Born in Germany, 1955, American citizen, works in London and France
Masters: History of art, Goldsmiths College, University of London, 1995
Doctorate: University of Reading, History of Art Department, 2002
Research Associate of the Centre for Freudian Analysis and Research, London
Reader in Fine Art, Sheffield Hallam University, England until 2023
Tutor in Critical Practice, MA and MA Drawing, Wimbledon College of Art, University of the Arts, London, 2011 to 2013

Sharon Kivland was editor in chief of Transmission: Speaking and Listening (Site Gallery, Sheffield – 5 volumes). She was co-editor of The Rules of Engagement (Artwords, London – 14 volumes), and guest-editor, with Jaspar Joseph-Lester, of ‘Art and Text’, theory section, www. art-omma.org. She is editor of Transmission Annual, whose pilot issue on hospitality was published to coincide with a major conference at Sheffield Hallam University, co-convened by Kivland in 2010. The 2011 issue was on the theme of provocation; in 2012, on catastrophe; and in 2013, on labour, work, and action, in collaboration with Art Sheffield 2013, for which Kivland served on the advisory board.

She has been working on a series of books on the holidays of Sigmund Freud, the first of which, Freud Dreams of Rome was published by information as material in 2006; the second, A Disturbance of Memory, was published by cubearteditions and information as material in 2007; Volume three of Freud on Holiday was published in autumn 2011, with two appendices – on Freud’s dining and weather, and two further appendices in 2012, on Freud’s hotels and Freud’s shopping. Volume IV, A Cavernous Defile. Part I was published in December 2013 by cubearteditions, and will be translated into Italian in 2014. She is also working on a second series of occasional books, derived often from conference papers, of which the latest, co-authored with Forbes Morlock, Freud and the Gift of Flowers, was published byinformation as material in 2009. An series on the instances of railway-related material in the life and work of Sigmund Freud, entitled Reisen, is also published by information as material.

She was Visiting Fellow in the Institute of Germanic and Romance Studies (now the Institute of Modern Languages), University of London, from 2006 to 2011, where she convened a conference strand of ‘Freud in Translation, Freud in Transition’, in 2006, followed by a series of five seminars, and co-convened the conference ‘Vicissitudes. Histories and Destinies of Psychoanalysis’, in 2008, with Naomi Segal. A book, entitled Vicissitudes. Histories and Destinies of Psychoanalysis, following the conference was published in 2013, edited by Kivland and Segal.

 In addition to exhibitions and projects below, her work has been shown at many art fairs in Athens, Lisbon, Berlin, Cologne, Brussels, Miami, Rotterdam, Turin, Paris, Rome, and Vienna. Her work is represented by domoBaal, London,Galerie Bugdahn & Kaimer, Düsseldorf, Galerie des petits carreaux, Paris, and Johan Deumens gallery, Amsterdam. The FRAC Bretagne recently acquired works for its collection, as did Penguin Books. At Senate House Library, University of London, she curated Reading as Art. Turning the Pages of Victorian Psychology, in October 2013, which imagined a wind, like the figure of the reader, blowing through the library, and devised another event with Sami Jalili and the journal E.R.O.S on the move from spoken to silent reading in April 2014.

Kivland wass an editor for Artwords Press, with Ben Hillwood-Harris. Recent books published by this imprint include Scraps from the Bottom of my Pocket, by Vincent Dachy, with an introduction by Paul Buck; a monograph on the photographic work of David Bate, entitled ZONE; and Mutual Dependencies, edited by Kate Meynell. Recently published is an illustrated thriller by Russian artist Pavel Pepperstein. She was a commissioning editor for E.R.O.S., the journal of Eros Press. It is published biannually, and dedicated to the subject of desire. It covers a wide range of fields, drawing together often disparate disciplines under the auspices of each issue's theme. In 2017 she has established her own imprint MA BIBLIOTHÈQUE, which addresses models of reading. She has read her works at many events, and in 2020 received an ACE commission for a new work, in the series of the love letters she received from Jacques Lacan over the many years of their turbulent relationship, for No Place, Manchester, a poetry initiative – an extract from this project will be shown at Centre Pompidou Metz in the autumn of 2023. Her novel ABÉCÉDAIRE was published by Moist in July 2022. She has just completed a new book, ALMANACH, and working on an exhibition entitled THE FABLES.

Solo Exhibitions (since 1999)

2020 La Forme naturelle, Edizioni Periferia, Luzern 2019 Jamais fille chaste n’a lu de romans / Never has a chaste girl read a novel, Circuit, Lausanne 2018 Die Holzdiebe, ZAK, Zitadelle, Berlin, curated by Ralf Hartmann La Beauté révélée, Château de Kerjean, Saint-Vougay, Finisterre Entreprise de la seduction, Espace d’art contemporain, HEC, Jouy-en-Josas, in collaboration with the Musée de la Toile de Jouy 2017 Le Modèle, FRAC Bretagne, solo exhibition Armel Beaufils. Le regard des femmes, curated by Sharon Kivland, FRAC Bretagne and mairie de Saint-Briac 2016 The Natural Forms, Part III. The Tracts, and Liseuses. Mademoiselle la Marchandise. Other Works., HGB, Leipzig 2015

The Natural Form II. The Good Readers, the Foxes, the Tracts, Galerie Nord / Kunstverein Tiergarten, Berlin
Kunstmuseum Dieselkraftwerk Cottbus

Folles de leur corps / Crazy about their bodies, Café Gallery Projects, London, a solo exhibition with a series of related events

Femmes folles de leur corps, Galerie Bugdahn und Kaimer, Düsseldorf
Modern Interiors, with Jaspar Joseph-Lester, Five Years, London
Reproductions II, DOMOBAAL, London

Ma Nana (encore), autres filles, et quelques petites explosions, Galerie des petits carreaux, Paris
Un vent de revolution, Centre d’art Passerelle, Brest, curated by Ulrike Kremeier

Sharon Kivland, amateur and collector, IDEAS Store, Whitechapel, London, curated by Sotiris Kyriacou
Reisen, three short films, Freud’s Dream Museum, St Petersburg, Russia
I am sick of my thoughts, DOMOBAAL, London
Reproductions, solo show at AMT_project, Bratislava, curated by Alberto Matteo Torri

Mes plus belles, le Sphinx, Paris

Reisen, Galerie Bugdahn & Kaimer, Düsseldorf
Quels seraient les meilleurs moyens de perfectionner l’éducation des femmes?, CIAC, Pont-Aven, France, curated by Catherine Elkar, catalogue

A wind of revolution blows, the storm is on the horizon, solo show, Chelsea Space, London, catalogue essay by Esther Leslie 
Mon abécédaire, Sleeper, Edinburgh
Natural Education, Feriancova Contemporary, Bratislava, Slovakia

Freud Dreams of Rome, Freud Museum, London
Transcript, a text work in the Institute of Germanic and Romance Studies, University of London, changing over sixteen months

La forme-valeur II, AKAU inc., Toronto, Canada.

La forme-valeur, Galerie de Cloître, Rennes, France
Mes fils, DOMOBAAL, London
Ma Nana et autres filles, atelier de Marcel Dinahet, Rennes, France

Cela aura déjà eu lieu, Centre d’art contemporain, Morsang-sur-Orge, France, catalogue
Flair, Bartlet School of Architecture, University College, London, publication
Les Parisiennes, with Jeannie Lucas, Galerie Serge Plantureux, Paris, France

L’autre corps, Galerie Bugdahn & Kaimer, Düsseldorf

le bonheur des femmes,  Centre Culturel, Ploufragan, France
le bonheur des femmes, Hôtel de Ville, Guingamp, France

le bonheur des femmes, Galerie La Centrale, Montreal, Canada et Le Triangle, Rennes, France

le bonheur des femmes, Portfolio, Edinburgh, and Galerie VU, Quebec City, Canada  (Manifestation, internationel biennale of contemporary art)
 Mes Péripatéticiennes, The Economist Building, Contemporary Arts Society projects, London
 A View from a Distance, Harewood House, Leeds

Wigmore Fine Art, London
La valeur d'échange,  Centre d'Art Contemporain, Rueil-Malmaison, France

Group Exhibitions since  2001

‘Je suis là, vous êtes ici’, curated by Bernard Lallemand, Association VEI, Haurbourdin, France
‘Almost but not quite’, Galerie Bugdahn und Kaimer, Düsseldorf
‘The postcard is a public work of art’, curated by Jeremy Cooper, X marks the Bökship, London

‘The Nabokov Paper: an experiment in novel reading’ Shandy Hall, Coxwold, N. Yorkshire, a project by Kate Briggs and Lucrezio Russo
‘Plaisir d’offrir’, Galerie des petits carreaux, Paris
‘Cousu main’, Galerie des petits carreaux, Paris
‘Modern Interiors’, with Jaspar Joseph-Lester, Five Years, London
‘Paysages’, Galerie des petits carreaux, St-Briac
Nick Carrick, Paul Greenleaf, Sharon Kivland, Transition Gallery, London
‘Punctuations, Separations & Artists’ Books’, Eagle Gallery/EMH Arts, London
‘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

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

‘Sense of Place in ArtistBooks’, Architecture & Landscape Architecture Library, University of Minnesota, Minneapolis, USA, curated by Karen Kinoshita
‘Jaunes’, Galerie des petits carreaux, Paris.
‘Surfaces: Works on paper’, Sput+Nik Gallery, Porto, curated by Steve Perfect and John McDowall
‘Tegel: Flights of Fancy’, Kino Babylon, Berlin
‘Double Vision’, Galerie Bugdahn & Kaimer, Düsseldorf
‘Making Space’, Slade School of art, London, curated by Patricia Townsend
‘Forget-me-not’, Galerie Elika, Athens curated by Supermina
‘Project 101’, The LAB, New York, USA
‘Les paris sont faits’, Freud Museum, London, curated by Caroline May
‘Text and Image’, Galerie Bugdahn & Kaimer, Düsseldorf
 ‘Why do I keep reading the same books?’, AMT_Project, Bratislava
‘One-day wonder’, Studio One, Valentines Mansions, London
‘Sequences’, Johan Deumens, Haarlem, Netherlands
‘Encounters’, Galerie Bugdahn & Kaimer, Düsseldorf

‘elles@pompidou, Centre Pompidou, curated by Camille Morineau, catalogue
 ‘Super Farmer’s Market’, Handel Street Projects, London
‘Sophisticated boom-boom (in black and white)’, DOMOBAAL, London
'The Secret Library of Solihull', Solihull Gallery, Homer Road, Solihull, West Midlands, UK.
‘Time is a sausage’, group exhibition and solo show in project space, DOMOBAAL, London.
‘Reise’, galerie Vox, Bergen, Norway
‘U235 Deuxième, La Collection, Enrichissements, 2008–2009’, Centre des livres d'artistes, Saint–Yrieix-la-Perche, France
‘Afterwards; curated by Sharon Kivland, including works by Etienne Bossut, Pavel Büchler, Juan Cruz, Hans Coper, Le Corbusier, Gareth Fisher, Rodney Graham, Lucy Harrison, Jaspar Joseph-Lester, Selma Makela, Simon Morris, Sergei Pankejeff, Alexander Ponomarev, Eric Ravilious, Lucie Rie, Jean-Jacques Rullier, John Stezaker, Benjamin Swaim, John Timberlake, Charlie Youle & Bevis Martin, Julie Westerman, and objects from the Freud Museum), London. Mead Gallery, Warwick Arts Centre, University of Warwick

‘Shelter’, Levitt Bernstein Architects, London
Art Lisbon, with Galerie Pente 10, Portugal
Galerie Bugdahn & Kaimer, Düsseldorf
‘information as material’, Galerie Johan Deumens, Haarlem, Netherlands
‘Reading Around’, web project, UWE, curated by Sarah Bodman
‘Parallax’, Fieldgate  Gallery, London
‘Filigranes’, l’Imagerie, Lannion, France

‘Evolution de l’art’, Crazy Curators, Bratislava
‘Pages’, in Special Collections, University of Leeds
‘Textual Healing’, The Embassy, Edinburgh.

Sitting Room’, an exhibition of contemporary artists’ book, curated by Tom Sowden and Lucy May Schofield, Manchester Metropolitan Gallery, Manchester, and touring

Galerie Bugdahn & Kaimer, Art Brussels, Belgium

Galerie Bugdahn & Kaimer, Paris Photo, Paris
‘Focused listening’, in ‘Contact’, Le Lieu Unique, Nantes, France
‘Erratum’, SYMPRA, Stuttgart, Germany
‘Sommergästen’, Galerie Bugdahn & Kaimer, Düsseldorf, Germany
‘In Arcadia’, touring exhibition of artists’ books
‘Diderot’, Danielle Arnaud Gallery, London

‘Twenty four hours’, The International 3 (aka The Annual Programme), Manchester.
‘A Reader’, DOMOBAAL, London (with Lucy Harrison, Nina   Papaconstantinou), publication
‘Borders and Boundaries’, The Meadow Gallery, Burford, UK, curated by Anne de Charmant
‘Nature and Nation’, Hastings Museum and Art Gallery, and tour, publication.

‘Centième’, Editions Filigranes, Salon Paris Photo, Paris.
‘Loving at Home II’, EdviksKonst och Kultur, Stockholm, Sweden
‘Jeux d’Amour’, curators: Hybrid, Battersea Arts Centre and Wigmore Fine Art, London

The Arts Council of Great Britain
The British Council
The Contemporary Arts Society
The Creasey Collection
London Borough of Camden
The Usher Art Gallery, Lincoln
Kettle's Yard, Cambridge
Penguin Books
FRAC Bretagne
Frick Art Library, New York
Speck Collection, Cologne
V & A, London
TATE Library, special collections
Chelsea College of Art, special collections
University of Toronto
Leeds College of Art
University of Duncan and Jordonstone
University of Lincoln
New York Public Library
Centre de livres d’artiste (CdLA), St-Yrieux-le-Perche
Bibliothèque Nationale, Paris

Books/Multiples since 1998
Footnotes to Capital, The Commodity, Ma bibliothèque, London
Footnotes to Capital, The Process of Exchange, Ma bibliothèque, London
Report on Knowledge, Ma bibliothèque, London
Nana vit sa vie, Ma bibliothèque, London
The Unachieved, Ma bibliothèque, London

Freud on Holiday. A Cavernous Defile. Part I, foreword by Forbes Morlock, Cube Art Editions, Athens
The Nabokov Paper: an experiment in novel reading, a project by Kate Briggs and Lucrezio Russo, published by information as material
Madame Bovary, Ma Bibliothéque, London
Jeux de ligne, DOMOBAAL Editions
Reproductions III, a series of thirteen books, published at monthly intervals, and available by subscription from DOMOBAAL Editions
Reisen. Der Rauch von Dampflokomotiven, Transition Editions, London
Un Voyage en mer, FRAC Bretagne, a chapter from Freud on Holiday. Volume II, translated into French and issued as a separate edition
Reproductions II, two pamphlets with essays by Steve Pile and Jan Campbell, DOMOBAAL Editions
Le style Louis XVI, DOMOBAAL Editions

Nana, après le roman par Emile Zola, Galerie des petits carreaux, Paris, edition of five books
Mes mouches, DOMOBAAL Editions
Reproductions I, A series of thirteen books, published at monthly intervals, and available by subscription from DOMOBAAL Editions
Freud on Holiday. Appendix IV. Freud’s Shopping ,information as material
Freud on Holiday. Appendix III. Freud’s Hotels, information as material

Reisen II, information as material, York
Freud on Holiday volume III.The Forgetting of a Foreign Name, CubeartEditions, Athens, and information as material, YORK
Freud on Holiday. Appendix I. Freud’s Weather, information as material, York
Freud on Holiday. Appendix II. Freud’s Dining, information as material, York
La mer est si bleue, DOMOBAAL Editions, London
Le rouge baiser, DOMOBAAL Editions, London
Le cri de la soie II, DOMOBAAL Editions, London
Le cri de la soie I, DOMOBAAL Editions, London

Reisen I, information as material, York

Freud and the Gift of Flowers, with Forbes Morlock, information as material, York
Tons of Webcammer Babes, with Cheryl Sourkes, Quebec: VU editions
Afterwards, The Mead Gallery, Warwick Art Centre, Warwick

An Agent of the Estate, information as material, York
‘A Viennese Waltz and a Murder. An eye-witness account’ in Episode. The Pleasure and Persuasion of Lens-based Media, London: Artwords Press

A Disturbance of Memory, volume II in the series Freud on Holiday, Cube  Art Editions, Athens, and information as material, York
L’esprit d’escalier, information as material, York

Freud Dreams of Rome, volume 1 in the series Freud on Holiday, information as material, York
‘Georgia’, in HOW2, edited by Susan Johanknecht and Rendell Olsen
La forme-valeur/The value-form, DOMOBAAL Editions
Cela aura déjà eu lieu, CAC, Chateau de Morsang, France

Mes Fils, London: domo Baal Editions
‘Last Year’ in Hotel Psychoanalysis, edited by Sarah Wood, Angelaki; journal of the theoretical humanities, London: Routledge

Flair, DOMOBAAL editions, London
Parisiennes, J-P FAUR EDITEUR, Paris (with Jeannie Lucas)
Here are my instructions, eds Redell Olsen, Susan Johanknecht, London: Gefn Press

A Reader, London: domo Baal Editions.
The Property of a Gentleman, Hastings Museum & Art Gallery, UK

le bonheur des femmes, Filigrane Editions, Trézélan and Paris

Fragments d’une correspondance litteraire ,London:  Book Works
Memoirs, ‘Making History’, Staffordshire University, UK

 In the Place of an Object, co-editor, with Marc Du Ry, Journal of the Centre for Freudian Analysis and Research, London

 A Case of Hysteria, London: Book Works

 Les Passages Couverts,  RDM10, Limoges: Editions Sixtus.
The School for Lovers, Site Gallery, Sheffield
Body and Photography, Prague House of Photography, Prague.
Sinthome, John Hansard Gallery, Southampton, UK
Ni l'appetit de satisfaction, ni la demande de l'amour, TPW, Toronto, Canada


Folles de leur corps, CGP, London, essays by Pascal Beausse, Vincent Dachy, Rachel Garfield, Catherine Grant, Ralf Hartmann, Johan F. Hartle, James Hellings, Jean-Marc Huitorel,Jaspar Jospeh-Lester, Ulrike Kremeier, Esther Leslie, Juliet Flower MacCannell, Forbes Morlock, Dany Nobus, Sanja Perovic, John W. Phillips, Steve Pile, Josha Simon, Linda Stupart, 2014
Quels seraient les meilleurs moyens de perfectionner l’éducation des femmes?essay by Catherine Elkar, CIAC, Pont-Aven, France, with additional texts by Brigitte Charpentier and Danièle Robert-Guédon, 2009
A Wind of Revolution Blows, the Storm is on the Horizon, essay by Esther Leslie, CHELSEA Space, London, 2008
La Valeur d’Echange, CAPC de Rueil-Malmaison, essay by Jean-Marc Huitorel, 1999.
Aphonia,  CAPC de St. Fons, colour. Essays by Jean-Marc Huitorel, Christian Gattinoni, Sharon Kivland, 1994
Reading in the Dark, with Cheryl Sourkes, Cambridge Darkroom, 1993. Essays by Renée Baert, Forbes Morlock, Bruce Russell
A Bout de Souffle, Dazibao, Montreal, 1992. Essays by Sharon Kivland and Claire Paquet
L'une sans l'autre, Les Ateliers Nadar, Marseille, 1991
The Fire of Tongues, Ikon Gallery, 1991, texts by Charles Barber, Wendy Dawe, Julie Harboe, Ben Hillwood-Harris, Conrad Leyser
The Forms of Construction/The Abandonment of Origins, with Ben Hillwood-Harris, Stoke City Art Gallery and Museum/Mappin Art Gallery, 1990. Texts by artists, Michael Tooby
The Remains of Intention, Watermans Arts Centre, 1989, texts by artists, Alison MacLeod
The Conversion of Pleasure into Sickness, Marc Chaimowicz, Hilary Gresty, Kettle's Yard, Cambridge, 1987
A Trouble Shared, Kate MacFarlane, Riverside Studios, London, 1987


John Dixon-Hunt, David Lomas, Michael Corris, Art, Word, and Image. 2000 Years of Visual/Textual Interaction, London: Reaktion, 2010
Nicholas James, Interviews–Artists. Enquiries and Solutions, Recordings 2011, London: CV Publications, 2011
Riccardo Boglione, Crux desperationis, Montevideo and UBUWEB 2011
Jane Rendell, ‘La Passante’, Site-Writing, London: I.B. Taurus, 2011
Jean-Marc Huitorel, Art et Economie, Paris: Cercle de l’art, 2008
Joanne Lee,  ‘Neither resolution nor meaning: The books of Sharon Kivland, in The Blue Note-book, 2007
Gabriel Gbadamosi, ‘Sharon Kivland’ in The Book Artist Year Book, 2007
Nation and Nature: Vaster than Empires, London and Hastings, 2004
Jane Rendell, The Pursuit of Pleasure, London: Continuum, 2002
La trahison d’image, Café Crème, Luxembourg, 2000
RDM10, La Bibliothèque Nationale, Paris, curated by Roberto Martinez, 2000
Jeux d’Amour, Hybrid, 2000
Body and Photography, Prague House of Photography, edited by Martina Pachmanová, 1998
DuSoMacLalanKiPonBruHu, CAPC de St. Fons, 1996
Mauvais genre, Jean-Marc Huitorel, Mois de la Photo, Reims, 1996
Dialect, essays by Neil Beggs, Andrew Hubbard, Rome 1996
Clio, limited edition multiple, Serpens Foundation, Prague, 1996
Last  Out, Lights Out, limited edition multiple, Stephen Cornell, 1996
Desiring Practices, Black Dog Publications, 1995
In Vino Veritas, limited edition multiple, The British School at Rome, 1995
Wellspring, Bath Arts Festival, Antonia Payne, artists, 1995
Public/Private: Secrets must circulate, Alain Reinaudo/Stills Gallery/Institute Francais, Edinburgh, essays by Christine Buci-Glucksman, David Hopkinson, Hilary Gresty, 1993
En Scene, W139, Amsterdam, collection of texts and images by 25 artists
Summer Lightning, Wise/Taylor Partnership, London 1992, texts/images by artists
Inedits de Séjour, IAPIF, Régis Durand, Paris, 1992
Rose, Wise/Taylor Partnership, London, 1992
The Centre of the World, Charles Barber, Stephen Foster, Sharon Kivland, John Hansard Gallery, 1991
Corriger les Lieux; âprès la photographie de la voyage,  Editions Trois, Montreal, 1991
The British School at Rome: Mostra, Catherine Lampert, Rome, 1990
Artists at the British School at Rome. 1980-90,  London, 1990
Next Phase, Ian Jeffries, Wise/Taylor Partnership, London 1990.
Anima Mundi, Martha Langford, Canadian Museum of Contemporary Photography, 1989
Metamorphosis of the Image, John Stathatos, Biennale of Photography, Athens, 1989
It's a Still-Life,  Isobel Johnstone, Roger Malpert, South Bank Centre, London, 1989
The Consumption of Elements, Chisenhale Gallery, London, 1988
The Subversive Stitch, Pennina Barnett, Cornerhouse, Manchester, 1988
TWSA/3D, Richard Cork, James Lingwood, London, 1987
New British Sculpture, Iwona Blaswick, Air gallery, London, 1986
Objects as Art, Susan Butler, Rosy Greenlees, Plymouth Ars Centre, 1986
The Illuminations, Sharon Kivland and artists, Camerawork, London, 1986
Revisions, Pavel Büchler, Cambridge Darkroom, 1985
Strategies, Rupert Martin, The British Council, 1982
Summer Show III, Richard Francis, Serpentine Gallery, London,1982
Houses and Homes, Lewis Biggs, Paul Graham, Arnolfini Gallery, 1982
Photography as Medium, Teresa Gleadowe, The British Council, 1980

‘The Men’, E.R.O.S journal, London, 2014, edited by Sami Jalili
‘On Transmission’ in Transmission. Cut and Splice, eds Sound Threshold, London: Sound and Music, 2010
/seconds issue 12: ARCHETYPE: GOING UNDERGROUND / THE CRUEL SCENE OF THE IMAGE, ed. Peter Lewis, November 2010
Tons of Webcammers Babes, Sharon Kivland/Cheryl Sourkes, Quebec: VU, 2009
 ‘An Agent of the Letter’, Roxy Walsh, Felix Culpa, catalogue, Birmingham: ARTicle Press 2006.
‘Distance’, S1, Sheffield, Salzburg, 2006
‘Transmission’, Dialogue, Axis: www.axisweb.org
 ‘Au-dela de l’apparence: Benjamin Swaim, in Un mouvement vers le paysage, L’AGART 2005.
‘An Itinerary’ in Galanty. Brass Art, Manchester: i3 2005
‘Overcoming the loss of objects’, in Mémoire Collective, London 2005
‘Guided Tour: Lucy Harrison’ in After the Fact, Tullie House Museum and Art Gallery 2005
‘The Call of Duty’, Press Corps, STATIC, Liverpool 2004, www.presscorps.org
‘Last Year’, in ‘Hotel Psychoanalysis’, Angelaki: Journal of the Theoretical Humanities, Special Issue, 2004, ed. Sarah Wood
‘Elle vit sa vie’, Frances Hegarty. Selected Works 1979 – 2004, Kinsale, County Cork: Gandon Editions 2004
‘Home Sickness’ in Hilde Aagard, Home, Athens: Cube Editions 2003
‘Ihnen zu Liebe’ in Strangers to Oursselves, Hastings Museum & Art Gallery 2003
‘A Woman Reading’, Jeannie Lucas, J-P FAUR EITEUR, Paris 2003
‘The Delayed Despatch’ in X mistakes Y for Z, London and Tallinn, 2002
Kathy Temin, MAKE, September 2000
Hold me tightly, let me go lightly: Anne-Marie Copestake,  MAKE, May 2000
Volumes of Vulnerability, MAKE, March 2000.
Printator,  introductory essay for Palimpsest, a project in and around Norwich by Christine Arnold and Judith Stewart, July 1998
A temporary blindness – catalogue essay for Nadine Norman, exhibition at Lilian Rodriguez Gallery, Montreal, May 1998
Nothing more than the question of a subject, Gabrielle Sancisi: Residual Resemblances, Viewpoint Gallery, 1997
Artists Books, Artists Newsletter, December, 1996
Seven letters, catalogue essay for Nick Stewart: Neither Time nor Material, Orchard Gallery/Arts Council of Great Britain, 1996
Instructions for Use, Fine Art Degree show catalogue, Sheffield Hallam University, 1996
Beth B., review in Untitled, Spring, 1996
A man who dreams of other things: Ron Haselden, catalogue, Mission d’arts plastiques, St. Brieuc, 1994
Under a glass roof: Sarah Jones, Untitled Autumn, 1993
Monuments/moments: Carolyn Angus, catalogue, Club of the Young Artists, Budapest 1993
Sublime Pleasures: Laura Godfrey-Isaacs, Untitled, Spring. London
Flux de Bouche: Jonathan Allen, catalogue, Mappin Gallery, 1993.
Safe,light,sensitive, degree show catalogue, Photography Dept. Trent University, Nottingham.
My standards are not yours: Andrew Mottershead,  Manchester, 1992.
When buildings fall, the body is revealed: Spring Hurlburt,  National Gallery of Canada, Ottawa, 1991
Trois Contes: Sylvie Bélanger,  Les Cahiers, Paris, 1991
Fourteen stations and three ârrets: Sylvie Bélanger,  Galerie Apunto/The Lighthouse, Netherlands, 1991
The Space Between: Sylvie Bélanger, Art Gallery of Peterborough, Canada, 1989


‘Ma Nana’, Bernard Geniés, Le Nouvel Observateur, December 2012
‘Natural education’, Flash Art, April/May 2008
‘Capital and Pedestal’, Gary Dault, Toronto Globe & Mail, March 2006
‘Mother Tongue’, Jaspar Joseph-Lester, The Internationaller, 2005
‘Questions on post-feminism in the work of Sharon Kivland’, Christian Gattinoni, www.exporevue.com, 2005
Richard Lexier, Sharon Kivland, Art Presse, November 2004
‘The Scent of a Woman; Between Flesh and Breath’, Jane Rendell, Portfolio, Issue 31, 2000.
Flop, Susanna Beaumont, The List, 7 - 20 Jan. 2000
Sharon Kivland. ‘A Case of Hysteria’, Hugh Stoddart, Contemporary Visual Arts, December 1999.
Sharon Kivland, ‘A Case of Hysteria’, Cathy Courtney, Art Monthly, July 1999
Rites de Passage, Christian Gattinoni, Arts Croisés, n.11, April 1999
A Painted Picture which never captures the subject, Sharon Kivland/Jeanne Randolph, Tessera- seductive feminisms, vol.25, winter 1998/99
‘The School for Lovers’, Timothy Martin, Portfolio, November 1998
Sinthome, Cathy Courtney, Art Monthly, September 1998
Sharon Kivland , Veronika Zavretovà, Prague Post, June 1998
Critical Interventions: Evil, Dave Burrows, Art Monthly, June 1998
Sharon Kivland, Mes Folies, Jean-Marc Huitorel, Artpresse, November 1997
Des Femmes at de la Propriété, Sylvie Friedman, Le Trégor, July 1997
Artists as Curators,  Claire Doherty, Artists Newsletter, March 1997
Letters of the Blind, Aoife MacNamara, Parachute, April 1996
La Passante, Cathy Courtney, Art Monthly, January 1996
Mauvais Genre, Dominique Baqué, Art Press, July 1996
Dialect, Augusto Pieroni, Artel 47, June 1996
La Passante,  Tim Anstey, The Architectural Review, October 1995
Aphonia, Lise Guéhenneux, Blocnotes, May 1994
Je sais bien, Caryn Faure Walker, Art Monthly, June 1994
Jeu d'esprit, Rene Van Peer, Eindhoven, September 1993
L'attente...l'oubli,  John Stathatos, Untitled, Summer 1993
Summer Lightning, Renée Baert, Parachute, February 1992
Summer Lightning, Ami Barak, Art Press, November 1992
Reading the glass, Cathy Courtney, Art Monthly, September 1992
Summer Lightning, Sarah Kent, Time Out, July 1992
Inédits de Séjour,  Ami Barak, Art Press,  June 1992
L'art fait halte en banlieue, Elisabeth Lebovici, Libération, 26 May 1992
Cartes des Séjour,  Lise Guéhenneux, Révolution, 14 May 1992
Inédits de Séjour, Michael Guilloux, L'Humanité, 13 May 1992
Sharon Kivland:Field of Dreams, Michael Archer, Art Monthly, April 1992
Rose, Sacha Craddock, The Guardian, January 1992
Rose, Building Design, February 1992
L'une sans l'autre,  Angelique Schaller, La Marseillaise, November, 1991
Corriger les lieux, Sylvain Campeau, Parachute, November 1991
Anima Mundi, Elizabeth Beauchamp, Edmonton Journal, October 1991
Sharon Kivland: The Fire of Tongues, Robert Burstow, Perspektief, October 1991
Sharon Kivland: The Fire of Tongues, Ivan Gaskell, Creative Camera, June 1991
Sharon Kivland: The Fire of Tongues, Ann Cullis, Women Artists Magazine, May 1991
Next Phase, David Lillington, Time Out, June 1990
Sharon Kivland: Je me souviens, Lorenzo Buj, Parachute, July 1990
Sharon Kivland: The blind daughter, Rose Jennings, City Limits, January 1990
Anima Mundi,  Andrea Kunard, ETC, Montreal, 1990
The Remains of Intention, Mark Currah, City Limits, April, 1989
The Remains of Intention, Emmanuel Cooper, Time Out, April, 1989
Art, Queen, and Country, Jonathan Watkins, Art International, Spring 1989
Sharon Kivland: The consumption of elements, Caryn Faure Walker, Artscribe International, February, 1989
Sharon Kivland: Artist as Curator, Jonathan Watkins, Art Monthly, December

Conferences (since 2008)

To Forget and to Repeat: negative and cliché, ‘The Photographer and Psychoanalysis’, University of Westminster, 2014
Last Year, ‘The Construction of Memory’, Freud Museum, London, 2014
Vaincre or mourir, ‘Practising Feminisms. Practising Theory’, Goldsmiths College, University of London, 2013
Reading. Some positions, in BOOK LIVE, University of the South Bank/University of the Arts, 2012
Liberty is more than a choice between objects, in ‘Marx and the Aesthetic’, University of Amsterdam, 2012
A Cavernous Defile, in ‘Walking otherwise’, convened by Beth Williamson, Art Historians Conference, 2012
Day-dreaming, in ‘Making Space. Psychoanalysis and Creative Practice’, Slade School of Art, London, 2012
Nous Deux, in ‘Making Sense. A Symposium in Honour of Naomi Segal’, University of London, 2011
Mes plus belles, in ‘The Ideal Woman’, Queens University, Belfast, 2011
A Lovely Discourse, in‘Creating Frictions’, University of Newcastle, 2010 (keynote speaker)
Reading to Attention, Panel convener, Association of Art Historians Conference, Glasgow 2010
Working Papers, in ‘Segues: Corporeal Theory, Site-Writing, e-Materiality’, convened by Penny Florence, Marsha Meskimmon, and Jane Rendell, Association of Art Historians Conference, Manchester, 2009
Afterwards, in EPISODE: Pleasure and Persuasion in Lens-based Media’, Tate Britain2008
What the artwork wants: thoughts for, against and around interpretation in art and psychoanalysis, co-authored with Laura Gonzalez,  ‘Research into Practice 2008: the Problem of Interpretation’, Royal Society of Arts, London, 2008
The Forgetting of a Proper Name, ‘in ‘Cultural Memory: Forgetting to Remember/ Remembering to Forget’, panel with Forbes Morlock and Uriel Orlow, University of Kent, 2008