinella Senatore’, Villa Pignatelli, Naples, Italy
2020
‘Claire Fontaine | Pasquarosa | Marinella Senatore’, La Fondazione, Rome
2019
‘Doing Deculturalization’, Museion, Bolzano/Bozen, Italy
2018
‘Proregress –Art in an Age of Historical Ambivalence’ Shangai Biennale, China
‘An American City: Eleven Cultural Exercises’, FRONT International Cleveland Triennal for Contemporary Art, Cleveland, United States
‘Happy Birthday Karl: Art, Labor and the Future of Capitalism’, Space Gallery, Pittsburgh, United States
‘Optik Schröder II’, mumok – Museum Moderner Kunst Stiftung Ludwig Wien, Wien
Swiss Institute Annual Architecture and Design Series: Third edition, Readymades Belong to Everyone, Swiss Institute Contemporary Art New York
‘ISelf Collection: The Upset Bucket’, White Chapel Gallery, London
2017
‘Da Io a Noi: La città senza confini’, Palazzo del Quirinale, Rome
‘Act II’, Sharjah Biennal 13, Beirut, Lebanon
‘t twoninethree in-residence at Luciana Brito Galeria’, São Paulo
‘Habits of Care’, Blackwood Gallery, Mississauga, Toronto
‘EXIT’, Rodolphe Janssen Gallery, Brussels
‘Corpo a Corpo – Body to Body’, curated by Paola Ugolini, GNAM, Galleria Nazionale d’Arte Moderna, Rome
‘The Arcades: Contemporary Art and Walter Benjamin’, The Jewish Museum, New York
Dancity Festival / Art Session, curated by Carla Capodimonti and Marta Silvi, Foligno, Italy
‘WAGSTAFF’S’, Mostyn, Llandudno, Wales
‘Please Come Back. Il mondo come prigione?’, MAXXI, Rome
‘Sensibile comune. Le opere vive’, GNAM, Rome
2016
‘House of Commons’, Portikus, Frankfurt
‘HISTO’RICODE: Scarcity and Supply’, 3rd Nanjing International Art Festival, New Baijia Lake Museum, China
‘Start up. Quattro Agenzie per la produzione del possibile’, Fondazione Baruchello, Rome
‘This is a political (painting), Kunsthall Trondheim, Norway
‘I Would Prefer Not To’, 16a Quadriennale d’arte, Palazzo delle Esposizioni, Rome
‘Please don’t send me home’, Mairie du 4ème, Paris
‘…ma l’amor mio non muore. Opere dalla Collezione Alloggia’, Casa Museo Ivan Bruschi, Arezzo, Italy
‘T293-in-residence’, Via Gabba 1, Milan
‘This Is Your Replacement’, Sies + Höhe, Dusseldorf
‘Meanwhile, What About Socialism?’, AV Festival, Newcastle, United Kingdom
2015
‘Chaotic Passion’, Museo d’Arte Contemporanea Villa Croce, Genova, Italy
‘Delta ti – In tempo reale’, Museo Bilotti, Rome
‘WAR II’, MOSTYN, Wales
‘Suite Rivolta – o feminismo radical de Carla Lonzi e a arte da revolta’, Museu da Electricidade, Lisbon
‘Adventures in Bronze, Clay & Stone’ (curated by Adam Carr), Icastica, Arezzo, Italy
‘Beyond Borders’, Beaufort Triennial, Belgium
‘Signori prego si accomodino’, Studio Casa Scatturin – Carlo Scarpa, Venice
‘Collezionare per un domani. Nuove opere a Museion’, Museion, Bolzano, Italy
‘Construire une Collection (Building a Collection)’, Nouveau Musée National de Monaco, Monaco
2014
‘THE GO-BETWEEN. A selection of emerging international artists from the Ernesto Esposito Collection, Museo Nazionale di Capodimonte, Naples, Italy
‘Performance Now’, Queensland University of Technology Art Gallery, Brisbane, Australia
‘FOOD’, MuCEM, Marseilles, France
‘In _____ We Trust: Art and Money’, Columbus Museum of Art, Columbus, United States
‘Domesticity V’, Lucie Fontaine’s Kayu, Bali
‘WAR’, MOSTYN, Wales
‘Performance Now’, Delaware Art Museum, Delaware, United States
‘Manif d’art’, La Biennale de Québec, Canada
‘The crime was almost perfect’, PAC Padiglione d’Arte Contemporanea, Milan
‘New Ways of Doing Nothing’, Kunsthalle Wien, Vienna
‘Infinite Jest’, Schirn Kunsthalle, Frankfurt
‘Dérèglement des Passions’, Cantina Montone, Avellino and Museo Laboratorio, Città Sant’Angelo, Italy
‘Performance Now’, Middlebury College Museum of Art, Middlebury, United States
‘The Crime Was Almost Perfect’, Witte de With Center for Contemporary Art, Rotterdam, Netherlands
2013
The 4th Thessaloniki Biennale of Contemporary Art, Thessaloniki, Greece
‘New Industries Festival’, Hartware MedienKunstVerein at Dortmunder U, Dortmund, Germany
‘Women’s Art Society’, MOSTYN, Wales
‘Œuvres de la collection Philippe Cohen’, Passage de Retz, Paris
‘Reinventing the Wheel: the Readymade Century’, Monash University Museum of Art, Australia
‘Les Pléiades – 30 ans des FRAC’, Les Abattoirs – FRAC Midi-Pyrénées, Toulouse, France
‘Foreigners Everywhere’, Jewish Museum, Moscow
‘The Past is Present’, MOCAD Museum Of Contemporary Art Detroit, United States
‘Performance Now’, H&R Block Artspace, Kansas City Art Institute, Kansas City, United States
‘CONNECT FOUR: THE BET’, KW Institute for Contemporary Art, Berlin
2013 ‘Performance Now: From Futurism to the Present’, Jewish Museum and Tolerance Center, Moscow
‘Le Pont’, [mac] museum of contemporary art, Marseilles, France
‘Dark to Light’, The Doctor’s House, Tower of London, London
‘Auckland Triennial’, Auckland Art Gallery, Auckland
‘RELAUNCH’, KW Institute for Contemporary Arts, Berlin
‘Fragile?’, Le Stanze del Vetro, Venice
‘The Causes of Things’, CNAP Centre National des Arts Plastiques, Brussels
‘Showing Its Colours: What Makes Art’, MARTa Herford, Germany
‘Economy’, Stills, Edinburgh / Centre for Contemporary Arts (CCA), Glasgow, Scotland
2012
‘Doppelgänger – Les Séparés’, CEAAC European Centre for Contemporary Art Projects, Strasbourg, France
‘Reactivation’, 9th Shanghai Biennial, Shanghai
‘CARA DOMANI opere dalla Collezione Ernesto Esposito’, MAMbo, Bologna, Italy
‘When Attitudes Became Form Become Attitudes’, CCA Museum of Contemporary Art, Detroit, United States
‘Realness Respect’, Kunstverein Medienturm, Graz, Austria
‘BUSY Exhausted self / Unlimited ability’, 21er Haus, Vienna
‘Biennale de Belleville: Circumrévolution’, Pavillon Carré de Baudouin, Paris
‘When Attitudes Became Form Become Attitudes’, CCA Wattis Institute for Contemporary Arts, San Francisco
‘UNREST: Revolt against Reason’, apexart, New York
‘Tools for Conviviality’, The Power Plant, Toronto
‘Dogma’, Metro Pictures, New York
‘NEON. La materia luminosa dell’arte’, MACRO, Rome
‘Manifesta 9’, Genk, Limburg, Belgium
‘Foreigners Everywhere: Works from the Pomeranz Collection’, Jewish Museum, Vienna
‘It is what it is. Or is it?’, Contemporary Art Museum, Houston, United States
‘An incomplete history of incomplete works’, Galleria Francesca Minini, Milan
‘Exceptions’ (with Lucie Fontaine), The Green Gallery, Milwaukee, United States
‘Collaborations & Interventions’ CCA Andratax, Mallorca, Spain
‘Atlas Critique’, Parc Saint Léger, Contemporary Art Centre, Pougues-les-Eaux, France
‘Utopia GESAMTKUNSTWERK’, 21er Haus, Museum of contemporary
art of the Belvedere, Vienna
2011
‘Re-writing Worlds (Art and Agency)’, Fourth Moscow Biennale, Moscow
‘Para Doxa’, Hétérodoxies de L’événement, Galerie Villa des Tourelles, Nanterre, France
‘Collector’, Centre national des arts plastiques (CNAP), Tripostal, Lille, France
‘Art in the City’, Teatro di Roma, Nomas Foundation, Rome
‘Monodrome’, curated by Nicolas Bourriaud & XYZ,3rd Athens Biennale, Athens
‘My Paris – Collection Antoine de Galbert’, me Collectors Room Berlin, Berlin
‘Thomas Olbricht’s collection’, Maison Rouge, Paris
‘Terrible Beauty – Art’, Dublin Contemporary, Irland
‘Evidence of Bricks’, Time Based Art Festival, PIA, Institute of Contemporary art, Portland, United States
‘Please close your eyes’, Congrès Européen de la Culture, Wroclaw, Poland
‘Untitled (12th Istanbul Biennal)’, 12th Istanbul Biennal, Istanbul
‘Linde Family Wing’, Museum of Fine Arts Boston, Boston
‘Measure the city with the body’, ST Pauls Gallery, Auckland, New Zealand
‘Un Altro Mondo È Ancora Possibile?’, Contemporary Art Association, Palazzo Ducale, Genova, Italy
‘Big Brother’, Palais des arts et du Festival de Dinard, Dinard, France
‘Network’, Mastermind, Casablanca, Morocco
‘The Normal Condition of Any Communication’, TPW Gallery, Toronto
‘Inerloqui,’ Caterina Tognon Arte Contemporanea , Venice
‘Relationship Building’, Kunstlerhaus Wien, Wien
Beziehungsarbeit – Kunst und Institution, Vienna
‘The Pavement and the Beach’, Paradise Row, London
‘PhotoMonth’, Bunker Stuzki Contemporary Art Museum, Krakow, Poland
‘Seeing the Capital’, Nicolas Rivet and Laurence Schmidlin, Perla Mode
‘Wishing and Praying’, CRG Gallery, New York
‘Pisár Bartleby’, Etc. Gallery, Praha 2, Czech Republic
‘Volume Collection’, Museum of Modern and Contemporary Art, Rijeka, Croatia
‘Involuntary’, Ford projects, New York
‘PERROS NEGROS presents PERROS NEGROS’, Perros Negros, Mexico, D.F.
‘Where Do We Migrate To?’, Center for Art, Design, and Visual Culture, Baltimore, United States
2010
‘To the arts, citizens!’, Fundação Serralves, Porto
‘Image at Work’, Xposeptember Festival, Stockholm, Sweden
‘ ‘’…’’ ‘, Galerie Neu, Berlin
‘Exhibition, Exhibition’, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy
‘Foreigners Everywhere’, T293, Naples, Italy
‘Languages and Experimentations’, Mart Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy
‘The Traveling Show’, Fundación Jumex, Mexico City
‘Geography of Transterritories’, San Francisco Art Institute, San Francisco
‘Fragments of machines’, IMO, Copenhagen and NAK Neuer Aachener Kunstverein, Aachen, Germany
‘Gallery, Galerie, Galleria’, Norma Mangione, Turin, Italy
2009
‘Barock, Arte, Scienza, Fede e Tecnologia nell’Età Contemporanea’, MADRE Museo d’Arte Contemporanea Donna Regina, Naples, Italy
‘Indagini di un cane’, Sandretto Re Rebaudengo Foundation, Turin, Italy
‘Going to Market’, Henie Onstad Art Centre, Oslo
‘La Suite’, Air de Paris, Paris
‘Mamõyguara opá mamõ pupé – Panorama da Arte Brasileira 2009’, Museu de Moderna Arte de Sao Paulo, San Paolo
‘Contemplating the Void : Interventions in the Guggenheim Museum’, Solomon R. Guggenheim Museum, New York
‘Pivot Points 3’, MOCA Museum Of Contemporary Art, North Miami
‘de Avant-Garde: Depression’, Marres Centre for Contemporary Culture, Maastricht, Netherlands
‘Descent to Revolution’, Bureau for Open Culture, Columbus College of Art & Design, United States
‘Eternal Tour 2009’, Neuchâtel, Italy
‘Utopics’, 11th Swiss Sculpture Exhibitions, Biel / Bienne, Switzerland
‘FID de Marseilles’, 20ème Edition, Marseilles, France
‘It won’t stop until we talk’, Dvir Gallery, Tel Aviv
‘Marriage Equality Now’, Giti Nourbakhsch Project Space, Berlin
‘Return to Function’, Madison Museum of Contemporary Art, Madison and Des Moines Art Center, Des Moines, United States
‘Identitätshüllen‘, Alte Fabrik, Rapperswil, Switzerland
‘In May (After October)’, Gallery TPW, Toronto
‘Living Together – Estratexias para a convivencia’, MARCO, Museo de Arte Contemporánea de Vigo, Spain
‘Oppositions & Dialogues’, Kunstverein Hannover, Germany
‘The Making of Art, The Art World and It’s Players’, Schirn Kunsthalle, Frankfurt
‘Take the Money and Run’, De Appel, Amsterdam
‘Fax’, The Drawing Center, New York
‘Shifting Identities’, CAC Contemporary Art Center, Vilnius, Lithuania
‘Problem Solving’, Uplands Gallery, Melbourne
‘Blind chance and possible futures’, Nieuwe Vide, Haarlem, Netherlands
‘Fragile Currency’, Klemm’s Gallery, Berlin
‘No More Reality’, The Depo, Istanbul
‘The Real Thing’, MU Eindhoven, Eindhoven, Netherlands
‘Audio, Video, Disco‘, Kunsthalle Zurich, Switzerland
‘Living Together’, Centro Cultural Montehermoso Kulturunea, Vitoria – Gasteiz, Spain
2008
‘The Possibility of an Island’, Museum of Contemporary Art, Miami
‘Getting Even’, Lewis Glucksman Gallery, Cork, Irland
‘Interstitial Zones: Historical Facts, Archaeologies of the Present and Dialectics of Seeing’, Argos, Brussels
‘The Great Transformation – Art and Tactical Magic’, MARCO Museo de Arte Contemporánea de Vigo, Spain
‘An Unruly History of the Readymade’, Fundaciíon Jumex, Mexico City
‘Artfocus 2008’, The Jerusalem Foundation, Jerusalem
‘Perception of Ideas Leads to New Ideas’, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany
‘Manifesta 7’, Principle Hope, Rovereto
‘Eight hours do not make a day’, Rental Gallery, New York
‘A Modest Proposal’, Northern Gallery of Contemporary Art, Sunderland, United Kingdom
‘One or two things’, Live’ work/presentations, South London Gallery, London
‘Passengers: Round 2’, CCA Wattis Institute for Contemporary Arts, San Francisco
‘Faites vos je, Sextant et plus’, La friche la belle de mai, Marseille, France
‘Perplexed in Public’, Lisson Gallery, London
‘One Season In Hell’, Mehringdamm 72, Berlin
‘Industrial Lies: dystopian visions of the human development in the era of the immaterial’, Dispari e Dispari, Reggio Emilia, Italy
‘Less is less and more is more’, Musée d’Art Contemporain CAPC, Bordeaux
‘Live’ work / presentations’, South London Gallery, London
‘Revolutions – Forms That Turn’, 16th Biennale of Sydney, Sydney
‘The Great Transformation‘, Frankfurter Kunstverein, Frankfurt
‘L’argent’, FRAC, Ile de France/Le Plateau, Paris
‘Jenseits von Eden – Eine Gartenschau: Lost Paradise – Der Blick des Engels‘, Zentrum Paul Klee, Berne, Switzerland
‘Peripheral Look and Collective Body’, Museion, Bolzano, Italy
‘Claire Fontaine and Marcelo Expósito’, S.A.L.E., Magazzini del Sale, Venice
‘La chute d’eau’, l’espace d’art Circuit, Lausanne, Switzerland
‘Valeurs Croisées’, Les Ateliers de Rennes – Biennale d’art contemporain, Rennes, France
‘The Store’, Tulips & Roses, Vilnius, Lithuania
‘Bouncing Balls‘, Werke aus der Sammlung Schröder, MD72, Berlin
‘Records played backward’, The Modern Institute, Glasgow, Scotland
‘Where the lions are’, Sheung Wan Civic Centre, Hong Kong
‘Etcétera…’, Galerie Frank Elbaz, Paris
‘Italia Italie Italien Italy Wlochy’, Museo d’Arte Contemporanea Sannio – ARCOS, Benevento, Italy
‘Prêt-à-porter’, Fridericianum, Kassel, Germany
‘Contrapolis; or, Creativity and Enclosure in the Cities’, Nai, Rotterdam
‘Porte-Parole, Théâtre Universitaire de Nantes Bâtiments Censive et Tertre Pôle Étudiant’, Nantes, France
‘Unfair fair’, Loto Arte, Rome
‘Fate Presto’, Complesso di Santa Sofia, Salerno, Italy
‘Ghost in the Machine’, Kunstnernes Hus, Oslo, Norway
‘The Artist’s Library’, Le Centre international d’art et du paysage de l’île de Vassivière, l’île de Vassivière, France
‘Bad Moon Rising’, Silverman Gallery, San Francisco
‘The object is the mirror’, Wilkinson gallery, London
‘Trouble Makers’, S.A.L.E., Magazzini del Sale, Venice
‘After Spinoza’, how to enter the machine, Lumen Travo Gallery, Amsterdam
2007
‘French Kissing in the U.S.A’, The Moore Space, Miami
‘Terrible Video’, How to cook a wolf, Kunsthalle Zurich
’La chute d’eau’, l’espace d’art Circuit, Lausanne, Siwtzerland
‘Unmonumental – the art object in the 21st century’, New Museum of Contemporary Art, New York
‘Pawnshop’, e-flux, New York
‘Emerging Wor(l)ds’, Tina B, the Prague Contemporary Art Festival, Prague
‘The Irresistible Force’, Tate Modern, London
‘White light / Write it. La Théorie Ondulante’, Lieu-Commun, Le Printemps de Septembre, Toulouse, France
‘Poetical Political’, Simon Lee Gallery, London
‘The history of a decade that has not yet been named’, Biennale d’Art Contemporain de Lyon, Institut d’Art Contemporaine, Villeurbanne, Lyon, France
‘Not Only Possible, But Also Necessary – Optimism in the age of global war’, 10th International Istanbul Biennial, Istanbul
‘The Great Society’, Esther M. Klein Art Gallery, Philadelphia, United States
‘Belgrade Summer Festival’, Belgrade, Serbia
‘Hello, Goodbye, Thankyou’, Galerie Castillo / Corrales, Paris
‘Someone else with my fingerprints’, Galerie Chantal Crousel, Paris
‘Unlimited’, with Air de Paris, Galerie Chantal Crousel, Paris and Reena Spaulings Fine Art, New York, Art Basel, Basel
‘Otra de Vaqueros’, au Bac, Bâtiment d’art contemporain, Geneva, Switzerland
‘Subversion’, La box, Ecole nationale supérieure d’art de Bourges, Bourges, France
‘Some proposals for the next future’, PSG Gallery, Silpakorn University, Bangkok
‘A Theory-Fiction between the Real and the Possible’, Beijing Center for Creativity, Yonghe Museum, Beijing
‘The Backroom’, Kadist Art Foundation, Paris
‘Power Play’, Artpace, San Antoni, United States
‘Laws of relativity’, Sandretto Re Rebaudengo Foundation, Turin, Italy
‘The importance of not being seen’, Berlin Weekend, Café Moskau, Berlin
‘Beneath the Underdog’, Gagosian Gallery, Madison Avenue, New York
‘Multiplyplex. A Pedestrian Cinema Production’, Künstlerhaus Stuttgart, Stuttgart, Germany
‘Otra de Vaqueros, Perros Negros’, UNAM, Mexico City
‘Radio Danièle’, radio program curated by Christopher Williams and John Kelsey (in conjunction with William’s exhibition at GAM / Bologna), Bologna, Italy
‘Quotidian’, Buia Gallery, New York
‘Inky Toy Infinitas’, Cereal Art, Philadelphia, United States
‘Mount Analogue Academy’, Galerie Christian Nagel, Cologne
‘For the people of Paris’, c/o Ghislaine Hussenot, Sutton Lane, Paris
2006
‘Drapeaux Gris’, CAPC Musée d’Art Contemporain, Bordeaux, France
‘Domino’, Air de Paris, Paris
‘ANONYM’, In the Future no one will be famous, Schirn Kunsthalle, Frankfurt
‘Incipit,’ Espace Paul Ricard, Paris
‘The Look of Law’, University of California, Irvine, United States
‘The Three Cities 2’, The Factory Hall, Milan
‘Group Therapy’, Museo d’arte moderna e contemporanea Bolzano, Bolzano, Italy
‘Aakey’, CCC Centre de Création Contemporaine, Tours, France
‘Upping the Anti’, Physics Room, Christchurch, New Zealand
‘Continuous Project #8’, CNEAI, Chatou, Malmaison, France
‘Image War: Contesting Images of Political Conflict’, CUNY Gallery, New York
‘La Maman et la Putain’, Air de Paris, Paris
‘Grey Flags’, The Sculpture Centre, New York
‘Ça s’ouvre ? Ça s’ouvre pas’, Ateliers d’Artistes de la Ville de Marseille, Marseille, France
‘The Dimes of March’, Reena Spaulings Fine Art, New York
‘Mafia, or One Unopened Packet of Cigarettes’, STANDARD, Oslo
‘Optik Schröder, Kunstverein Braunschweig eV’, Braunschweig, Germany
2005
‘Mars Pavilion’, 51° Biennale di Venezia’, Venice
‘Mots d’ordre, Mots de Passe’, Espace Paul Ricard, Paris
‘Etrangers Partout’, Cité Internationale des Arts, Paris