Bio / CV

Patricia Reed
[AKA Yukiko Ijuin {jp}, Gordana Kovacevic {hr}, Lucia Mondella{it}, Barbara Radziwillowna {po}, Libuse Stastna {cz}, Pia Fuchs {de}, Ileana Cusnir {md}, Daria Zaozerskaia {ru}, Rose Berthier {fr}, Eleni-Candan {cy}]

Born 1977, Ottawa, Canada
Lives and works in Berlin, Germany

[Education / Artists’ Residencies]

2009
2005, 2003–04
2003
  • FCCA Jeleni Centre of Contemporary Art, Prague Czech Republic
2001- 02
2000
  • Electro-acoustic, Digital Audio residency at Studio XX, Montréal
1999
  • BFA Concordia University, Major in Studio Arts, Montreal, QC.

[Group Exhibitions (*denotes Catalogue)]

2010
  • Flagpole, Plateforme, Paris. Curated by Cécile Azoulay
  • The Traveling Show, Botkyrka Konsthall, Stockholm, Sweden. Curated by Johan Lundh
  • Territories of the In/Human, Württembergischer Kunstverein Stuttgart. Curated by Iris Dressler & Hans D. Christ
  • They go round and round, 0047 Project Space, Oslo. Curated by Carson Chan.
  • We Want Something From You, Galerie Sans Nom, Moncton, Canada
  • Celebration, Uqbar Project Room, Berlin.
  • Source/Resource, Wilde Galerie, Berlin. Curated by Peter Wilde
  • ev+a, Limerick City Art Gallery, Ireland. Curated by Elizabeth Hatz
  • First Nations/ Second Nature, Audain Gallery, Vancouver. Curated by Candice Hopkins.
2009
2008
2007
  • Participation in Biennale de Lyon*- Installation and Publication of Miessen/Pflugfelder the Violence of Participation
  • Just Space(s), Los Angeles Contemporary Exhibitions, Los Angeles. Curators: Ava Bromberg & Nicholas Brown
  • M6 Dept III: Abschlussball. WestGermany -Berlin. (co-curated by Patricia Reed & Société Réaliste)
  • Airs de Paris*. Centre Pompidou -Paris, Fr. with Bruno Latour. Curated by: Valerie Guillaume
  • Searching for an Ideal Urbanity*. Akademie Schloss Solitude -Stuttgart, Ger. Curated by: Fabrizio Gallanti
2006
  • Grand Narrative. Galerie Bergstuebl’ -Berlin, Ger.. Curated by Vic Vicarious
  • No Man’s Land. Online Project -Bangkok, Th., Curated by Varsha Nair, Keiko Sei
  • Traversing Tableaux.  Modern Fuel Gallery -Kingston, Canada
  • The Cult of Speed, Toronto Free Gallery -Toronto, Ca. Curated by Heather Haynes
  • The Peninsula*. Singapore History Museum -Sg. Curated by Heman Chong
2005
  • Zeltlager. Rohkunstbau -Spreewald, Germany. Curator Heman Chong
  • Das Auge des Ich. Otto-Braun-Str. (Public) -Berlin. Curator Sibylle Hofter
  • Boundless. Stenersenmuseet -Oslo, Norway. Curator Jan Christensen
2004
  • Rewriting Ones Own History. Sparwasser HQ -Berlin. Curator Lise Nellemann
  • Interference. Akademie Schloss Solitude (Rommerstr.) -Stuttgart, Germany
2002
  • Void Archive. Center for Contemporary Art Kitakyushu Project Gallery, Kitakyushu, Japan. Organized by Akiko Miyake and Nobuo Nakamura
  • Safty*. Center for Contemporary Art Kitakyushu, Kitakyushu, Japan
  • C O O P. Maeda Studio, Kitakyushu, Japan
2001
  • ergoticks.org. virtual launching, supported by Galérie Articule, Montreal, Canada

[Solo Exhibitions]

2006
  • Estranged Proximities. Latitude 53 -Edmonton, Canada
  • Pedestrian. WestGermany -Berlin, Germany. (duo). Cat*
2005
  • Polyrhythmy. Akademie Schloss Solitude -Stuttgart, Germany
2004
  • A Space Traversed With Signals. Akademie Schloss Solitude -Stuttgart, Ger
2003
  • CO-operative IN difference. Espace 410 Belgo Building, Montreal, Canada
2003
  • ands, buts & interruptions. Galerija Miroslav Kraljevic, Zagreb, Croatia
2003
  • playing with paradox. Center for Contemporary Art, Prague, Czech Republic

[Published Writing]

2010
  • “Politics of I Can…”, in Cognitive Architecture; From Bio-politics to Noo-politics. Eds. Deborah Hauptmann and Warren Neidich. Amsterdam: 010 Publishers, 2010. (forthcoming)
  • “Improper Human-ness”, YYZ Essays, Toronto (online).
  • “Potentiality and the Politics of Indistinctive Equality”, Shifter Magazine (16), New York (eds. Sreshta Rit Premnath and Warren Neidich)
2009
  • The Struggle for Incapacity…, Framework: The Finnish Art Review, Helsinki (Issue 11)
  • Hadley+Maxwell in Review, Art Papers, Atlanta (Nov/Dec 09)
  • Staging Shadows Without Source, C Magazine, Issue 101, Toronto (March 09)
  • Through, Around and Against the Document: Interview with Maryam Jafri, Art Papers, Atlanta (Feb 09)
2008
  • Conversation on Participatory Practice (with David Goldenberg), Fillip Magazine, Fall 08, Vancouver
  • Uberleben. Review of group exhibition for C Magazine, Toronto
2007
  • In the Absence of Unambiguous Criteria.  Review of Rodney LaTourelle for C Magazine, Toronto
2006
  • Untitled (Excerpts #01) Anthology edited by Heman Chong & Leif Magne Tangen
2005
  • “Distracted Transformations” by Erik Bünger & Patricia Reed. Neue Review April 2005, #9, Berlin. Review of Paul Pfeiffer
2004
  • “Who’s Depending on Who and All These Strange Things” by Ilya Gridneff & Patricia Reed. Neue Review September 2004, #7, Berlin.  Review of Julian Rosefeldt

[Events / Talks / Conferences / Panel Discussions]

2009
2008
  • Archives of Memory II, collaboration with Sönke Hallmann (Dept of Reading), at Program, Berlin
2007
  • Artist Talk at EMAA Headquarters, Nicosia, North Cyprus
  • Structures of Co-habitation – Death of Relational Aesthetics reading and discussion group (Program, Berlin)
  • Panel Discussion with Ong Keng Seng: Art and Economy. Collegium Hungaricum, Berlin. Inv. Lise Nellemann
2006
  • Artists’ Talk Künstlerhäuser Worpswede, Bremen, Germany. Inv: by Bernd Milla
  • Artists’ Talk Latitude 53, Edmonton, Canada. Inv: by Todd Janes
  • Universität der Kunst, Berlin, Germany.  Panel discussion on Alternative Knowledge  Production, Inv: by Joel Mu
  • Transient Institution / Institute of Urban Memory, Workshop with Markus Miessen, Sparwasser HQ, Berlin, Germany
2005
  • Visualising Science –Interventions in the presentation of the sciences. Conference, Gallery of Research, Vienna, Austria
  • Picturing Research, Conference, Gallery of Research, Vienna, Austria
2004
2003
  • Artist’s Talk at Akademie of Fine Arts Prague, Czech Republic
2000
  • Guest on CKUT XX Files, Montréal, Canada. (Radio Interview)
  • Artist’s Talk at Studio XX, Montréal, Canada

[Curatorial Projects]

2007
  • M6.1 DIII: Offseason, Cyprus , Various Locations, Cyprus
  • M6 Dept III: Abschlussbal. WestGermany -Berlin. (co-curated with Société Réaliste) mobilizing the “lost” network of Manifesta 6, Dept. III participants
2006
  • Erratic Signals. Latitude 53 -Edmonton, Canada. Single channel video works from 10 International artists.  In tandem with Artists Talk
  • The Momental. Sparwasser HQ -Berlin, Germany. Curatorial Project. Cat*
    (With Artists: Larissa Fassler, Ivana Franke, Germaine Koh, Jeff Preiss, Stephan Kurr, Asa Stahl; Workshops: Markus Miessen, Juergen Krusche; Talks: Dr. Mark Paterson, Dr. Christel Weiler, Dr. Barbara Gronau, Judith Manzoni, Johan Zetterquist)

[Video screenings and festivals]

2006
  • Made in Video, Copenhagen, Denmark. Cat*
2005
  • Jianghu Mobile Video. Lijiang Studio, Kunming, China
2004
  • Out Video Festival. National Centre for Contemporary Art, Ekaterinburg, Russia,  curated by Arseny Sergeev
2002
  • Tranzit Days Festival, Tranzit Foundation, Transylvania, Romania, curated by Erzsebet Aszalos
  • Videomaraton, Center of Contemporary Art, Moldova, curated by Marin Turea

[Grants/Awards and Nominations]

2009
  • Banff Centre for the Arts, Residency Scholarship, Canada
2008
  • Travel Grant, Canada Council for the Arts
2007
  • European Mediterranean Artists Association Travel Grant, Nicosia, Cyprus
  • Gasag Prize Nomination for Berlin Artist under 35
2006
  • Kulturamt Mitte, Berlin, Germany.  Exhibition assistance for The Momental
  • Quartier Management Kottbusser Tor, Berlin, Germany
  • Botschaft von Kanada exhibition assistance, Berlin, Germany
2005
  • Akademie Schloss Solitude Fellowship, Germany
2004
  • Akademie Schloss Solitude Fellowship, Germany
2003
  • Canada Council for the Arts, Research and Production Grant, Canada
2001
  • Sheila Hugh Mackay Grant recipient for Québec, Canada
  • Center of Contemporary Art Kitakyushu, Artist in Residence Scholarship Japan
  • Special Project Grant for the ergoticks.org Project from Galérie Articule

Plurinaming / Polyphony

The practice of multiple naming began in 2001 as a by-product of physical displacement, and as an adaptive game in negotiating foreign cultural/linguistic contexts. The name is acquired after a period of acquaintanceship with a “local”, and as a gift, cannot be refused or negotiated. Names are not an alias, but rather a compounding of the original name, as such they are notated as follows:

Pia Fuchs deutsche Identität von Patricia Reed.