Studio Archive

Education of the Eye (2009-2012)

Belgrade Cultural Center, 2011
Education of the Eye Part I
Education of the Eye Part II

Horizon Swell (2011)

Galerie Fons Welters, Amsterdam, 2011
Pigment Print, Variable
For the work ‘Horizon Swell’, 2011, Warren Neidich has once again returned to Malibu, California, the site of his earlier work ‘Double Vision, Malibu’, 1999, to investigate the conditions of this alienation and anxiety as we enter into the new unknowns of the age of information. In ‘Horizon Swell’, 2011, made some 10 years later, using surfers as the metaphor of his investigations, Neidich has taken these one step further…

Education of the Eye, 2010

Education of the Eye, 2010. Performative intallation, variables dimensions

In The Mind’s I (2009-2010)

Performance on Dec. 5, 2009 at Maison Gregoire, Brussels |
May, 2010 at Kunsthalle Athena, Athens |
July 30-31, 2010 at LAXART, Los Angeles

In the Mind’s I is a one-on-one performative art work in which Warren Neidich utilizes visual memories of objects and scenarios of participants and a set of presented real objects from which the visitor may choose from to create works of art in their mind’s eye. The Minds Eye Becomes a kind of Stage in a Theater of consciousness that doubles as an immaterial Exhibition space…

Rainbow Brushes (2008)

Rainbow Brushes (2007-08) consists of a series of thirteen and fifteen inch paintbrushes that have been made through an action the artist refers to as “Performative Pulls”. The colors found in a section of a rainbow that appears in an already existing painting in the history of European Art are first matched on paper with acrylic paint. For instance, the work entitled After Peter Paul Rubens…

Shot Reverse Shot (2001)

The histories of cinema/photography and neuroscience mirror each other and are both essential for the understanding and production of our contemporary subjectivity. Shot Reverse Shot is a cinematic method of displaying two people while conversing and is in this case used as an apparatus to produce situations between actors…

All Blown Out (2002)

Single Channel Video For Projection, 03:48
The final scene of Michelangelo Antonioni's film Blow-Up has been digitally degraded to highlight the conditions of the main character's mind at the end of the film.

Being Prada Seen (2001)

Single Channel Video, 03:21
Optic Verve show at Ottawa Art Gallery, Ottawa, Canada, 2001

The idea of branding and its connection to the cultural, historical, economic, psychological and sociological field that surround and embrace it has captured my attention. In the year 1998-1999 the Prada fashion brand was extremely powerful and people wearing Prada clothes were unmistakable and highly attention grabbing or as Paul Virilio says “phatic”. In this video, I simply roller blade down the West Side Highway as seven video cameras at different camera angles videotape me…

Taos, Pueblo, Looping (2000)

Single Channel Video, 04:55
In this work I am not blind folded and again use the hybrid dialectic of video camera and blind mans stick to trace out seven different sections of the Pueblo in Taos, New Mexico. This work is a seven-screen projection work. Each looped section is a memory loop and represents a strictly defined neural network. The blind mans stick represents in this case a kind of cultural blindness in our attempts…

Kiss (2000)

Single Channel Video, 04:26

Blanqui’s Cosmology (1997-2007)

Blanqui's Cosmology exhibition, Trolley Gallery, London, 2007
Louis-Auguste Blanqui was a famous 19th-century political activist who was jailed innumerable times for his views. In one of his incarcerations he wrote a cosmology of revolution which forms the basis of the title of this work. This work consists of over 1200 portraits I took of men and some women with shaved heads over the past 10 years…

Writing Drawing Painting (1998)

This work was made with one of my hybrid dialectics devices. A prism bar used in opthalmology to determine the magnitude of an ocular deviation was placed in front of a photographic camera. Moving the bar a cinematic affect is caused in the image…

Double Vision (1997-2000)

In this work a Lancaster Red-Green Glass was placed over a photographic camera lens to produce images. The location of the work was Louse Point made famous as a meeting point for the Abstract Expressionist in East Hampton, New York…

Apparatus (1998)

Single Channel Video, 03:40
In Apparatus, Lancaster glasses, normally used to evaluate a kind stereo-blindness in children called Suppression is de-territorialized into a sex toy. The action takes place in a young girls playhouse in which glasses first become projection devices creating a minimalist light show on the blank white ceiling. The ceiling first acts as a screen and is subsequently substituted by the face…

Brainwash (1997)

Single channel video, 04:28
In Brainwash the actor and audience watch the turning of a black and white striped drum. This drum is both an early cinematic zoetrope and a diagnostic neurological tool. Certain individuals suffer from cerebellar tumors and strokes leading to a condition called nystagmus and poor stability. The Optokinetic Nystagmus Drum allows doctors to make objective judgments about the location of the lesion in the brain and its relation to the specific kind of disability…

Camp O.J. (1995-97)

Camp O.J. Installation, Laguna Art Museum, Laguna Beach, California, USA, 2001
In 1995 and 1996 after traveling across the United States following the trail of Jack Kerouac from On the road, I stumbled upon Camp O.J., the media encampment of journalist covering the O.J. Simpson trial. I spent the next 4 months photographing back stage at the trial.…

Unknown Artist (1992-94)

Installation at Paris Bar, Berlin, 1993
Unknown Artist is a four part project that began in 1992 and was completed in 1994. The project began by collecting images from the photographic archive of famous art groups of the 20th century. The thesis of the work was that the history of twentieth century art was a social phenomenon produced not by individual artists but by groups of artists…

Collective Memory / Collective Amnesia (1989-93)

This work looked at the relation between forms of Cultural Memory and Cultural Amnesia as two parts of the same process. Collective Memory was first shown at the List Center of Art in 1991 and consisted of eleven aluminum boxes in which photographs had been screwed to their insides, a library ladder with which visitors to the gallery could slide along the wall to look inside the works and a framed legend which allowed another form of access to the work…

American History Reinvented

Aperture Foundation, New York City, 1989

Nothing found.

Nothing found.