Leseprobe

SANDSTEIN

7 The realization of the exhibition Doug Aitken: Return to the Real is the fulfillment of a long-cherished wish. I first encountered Doug Aitken’s extraordinary video installations at the 1999 Venice Biennale. I was very fascinated by Electric Earth, which won the Golden Lion that year. It was already an impressive demonstration of what Aitken is saying about today’s ever-accelerating society: We live in a time of upheaval and uncertainty, part of an unprecedented technological and cultural revolution. He is driven by the question of how we find our way in this world, and how we shape the future. With his art, he wants to create tools of deceleration, to provide inspiration to reconnect with the idea of the self and the idea of the landscape around us. Almost ten years later, I encountered works by Aitken when we curated the SCHAUWERK’s inaugural exhibition of works from the Schaufler Collection. One room was dedicated to photography, and among the works on view were Turbulence (1999), Collision (2000), and Vanishing Point (2005). All three deal with aviation. For the entrepreneur and collector Peter Schaufler and his wife Christiane Schaufler-Münch, boarding an airplane to cover long distances quickly was an everyday experience. The statement of the female protagonist in Aitken’s video Black Mirror (2011), “Never stagnate, never stop. Share, connect, and move on,” was essentially his life’s motto as well. In 2015, together with co-curator Svenja Frank, I visited a comprehensive retrospective exhibition of Doug Aitken at the Schirn Kunsthalle Frankfurt: an experience that still resonates today. Song 1 (2012/2015) and migration (empire) (2008), in particular, captivated us and encouraged us to show this artist at SCHAUWERK. Contact was made through his New York gallery, and we spoke to him personally for the first time about the possibility of an exhibition in a video call in April 2022. We were surprised and delighted that everything was quite simple. Very soon, we received specific proposals for this exhibition, whose starting signal was verbally sealed with “Let’s do it.” After a few more video calls, we finally had the opportunity to meet in person. We took the opening of the exhibition HOWL in June 2023 at his Zurich gallery as an opportunity to combine the visit with an interview, which can be read after this preface. I would like to take this opportunity to thank Doug Aitken and all those who contributed to the success of the project. Barbara Bergmann Sindelfingen, August 2023

9 Return to the Real—at Lunch on June 8, 2023 in Zurich Barbara Bergmann (BB): When we saw your show in Frankfurt am Main in 2015, we were so impressed. It’s very rare to see a moving image installation in which you are so immersed. Often, you enter a video room and leave after a few minutes, but when we saw SONG1 and migration (empire), for example, we stayed and were engaged from beginning to end. How do you approach making your works, and how do you consider the viewer when you are creating? Doug Aitken (DA): Art can be many things, and it can explore many concepts and diverse mediums. Within my practice, some of the works I make use moving images. When I approach filmic works, I’m always interested in the idea of breaking the screen and creating a situation where the viewer is really in the world of the work and really moving with it, dancing with it, merging with it, and being challenged by it. The history of narrative is the history of storytelling, from the campfire conversation to theater, books, and opera—or to the creation of film. In all these situations, the viewer is always passive, a voyeur or an observer. I became very interested in finding a way to go into and beyond the screen. Initially, in the 1990s, I was experimenting in a literal way with multi-screen works, and I became more and more interested in not only creating environments for the works to exist but also in new forms of storytelling and narrative structures. It’s a fascinating subject because it reflects on how we see life and explore the way our world is changing. The landscape around us is constantly evolving and, perceptually, we’re outgrowing some of the old modes and evolving into new frequencies of perception. We live in a much more non-linear world now, a world that consists of fragments, pieces of information, pulses of words and language; it’s accelerating more rapidly. I think my work grows out of this condition and emerges out of this constantly changing landscape. BB: You often combine architecture, music, and film. How do you integrate different media? Do you have an idea at the beginning when you start the work, or do these elements present themselves discretely and later merge into something visual? DA: Making art is a living act. It’s as simple as the act of living. You’re continuously moving, you’re experiencing and sensing, and because these experiences are processed, they can become the DNA for a work of art, the ingredients for creativity that builds over time. The creative process for me is very kaleidoscopic. It’s open and fragmented, and I’m very interested in welding together disparate ideas—fusing things that at times seem like they are non-sequitur, and maybe don’t make sense or are seemingly awkward—and creating new structures with them. There are different ways to create. Some projects are very singular and happen quickly. The idea is conceived, then I build off that and make the work. But other projects are a series of words or images that I find myself collaging together. And that can be strange and foreign. It can be a struggle, while at other times that sequencing can seamlessly start to build itself and create form and structure. I work in a very polyphonic way where I have different ideas happening simultaneously, and that often evolves into works that might be in different media. It might be that one concept crystalizes into a live performance, or something else is an earthwork in the landscape, and another may be a moving image or architectural. I have never really been interested in restricting that or defining myself by a medium, because I feel like making art is more of an outward thrust. I’m creating a tapestry of ideas woven together, and I try to use the most precise, eloquent, or strongest system at that moment to express it. I think making art can work in very flexible way that can lead you into new and unexpected directions.

10 In Los Angeles, at my studio, it’s so diverse. I have notebooks full of ideas, and eventually I sift through them and they’ll reduce themselves to less and less, and you get closer to the essence. When it reaches that point, then you know which ideas to move on with. I’m constantly working on diverse projects, but they feel completely interconnected, like a root system that comes back to certain questions. Our lives in the 21st century balance a tenuous line between what is fiction and what is reality. We question our sense of “self” in relation to the landscape and world around us. BB: Before this interview, we only met in the digital world through video calls; now we’re sitting at a table facing each other in “real life.” It’s interesting that you gave our exhibition the title Return to the Real. What does “the real” mean to you? Do you believe that reality is a construction? DA: I think we’re all authors of our own reality. In that sense, I think that reality is a construct. One of the interesting qualities of art is how it has the ability to puncture the surface of what we think we know; it can penetrate the veneer of the everyday. That’s one of the incredible values of art. When you ask this question, you’re questioning the idea of what reality is. Reality is a kind of fiction that each individual authors in a different way, but sometimes a work of art can create a catalyst or a crystallization for an alternative view of this. BB: Do you think that experiencing art can support a “return to the real”? DA: I think the title of the show, Return to the Real, implies the idea that, as individuals, we live in a society that has been accelerating faster and faster, and within that acceleration, our ideas of experience have become flattened. I think we’re reaching a point where there’s a crossroads where we’re always finding ourselves divorced from depth, and we are at times struggling to penetrate the surface. We attempt to discover our grounding and our roots, yet it’s very difficult. A lot of the work I make attempts to create tools to allow this to happen, using artworks as a way to slow down, to decelerate time, and reconnect with the idea of the self and the landscape around us. The installation HOWL is an artwork that I filmed over several years in a very desolate remote landscape. In this desert landscape is a region where the entire economy has been based on drilling for oil, and this drilling has continued since the 1930s. Day and night, these machines frack and hack the landscape, extracting oil. But the work is really about the idea of the individual. The people who appear in the piece have spent their lives there, but they’re struggling to discover what’s next and to find a sense of the future. For me, that idea is very profound: What is the future, and where are we going? I’m interested in the unknown and the unrealized. I’m not attracted to absolutes or to things that are black and white, right or wrong. As a society, we need a space that has abstraction and ambiguity, and culture allows us to have these dreams and visions. BB: Many of your works, including your new installation HOWL, reflect a tension between humanity, nature, and modern life. The people in HOWL seem to be disappointed about a life that could have been different. On the other hand, they are also proud of how they manage their lives in this landscape. We are showing your work Wilderness here at the SCHAUWERK. Can you speak about how you conceived the work during the pandemic? How did your ideas of individuals’ experiences factor in, and why did you choose to layer digitized voices rather than use human voices? DA: The idea of individuality for me is very fascinating. What does it mean to be an individual in society when society is this endless tapestry of connectivity? How do you find a sense of self? In Wilderness, I was looking at this idea of landscape where you have people at the end of the Earth, the edge of a continent where the land stops and the ocean starts, and everyone is pushed up against the horizon. All the people we see in Wilderness are looking out at the horizon watching the setting sun. In Wilderness, this idea of lands’ end becomes a unifying thread. The entire film is shot from late afternoon into night, on a beach where there is a wildly diverse human energy. You find this spectrum of people from young to old, from rich to poor. During the pandemic, I had been thinking about how we have been living in a world that is geographically so diverse and broad, but suddenly we’re confined in one place; you’re where you are, and maybe a ten mile radius is your new reality. In Wilderness, I wanted to use that weakness as a strength. I made this film/artwork Wilderness entirely within a one-mile radius of where I live, where I sleep at night, and I would walk out every evening and film this work. We would find people on the street and the

11 beaches, and they became the characters in the work. Although the film looks like one day or a single sunset, I filmed it over hundreds of days during the pandemic and post-pandemic period. Svenja Frank (SF): So the people who appear in Wilderness are not actors you hired, but people you met by chance on the beach? DA: Yes. Everyone in Wilderness is someone who was drifting by, who showed up and I met and spoke to. By making this work, I could collaborate with people and bring them into this fictional landscape and share with them this poem that I was creating, this song cycle about the future. I was fascinated by the idea of taking the chaos of the ordinary, the everyday, and creating a structure within that chaos—taking this random landscape of people disconnected, drifting, and passing by and creating a connective tissue. With Wilderness, there was initially that aspect, and then I started thinking of words and phrases in my mind, and I started writing them down like you would write a poem. I started imagining these like they were electric haikus for the digital era. I began to write song cycles, and I started finding people on the beach or in the streets who could sing the verses I had written. Often, I played the music to them, and, at first, they were saying, “What is this? I’m confused,” but then they would gradually fall into it and become almost hypnotized and seduced by it. That became the core of Wilderness: this idea of a synthetic poem, a digital composition that moves from person to person and creates this surreal connectivity where there normally seems to be none. SF: And that makes it feel unreal. DA: In Wilderness, you have a friction between raw tactile scenes, like people against an old wooden pier or a parking lot filled with broken glass, someone alone, lost and gazing at the bright setting sun, juxtaposed with a digitized artificial intelligence seeping into this world and leaching into our subconscious… What is the real? I had lunch with a friend recently, and he talked about how he’s creating his job proposals through artificial intelligence. I asked him what happens when you get hired, and they are actually hiring the AI and not you. You’ve erased your personality. You haven’t written anything or left any space for little quirks and the mistakes that create our personality; instead, you’re just presented as this perfected and synthetic human. SF: This is very interesting because we have been talking about the rapid development of new technology. What was unimaginable years ago is rapidly being introduced, and new technology is constantly normalized. Do you think VR will become a major theme in art, and to what extent are you integrating the latest technologies into your practice? DA: I think the conversation about our technology is fascinating, but actual technology and innovation have always been part of art, and from the invention of perspective to the Lumière brothers’ early films to sound and film—all of these moments are underscored by shifts in technology. All these chapters at one point have been harnessed by different creators into new phases of human expression. I think the key point for me is that you use the technology—the technology doesn’t use you. Often, you find people who are defined by their medium; as much as oil painters might be defined by their paint and canvas, we also find someone who says, “I’m a VR artist.” I don’t really find that so interesting. You’re a human being, and you live and breathe and have a life and this amazing spectrum of experiences. Why define yourself by a material, a medium, or an occupation? When you talk about art and technology, there are many attempts to create synthetic worlds—alternate worlds—whether it’s virtual or augmented reality. The acceleration of our society pulls us in different directions as individuals. We don’t always want to put on a VR headset; instead, we wish to reconnect with something that’s physical and natural. I find that, in this digital age, we’re now valuing the natural world perhaps more so than we were in the past. Barbara, that goes back to your question earlier, of the diversity of working on pieces in a broader spectrum of media. I always want to remain curious and, while making art, to feed on that curiosity, to be like fuel on the fire, to let it burn hotter and use that energy and merge with the ideas and questions that I’m restless about.

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104 Doug Aitken 1968 Born in Redondo Beach, California, USA Education 1987–91 BFA, Art Center College of Design, Pasadena, California, USA Solo Exhibitions 2023 migration (empire), Princeton University Art Museum (at the Lewis Arts Complex, North Lawn), Princeton, New Jersey, USA HOWL, Galerie Eva Presenhuber, Zurich, Switzerland 2022 Flags and Debris, The Israel Museum, Jerusalem, Israel Wilderness, 303 Gallery, New York, New York, USA 2021 All Doors Open, Massimo De Carlo, Pièce Unique, Paris, France Flags and Debris, Regen Projects, Los Angeles, California, USA Green Lens, 2021, commissioned by Anthony Vaccarello in partnership with Saint Laurent, Isola Della Certosa, Venice, Italy i am in you, 21st Century Museum of Contemporary Art, Kanazawa, Japan Microcosmos, Victoria Miro, Venice, Italy New Era, Museum of Contemporary Art Australia, Sydney, Australia 2020 I Only Have Eyes for You, Museum of Contemporary Art Kiasma, Helsinki, Finland migration (empire), Carnegie Museum of Art, Pittsburgh, Pennsylvania, USA New Ocean: thaw, Espace Louis Vuitton Tokyo, Japan 2019 Don’t Forget to Breathe, 6775 Santa Monica Boulevard, Los Angeles, California, USA Doug Aitken, Faurschou Foundation, Beijing, China Mirage Detroit, State Savings Bank, Detroit, Michigan, USA Mirage Gstaad, Elevation 1049: Frequencies, Gstaad, Switzerland New Horizon: Art and the Landscape, The Trustees of Reservations’ Public Art Initiative, various locations, including Martha’s Vineyard, Greater Boston, and the Berkshires, Massachusetts, USA Return to the Real, Victoria Miro Gallery, London, UK UC Davis presents NEW ERA, Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, California, USA 2018 Doug Aitken, Copenhagen Contemporary, Copenhagen, Denmark Doug Aitken, Galerie Eva Presenhuber, Zurich, Switzerland Doug Aitken, Massimo De Carlo, Hong Kong, China NEW ERA, 303 Gallery, New York, New York, USA 2017 migration (empire), Minneapolis Institute of Art, Minneapolis, Minnesota, USA Mirage, Desert X, Palm Springs, California, USA 2016 Electric Earth, The Museum of Contemporary Art, Los Angeles, California; Modern Art Museum of Fort Worth, Texas, USA twilight, Peder Lund, Oslo, Norway Underwater Pavilions, Catalina Island, California, USA 2015 Doug Aitken, Galerie Eva Presenhuber, Zurich, Switzerland Doug Aitken, Schirn Kunsthalle Frankfurt, Frankfurt am Main, Germany Doug Aitken, Victoria Miro Gallery, London, UK 2014 Still Life, Regen Projects, Los Angeles, California, USA 2013 electric earth, Nam June Paik Art Center, Yongin, South Korea 100 YRS, 303 Gallery, New York, New York, USA 2012 ALTERED EARTH: Arles, city of moving images, Luma Foundation, Arles, France Doug Aitken, Galerie Eva Presenhuber, Zurich, Switzerland SONG 1, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA THE SOURCE, Sky Arts Ignition series, Tate Liverpool, UK 2011 Black Mirror, DESTE Foundation Project Space, Hydra, Greece Doug Aitken, Victoria Miro Gallery, London, UK 2010 House, Regen Projects, Los Angeles, California, USA migration (empire), Princeton University Art Museum, Princeton, New Jersey, USA; Sammlung Goetz im Haus der Kunst, Munich, Germany the moment, Matadero Madrid, Spain 2009 electric earth, Cincinnati Art Museum, Cincinnati, Ohio, USA Frontier, Tiber Island, Rome, Italy migration (empire), St. Louis Art Museum, St. Louis, Missouri; Los Angeles Public Domain, California, USA 2008 Doug Aitken, 303 Gallery, New York, New York, USA 99¢ dreams, Galerie Eva Presenhuber, Zurich, Switzerland 2007 Doug Aitken, 303 Gallery, New York, New York, USA sleepwalkers, The Museum of Modern Art, New York, New York, USA 2006 A Photographic Survey, Aspen Art Museum, Aspen, Colorado, USA 2005 interiors, Henry Art Gallery, University of Washington, Seattle, Washington, USA Self yourself for nothing, Galerie Eva Presenhuber, Zurich, Switzerland the moment, Regen Projects, Los Angeles, California, USA ULTRAWORLD, Musée dʼArt moderne de la Ville de Paris / ARC, Paris, France 2004 Doug Aitken, Sammlung Goetz, Munich, Germany This Moment is the Moment, Taka Ishii Gallery, Tokyo, Japan We’re safe as long as everything is moving, CaixaForum and Mies van der Rohe Pavilion, Barcelona; Sala Rekalde, Bilbao, Spain 2003 Doug Aitken, Kunsthalle Zürich, Zurich, Switzerland I don’t exist, Victoria Miro Gallery, London, UK new ocean, Fondazione Sandretto Re Rebaudengo, Turin, Italy 2002 Doug Aitken, 303 Gallery, New York, New York, USA Interiors, Fabric Workshop and Museum, Philadelphia, Pennsylvania, USA new ocean, Kunsthaus Bregenz, Austria; Tokyo Opera City Art Gallery, Tokyo, Japan Rise, Louisiana Museum of Modern Kunst, Humlebæck, Denmark; Le Magasin – Centre National dʼArt Contemporain de Grenoble, France 2001 i am in you, KW Institute for Contemporary Art, Berlin, Germany Metallic Sleep, Kunstmuseum Wolfsburg, Germany

105 new ocean, Serpentine Gallery, London, UK 2000 Doug Aitken, Taka Ishii Gallery, Tokyo, Japan glass horizon, Wiener Secession, Vienna, Austria i am in you, Galerie Hauser & Wirth & Presenhuber, Zurich, Switzerland Matrix 185: Into the Sun, Berkeley Art Museum, University of California, Berkeley, California, USA 1999 Concentrations 33: diamond sea, Dallas Museum of Art, Dallas, Texas, USA diamond sea, Lannan Foundation, Santa Fe, New Mexico, USA Doug Aitken, Doug Lawing Gallery, Houston, Texas, USA Doug Aitken, Fondazione Pitti Immagine Discovery, Florence, Italy into the sun, Victoria Miro Gallery, London, UK 1998 diamond sea, Jiří Švestka Gallery, Prague, Czech Republic Doug Aitken, 303 Gallery, New York, New York, USA Doug Aitken, Taka Ishii Gallery, Tokyo, Japan 1997 Doug Aitken, 303 Gallery, New York, New York, USA 1996 Doug Aitken, Taka Ishii Gallery, Tokyo, Japan 1994 Doug Aitken, 303 Gallery, New York, New York, USA 1993 Doug Aitken, AC Project Room, New York, New York, USA Selected Group Exhibitions 2023 Dans l’air, les machines volantes, Hangar Y Opening, Paris Meudon, France Reaching for the Stars: Works from the Sandretto Re Rebaudengo Collection, Palazzo Strozzi, Florence, Italy Out of Africa: Selections from the Kramlich Collection, Berkeley Art Museum and Pacific Film Archive, Berkeley, California, USA 2022 El verano que nunca fue (The Summer That Never Was), Laboratorio Arte Alameda, organized by Colección Isabel y Agustín Coppel, Mexico City, Mexico Empire of Water, The Church, Sag Harbor, New York, USA Mountain / Time, Aspen Art Museum, Colorado, USA Resurrection, Dark Mofo Festival, Hobart, Tasmania, Australia 2021 Alter Egos | Projected Selves, The Metropolitan Museum of Art, New York, New York, USA Collection Exhibition, 21st Century Museum of Contemporary Art Kanazawa, Japan Lands End, Cliff House, FOR-SITE Foundation, San Francisco, California, USA 2020 Fact and Fiction in Contemporary Photography, Joslyn Art Museum, Omaha, Nebraska, USA New Exhibitions, Margulies Collection at the Warehouse, Miami, Florida, USA 2019 Big Orchestra, Schirn Kunsthalle Frankfurt, Frankfurt am Main, Germany Creatures: When Species Meet, Contemporary Arts Center, Cincinnati, Ohio, USA Meet Me In The Bathroom: The Art Show, The Hole, New York, New York, USA Monument Valley, Des Moines Art Center, Des Moines, Iowa, USA The Coming World: Ecology as the New Politics 2030–2100, Garage Museum of Contemporary Art, Moscow, Russia Tomorrow is the Question, ARoS Aarhus Kunstmuseum, Aarhus, Denmark Transformer: The Rebirth of Wonder, 180 The Strand, London, UK Now Is the Time. 25 Jahre Sammlung Kunstmuseum Wolfsburg, Kunstmuseum Wolfsburg, Germany 2018 AS YOU LIKE IT, Praz Delavallade, Los Angeles, California, USA Far From Home, ARoS Aarhus Kunstmuseum, Aarhus, Denmark How To See [What Isn’t There], A Group Show of Works from the Burger Collection Hong Kong, Langen Foundation, Neuss, Germany San Diego: The Architecture of Four Ecologies, La Jolla Historical Society, La Jolla, California, USA The Pull of a Well Placed Comma, Museu de Arte Contemporânea de Elvas, Portugal 2017 Again and Again: Sammlung Goetz im Haus der Kunst, Haus der Kunst, Munich, Germany Jaguars and Electric Eels, Julia Stoschek Collection, Berlin, Germany Mix it – Pop Music and Video Art, Marta Herford. Museum for Art, Architecture, Design, Herford, Germany Performance! The Collection of the Centre Pompidou, Le Tri Postal, Lille, France The Garden – End of Times, Beginning of Times, ARoS Aarhus Kunstmuseum, Aarhus, Denmark 2016 Daydreaming with Stanley Kubrick, Somerset House, London, UK Summer Exhibition 2016, Royal Academy of Arts, London, UK 2015 Camera of Wonders, Centro de la Imagen, Mexico City, Mexico Come as You Are: Art of the 1990s, Montclair Art Museum, New Jersey; Telfair Museum of Art, Savannah, Georgia; University of Michigan Museum of Art, Ann Arbor, Michigan; Blanton Museum of Art, University of Texas at Austin, Texas, USA I LIKE AMERICA, SCHAUWERK Sindelfingen, Germany 2014 Melting Walls: Works from the Igal Ahouvi Art Collection, Genia Schreiber University Art Gallery, Tel Aviv University, Israel High Performance. The Julia Stoschek Collection, ZKM | Center for Art and Media Karlsruhe, Germany Damage Control: Art & Destruction Since 1950, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA; Musée d’Art Moderne Grand-Duc Jean, Luxembourg; Kunsthaus Graz, Austria Common Ground: Earth, Borusan Contemporary, Istanbul, Turkey 2013 Homebodies, Museum of Contemporary Art, Chicago, Illinois, USA Nomadic Light Sculpture, Station to Station, New York to San Francisco, California, USA Performing Architecture, Tate Britain, London, UK Turn off the Sun: Selections from la Colección Jumex, Arizona State University Art Museum, Tempe, Arizona, USA 2012 OC Collects, Orange County Museum of Art, Newport Beach, California, USA 2011 A Decade of Commitment to Contemporary Art, Elgiz 10, Elgiz Museum of Contemporary Art, Istanbul, Turkey Expanded Cinema. Part 1, Moscow Museum of Modern Art, Russia Now: obras de La Colección Jumex, Centro Cultural Hospicio Cabañas, Guadalajara, Mexico Paradise Lost, Istanbul Museum of Modern Art, Istanbul, Turkey Why I Never Became a Dancer. Sammlung Goetz im Haus der Kunst, Haus der Kunst, Munich, Germany 2010 Ars Itineris. The journey in contemporary art, Artium Museoa, Vitoria-Gasteiz, Spain

106 Between Here and There: Passages in Contemporary Photography, The Metropolitan Museum of Art, New York, New York, USA Contemplating the Void: Interventions in the Guggenheim Museum, Solomon R. Guggenheim Museum, New York, New York, USA Disquieted, Portland Art Museum, Portland, Oregon, USA Hard Targets, Wexner Center for the Arts, Ohio State University, Columbus, Ohio, USA I Want to See How You See – Julia Stoschek Collection, Deichtorhallen, Hamburg, Germany Neugierig? Kunst des 21. Jahrhunderts aus privaten Sammlungen, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany La trama se complica / The Plot Thickens, Museo de Arte Contemporáneo de Monterrey, Mexico Let’s Dance, Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France Passages. Travels in Hyper-Space, LABoral Centro de Arte y Creación Industrial, Gijón, Spain Until Now: Collecting the New (1960–2010), Minneapolis Institute of Arts, Minneapolis, Minnesota, USA ZERO – ∞. Die Sammlung Schaufler, SCHAUWERK Sindelfingen, Germany 2009 Life Patterns, Savannah College of Art and Design, Lacoste, France No Sound, Aspen Art Museum, Aspen, Colorado, USA Private Universes: Media Work, Dallas Museum of Art, Dallas, Texas, USA Sites, Whitney Museum of American Art, New York, New York, USA Twentysix Gasoline Stations ed altri libri d’artista – Una collezione, Museo Regionale di Messina, Italy ZwischenZonen: La Colección Jumex, Mexico, mumok – Museum moderner Kunst Stiftung Ludwig Wien, Vienna, Austria 2008 Elements and Unknowns, The Museum of Modern Art, New York, New York, USA Falling Right Into Place: The Fold in Contemporary Art, Kaiser Wilhelm Museum and Haus Lange, Krefeld, Germany Las implicaciones de la imagen / The Implications of the Image, Museo Universitario de Ciencias y Arte, Mexico City, Mexico Life on Mars: 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, Pennsylvania, USA Moscow on the Move, Garage Center for Contemporary Culture, Moscow, Russia 2007 her(his)tory, Museum of Cycladic Art, Athens, Greece Mapping the City, Stedelijk Museum Amsterdam, The Netherlands Mouth Open, Teeth Showing: Major Works from the True Collection, Henry Art Gallery, University of Washington, Seattle, Washington, USA Number One: Destroy, She Said, Julia Stoschek Collection, Dusseldorf, Germany Playback, Musée dʼArt Moderne de la Ville de Paris, France Silence. Listen to the Show, Fondazione Sandretto Re Rebaudengo, Turin, Italy Window | Interface, Mildred Lane Kemper Art Museum, Washington University, St. Louis, Missouri, USA 2006 .all hawaii eNtrées / luNar reGGae, Irish Museum of Modern Art, Dublin, Ireland Beyond Cinema: The Art of Projection: Films, Videos and Installations from 1963 to 2005, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany Cosmic Wonder, Yerba Buena Center for the Arts, San Francisco, California, USA Ecotopia: The Second ICP Triennial of Photography and Video, International Center of Photography, New York, New York, USA Red Eye: L.A. Artists from the Rubell Family Collection, Rubell Family Collection / Contemporary Arts Foundation, Miami, Florida, USA Surprise, Surprise, Institute of Contemporary Arts, London, UK Touch My Shadows: New Media from the Goetz Collection in Munich, Ujazdowski Castle, Centre for Contemporary Art, Warsaw, Poland 2005 Jump-Cut Nights: Choreographic Structures in Moving Images, part 3: Time Images, SK Stiftung Kultur, Cologne, Germany Now’s the time, Kunsthaus Graz, Austria Universal Experience: Art, Life, and the Tourist’s Eye, Museum of Contemporary Art, Chicago, Illinois, USA; Hayward Gallery, London, UK 2004 Hard Light, MoMA PS1, New York, New York, USA Landscape and Memory (Paisaje y Memoria), La Casa Encendida, Madrid; Centro Atlántico de Arte Moderno, Las Palmas, Spain Modus Operandi, Thyssen-Bornemisza Art Contemporary, Vienna, Austria New in the Collection, Museum Het Domein Sittard, Sittard, The Netherlands Past, Present, Future: Contemporary Art 1950–Present, Art Institute of Chicago, Chicago, Illinois, USA 3’, Schirn Kunsthalle Frankfurt, Frankfurt am Main, Germany 2003 Audiolab 2, collaboration with Steven Roden, Centre Georges Pompidou, Paris, France Defying Gravity: Contemporary Art and Flight, North Carolina Museum of Art, Raleigh, North Carolina, USA fast forward. Media Art Sammlung Goetz, ZKM | Center for Art and Media Karlsruhe, Germany Imperfect Innocence: The Dennis and Debra Scholl Collection, Contemporary Museum, Baltimore, Maryland; Palm Beach Institute of Contemporary Art, Lake Worth, Florida, USA Liquid Sea, Museum of Contemporary Art, Sydney, Australia Painting Pictures: Painting and Media in the Digital Age, Kunstmuseum Wolfsburg, Germany Site Specific, Museum of Contemporary Art, Chicago, Illinois, USA Spiritus, Magasin 3, Stockholm Konsthall, Sweden world rush_4 artists, National Gallery of Victoria, Melbourne, Australia 2002 Remix: Contemporary Art and Pop, Tate Liverpool, UK Screen Memories, Contemporary Art Gallery, Art Tower Mito, Mito-shi, Ibarakiken, Japan Sonic Process. A new Geography of Sounds, Museu d’Art Contemporani de Barcelona, Spain; Centre Georges Pompidou, Paris, France 2001 Collaborations with Parkett: 1984 to Now, The Museum of Modern Art, New York, New York, USA Form Follows Fiction, Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy Media Connection: How the media have changed art, Palazzo delle Esposizioni, Rome, Italy Moving Pictures: Photography and Film in Contemporary Art, 5th International Photo-Triennale Esslingen, Villa Merkel, Esslingen, Germany Urban Pornography, Artists Space, New York, New York, USA 2000 Flight Patterns, Museum of Contemporary Art, Los Angeles, California, USA Hypermental: Rampant Reality 1950–2000 from Salvador Dalí to Jeff Koons, Kunsthaus Zürich, Zurich, Switzerland Let’s Entertain: Life’s Guilty Pleasures, Walker Art Center, Minneapolis, Minnesota, USA; Portland Art Museum, Portland, Oregon, USA; Centre Georges Pompidou, Paris, France; Kunstmuseum Wolfsburg, Germany; Miami Art Museum, Miami, Florida, USA Speed of Vision: On the Construction and Perception of Time in Video Art, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania, USA 1999 Clues: An Open Scenario Exhibition, MonteVideo, Amsterdam, The Netherlands dAPERTutto, 48th Venice Biennale, Italy EXTRAetORDINAIRE, Le Printemps de Cahors, Saint-Cloud, France Video Cult/ures: Multimediale Installationen der 90er Jahre, ZKM | Center for Art and Media Karlsruhe, Germany

107 1998 I Love New York: Crossover of Contemporary Art, Museum Ludwig, Cologne, Germany L.A. Times: Arte da Los Angeles nella Collezione Re Rebaudengo Sandretto, Palazzo Re Rebaudengo, Guarene d’Alba, Italy New Selections from the Permanent Collection, Walker Art Center, Minneapolis, Minnesota, USA New Visions: video 1998, Long Beach Museum of Art, Long Beach, California, USA Unfinished History, Walker Art Center, Minneapolis, Minnesota, USA 1997 1 Minute Scenario, Le Printemps de Cahors, France 1996 a/drift: Scenes from the Penetrable Culture, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, USA Art in the Anchorage 1996, Brooklyn Bridge Anchorage, New York, New York, USA Campo 6: Il Villaggio a Spirale, Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy; Bonnefanten Museum, Maastricht, The Netherlands 29’ 0”/East, Kunstraum Wien, Vienna, Austria; New York Kunsthalle, New York, USA 1995 La Belle et la Bête, Musée d’Art Moderne de la Ville de Paris, France The Image and the Object: Art and Video in the United States, Museo Laboratorio di Arte Contemporanea, Sapienza Università di Roma, Rome, Italy 1994 Audience 0.01, Trevi Flash Art Museum, Trevi; Vera Vita Gioia, Naples, Italy Not Here Neither There, Los Angeles Contemporary Exhibitions, Los Angeles, California, USA Out West and Back East: New Work from Los Angeles and New York, Santa Monica Museum of Art, Santa Monica, California, USA still, Espace Montjoie, Paris, France 1993 Doug Aitken and Robin Lowe, AC Project Room, New York, New York, USA Underlay, 15 Renwick Street, New York, New York, USA 1992 The Art Mall: A Social Space, The New Museum of Contemporary Art, New York, New York, USA 1991 Artworks/Artworkers, AC Project Room, New York, New York, USA Happenings and Special Events 2020 SONG MIRROR, 2020 Mirage Gstaad, Switzerland. Musical performance by six vocalists from the Los Angeles Master Chorale composed and written by Doug Aitken 2019 New Horizon, 2019, Multiple locations across Massachusetts, USA. Over seventeen days in July, a hot air balloon designed as a reflective and kinetic light sculpture traveled from iconic Trustees land conservation sites in Martha’s Vineyard, greater Boston, to the Berkshires, making seven stops along the way for a series of site-specific happenings and conversations for a nighttime event Sonic Mountain (Sonoma), 2019, Donum Estate Sculpture Park, Sonoma, California, USA. Performance by the multimedia percussionist Hisham Akira Bharoocha, who composed twenty musicians together to activate the sculpture for a nighttime event 2018 Onyx Mirage, 2018, Chesa Planta Mansion, Samedan, Switzerland. Musical performance using Doug Aitken’s Onyx Music Table as part of NOMAD St. Moritz 2016 Modern Soul, 2016, Plage du Larvotto, Monaco. Live performance of synchronized skywriting and percussion 2015 Station to Station: A 30 Day Happening, June 27–July 26, 2015, Barbican Centre, London, UK. A continuously evolving “living exhibition” with more than 100 free events by over 100 artists, choreographers, filmmakers, musicians, and others, consisting of newly introduced and created works as part of a program of live rehearsals, performances, talks, interviews, and workshops Special Happening & Performance, 2015, Schirn Kunsthalle Frankfurt, Frankfurt am Main, Germany. Film screening, performances, and sound installation with the Junge Deutsche Philharmonie 2014 landscape signs (sign happening), October 4, 2014, Regen Projects, Los Angeles, California, USA. Professional sign spinners performed with signs featuring subversive text designed to create a “cultural ambush” along Santa Monica Blvd. 2013 Station to Station, September 8–28, 2013. Multiple locations across the United States. Over three weeks in September, a train designed as a kinetic light sculpture traveled from New York City to San Francisco, making ten stops along the way for a series of site-specific happenings 100 YRS (part 2), April 2–6, 2013, 303 Gallery, New York, New York, USA. Five-day time-based destruction installation with a lift operator and three-man percussionist performance MIRROR, March 24, 2013, Seattle Art Museum, Seattle, Washington, USA. Terry Riley performing “In C” with the Seattle Symphony Orchestra and Steve Reich’s “Clapping Music” synchronizing live with MIRROR, a generative moving image installation 2012 ALTERED EARTH, October 20, 2012, LUMA Foundation, Grande Halle, Parc des Ateliers, Arles, France. Exhibition opening with musical accompaniment by Terry Riley, Gyan Riley, and Tracy Silverman SONG 1, May 11, 2012, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., USA. Musical accompaniment by Animal Collective’s Geologist, Leo Gallo, High Places, Nicolas Jaar, Tim McAfee-Lewis, No Age, and Oneohtrix Point Never sleepwalkers box, 2012, MoMA PS1, New York, New York, USA. sleepwalkers remixed with musical performances by the Hisham Bharoocha Trio and Jonathan Galkin 2011 ALTERED EARTH, 2011, Serpentine Gallery, London, UK. Interview with Hans Ulrich Obrist, for the ALTERED EARTH App Black Mirror, June 16–20, 2011, Athens and Hydra, Greece. Four-night event staged on a custom barge in conjunction with the Athens Theater Festival and the DESTE Foundation for Contemporary Art; performances by Leo Gallo, Tim McAfee-Lewis, No Age, Chloë Sevigny, and a rhythmic whip-cracker 2010 The Artist’s Museum, November 13, 2010, The Museum of Contemporary Art, Los Angeles, California, USA. Musical performances by Devendra Banhart, Beck, and Caetano Veloso, and performances by members of the Agape Choir, rural farm auctioneers, drummers, and a rhythmic whip-cracker migration, 2010, Princeton University Art Museum, Princeton, New Jersey, USA. Musical accompaniment by ARP, Lichens, and White Rainbow 2009 Frontier, 2009, Enel Contemporanea, Tiber Island, Rome, Italy. Musical accompaniment by Lichens and performances by rural farm auctioneers, tap dancers, and a professional whip-cracker, staged in a site-specific open-air architectural structure

108 migration, 2009, Regen Projects, Los Angeles, California, USA. Musical performances by Lucky Dragons, Nudge, White Rainbow, Steve Roden, and the Urxed the handle comes up, the hammer comes down, 2009, Theater Basel, Switzerland. Performance with rural farm auctioneers, part of Il Tempo del Postino 2008 Write-In Jerry Brown President, 2008, The Museum of Modern Art, New York, New York, USA. Featuring John Bowe with musical performances by Pepi Ginsberg and Jeffrey Lewis migration, 2008, 303 Gallery, New York, New York, USA. Musical accompaniment by ARP, Lichens, and White Rainbow 99¢ Dreams, Happening, Westside Gentleman’s Club, New York, New York, USA. Multiscreen projection with musical performances by Lissy Trullie and the Fibs and Justin Miller Ocean, 2008, University of California, Santa Barbara, California, USA. Multiscreen projection on beach at nighttime 2007 the handle comes up, the hammer comes down, 2007, Opera House, Manchester, UK. Performance with rural farm auctioneers, part of Il Tempo del Postino, the Manchester International Festival Sleepwalkers: MoMA Pop Rally, 2007, The Museum of Modern Art, New York, New York, USA. Musical performances by Hisham Bharoocha, Ryan Donowho, and Cat Power, reading by Melissa Plaut 2006 K-N-O-C-K-O-U-T, 2006, Parrish Art Museum, Southampton, New York, USA. Performance by Street Drum Corps Broken Screen, 2006, Essex Street Market, New York, New York, USA. Featuring Vito Acconci, Black Dice, Adam Green, Jeff Koons, and Miranda July, with films by Acconci, Stan Brakhage, George Greenough, Alejandro Jodorowsky, Kelly Sears, and Superstudio Broken Screen, 2006, Schindler House, MAK Center, Los Angeles, California, USA. Featuring John Baldessari, Ariel Pink, Tim Sweeney, and Andrea Zittel, with films by Stan Brakhage, George Greenough, Alejandro Jodorowsky, Kelly Sears, and Ryan Trecartin 2005 K-N-O-C-K-O-U-T, 2005, Regen Projects, Los Angeles, California, USA. Performances by Street Drum Corps and rural farm auctioneers Selected Books and Catalogs 2022 Doug Aitken: Works 1992–2022. London: MACK. 2021 Doug Aitken, New Era. Edited by Rachel Kent. Sydney: Museum of Contemporary Art Australia, with Thames & Hudson, Sydney. Exh. cat. 2019 Now Is the Time: 25 Years Collection Kunstmuseum Wolfsburg. Edited by Andreas F. Beitin and Holger Broeker. Wolfsburg: Kunstmuseum Wolfsburg, with Hatje Cantz, Berlin. Exh. cat. 2016 Doug Aitken Electric Earth. Edited by Donna Wingate. Los Angeles: The Museum of Contemporary Art, with DelMonico Books / Prestel, New York. Exh. cat. 2015 Doug Aitken Sculptures 2001–2015. Edited by Lionel Bovier. Zurich: JRP|Ringier. Doug Aitken. Edited by Helmut Müller and Max Hollein. Frankfurt am Main: Schirn Kunsthalle Frankfurt, with Verlag für moderne Kunst, Vienna. Exh. cat. I like America. Edited by Peter Schaufler, Barbara Bergmann, and Svenja Frank. Sindelfingen: SCHAUWERK Sindelfingen, with Kerber, Bielefeld. Exh. cat. 2014 Doug Aitken Electric Earth. Yongin-si: Nam June Paik Center. Exh. cat. Marta, Karen, ed. Doug Aitken: 100 YRS. New York: Rizzoli. 2010 100 Künstler. 100 Werke. 100 Positionen. Edited by Peter Schaufler and Barbara Bergmann. Sindelfingen: SCHAUWERK Sindelfingen, with DuMont, Cologne. Exh. cat. 2008 Doug Aitken: 99¢ Dreams. Zurich: Galerie Eva Presenhuber, Zurich / New York: Westside Gentleman’s Club, with Aspen Art Press, Aspen. Exh. cat. Blasted Allegories: Works from the Ringier Collection. Edited by Beatrix Ruf. Lucerne: Kunstmuseum Luzern, with JRP|Ringier, Zurich. Exh. cat. Life on Mars, 55th Carnegie International. Edited by Douglas Fogle. Pittsburgh: Carnegie Museum of Art. Exh. cat. Red Eye: L.A. Artists from the Rubell Family Collection. Miami: Rubell Family Collection. Exh. cat. 2007 Chronology. Edited by Daniel Birnbaum. 2nd ed. Berlin: Sternberg Press. her(his)tory. Edited by Marina Fokidis. Athens: Museum of Cycladic Art. Exh.cat. Doug Aitken: Sleepwalkers. Edited by Emily Hall. New York: The Museum of Modern Art. Exh. cat. Creative Time: The Book. Edited by Ruth A. Peltason. New York: Princeton Architectural Press. All Hawaii Entrées: Lunar Reggae. Edited by Rachel Thomas. Dublin: Irish Museum of Modern Art, with Charta, Milan. Exh. cat. 2005 Beyond Cinema: The Art of Projection: Films, Videos and Installations from 1963 to 2005. Edited by Anette Hüsch, Joachim Jäger, and Gabriele Knapstein. Berlin: Hamburger Bahnhof, Museum für Gegenwart, with Hatje Cantz, Berlin. Exh. cat. Universal Experience: Art, Life, and the Touristʼs Eye. Chicago: Museum of Contemporary Art. 2004 Landscape and Memory. Edited by Alicia Chillida. Madrid: La Casa Encendida / Las Palmas: El Centro Atlántico de Arte Moderno. Exh. cat. Doug Aitken: We’re Safe as Long as Everything Is Moving. Edited by Marta Gili, Jon Alain Guzik, and Chus Martinez. Barcelona: CaixaForum. Exh. cat. 2003 Defying Gravity: Contemporary Art and Flight. Raleigh: North Carolina Museum of Art. Exh. cat. Imperfect Innocence: The Debra and Dennis Scholl Collection. Baltimore: Contemporary Art Museum, with D.A.P., New York. Exh. cat. RISE: Doug Aitken. Humlebæk: Louisiana Museum of Modern Art. Exh. cat. Spiritus. Stockholm: Magasin 3 Stockholm Konsthall. Exh. cat. 2002 Screen Memories. Mito-shi: Contemporary Art Gallery, Art Tower Mito. Exh. cat. 2001 Doug Aitken. New York: Phaidon. Hypermental: Rampant Reality 1950–2000 from Salvador Dalí to Jeff Koons. Zurich: Kunsthaus Zürich, with Hatje Cantz, Berlin. Exh. cat. 2000 Flight Patterns. Los Angeles: The Museum of Contemporary Art. Exh. cat. Form Follows Fiction. Turin: Castello di Rivoli, Museo d’Arte Contemporanea, with Charta, Milan. Exh. cat. Speed of Vision: On the Construction and Perception of Time in Video Art. Ridgefield: Aldrich Museum of Contemporary Art. Exh. cat.

109 1999 Doug Aitken, Diamond Sea. Dallas: Dallas Museum of Art. Exh. cat. EXTRAetORDINAIRE, Le Printemps de Cahors. Saint-Cloud: Le Printemps de Cahors, with Actes Sud, Arles. Exh. cat. dAPERTutto, La Biennale di Venezia: 48a Esposizione internazionale dʼarte. Edited by Harald Szeemann and Cecilia Liveriero Lavelli. Venice: La Biennale di Venezia, with Marsilio Editore, Padua. Exh. cat. Video Cult/ures: Multimediale Installationen der 90er Jahre. Edited by Ursula Anna Frohne. Karlsruhe: ZKM | Center for Art and Media Karlsruhe, with DuMont, Cologne. Exh. cat. 1998 Dreams. Edited by Francesco Bonami and Hans Ulrich Obrist. Turin: Fondazione Sandretto Re Rebaudengo, with Castelvecchi Editore, Rome. Exh. cat. I Love New York – Crossover of Contemporary Art. Cologne: Museum Ludwig, with DuMont. Exh. cat. 1997 One Minute Scenario. Saint-Cloud: Le Printemps de Cahors, with Actes Sud, Arles. Exh. cat. Whitney Biennial: 1997 Biennal Exhibition. New York: Whitney Museum of American Art, with Harry N. Abrams, New York. Exh. cat. 29’– 0”/East, New York: Kunsthalle New York. 1996 a/drift. Annandale-on-Hudson: Center for Curatorial Studies, Bard College. Exh. cat. Campo 6: The Spiral Village. Turin: Galleria Civica d’Arte Moderna e Contemporanea, with Skira, Milan. Exh. cat. 1995 La Belle et la Bête: un choix de jeunes artistes américains. Paris: Musée d’art moderne de la Ville de Paris. Exh. cat. 1994 Audience 0.01: International Video. Trevi: Trevi Flash Art Museum, with Giancarlo Politi Editore, Milan. Exh. cat. 1993 Okay Behaviour. New York: 303 Gallery. Exh. cat. Selected Writings “100 Frames: Bruce Connerʼs Breakaway,” in: Esopus, 3, fall 2005, 91. “Pierre Huyghe,” in: Bomb: Art and Culture Interviews, 89, fall 2005, 40–42. Artists Books 2023 Doug Aitken: Mirage. Zurich: JRP Editions / Brussels: LUMA Foundation, with ZOLO PRESS, Brussels. 2015 Station to Station, New York: DelMonico Books / Munich: Prestel. 2012 SONG 1. Washington, D.C.: Hirshhorn Museum and Sculpture Garden. 2011 Black Mirror. Athens: DESTE Foundation for Contemporary Art. The Sleepwalkers Box. New York: Princeton Architectural Press / DFA Records. 2010 The Idea of the West. Los Angeles: The Museum of Contemporary Art, with D.A.P. New York / Zurich: JRP|Ringier. 2009 Frontier. Rome: Enel Contemporanea / PA Magazine: Doug Aitken + Philip Hays / Uster: Ink Tree Editions. 2008 Write-In Jerry Brown President. New York: The Museum of Modern Art. 2005 Broken Screen: Expanding the Image, Breaking the Narrative, 26 Conversations with Doug Aitken. New York: D.A.P. ALPHA. Zurich: JRP|Ringier. 2003 Doug Aitken A–Z Book (Fractals). Philadelphia: Fabric Workshop and Museum, with Hatje Cantz, Ostfildern. 2002 New Ocean. Tokyo: Tokyo Opera City Art Gallery / Bregenz: Kunsthaus Bregenz. 2001 New Ocean. London: Serpentine Gallery. Notes for New Religions, Notes for No Religions. Ostfildern: Hatje Cantz. 2000 I AM A BULLET: Scenes from an Accelerting Culture. New York: Crown Publishers. Diamond Sea. London: Book Works. 1998 Metallic Sleep. Tokyo, Taka Ishii Gallery. Awards 2019 Lifetime Achievement Award, ArtCenter College of Design, Pasadena, California, USA 2017 Frontier Art Prize, World Frontiers Forum, Cambridge, Massachusetts, USA 2016 Outstanding Contributions to the Arts, Americans for the Arts National Arts Award, New York, New York, USA 2013 Smithsonian Magazine American Ingenuity Award: Visual Arts, Washington, D.C., USA 2012 Nam June Paik Art Center Prize, Yongin, South Korea 2009 Aurora Award, Aurora Picture Show, Houston, Texas, USA 2007 German Film Critics Association Award, KunstFilmBiennale, Cologne, Germany 2000 Aldrich Award, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, USA 1999 International Prize – Golden Lion, Venice Biennale, Venice, Italy

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