EXHIBITIONS

Mes Bêtes Sauvages, 2008

SOLO SHOWS

2020

La Forme naturelle, Edizioni Periferia, Luzern
March to May.
This may be viewed here.

2019

Jamais fille chaste n’a lu de romans / Never has a chaste girl read a novel, Circuit, Lausanne
November to December
This may be viewed here.

2018

Die Holzdiebe
ZAK Zentrum für Aktuelle Kunst, Alte Kaserne, Zitadelle, Berlin
13 October 2018 – 6 January 2019
In the bicentenary of Marx’s birth, the exhibition is founded on Marx ’s articles for the Rheinische Zeitung, reporting on the proceedings of the Sixth Rhine Province Assembly, ‘Debates on the law of thefts of wood’, and a number of commentaries thereon, in particular Daniel Bensaïd’s book Les dépossédés.

ENTREPRISE DE SÉDUCTION
Espace d'art contemporain HEC, Haute École de Commerce Paris, Jouy-en-Josad, in association with the Musée de la Toile de Jouy
11 January to 11 May 2018
This is an exhibition in five parts, each corresponding to a room in the exhibition space. The work developed from research on the Manufacture Oberkampf in the archives of the Musée de la Toile de Jouy, and the exhibition will be followed by a publication in 2018. The period of activity of the Manufacture Oberkampf spans early industrial development in pre- revolutionary France to its closure in 1843; the end of the empire marks the decline of the enterprise. The exhibition is composed of five tableaux. Each provides a scene or staging. Each incorporates similar elements in different forms: skin, furniture, image/s, naturalised creatures,
and an object or objects made by hand, by a skilled producer in four cases, by a diligent amateur in the fifth. In each scene there is a reference drawn from the Manufacture Oberkampf and from the cargo manifest of the slave trading ships sailing from France to West Africa, and then to the colonies charged with new living cargo. The price of a human being may be calculated against material.
Download a pdf here.

LA BEAUTÉ RÉVÉLÉE
Château de Kerjean, Saint-Vougay, Finisterre, France
14 April to 4 November 2018
A work commissioned for the Château de Kerjean, as part of their programme for 2018, in collaboration with Le Passerelle, Brest: Bel, belle, belles. La beauté à la Renaissance.  Responding to the idea of a une nouvelle figure féminine, each work is a voluminous skirt, after the style of the sixteenth and seventeenth centuries, which is free-standing, emptied of a body that supports it, while nonetheless suggesting its presence. Each skirt is made of a beautiful silk velvet, in a rich colour. The form is based on the skirts of the Renaissance and the Baroque, noted for their diversity of colour. The skirt is supported by an invisible structure, a hooped crinoline or vertugadin (described by Madame de Motteville as a ‘round and monstrous machine’); splints of wood were used to compress the waist, and circles of wood (or iron or whalebone ) were sewn inside the skirt to give ‘l’espoitrinement des dames’ ; above all, writes Montaigne, ‘it was necessary to astonish the world by a slender waist’). From the waist of the skirt, a long ribbon, in a contrasting colour, appears to fly up high into the air, carried in the beak of a small stuffed bird. The other end of the ribbon trails to the floor, where it becomes the bookmark of a book carried in the jaws of a stuffed fox, emerging from under the skirt. The books are leather-bound, closed, gold-embossed with the work's title, and the colour echoes and contrasts with the colour of the velvet skirt and its underskirt. The books, like the birds and the foxes, are animal or were once animal, in the sense of being skins or being covered by a skin, both natural and unnatural. Like the figures, they are empty, though the insertion of the bookmark ribbon might imply there has been some act of reading (or writing – as no title is evident, each book might be a journal intime, both private and public).

2017

ARMEL BEAUFILS, LE REGARD DES FEMMES
1 July to 3 September 2017
Presbytère, St-Briac-sur-Mer Dans le cadre du Festival d’art, Saint-Briac-sur-Mer a souhaité mettre en valeur un fonds exceptionnel d’œuvres d’Armel Beaufils encore méconnu et lier les deux volets du 22e Festival d’art, patrimoine et art contemporain.Pour mettre à jour l’œuvre d’Armel Beaufils, Sharon Kivland, qui est artiste, commissaire d’exposition et universitaire, imagine de solliciter des femmes, des artistes d’aujourd’hui, tout d’abord pour regarder une sculpture, figure de femme ou de jeune fille, puis en proposer une lecture, une œuvre, un commentaire…
Artistes : Yuna Amand, Isabelle Arthuis, Félicia Atkinson, Léa Bénétou, Cécile Benoiton, Chantal Blanchy, Laura Brunellière, Anne-Marie Creamer, Béatrice Dacher,Florence Doléac, Carole Douillard, Christelle Familiari, Rachel Garfield, Bernadette Genée, Lena Goarnisson, Anabelle Hulaut, Dominique Hurth, Bettina Hutschek, Rebecca Jagoe, Sharon Kivland, Angélique Lecaille, Laurence De Leersnyder, Jeannie Lucas, Véfa Lucas, Ariane Michel, Hélène Mugot, Michelle Naismith, Georgia Nelson, Aurélie Noury, Bharti Parmar, Monik Rabasté, Catherine Rannou, Linda Stupart, Eva Taulois, Anaïs Touchot, Sylvie Ungauer, Emmanuelle Waeckerlé, Julie Westerman, Charlie Youle, Katharina Zimmerhackl
http://www.fracbretagne.fr/ai1ec_event/exposition-armel-beaufils-le-regard-des-femmes/

LE MODÈLE
25 mai – 6 juin 2017
Dans le cadre de Rendez-vous à Saint-Briac, le Frac Bretagne présente Le Modèle, une exposition personnelle de Sharon Kivland.
Sharon Kivland est une artiste qui collectionne, une glaneuse en quête d’une imagerie féminine que l’on pourrait qualifier de populaire. En croisant images (gravures de revues anciennes, cartes postales, illustrations et photographies issues de magazines féminins) et textes de l’époque, sous le double éclairage du vêtement et de la littérature, l’artiste dessine une image de la femme entre stéréotype et émancipation. L’exposition Le Modèle présentée dans l’ancien Presbytère de Saint-Briac constitue comme une introduction à l’exposition d’été Armel-Beaufils, le regard des femmes qui sera présentée du 1er juillet au 3 septembre 2017, et dont Sharon Kivland sera la commissaire.
Download pdf here.

Sharon Kivland. Exhibition and talk
December, 2016, Anagram Book Distribution, Lausitzer Str.35, 1099 Berlin
Sharon Kivland wondered what she would do that evening. It was a few readings from selected works and a historical ramble through a number of book projects. She was as lively and entertaining as she can be. Many books were be on display, as well as some new drawings associated with or indeed, the source of, two new books (which are perhaps closer to pamphlets). She also talked about The Good Reader series, introducing the new book therein by Peter Jaeger, The Shadow Line. A good time was had by all.

THE NATURAL FORMS. PART III. THE TRACTS. READERS AND LISEUSES. MADEMOISELLE LA MARCHANDISE. & OTHER WORKS
27.04.16 to 2.05.16
HGB, Leipzig Academy of Arts , Germany
Download a pdf of images here.

The Natural Forms. Part II. The Readers. The Foxes. The Tracts. Some Coquetteries
11.12.2015 to 30.01.2016
Galerie Nord / Kunstverein Tiergarten, Berlin
With an opening event: itinerant interlude #1867, Anna Clementi
Download a pdf of images here.



Natürliche Formen – Von Frauen,Füchsen und Lesern
03.10.– 15.11.2015
Das dkw. Kunstmuseum Dieselkraftwerk Cottbus wird als Teil
der Brandenburgischen Kulturstiftung Cottbus durch das
Ministerium für Wissenschaft, Forschung und Kultur des Landes
Brandenburg und die Stadt Cottbus gefördert.
dkw. Kunstmuseum Dieselkraftwerk Cottbus

Folles de leur corps / Crazy about their bodies
Café Gallery Projects, London, 8 October to 9 November, 2014
The exhibition opens with the five short texts of Le Lever, torn from an auction catalogue description of an engraving after a painting by Pierre-Antoine Baudouin, the son-in-law of Boucher, who, like his father-in-law, depicted the voluptuous eroticism of the ancien régime, transformed into chapters. The servant girl kneels before her mistress, holding her satin mule. Stuffed animals (aristocratic greedy squirrels who take everything for themselves, a mob of Jacobin stoats, sporting Phrygian bonnets, cunning radical foxes who have read Marx) proliferate. In La Forme-valeur, Marx's Capital is read, chapter three on exchange-value, in an attempt to find a woman speaking, yet all is found is an object speaking in the charming voice of a commodity in the chorus of goods going to market. Scent bottles (Allure) might become Molotov cocktails, the material that may be soaked and ignited is French wedding tulle, which is rather expensive. The repetitive (and as the artist is the first to admit, dull and amateur) films of Mes coquetteries follow silk-clad bodies while a voiceover recalls the radio transmissions of the Resistance and from the Underworld via the car radio of Cocteau's film Orphée. In Encore un effort a banner carries the breathless descriptions of the new fashions for 1968, when anything goes and details place the accent on this or that part of the body and its adornment: a pair of shoes that have come off in a struggle, for example, the heel of one snapped off; a checked shirt, with two buttons undone; a light-coloured trench coat (perfect for a May day); a blouson- style jacket that allows easy freedom of movement; pale casual slacks worn with an ankle boot. Beauty is in the streets as fashion becomes democratic (or so say the houses of haute couture), while the philosopher of the boudoir extorts us once again to take action. To an assembled crowd of sensitive men and women, which petit-maître or dangerous man of principles would suggest that the only moral system to reinforce political revolution is that of libertinage, the revenge of nature's course against the aberrations of society? The exhibition included a performance of fourteen women, an Agit-disco from Stefan Szczelkun, Chris Gibson as librarian-in residence, an outpost of Artwords bookshop, with selected titles, a reading room for some of Kivland's library, a small but rich publication, and a screening of the full-length version of Peter Watkins' film La Commune (Paris 1871) at Sands Film Club in Bermondsey.

Femmes folles de leur corps
Galerie Bugdahn und Kaimer, Düsseldorf, 23 November 2013 to 18 January 2014
In a footnote in Capital, chapter 2: The Process of Exchange, Marx writes:
'In the twelfth century [...], very delicate things often appear among these commodities. Thus a French poet [Guillot de Paris] of the period enumerates among the commodities to be found in the fair of Lendit, alongside clothing, shoes, leather, implements of cultivation, skins, etc., also " femmes folles de leur corps".' The English translator translates this as 'wanton women'; I would rather translate it as 'women crazy about their body'.

Reproductions II
DOMOBAAL, 3 John Street, London WC1N 2ES
18.01.13 – 16.02.13
Saturday 16 February: on the final afternoon of the exhibition a series of special events took place in the gallery
[download events programme)
In Reproductions II Sharon Kivland exhibits new works from the collection, echoing her last exhibition, with a little deviation. Works include postcards of Rome turned into clumsy negatives; more carefully done drawings of underwear, copied from magazines of the 1950s, immobile and fixed, removed from any supporting body; photographs of belts or waists, bodies or fashion accessories (so difficult to tell sometimes); a knee–length skirt, which appears both constraining and oddly liberating; truncated bodies in attractive trousers and defining belts or in lovely dresses (day and one evening); postcards of stars of the cinema, already fading, embellished (the painted addition may be all that remains); another Nana, ghostwritten this time, describing herself through the words of others. It is, one might say, a matter of structure, as well as one of meticulous cataloguing or insistent representation. Material that has had a life already is reorganised, yet the re–ordering leads to a certain disorder, a somewhat paradoxical economy. It may be rather hard to distinguish perversity from perversion, for example, in certain works (re)presented here, wherein there is both malice and jouissance.

Mes filles I & II

Ma Nana (encore), autres filles et quelques petits explosions
Galerie des petits carreaux, 43 rue des Petits Carreaux, 75002 Paris
17.11.12 – 5.01.13
Donc partout ce rose, d’une douceur trompeuse, celui des culottes chinées dans les vide greniers du coin, des dessins de soutien-gorge au crayon de couleurs, des photos de mode sur fond rose, des petites bouteilles de parfum, objets précieux dont s’exhale une inquiétante tulle en forme de fumée rose. Et puis la violence des trophées de chasse : une ravissante tête de biche accrochée au mur porte au cou un délicieux ruban rouge, comme la trace d’une décapitation.Car on ne s’y trompe pas longtemps, la « chair » de ce rose est une chair blessée, comme la chair de Nana l’est par les regards de convoitise qui la réduisent à l’état de marchandise. Le roman de Zola et son person- nage éponyme ont dans l’œuvre de Sharon Kivland une résonance particulière. Le texte de Zola est traité comme un matériau que l’artiste retravaille par des réécritures. Et le personnage de Nana, image hyper- trophiée de la féminité, y tient une place emblématique.

Modern Interiors, with Jaspar Joseph-Lester|
Five Years, London, October 2013
The work Elle s’installe [she installs) is from a series of ten ink and watercolour drawings, with accompanying descriptions in vibrant orange vinyl lettering. The images are drawn from a French encyclopaedia of décor, a mine of enchanting ideas and a source of practical advice for the contemporary home of the 1960s (an epoch of social and political change, n’est pas, madame?), demonstrating the ways to achieve the style and ambience one desires. What could be more delicious? One dreams, one smiles; dreams become reality as a pair of Louis XVI armchairs are matched with the still fresh curtains of one’s mother-in-law. I concentrate on the salons, classical or refined, gay or modern, producing an ambiance that is youthful, spontaneous, or joyful, with a special touch of gaiety about the armchairs. The drawings are made on a paper from Ruscombe Mill in Bordeaux, a replica of the paper used by J. M. W. Turner for his watercolours made on his travels through France, Italy, Germany, and Belgium.  He is a master, of course, and here I have added a mistress. The shade of this paper allows the artist to be more adventurous than is possible with a plain white sheet.  The texts are literal translation of their French originals. It is clear that one may mix the old and the modern, in art as much as in interior design, bringing together apparently disparate elements that nonetheless retain a harmonious style, a refined and elegant atmosphere. Yes, I am sure my viewers loved to see these works and enjoyed learning these things that add to their natural flair.

Un vent de révolution, Centre d'art Passerelle ,Brest
18 May to 18 August 2012
www.cac-passerelle.com
Curated by Ulrike Kremeier, and exhibiting lovely dresses, delightful bonnets, literate animals, and moments of surprising violence.
Un vent de révolution - Dossier de presse (pdf)
A review of Un vent de révolution (pdf)

Sharon Kivland. Amateur and Collector
IDEAS Store Whitechapel, London
December to January 2011–12
Curated by Sotiris Kyriacou

For many years now Sharon Kivland has produced books and objects; the former range from small artist’s books to larger books in bigger print runs, though she is far from a best-seller; the latter are sometimes multiples in limited or even unlimited editions (in one case, at least).  Kivland employs the movement and displacement of ideas, words, images, and objects. Connections are woven in series, using strategies of appearances, disguise, impersonation, subtle dialogues, intimate suggestion, and a lack of historical fixity. There is a light touch, an irreverent approach to established values, in works that address education, identity, work, desire, and liberty. The exhibition has the form of a museum display, using three vitrines to lay out her wares and history in attractive display, and in addition, a text work for the wall, in which Zola’s novel Nana is abridged according to light and lighting effects, including metaphor. Each book or object will be accompanied by a new text, which both describes what is on display and suggests its part in a larger narrative. Works will include her re-working of fashion plates from 1848 and their descriptions; engraved lorgnettes, a magnifying glass, and a pocket mirror; ; a set of tropes for the use of authors; and a selection of books, including her venture into the holidays of Sigmund Freud.  There are also be objects and images from Kivland’s considerable archive/collection, which frequently provokes an idea or work. This includes cards for communion, photographs of confirmations, a wedding wreath, postcards of bathers, and pierrot/pierrettes. Kivland is a collector (which is self-evident), an amateur (in the sense of that a lover of/a person of taste for something/s, of which s/he has a certain knowledge as well as appreciation — one may also think of something that is practised for pleasure rather than for gain), and above all, a reader.

I am sick of my thoughts
DomoBaal, London
March to April 2011

Mes Negligées, watercolour and Indian ink on Canson paper,printed text on pages from old school exercise books, 2009–11
Photograph: Andy Keate

These are studio works, including works on paper, prints, photographs, and watercolours, made over the last two years in a state of malaise. They are works of interrupted thought. The artist writes that she is sick of her thoughts, and copies her son's concordance as he observes 'elle est malade de ses pensées'. A photograph of a woman lying back, her hair falling in an unlikely mass is countered by a text work in which Zola's novel Nana (a favourite recourse of the artist) has been digested according to light and lighting effects, including those of metaphor. It ends with the line: The hair, the beautiful hair, still blazed like sunlight and flowed in a stream of gold. Nana is a grotesque corpse at the end of the novel, and it is true that the photograph has an unhealthy cast. The artist practices her limited skills in watercolour, copying carte de voeux, which show the similar scene of snow, a river or stream, a forest, a village. She looks at the banal image for a long time, committing it to memory, then turns it over to look at it no longer, rendering then what she imagines was pictured overleaf. The watercolours are framed with their original, reversed to show the message, a wish for health, for a lovely year. These, she will say, are her good years. 1968 was a good year, too, and she is equally fond of 1848, 1871, and some years in the 1950s, working from her collection of French women's magazines, published at particular moments of insurrection or social change. Pictures are isolated from their backgrounds, reprinted, then coloured as faithfully as possible according to their original colour, which becomes a strange 'maquillage', or indeed, in Joan Riviere's term, a masquerade. And masquerade is a play on the imaginary, subject to the market of sexuality, which masks the object. They become grotesque, even though she tries to work as carefully as possible, really doing her very best not to spoil them, like a teenage girl in her bedroom (colouring in her idealised drawings of what she may wish to become). She stops when she finds herself applying too much colour, in too garish a shade, but a discrete application seems sadly insufficient. Nonetheless, she arrests herself at the point of violence to the image. A supposedly enticing picture (a woman lifting her hand to her face, turning her head, her hair flicking back in the other hand), however banal, is very easily turned into something ugly and clumsy, yet retains or reconstitutes a horrible attraction. It is monstrous, of course, in its overdone appearance of femininity, and each betrays something in its intersection with history. She imagines that her works are made with both care and taste, that they are discretely knowing with just a soupçon of intellectual quality, moderated by a soft, persuasive voice, with a harmony of style and discourse. Catherine Elkar writes of Kivland's work:

Sharon Kivland, l'artiste qui lit et convoque dans son travail á la fois de grands auteurs des siècles passés – Rousseau et Mallarmé, Laclos et Zola, Freud et Diderot, Benjamin et Marx – et de plus anonymes scribes, tisse des extraits de leurs textes avec des images glanées ici ou là, dans des ouvrages pour dames, des manuels ménagers, des cartes postales parfois » fleur bleue «, ainsi qu'avec des objets réunis au fil du temps, grâce au concours d'un réseau amical, à la fréquentation assidue des vide greniers et des sites de vente en ligne. Le rapport qu'elle établit entre le texte et l'image et/ou l'objet est d'une précision subreptice en ce qu'il ne s'articule ni sur des oppositions brutales, ni sur des anachronismes faciles.

Je suis malade de mes pensées, pencil drawing on Arches Velin, 2011

La dormeuse (red), print mounted on aluminium, 2011

Reproductions
AMT_Project, Bratislava
February–March 2011, curated by Alberto Matteo Torri
Guest artist: Benjamin Swaim
See the following http://artycok.tv/lang/cs-cz/reproductions/7226 for a short and somewhat embarrassing interview.

Mes plus belles (1968), 2011

Mes plus belles (bretonnes), 2011

Recent works that draw on Kivland's archive of magazines, prints, publicity leaflets or objects, and advertising from different eras. Working with reproductions that are in their turn reproduced and reworked, Kivland’s approach is that of the amateur and collector, doing her very best with diligence and dedication. There is affection as much as irony in the works, often displayed in the titles which reveal appropriation and the claiming of possession. She invited French artist Benjaim Swaim to exhibit with her, and there were many conversations.

Mes buvards, 2010, and Le cri de la soie, 2011

Mes plus belles coiffures, 2011

Mes plus belles
Le Sphinx
Paris, April 2010

Il y aura des roses et des femmes, coupées délicatement, flottantes, privées de tout contexte. Il y aura des femmes bien coiffées, sorties de leur époque, redessinées et peintes. Il y aura des signes, des yeux baissés, de la lingerie, dont les lignes et couleurs seront modifiés. Ces œuvres sont tantôt des séries ou des travaux en cours qui produisent des collections (de journaux, de cartes postales) avec un mélange d’insouciance et de gravité. Les œuvres sont détachés, frivoles, elles sont souvent négligées. Les œuvres sont sérieuses, austères, souvent solennelles et circonspectes. L’écrivain, Danielle Robert-Guédon a souligné l’importance dans le travail de Sharon Kivland des décalages sémantiques et l’insistance sur « les symboles fétichistes qui constituent souvent des figures du désir », comme elle l’écrit aussi « les images et les mots sont inséparables, revenant comme une obsession  d’ouvertures : fenêtres, jambes, façades, visages ».

There will be roses and women, cut carefully from their ground, floating and bereft of context. There will be coiffed women taken out of their time, refigured and painted. There will be gestures, downcast eyes, and lingerie, cut to another form and colour. These are works in series and works in progress, which draw on collections (of journals and postcards) with insouciance and gravity. The works are detached and frivolous, frequently negligent or carefree. The works are serious and austere, frequently solemn or circumspect. The writer Danielle Robert-Guédon has remarked on ‘a semantic discrepancy and an insistence on fetishistic symbols which often constitute figures of desire. Images and words are inseparable, returning as an obsession of openings: windows, legs, facades, faces’, in Kivland’s work.

Reisen
Bugdahn & Kaimer, Düsseldorf
October–December 2009

I exhibited some dreams of Rome, several Swiss hotels, the steam of trains as we journey (our hearts turn to the south), the snow on mountain peaks and the water of mountain lakes, and watercolours (from memory) of landscapes that have never existed, coupled with best wishes for a new year. I am particularly fond of the last, despite their incompetent rendering, which I cannot simply blame on my lack of recall.

Quels seraient les meilleurs moyens de perfectionner l’éducation des femmes?CIAC, Pont-Aven
October to November 2009
Curated by Catherine Elkar

Mes semblances, 2002/2009

We have seen nothing yet but roses, 2008 to present

I exhibited some old works and some new, including a series of letters, or rather their last lines, from Denis Diderot to Sophie Volland, my ABC of faults, and one may consider the ensemble as between a school room and a boudoir, mediated by the constant figure of the libertine. Several texts circulate about the work, by Catherine Elkar, Brigitte Charpentier, and Danielle Robert-Guédon, who is kind enough to note that I am neither hermetic nor obscure:

Il serait vain de tenter une classification, de vouloir assigner des propos définitifs à l'oeuvre de Sharon Kivland. Non que cette oeuvre soit hermétique ou obscure, bien au contraire, mais le bloc des connaissances préexistant à l'aboutissement est si dense que le moindre fil tiré de l'écheveau entraîne un infini questionnement. Tout au moins, pouvons-nous aborder ce travail en considérant la notion de 'déplacements', qu'il s'agisse d'errance, de détours, de passages ou bien de métaphores, d'ellipses et de métonymies.

A short guide by Brigitte Charpentier. pdf

A Wind of Revolution Blows, the Storm is on the Horizon Chelsea Space, London November to December, 2008 Curated by Donald Smith The title comes from Alexis de Tocqueville, speaking in the Chamber of Deputies,shortly before the outbreak of revolution across Europe in 1848. Karl Marx, in The Eighteenth Brumaire, responding to the events and effects of 1848, writes: ‘Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past’. The works here, despite their gentle air of refinement, reflect relays between nature, humanity, violence, and sexuality. Does the wind of history flutter through the leaves of fashion journals of past centuries? Can the details or even the outlines of those explosions of class struggle—such as the bourgeois revolutions of 1848 or the libertarian social experiment of the Paris Commune of 1871—be read in the details and the outlines of past fashion? Such details and outlines have been snapped up and out of history for these reworked fashion plates. These reworkings came into being through an arduous manual labour of reproduction that is itself outmoded. These ephemera are not simply recovered, but remade. Fashion and its accoutrements are recovered as repetitive labour, reinforcing the repetitions and the labours that structure fashion itself, an eternal return of the ever same in the guise of the new. Perhaps we can discover in these re-fabrications, if not also in the originals, a small feature that betrays, in the vocabulary of fashion, the ructions of history: maybe a red ribbon necklace remembers the slice of the Guillotine. Then again, en revers, like shot silk, the cut out, blacking all details, might be an abstraction that reveals all the more blindingly the hidden lining of fashion’s frivolity, a transference of its deadly drive: in the outlines of headgear, perhaps, the contours of liberty caps. Here are women, at least in ideal form, their heads gently turned to reveal the faux-vitality of the fakest of pinkest cheeks. The fashion plates insert them graphically into commodity relations. Their negation as silhouette in the copied version apes the invisibility of the female hands and bodies whose labour made their beautiful trappings. Their heightened colouration draws attention to the ways in which fashion disguises and embellishes and leads women into the realm of artifice. Her nature is no longer nature, but historical because commodified. History does shudder through the folds in more or less invisible ways and pastiche teases it out, or at least beckons it to sashay a while. Violence now disguises and now parades itself when the cut is the deepest of things and the hang is to die for. Esther Leslie, 2008, from A Wind of Revolution Blows, the Storm in on the Horizon,published on the occasion of the eponymous exhibition at CHELSEA Space, London. Mon abécédaire Sleeper, Edinburgh March to April, 2008 I have worked hard on my embroidery, starting with anguish, passing through despair, narcissism, discharge of duty, and completing my work with zeal. I have learnt to sew in cross-stitch, counting the threads on an open weave of linen, trying to achieve a uniform appearance and an even size. I have separated my strands of red silk carefully, teasing them out to avoid snarling. I have worked the serifs of my words in stem-stitch, working from left to right so my thread emerges to the left of the previous stitch. I have drawn out each word with a soft pencil, shading with care on new scraps of linen, then worked through the cloth, which subsequently must be pulled away, thread by thread, to leave my imperfections. Like any child who wants to be good, who wants to set a good example, I have addressed my faults, my flaws, my defects. I have worked my list of odious self-knowledge on French hankerchiefs of lawn and lace, collected over several years. They are now given up to my task of self-analysis (helped in part by constant address to Laplanche and Pontalis’ Vocabulaire de la psychanalyse, a standard encyclopaedic reference work for psychoanalysis). I have made an example of myself. I have embroidered my alphabet, and now I may demonstrate my knowledge, my industry, and my virtue. This is my abécédaire, designed to teach the most elementary lessons, and it is witness to my dexterity. Mon abécédaire is a classic work of self-education, and I have worked hard all year. mon angoisse mon besoin mon conflit mon désespoir mon effroi mon fantasme mon gâchage mon heurt mon impuissance mon jugement mon lapsus mon manque mon narcissisme mon orgeuil mon purisme mon quitus mon refoulement mon stratagème mon transfert mon usage mon verbalisme mon zèle   Natural Education Bast'art, Bratislava 2008 What does Jean-Jacques Rousseau tell us? He says that we are born weak, that we are born stupid, without judgement; unprovided for, we need aid. This aid will come to us from education, which will cultivate us like plants. Self-reliant, observant of the world around us, we will learn the consequences of liberty, of choice. Removed from the corrupting effects of society, we will move back to our natural state, like the wild girl of the woods of Champagne; we will not follow rules; rather, we will learn from the consequences of our actions, and later, we may read literature and philosophy, when we have developed the capacity to judge.Like Emile, Sharon Kivland lives in the French countryside, though going frequently to London for discussion on philosophy, politics, and psychoanalysis. She remarks that Jean-Jacques, despite his many fine qualities, despite his declarations on moral and political equality, has a rather different programme of education for girls (of which she rather disapproves, for she cannot find a place there for herself) so she turns instead (naturally) from Emile to Choderlos de Laclos. An admirer of Rousseau, he nonetheless advocates, with fervour, the equality of the sexes, dwelling on ‘la femme-naturelle’, for whom only a revolution can change her current condition of slavery – and where there is slavery there can be no education (he adds). In reflections on slavery, labour, revolution, and desire, Sharon Kivland exhibited fifteen embroidered linen robes (as worn by the wild girl of the woods of Champagne when she is domesticated perhaps? No, no, that is merely whimsical – they are the nightdresses of working girls, whatever their embroidered texts declare), and a selection of other works on her favourite subjects, including some small kidskins (a reminder of natural relations), a series of photographs of those French soaps called ‘Bonne Mere’ (so useful in the punitive insistence on good language), leather cartes de visite carrying descriptions of the transgressive body of that natural woman of the demi-monde, Nana, returned to her through a simple change in pronoun, and useful pencils and handkerchiefs, neatly contained by her son's exercise in writing. The project was educational, but naturally so, intended to induce the convulsive laughter of noisy merriment, the expression of pleasure, and numerous contradictions. La forme-valeur I Galerie du Cloître, ERBA, Rennes 2005
More images of La forme-valeur I

La forme-valeur II AKAU Inc. Toronto 2006 Curated by Cheryl Sourkes More images of La forme-valeur II

Ma Marie 2005 Framed digital print. Series of three

Ma Nana et autres filles Atelier Marcel Dinahet, Rennes 2005 A gentle and refined display of three embroidered gowns, three embroidered handkerchiefs, eight lovely cartes de visite embossed on fair calfskin with a dizzying description of Zola's Nana (in which 'elle' is replaced with 'je' and 'sa', son', and 'ses' with 'ma', mon', and 'mes), and three prints, like the one above, a detail of a chromograph of an actress or the Blessed Virgin Mary (you decide).

Mes fils ongoing c-type photographs mounted on aluminium, matt laminate, 80cm diam. Mes fils DomoBaal, London 2005 Mes Fils, from which the exhibition takes its title, includes a continuing series of photographs, each showing the same woman in an embrace with a different man. Closer inspection reveals that the woman is much older than her partner, old enough, in fact, to be his mother. The work engages with the Oedipus complex and its resolution in prohibition, when the son must renounce his desire for his mother. The way in which each child navigates his passage through the Oedipal relation will determine both his assumption of a sexual position and his choice of sexual object. For the psychoanalyst Jacques Lacan, it is a passage to the symbolic, one that passes through a complex sexual dialectic. Here no father intervenes, however, to impose his law and to separate mother from child. The scandal is evident, and there is a further underlying transgression in the work. As the series continues, the woman - the artist - gets older while the men (all former students, I am sorry to say) remain the same age. They are, however, completely interchangeable, while she is constant and singular. In the same series are several other works that also take up the themes of prohibition and transgression in an atmosphere of elegant refinement.

Cela aura déjà eu lieu Château de Morsang-sur-Orge, France 2005 See a short video of Cela aura déjà eu lieu

	Un calendrier revolutionnaire 2003 12 c-type photographs, coloured archival board, letterpress printed, each with the name of a month in the French Revolutionary Calendar, Each month features an ugly little burn scar, acquired usually in the course of daily labour, until the moment I decided to make the work and then had to burn myself deliberately. What an odious task in 2003.
L'autre corps Galerie Bugdahn & Kaimer, Düsseldorf 2003

Le bonheur des femmes Le bonheur de femmes (the scent of a woman), consists of photographs hung at genital height. They are of women's feet, taken in the perfume departments of Parisian grands magasins. Texts mounted at eye-level -- such as 'envy', 'obsession', 'allure', and so on -- might be identified as the names of scents. While the work alludes to nineteenth-century Paris, consumerism and the urban experience, it really begins with an encounter between Freud and Marx at the site of the fetish. While Marx borrows the term to demonstrate how social relations take on the illusory form of relationships between things, Freud applies it to sexual behaviour, when excitement depends on the presence of an object. All this is standard stuff, but what if the object disappears, like faint waft of scented air? Or, furthermore, if it disappears into words, transforming a shine on the nose to a glance at the nose perhaps (sniffing all the time), then there is an indication that fetishism is more than a vague analogy in the visual field, it is something subject to linguistic transformation. One might say that the very words are perfumed ... 24-part photographic work with text. C-prints mounted on aluminium, matt laminated 2002 Centre Culturel, Ploufragan, France Hôtel de Ville, Guingamp, France 2001 Galeria La Centrale, Montreal, Canada Le Triangle, Rennes, France 2000 Portfolio, Edinburgh, and Galerie VU, Quebec City, Canada (as part of Manifestation, internationel biennale of contemporary art)

Mes Péripatéticiennes
The Economist Building, Contemporary Arts Society projects, London

A View from a Distance
Harewood House, Leeds
1999

Mes folies 1998 c-type colour photo mounted behind engraved glass 25 x 19.5 cm

Wigmore Fine Art, London 'A central preoccupation in the work of Sharon Kivland is the circulation of desire. The artist sets up scenarios and narratives which are activated by a discrepancy between desire and its fulfillment. Often, the pleasure of looking is articulated through a combination of exquisite, highly wrought and pristine objects and photographs, which are coupled with less wholesome inscriptions and images which jar with the superficial elegance and ostentation. The viewer is drawn in by the promise of seduction, only at some point to be jolted and confronted by the colloquialisms and unrequited absences of baser desires'. Sotiris Kyriacou

La valeur d'échange, Centre d'Art Contemporain, Rueil-Malmaison
(catalogue)
1998

The School for Lovers Touring exhibition, Site Gallery, Sheffield and Bonington Gallery, Nottingham (catalogue)

Mes Folies, Galerie Behemot, Prague
Mes Tendresses, Gallery TPW, Toronto

1997
Des femmes et de la propriéte, Site Départmentale de Dourven, Bretagne, commissioned installation, catalogue published by
Filigrane éditions
Rapport Sexuel, installation of video at Gender and Sexuation conference, organised by The European School of Psychoanalysis, Brunei Gallery, University of London

1996
Je sais bien mais quand même, Musée des Beaux Arts, Reims

Letters of the Blind
Gallery 101, Ottawa, Canada (publication)
1996

1995
Mes Tendresses, Raum fuer Neue Kunst, Zürich

1994
Cent Femmes, Gallery JNJ, Prague
J'appelle un chat un chat, The Library, Bookworks, London
J'appelle un chat un chat, YYZ, Toronto
Mais quand même, Stadtaustellunghalle von Hawerkampf, Münster
Aphonia, CAPC, St. Fons (publication)
Je sais bien, Hales Gallery, London

1993
Jeu d'esprit, Apollohuis, Eindhoven

1992
A Bout de Souffle, Dazibao, Montreal
Coup de Foudre, Credac, Ivry-sur-Seine (publication)
L'attente...l'oubli, New Loom House, London, commissioned by Book Works

1991
L'une sans l'autre, Les Ateliers Nadar, Marseille (text published to accompany exhibition)
Chimera, Aspex gallery, Portsmouth
The Fire of Tongues, Ikon Gallery, Birmingham (publication)

1990
The Blind Daughter, The Showroom, London
Je me souviens, Lebel Gallery, Windsor, Canada
Crossing with silver, Whitechapel Art Gallery, London
In place of the heart, Athens Biennale of Photography

1989
The Conversion of Pleasure into Sickness, Usher Art Gallery, Lincoln

1988
Purgo et Ornat, Academy of Fine Art, Den Haag, Netherlands

1987
Houses and Paths of Dreams, MOMA, Oxford
A Trouble Shared, Riverside Studios, London
The Conversion of Pleasure into Sickness, Chapter Arts Centre, Cardiff and Kettle's Yard, Cambridge (publication)

1986
Washing Lines, Mile End Automatic Laundry, London
Tired and Thirsty, Photogaleriet, Oslo
The vessel/held, Spitalfields Health Centre, commissioned by Whitechapel Art Gallery, London

1985
Salon de Jeunes Artistes, Centre Georges Pompidou, Paris

1978
AIR Gallery, London

GROUP SHOWS AND OTHER EVENTS(also see PROJECTS)

2023

FAUNA, Luigi Zuccheri & Company
Galerie Edizione Periferia, Luzern, Switzerland
September 2023, dates to be confirmed

FREUD'S WOMEN
Freud Museum, London
Curated by Lisa Appignanesi, with the Freud Museum
30.10.2024 to 05.05.2025

DRAWING BIENNAL 2024
Drawing Room, London
03.05.2024 to 03.07.2024

FÉMINIES. Hessie, Sharon Kivland, Guerrilla Girls, Maja Bajevic
FRAC Bretagne, Rennes, France
Curated by the Master MAE de l’Université Rennes and the Archives de la critique d’art
27.03.2024 to 19.05.2024

LACAN, L'EXPOSITION. QUAND L'ART RENCONTRE LA PSYCHANALYSE
Centre Pompidou-Metz
Curated by Marie-Laure Bernadac an dBernard Marcadé,with Gérard Wajcman et Paz Corona
31.12.2023 to 27.07.2024

2021

FIGURE/S. DRAWING AFTER BELLMER
Drawing Room, London
Curated by Michael Newman (Professor of Art Writing, Goldsmiths, University of London) and Kate Macfarlane (Co-director, Drawing Room)
10.09.2021 to 31.10.2021

DRAWING BIENNAL 2021
Drawing Room, London
21.05.2021 to 05.07.2021

2019

AIR DE FÊTE
Curated by FRAC Bretagne
St-Briac-sur-mer
6.07.2019 to 15.09.2019

DES MOTS ET DES CHOSES
FRAC Bretagne, Rennes
Curated by Marjolaine Lévy
30.03.2010 to 6.05.2019
À partir d’une trentaine d’œuvres issues de la collection du Frac Bretagne, réparties en six thématiques le livre muet , le livre exposé, la peinture catalogue, quand le mot s’expose, quand le mot devient chose, quand les mots deviennent monde, l’exposition Des mots et des choses célébrera la rencontre entre le langage et les images

VOYAGE ROUND MY ROOM
Athens Arts Center
Curated by Kika Kyriakakou
18.03.2019 to 03.06.2019
Participating artists: Sophia Al Maria, Theodoros Chiotis, Dora Economou, Philomena Epps, Jeanne Graff, Juliana Huxtable, Dimitris Ioannou, Sharon Kivland, Sylvere Lotringer, Jonas Mekas, Maro Michalakakos, Eva Stefani, Amalia Ulman, Kostis Velonis
The xhibition embarks from Virginia Woolf’s essay 'A Room of One’s Own', written in 1926, and its relevance to newly introduced sociological and political concepts like digital feminism and the #metoo movement. The room (ma chambre), personal space as described in Xavier de Maistre’s classic book Voyage autour de ma chambre (1794), as well as concepts such as privacy, autonomy, and self-expression are key points of reference to the exhibition works c by international contemporary artists and writers.

MAINS GANTEÉES ET PIEDS BOTTÉS : Représentations d'armées de femmes et corps collectifs féminin
Éditions Incertain Sens / Cabinet du livre d’artiste, Université Rennes 2 | Campus Villejean 
17.02 to 19.03.2019
Curated by Lise Lerichomme
Avec : Atelier McClane, Nina Childress, Coco Fusco, Agnès Geoffray, Grandville, Guerrilla Girls, Marie-Ange Guilleminot, Sharon Kivland, Barbara Kruger, Suzanne Lacy, Lennep, Violaine Lochu, Alex Martinis Roe, Meg Mateo Ilasco, Mashid Mohadjerin, Lisa Robertson & Matthew Stadler, Robida, Rosambeau, Xavier Sager, See Red Women’s Workshop, Taroop & Glabel, Miwa Yanagi, Rote Zora, etc., et les fonds iconographiques de la bibliothèque Marguerite Durand

2018

The Fabric of Felicity
Garage Museum of Contemporay Art, Moscow
Curated by Valentin Diakonov, Ekaterina Lazareva, Iaroslav Volovod, et al.
September 2018 to February 2019
Taking its title from a passage in pragmatist philosopher Jeremy Bentham's An Introduction to the Principles of Morals and Legislation, The Fabric of Felicity presents artists who work with clothes and textiles outside the context of fashion.Working with clothes as a medium or metaphor beyond fashion means to position the basic human practice of symbolic and protective concealment of the body in relationship to different powers that shape human behaviors, labor systems, and garment-related beliefs. The Fabric of Felicity questions what happens to the mechanisms of seduction and desire that surround clothing when fashion as a variety of consumerist drive is out of the picture, mixing recent and historical works. The historical part of the show deals with the evolution of work clothes, starting with the dress codes and uniforms of Russia’s Productivist clothing of the early post-revolutionary period, and presents an overview of real and utopian garments designed for specific jobs. An installation by Sharon Kivland examines the sartorial strategies of the French Revolution, the first European government in modern times to establish an egalitarian politics of dress. 

La terreur n’est autre chose que la justice prompte, sévère, inflexible
The Terror is nothing other than prompt, severe, inflexible justice


Hope is Strong
Millenium Gallery, Sheffield
17 February to 10 June
Works by work by Conroy/Sanderson, Ashley Cook, Kate Davis, Jeremy Deller, Ruth Ewan, Jamie Fitzpatrick flyingleaps, Mona Hatoum, Sharon Kivland, Goshka Macuga, Ciara Phillips, Keith Piper, Olivia Plender, Hester Reeve, Sean Scully, Ai Wei Wei, and Artur Zmijewski
Hope is Strong is part of Milleniums Gallery;s 2018 Protest & Activism season supported by the Esmée Fairbairn Collections Fund marking the 100th anniversary of the Representation of the People Act. 

SET-UP/Nos bibliothèques
6 April 2018
Cité internationale des art, Paris
SET UP – Performances, installations, vidéos, live… 5 binômes ARTISTES / COMMISSAIRES Pierre Beloüin (Artiste, Toulon) [Feat. Hell Botcho] / Arlène Berceliot-Courtin (Commissaire, Paris) Olivier Crouzel (Artiste, Bordeaux) / Emeline Dufrennoy (Commissaire, Strasbourg) Sharon Kivland (Artiste, Plouër-sur-Rance) / Fabienne Bideaud (Commissaire, Paris) Donovan Le Coadou (Artiste, Dunkerque) / Romain Semeteys (Commissaire, Paris) Bruno Silva (Artiste, Clermont-Ferrand) / Veronica Valentini (Commissaire, Barcelone) Project realised with the support of the Ministry of Culture - General Directorate of Artistic Creation. Partners of the event: International City of Arts, Paris and Tchikebe, Marseille. SET UP is organised as part of the Correspondance # 1 program of the Cité internationale des arts.

In-Quotes. Collage and Assemblage in Contemporary Art
Gerald Moore Gallery, London
Curated by Ann-Marie James
17 March to 18 May
REBECCA BYRNE / TIM DAVIES / CRISTINA GARRIDO / JORGE DE LA GARZA / MIKE GODDARD / SUSAN HILLER / ROWENA HUGHES / ANN-MARIE JAMES / SHARON KIVLAND / LINDER / ALEX MARCH / HOLLY STEVENSON / JOHN STEZAKER

2017

'The Book Dispersed'
A project curated by Unstable Media at Casa das Artes,  24 September to 8 October and  in Sput&nik The Window, 24 September to 28 October 2017, Oporto, Portugal

'IN-QUOTES': Collage and Assemblage in Contemporary Art
30 August to 7 October, East Gallery at Norwich University of the Arts
Curated by Ann-Marie James with Caroline Fisher
Tim Davies. Jorge de la Garza, Cristina Garrido, Susan Hiller, Rowena Hughes, Ann-Marie James, Sharon Kivland, Lindner, Alex March, John Stezaker, Holly Stevenson
This exhibition presents works by a range of contemporary artists working with collage and assemblage, across generations, made both pre- and 'Post-Internet'.



PHOTOS GRAPHIES
10 décembre 2016 au 31 mars 2017, Galerie des petits carreaux, 35800 Saint-Briac
Léa Bénétou, Thibault Brunet, Pierre Budet, Angélique de Chabot, Marcel Dinahet, Nikolas Fouré, Ivan Franco Fraga,Pierre Galopin,Julien Gorgeart, Sharon Kivland, Ron Haselden, Vincent Victor Jouffe, Jean-Benoit Lallemant, Gwenn Mérel, Joachim Monvoisin, Lisa Sartorio, Yves Trémorin, Charlotte Vitaioli

DECORATIVE DORMITORIES FOR DREAM WORKERS
xero, kline & coma, 258 Hackney Road, London E2
29.04.2017 to 21.05.2017
House of Hysteria presents works  of Ami Clarke, Annabel Frearson, Dale Holmes, Michael Iveson, Tina Jenkins (HOH’s resident Hysteria), Sharon Kivland, Mark Nader (HOH’s glue and 'Of'), Mer Maggie Roberts and Nicola Woodham
Sharon Kivland’s vinyl LP To Dream by the Book will be playing throughout the exhibition on a vintage Marconiphone. A hundred readers recorded the stuff of dreams – those with a spatial quality (though perhaps this is true of the structure of all dreams)  from Sigmund Freud’s The Interpretation of Dreams. Freud points out, comparing dream-content (what is represented)  with dream-thought (which instigates the dream, turning the text of the unconscious into a play), that content and its account is ‘brief, meagre, and laconic’ in relation to the complexity and richness of the dream-thought. The dramatisation of the dream is reported, a second edition of an earlier text, but the dream is something new, in which an old wish makes its return.

2016

Mannequin
Curated by Karen David.
24 November to23 December 2016, Griffin Gallery, London
Works by Nicky Carvell, Karen David, Ludovica Gioscia, Chris Hawkin, Henry Hussey, Andrea Medjesi-Jones, Sharon Kivland, Jessica Voorsanger

TEXTES, IMAGES, RÉCITS
26.06.16 to 29.10.16
CdLA, St-Yrieix-la Perche, France

SUR LE MOTIF
05.08.16 to 15.10.16
Galerie des petits carreaux, St-Briac
Léa Bénétou, COMBO, Jean-Yves Brélivet, Pierre Budet, Miguel Egaña, Nikolas Fouré, Pierre Galopin, Ron Haselden, Vincent Victor Jouffe, Sharon Kivland, Sophie Menuet, John Timberlake, Yves Trémorin, Ana Catalina Vicuña
Anaick Bergerault, Nathalie Bret, Lydie Chamaret, Marinette Cueco, Catherine Dressayre, Bruno Fontana, Andoni Maillard, Régis Perray, Susanna Niederer, Erik Samakh, Kris Séraphin Lange

Pour les Impressionnistes, la Nature, ou plus généralement le réel, est le 'motif' du tableau. C'est ce qui met l'acte créatif en route, en mouvement, ce qui le 'motive'. Le peintre impressionniste sort de son atelier et va dans la nature pour travailler "sur le motif". C'est une des révolutions que l'Impressionnisme a accomplie dans le monde l'art du 19ème siècle.Une fois l'oeuvre mise en mouvement par le 'motif', (le sujet, le modèle), plus rien ne peut l'arrêter dans son cheminement vers la forme. L'oeuvre s'émancipe de son origine 'naturelle' et en s'accomplissant donne forme à sa liberté.Par un paradoxe fréquent dans l'histoire des mots, de sens de 'sujet'  le 'motif' est passé en architecture et en musique au sens de 'thème', par analogie, sans doute, or le thème c'est ce qui se répète, et la répétition est le contraire du mouvement. Le motif se présente alors comme un'tempo' qui rythme l'espace ou le temps et le construit par un système de rappels. Il permet à la mémoire de trouver ses repères et d'identifier une unité dans l'oeuvre qu'elle soit musicale, littéraire, architecturale ou décorative. Tout l'art consiste alors à trouver l'équilibre entre la répétition mécanique et monotone et l'ochestration savante du même.C'est à quoi se sont employés les artistes présentés dans cette exposition 'Sur le motif', et cela donne des oeuvres qui s'approprient et jouent avec l'idée de l'ornement et de la répétition.Ainsi par exemple de la photo de la colonne de pain moisi que présente Yves Trémorin, des couples que Sharon Kivland a extirpés d'une toile de Jouy et isolés d' leur moitié, des papiers peints poncés de Régis Perray, des dessins de tuiles de Léa Bénétou, du 'Nuage-Peau' de Nikolas Fouré, des formes elliptiques de Susanna Niederer.

SUMMER WINDOW 2016
MIX TAPE
Work from The Collections
01.08.16 to 12.09.16
Chelsea Space, Chelsea College of Art, London
Collections and archives can take on many forms and contain a variety of disparate materials. In CHELSEA space’s sixty five show history many ephemeral objects and materials have found their way into the archive boxes that have been compiled for each exhibition. One genre of material that has reappeared in different guises is tape/vinyl used in installations, performances and artworks, directly applied to the windows, walls and floors of CHELSEA space.Mix tape is a term generally applied to a compilation of favourite or themed songs recorded on cassette to be shared with aficionados, friends and lovers. For the Work From The Collections CHELSEA space Summer Window 2016, we present a Best Of selection of tape and adhesive vinyl collected in the aftermath of exhibitions and kept in the CHELSEA space archives.
Tape from a text on the CHELSEA space Windows 2008
Show No.23: Sharon Kivland: A Wind of Revolution Blows, the Storm is on the Horizon 07.11.08 – 13.12.08

ROMAN ET ALGÈBRE commissariat de Nikolas Fouré
Exposition collective du 13 mai au 24 juin 2016
Galerie des petits carreaux, Saint Briac, France

RENDEZ-VOUS À SAINT-BRIAC, Manifestation d'art contemporain
La Galerie des petits carreaux présente une exposition autour du dessin

OVERSEAS, a group exhibition curated by Galini Notti|
4.03.2016 to 2.04.2016. Opening 4 March, 18.00 to 22.00
ACG Art Gallery, The American College of Greece, 6 Gravias Street, Athens, Greece

A LOVER'S DISCORD
14 March to 9 April, 2016
MOCA London
Alasdair Duncan, Sharon Kivland, Dominic From Luton, Thomas Vandenberghe, James Unsworth and Alana Lake with others (Linus Bill, Daniel Hoflund, Josep Maynou, Dan Szor, Ryan Riddington and more) by chance or fate. Curated by Alana Lake

2015

A Lover's Discord, KONTOR,Værnedamsvej 7a, 1819 Frederiksberg, Denmark, August 2015
Curated by Alana Lake
Works by Alasdair Duncan, Benny Nemerofsky Ramsay, Esther Teichmann Alana Lake, Linus Bill, Calin Kruse, Thomas Vandenberghe, Joanna Piotrowska, James Unsworth, Sharon Kivland, Paulina Otyline Surys, Dominic From Luton, Rckay Rax, Xavier Stentz

Constructions, inauguration of the new Galerie des petits carreaux, St-Briac, 1 May to end of July 2015, le Grand Vaupiard, St-Briac.
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Maintenir le corps (I, II), installé avec deux renards naturalisés et deux corsets d'enfant. Une histoire de violence.

Le ligne et le volume, Galerie de Rohan, 29 Place Saint-Thomas, 29800 Landerneau, France, 11 juillet – 1 novembre 2015
Vernissage le vendredi 10 juillet 2015 à 18h
François Bouillon, Richard Deacon, Larry Deyab, Nicolas Fédorenko, Etienne Hajdu, Sharon Kivland, Stanislav Kolibal, Jan Krizek, André Léocat, Olivier Mourgue, Aurelie Nemours, Maria Nordman, Gabriel Orozco, Didier Vermeiren
L’exposition inaugurale de la Galerie de Rohan, intitulée La ligne et le volume, est le fruit d’un partenariat entre la ville de Landerneau et le Fonds régional d’art contemporain Bretagne. Celle-ci envisage les différentes expressions de la sculpture d’aujourd’hui, du dessin préparatoire à l’objet fini. Elle entrouvre également la porte de ce lieu secret qu’est l’atelier du sculpteur. Réalisée à partir de la collection du Frac Bretagne, elle met en présence des oeuvres, qui vont de la miniature à la sculpture monumentale, dues à quatorze artistes, eux-mêmes de différents horizons et générations. L’exposition se déploie dans les deux espaces contigus de ce nouveau lieu autour de quelques thèmes : les jeux de correspondance entre le dessin et la sculpture, le dessin dans l’espace, la recherche de composition, l’hommage à Rodin… Elle est aussi un discret écho à l’exposition Alberto Giacometti proposée par le Fonds Hélène et Edouard Leclerc dans la même période à Landerneau.

On paper, Galerie Bugdahn, Heinrich-Heine-Allee 19, 40213 Düsseldorf
Until 31 July 2015
Works by Robert Barry, Michael Buthe, Edward Chell, Steven Claydon, Claire Corey, Heather Eastes, Marianne Eigenheer, Tone Fink, Peter Hutchinson, Gabriel Jones, Sharon Kivland, Jürgen Klauke, Jan Knap, Marie-Jo Lafontaine, Nino Longobardi, Manfred Müller, Diana Rattray, Thomas Schindler, Beverly Semmes, Monika Szwed, Ingolf Timpner, Nicolas Touron

Hôtel particulier, Musée d’art et d’histoire,2 rue Jean Bourré, Château-Gontier, 30 May to 30 August, 2015
Curated by David Michael Clarke and Anabelle Hulaut, in the context of their exhibition in the Chapelle de Genêteil and other venues: L'Art est la chose

Richard Baquié, Jean-Yves Brélivet, Sophie Calle, Patrice Carré, François Courbe, François Curlet, Jason Dodge, EDS Collectif, Christelle Familiari, Hans Peter Feldman, Robert Filliou, Bernadette Genée et Alain Le Borgne, Jacques Halbert, Ron Haselden, Sharon Kivland, Lucas L’Hermitte, Georgia Nelson, Karen Knorr, Cindy Sherman, David Shrigley, Ernest T, Laurent Tixador
Plusieurs artistes, qui sont pour Hulaut & Clarke des références, dialoguent et tissent des liens avec les oeuvres de la collection permanente du musée, véritable cabinet de curiosités.
See: inferno-magazine.com

Sharon Kivland: Reports on Knowledge
13 April to 12 June 2015
Vernon Street Library, Leeds College of Art, Leeds
In response to the Library's call Kivland extended a further invitation, asking artists to carry out research on her behalf, working in the library, reporting back to her and documenting their findings. In a performance at the culmination of the project, Kivland and her eighteen agents presented the library with their 'Reports on Knowledge". This collection of documents, artists' books, postcards, drawings, a library game and map was donated to the library’s Artists’ Book Collection where it forms a separate special collection.

Agents: Abbie Canning,
Alison J. Carr, Gin Dunscombe, Bryan Eccleshall, Helen Frank, Joanna Geldard, Christopher Gibson, Chris Green & Katheryn Owens, Lesley Guy, Jane Harris, Lou Hazelwood & Jo Ray, Katya Robin, Rachel Smith, Holly Stevenson, Isabella Streffen, and Madeleine Walton.

Toile de Jouy, regards contemporains, an exhibition commemorating the death of Oberkampf and the manufacture of toile de Jouy, l’Espace de l’art contemporain HEC, Jouy-en-Josas, 11 May to October 2015



In the work entitled Pastorale, the wall is painted a pale pink, and a series of small figures are painted directly onto the surface. These figures are drawn from the figures in the Arcadian scenes of toiles de Jouy.The charming lives played out across the weave of the cloth conceal the method of production of the cloth. As Marx writes: 'Political economy conceals the estrangement in the nature of labour by ignoring the direct relationship between the worker (labour) and production'.My paintings separate the couples, eliminating the men while reproducing the figures of women, cut from their context (clearly, il n’y pas de rapport sexuel). A second work, entitled Nous deux, a lorgnette, which opens with a nifty snap mechanism, its lenses engraved with the words nous deux, one word on each lens, in a glacé kid box, its lid embossed with the words nous deux and lined with an antique toile de Jouy, is presented in a small vitrine.

Il gusto delle parole
Spazio Tadini, Milan,8 - 23 mai 2015
Curated by Fortunato D'Amico and Mnemoart
Tamara et Jean-Pierre Landau, Ilaria Borraccino, Bruno Contensou, Sharon Kivland, Louise Narbo, Tobia Ravà
Avec cette expo le groupe MnemoArt souhaite montrer comment le sujet, dès la vie fœtale, se forge à travers les couleurs des paroles prononcées à son encontre par la mère, et selon la nourriture qu'elle ingère. Dès le départ, c'est la variété des couleurs, des mots et des goûts qui va lui permettre de penser, parler, écrire et créer par la suite. La vie est musique, goût et couleur.

Re Object, The Tetley Art Centre, Leeds, 7 to 22 March, 2015
Curated by Sophie Loss


Fox & wedge, 2015

In a series of reflexive responses to a finely-made oak wedge: the wedge, now painted, performs its eponymous duty, holding open the pages of a French paperback edition of Capital by Karl Marx, the section on the commodity, chapter three. The book is placed on a small oak side table. The pages of the book are foxed. From under the table a stuffed fox emerges, trailing an antique silk negligée in its jaws. On the wall behind the table hangs a drawing in ink, framed in dark oak, a sketch of a woman wearing a negligée, in the style of a fashion illustration from the 1950s. She appears to be holding a red shape, poorly rendered, which is clearly intended to be the red wedge in the book on the table in front of it. The pink of the paper matches the colour of the material of the silk negligée.

2014

Repetition as an ongoing state of change & Reframing extant materiall
A group exhibition at De Drie Heuvelen, Herengracht 48., 1015 BR Amsterdam, Netherlands: Laurence Aëgerter, Annesas Appel, Martin Brandsma, John McDowall, Walid Raad, Kees Visser Robin Waart, Witho Worms, Anne Greene, information as material, Sharon Kivland, Simon Mudde & Olivier van Breugel, Salvo, Andreas Stultiens, Sander Uitdehaag. Luuk Wilmering, and a selection from the archive
11 December to 21 December 2014
Johan Deumens Gallery
www.johandeumens.com

Transparences
The summer exhibition at Galerie des petits carreaux, St-Briac, August




Galerie Bugdahn und Kaimer at ART COLOGNE
Thursday 10 to Sunday 13 April 2014

A meeting of books and related works, at Johan Deumens gallery
Gabriel Metsustraat 8, 2e etage, Amsterdam, Netherlands
BOOK LAUNCH AND FILM SCREENING:
TEGEL: SPECULATIONS AND PROPOSITIONS
April 2014
Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz e.V., Berlin
Including: Peter Adey, Sean Ashton, Michelle Atherton, Dian Bauer, Amanda Beech, Federica Bueti, Maja Ciric, Jamie Crewe, Nick Crowe & Ian Rawlinson, Bryan Eccleshall, Elke Falat, Stella Flatten, Hondartza Fraga, Rachel Garfield, Margarita Gluzberg, Julian Gough, Robert Gschwantner, Giorgio Cappozzo, Jane Harris, Gill Hobson, Janet Hodgson, Dale Holmes, Kerstin Honeit, Ben Hope, Stephan Hüsch, Jaspar Joseph-Lester, Karl Heinz Jeron, Renata Kaminska, Natasja Keller, Sharon Kivland, Jon Klein, Liane Lang, Jeff Luckey, TC McCormack, Ashley Metz, Karina Nimmerfall, Irene Pätzug, Amy Patton, Susanne Prinz, Boris Riedel, Miguel Santos, Gary Simmonds, Robert Partridge, Águeda Simó, Joachim Stein, Ricarda Vidal, Julie Westerman

Almost but not quite
A group exhibition at Galerie Bugdahn und Kaimer, Düsseldorf
31 January to 22 March, 2014 – works that are rather like paintings

The postcard is a public work of art
A group exhibition curated by Jeremy Cooper, at X Marks the Bökship, London, in January to March

2013

'Cousu Main (couture piqûre, suture, blessure)'
Galerie des petits carreaux, Paris
17 October to 5 December
Carolle Bénitah, Lydie Chamaret,Sharon Kivland, Andoni Maillard,
Livia Marin, Sophie Menuet, Solmaz Panahi et Pooya Abbasian,
Françoise Quardon, Zoé Rumeau, Ana Catalina Vicuna.

‘Reading as a Contemporary Art’, ICA London
Friday Salon 5 July , 1.00 to 6.00 p.m.
An event conceived by Sarah Wood, with Forbes Morlock, Steve Benson and Clare Connors, Kate Briggs, Brian Dillon, Hester Reeve, Peter Jaegar, Nicholas Royle, Sarah Wood, and Sharon Kivland
Nana, again and again

‘Punctuations, Separations & Artists’ Books’
Eagle Gallery/EMH Arts, London
June to July
Revolutionary furniture, a whiff of the Terror, and some unsolved Charaden

The Nabokov Paper
An experiment in novel-reading
A PROJECT BY Kate Briggs and Lucrezia Russo
PUBLISHED BY information as material
October 26 – November  22, 2013
Shandy Hall, Coxwold, York, North Yorkshire, UK
WITH WORKS BY
Graham Allen, James Arnett, Abraham Asfaw, Anne Attali, Katarzyna Bazarnik, Derek Beaulieu, Paul Becker, Christian Bök, Shanna Bosley, Stephen Bury, Chloe Briggs, Kate Briggs, Maurice Carlin, Jennifer Carr, Guillaume Constantin, Jamie Crewe, Véronique Devoldère, Lucia della Paolera, Craig Dworkin, Zenon Fajfer, Helen Frank, Céline Guyot, John Hamilton, Sharon Kivland, Gianni Lavacchini, Anna-Louise Milne, Forbes Morlock, Simon Morris, Amy Pettifer, Lucrezia Russo, Olivia Sautreuil, Nick Thurston, Jane Topping, Madeleine Walton, Patrick Wildgust, Robert Williams and Jack Aylward-Williams, Sarah Wood, Gillian Wylde.

‘Resort’
Nick Carrick, Paul Greenleaf, Sharon Kivland at Transition Gallery, London
22.06.13 – 14.07.13
A new modest book: Reisen, der Rauch von Dampflokomotiven, a book of the smoke of steam trains, some Swiss hotels, more trains, snow on Alpine peaks, and the limpid waters of mountain lake

‘Ulysses, l'autre mer’
Celebrating 30 years of FRAC Bretagne, France, curated by Marcel Dinahet, Catherine Elkar, and Jean–Marc Huitorel at three venues:
 Musée d'Art et d'Histoire de Saint–Brieuc, Brittany, France
17.05.13 – 25.08.13
Musée de compagnie des Indes, Lorient, Brittany, France
08.06.13 – 23.09.13
FRAC, Rennes, Brittany, France
17.05.13 – 25.08.13

Reproductions I in:
‘A Book is a Performance’, an exhibition co–curated with Lisa Otty, Duncan of Jordanstone College of Art & Design, Centre for Artists' Books
25.04.13 – 26.05.13

'Interdit aux mineurs'
Exposition collective sur le dessin avec Pooya Abbasian, Léa Bénétou, Amélie Bucher, Pierre Budet, Miguel Egaña, Nikolas Fouré, Sharon Kivland, Yvan Le Bozec, Joachim Monvoisin et Lorena Roco
Galerie des petits carreaux, Paris
11.04.13 – 24.04.13

Enrichissements de la collection 2011/12- 'images/images of images/no images'
Centre des livres d'artistes (CdLA), St-Yrieix-le-Perche, France
Jean-Marc Berguel, Alain Bernardini, Christian Boltanski, Ernst Caramelle, Philippe Clerc, Céline Duval, Hans-Peter Feldmann, Rinata Kajumova & Achim Riecher, Sharon Kivland, Sol LeWitt, John McDowall, Roberto Martinez, Maurizio Nannucci, Hubert Renard, Edward Ruscha & Lawrence Weiner, Joachim Schmid, Andreas Schmidt, Erik Steinbrecher, Taroop & Glabel, Endre Tót, Jan Dirk van der Burg, Éric Watier.
16 March to 29 June

' Invitation à l'imaginaire'
Imagerie, Lannion, France
19 January to 20 March
Richard Artschwager, Iain Baxter, Amy Bessone, Hannah Collins, Anne Deleporte, Larry Deyab, Bruno Di Rosa, Dominique Figarella, Hreinn Fridfinnsson, Etienne Hajdu,Thomas Huber, Serge Jamet, Joana Hadjithomas/Khalil Joreige, Sharon Kivland, Harald Klingelhöller, Hervé Lemasson, Etienne Pressager, Sigurdur Arni Sigurdsson, David Zérah

2012

'A kind of huh?'
Médiathèque des Abbatoirs, Toulouse, 8 November 2012 to 23 March 2013

'Sense of Place in Artist Books'
Architecture & Landscape Architecture Library, University of Minnesota, Minneapolis, USA, curated by Karen Kinoshita

'Lessons in History Volume II – Democracy'
Grahame Gallery and Editions, Brisbane, Australia, September–October 201

'Jaunes', a group exhibition at Galerie des petits carreaux, Paris, 28 June to 8 September
Pooya Abbasian, Léa Bénétou,  Jean-Yves Brelivet, Pierre Budet, Ron Haselden, Chang-Yu Hsu, Athina Ioannou,  Isabelle Jobard,  Sharon Kivland, Yvan Le Bozec, Gilles Mahé, Joachim Monvoisin, Delfina Reis Renck,  John Timberlake,  Yves Trémorin

‘Surfaces: Works on Paper’, a group exhibition by AMBruno arts collective, curated by Steve Perfect and John McDowall, at Sput+Nik Gallery, Porto, Portugal, 16 June to 28 July

‘Tegel: Flights of Fancy’
Kino Babylon, Berlin

‘Double Vision’
Galerie Bugdahn & Kaimer, Düsseldorf
'Forget-me-not',Galerie Elika, Athens, curated by Supermina
www.elikagallery.com

Mes bonnes années, 2011, watercolours and postcards

Mes nœuds, 2012, antique lawn handkerchiefs, embroidered with the names of knots, such as the delightful cul de porc

Having amnesia as the core, the artists locate and recall the void of erased memory, through a personal, social, cultura,l and political context.
Vanessa Anastassopoulou, Martha Dimitropoulou, Katerina Diakomi, Sharon Kivland, Maro Michalakakos, Eleini Mouzakiti, Kostas Bassanos, Yorgos Papadatos, Nina Papaconstantinou, Eftihis Patsourakis, Eleni Froudaraki

'Replay' , Galerie de Dourven, Trédez-Loquémeau

'MAKING SPACE'
Exploring creative and research processes through dialogue, curation and EXHIBITION.Investigating their intersection with psychoanalysis through CONFERENCE: Psychoanalysis and Artistic Process – A day of dialogues between artists and psychoanalysts: Grayson Perry, Martin Creed, Sharon Kivland (artists), Valerie Sinason, Kenneth Wright, Lesley Caldwell (psychoanalysts)
Saturday 25th February 2012, 9 a.m. to 5 p.m.
Cruciform Lecture Theatre 1, Gower Street, London
https://makingspace.eventbrite.co.uk/

'Hostings 6: Absence – Haunted Landscapes'
An evening of interdisciplinary talks and presentations exploring the desire to  materialise what is absent through the medium of haunted landscapes.
29 February, 6.30p.m. to 9 p.m.
The Court Room, First Floor,  Senate House South Block, University of London

'X = or what is to be done'
As one of the twenty artists shortlisted (and one of the ten winners) for X=or what is to be done, a project to celebrate the ten-year anniversary of the bookartbookshop, my pamphlet Les devises manquantes (The Missing Slogans) was exhibited at the RED Gallery, 1–3 Rivington St, London
www.redgallerylondon.com
www.bookartbookshop.com

2011

'Encounters', group exhibition at Galerie Bugdhan & Kaimer, Düsseldorf, February to March

'Why do I keep reading the same books?', AMT_Project, Bratislvay to September 2011, curated by Petra Feriancova, exhibiting David Raymond Conroy, Dorota Kenderová, Sharon Kivland, Jirka Thyn, Jaro Varga, and Anabela Zigov

'Text and Image', Galerie Bugdahn und Kaimer, Düsseldorf, June to August 2011, exhibiting Robert Barry, Peter Hutchinson, Sharon Kivland

aron Kivland, Jürgen Klauke, Marie-Jo Lafontaine, Thomas Ruff, and Ingolf Timpner
'Sequences', 2011, Johan Deumens Gallery, Haarlem – a group exhibition in a beautiful house (so I am told) in Herengracht, Amsterdam

Le cri de la soie, artist's project for Cahiers intempestifs, 2011, St-Etienne, France

'Les paris sont ouverts', Freud Museum, London. curated by Caroline May
July to September. The title of this exhibition can be literally translated as ‘the bets are open’, while a looser translation suggests that ‘everything is possible, anything can happen’. The exhibition addressed the idea of openness and possibility in gender and sexuality. I continued my concerns with the Oedipal drama and transference, , exploring the crucial role played by maternal/filial relations in shaping notions of sexual orientation, underlining the complexity of family relations. For the work entitled Mon fils, I paid my then fifteen year- old son to copy indexical references to mother-son relations in the work of Sigmund Freud, which he wrote in pen and ink in old French school exercise books, line after line as though it were a cruel punishment.

Screening of Sharon Kivland: Reisen, three very short films: The limpid waters of mountain lakes, The snow on alpine peaks, The smoke of steam trains, in ‘Freud’s Holiday’ at Freud’s Dreams Museum, St Petersburg, Russia; an event to commemorate twelve years of the museum’s  work, which opened on the 100th anniversary of The Interpretation of Dreams (4 November, 1899)
www.freud.ru

PROJECT 101.VIDEO INSTALLATION BY AMBRUNO at THE LAB, 5 to 25 November, New York
101 was initiated by Sophie Loss. The project was developed and co-ordinated by Sophie Loss and John McDowall.

2010

'The Perverse Library', Shandy Hall, Coxwold, Yorkshire, September to October,

'Super Farmers' Market', Handel Street Projects, 18 June to 17 July, curated by MaryAnne Francis and Lucy Heyward

'Sophisticated Boom Boom (in B& W)', D OMOBAAL, London, May to June 'elles@pompidou, Centre Georges Pompidou, Paris, June 2009 to June 2010, curated by Camille Morineau
'The Perverse Library', Shandy Hall, Coxwold, Yorkshire, September to October, curated by Simon Morris

2009

'elles@pompidou, Centre Georges Pompidou, Paris, June 2009 to June 2010, curated by Camille Morineau.

'A Riese', curated by Imi Maufe, Galleri Vox, Bergen, Norway

'Time is a sausage', September 2009 to January 2010. Group exhibition at domobaal, London, including a solo project and book: Freud and the Gift of Flowers (with Forbes Morlock) – I showed the floral tributes Freud did not receive and five Freudian riddles and their five answers, sadly unrelated

The London Art Book Fair– four solo displays: Sharon Kivland/Lucy Pawlak/John Strutton/domobaal editions
Whitechapel Gallery, London

'U235 deuxième', CdLA, Saint-Yrieix-le-Perche

'Afterwards', Mead Gallery, Warwick Arts Centre, Coventry, curated by Sharon Kivland, with works by Etienne Bossut, Pavel Büchler, Hans Coper, Le Corbusier, Juan Cruz, Gareth Fisher, Rodney Graham, Lucy Harrison, Jaspar Joseph-Lester, Selma Makela, Bevis Martin & Charlie Youle, Simon Morris, Sergei Pankejeff, Alexander Ponomarev, Eric Ravilious, Lucie Rie, Jean-Jacques Rullier, John Stezaker, Benjamin Swaim, John Timberlake, and Julie Westerman. The exhibition also includes two very fine drawings, by Francis Fowler and Francis Baptiste Haselden, some lovely objects from the Freud Museum, London, and a modest yet attractive and interesting selection of books, prints, and poscards.

2008
'Parallax', curated by Richard Ducker, Fieldgate Gallery, London

2003
'Nature and Nation: Vaster than Empires', curated by Anne Eggebert and Polly Gould

2002
Filigrane Editions at Paris Photo

2001
Centième, Salon Paris Photo, Carrousel du Louvre, Paris
Bugdahn and Kaimer, Cologne Art Fair
Bugdahn and Kaimer, Basel Art Fair

2000
Loving at Home II, EdviksKonst och Kultur, Stockholm, Sweden
Jeux d'Amour, curated by Hybrid, at Battersea Arts Centre and Wigmore Fine Art, London and Turin Art Fair

1999
Loving at Home, Centre for Freudian Research and Analysis, London
Flop, The French Institute, Edinburgh
The Equinox, Cairn Gallery, Nailsworth (book work) Alliance Française, Lodz, Poland
Passion, Gasworks, London

1998
Forest, The Bull and Last, London
Body and Photography, The Prague House of Photography, curated by Martina Pachmanova (catalogue)
Evil: Critical Interventions, John Hansard Gallery, Southampton

1997
Cocktail, Raum fuer Neue Kunst, Zürich
Group show, Rack Gallery, London
Fascinum, Art House, London, with Shelagh Wakely and Michelle Naismith (artists' book)

1996
Gallery artists, Raum fuer Neue Kunst, Zürich
DuSoMaclalanKiPonBruHu, CAPC, St. Fons, France (catalogue)
Dialect, The Anglican Church, via del Babuino, Rome (catalogue)
Mauvais Genre, Mois de la Photo, Reims (catalogue)
Mauvais Genre, CAPC Saint Dizier, France
Last Out, Lights Outs, Langsett School, Sheffield (artists multiple)

1995
Desiring Practices, RIBA, London (catalogue)
In Vino Veritas, The British School at Rome
Speculation, Ecole des Beaux Arts, Brest, curated by Jean-Marc Huitorel
Words, Aspex Gallery, Portsmouth

1994
Quelles hysteries?, Galerie du Cloître, Rennes, curated by Christian Gattinoni
Hermit, International symposium, Plasy, Czech Republic,
(publication)
Les Femmes, autremont, Chateau du Beaumanoir, Quintin, France
Wellspring, Bath Arts Festival, curated by Antonia Payne and
Angela Kingston (catalogue)

1993
Passage, Clove Two, London
Acer Pseudoplatanus, Sydenham Nature Reserve, curated by Gloria Carlos (catalogue)
Hermit, International symposium, Plasy, Czech Republic, (catalogue and compact disc)
Public Private: secrets must circulate, The French Institute, Edinburgh, Fotofeis, curated by Alain Reinaudo (catalogue)
Britart, Raum fuer Neue Kunst, Zürich
En Scene, W139, Amsterdam (catalogue)

1992
Britart, Galerie Bruno Bücher, Poitiers
Galerie Apunto, Amsterdam
Summer Lightning, Dreadnought Seaman's Hospital, Greenwich, London, curated by Wise/Taylor Partnership (catalogue)
Rose, Rose Court, London, curated by Wise/Taylor Partnership, (catalogue)
Annunciation, St. George's Church, Bloomsbury

1991
Après la photographie de voyage, Dazibao, Montreal

1990
Ora ti faccio vedere, Artists at the British School of Rome (catalogue)
Rome Scholars 1980 - 90, The Royal College of Art, London

1989
Ergasterion, Anima Mundi, touring show organised by the Canadian Museum of Contemporary Photography
Anima Mundi, Stills Gallery, Edinburgh
Zelda Cheatle Gallery, London
Metamorphosis of the Image, Athens Biennale of Photography
It's a still-life, Arts Council Collection touring exhibition, The South Bank Centre (catalogue)

1988
Clayworks, Manchester City Art Gallery (catalogue)
The Subversive Stitch, Cornerhouse, Manchester

1987
The State of the Nation, Herbert Art Gallery, Coventry
TSWA 3D, Dartmoor and other sites
Painting Photography Painting, Pomeroy Gallery, London
Basel Art Fair (Gimpel Fils), Whitechapel Open

1986
Third Generation: Women Sculptors Today, Canterbury Arts Festival
New British Sculpture, AIR Gallery, London (catalogue)
Whitechapel Open
Objects as Art, Plymouth Arts Centre (catalogue)
No Place like Home, Cornerhouse, Manchester
Pink for a girl, blue for a boy, Dean Clough, Halifax
Next Tomorrow, Kettle's Yard, Cambridge

1985
Sculptors at Work, Canterbury Arts Festival
Revisions, Cambridge Darkroom; Watershed, Bristol and John Hansard Gallery, Southampton (catalogue)
Rituals, Brewery Arts Centre, Kendal
Fresh Air, St. Paul's Gallery, Leeds
Five Women, Howard Gardens Gallery, Cardiff

1984
Multiples, Photographer's Gallery, London
Sequences, Cambridge Darkroom (catalogue)
Dog Works, Interim Art, London

1983
Postcard Views, Chapter Arts Centre, Cardiff

1982
Summer Show, Serpentine Gallery, London
Houses and Homes, Arnolfini, Bristol

1982
Strategies, John Hansard Gallery, Southampton
The South Bank Show, South London Art Gallery/Coracle Press (catalogue)

1981
Tolly Cobbold Eastern Arts, Fitzwilliam Museum, Cambridge
Whitechapel Open, London

1981
Spatialists, ffotogallery, Cardiff
The Arts Council Collection, Hayward Gallery, London
Photography as medium, The British Council (catalogue)

1979
Elise Meyer Gallery, New York
Anthony Stokes, London
New Contemporaries, Acme Gallery, London