RYAN GANDER OBE RA
1976 Chester, UK.
Ryan Gander has established an international reputation through artworks that materialise in many different forms, ranging from sculpture, apparel and writing to architecture, painting, typefaces, publications and performance. As well as curating exhibitions, he is a committed educator, having taught at international art institutions and universities, and has written and presented television programmes on and about contemporary art and culture for the BBC.
Through associative thought processes that connect the everyday and the esoteric, the overlooked and the commonplace, Gander’s work involves a
questioning of language and knowledge, as well as a reinvention of both the modes of appearance and the creation of an artwork. His work can be
reminiscent of a puzzle, or a network with multiple connections and the fragments of an embedded story. It is ultimately a huge set of hidden clues to be deciphered, encouraging viewers to make their own associations and invent their own narrative in order to unravel the complexities staged by the artist.
Ryan Gander is an artist living and working in Suffolk. He studied at
Manchester Metropolitan University, UK, the Rijksakademie van Beeldende
Kunsten, Amsterdam, NL and the Jan van Eyck Akademie, Maastricht, NL.
The artist has been a Professor of Visual Art at the Universities of
Huddersfield and Suffolk and holds an honorary Doctor of the Arts at the
Manchester Metropolitan University and the University of Suffolk. In 2017 he
was awarded an OBE for services to contemporary arts. In 2019 he was
awarded the Hodder Fellowship at Princeton University. In 2022, he was
made RA for the category of Sculpture.
1976 Chester, UK.
Ryan Gander has established an international reputation through artworks that materialise in many different forms, ranging from sculpture, apparel and writing to architecture, painting, typefaces, publications and performance. As well as curating exhibitions, he is a committed educator, having taught at international art institutions and universities, and has written and presented television programmes on and about contemporary art and culture for the BBC.
Through associative thought processes that connect the everyday and the esoteric, the overlooked and the commonplace, Gander’s work involves a
questioning of language and knowledge, as well as a reinvention of both the modes of appearance and the creation of an artwork. His work can be
reminiscent of a puzzle, or a network with multiple connections and the fragments of an embedded story. It is ultimately a huge set of hidden clues to be deciphered, encouraging viewers to make their own associations and invent their own narrative in order to unravel the complexities staged by the artist.
Ryan Gander is an artist living and working in Suffolk. He studied at
Manchester Metropolitan University, UK, the Rijksakademie van Beeldende
Kunsten, Amsterdam, NL and the Jan van Eyck Akademie, Maastricht, NL.
The artist has been a Professor of Visual Art at the Universities of
Huddersfield and Suffolk and holds an honorary Doctor of the Arts at the
Manchester Metropolitan University and the University of Suffolk. In 2017 he
was awarded an OBE for services to contemporary arts. In 2019 he was
awarded the Hodder Fellowship at Princeton University. In 2022, he was
made RA for the category of Sculpture.
Artworks
Articles
Media
Highlights
Recommendations
Collections
Shows
Market position
CV
Artworks by Ryan Gander
Articles on Ryan Gander
Media
The Guardian: meet the artist Ryan Gander: 'Living is a creative act'
interview by Adrian Searle
About
Use your imagineering: Ryan Gander's art world of pranks and puzzles
Eyes in the wall, coins glued to the floor: Gander's new show at Manchester Art Gallery is full of spoof and childish wonder – he's having a laugh, but is it at our expense?
The eyes swivel and follow me round the room, blinking with an echoing clack! Insouciant eyebrows are raised then furrow with a cartoonish human semaphore as I go from work to work, in Ryan Gander's show at Manchester Art Gallery. Feeling the eyes boring into my back, I pretend to concentrate. Thank God a room full of Rembrandts doesn't give you looks like this, portraits waggling their eyebrows as you pass.
Embedded not in a face but a blank wall, the eyes are animatronic, and connected to motion sensors. The eyebrows do a random dance all their own, signalling curiosity, surprise and worry. Maybe the eyes are a kind of self-portrait. They're having a gander, innit.
Like Gander's art itself, the eyes don't give much away. Sometimes it is hard to know what we are looking at, too. Spoofs, mysteries and incomprehensible objects fill the rooms. There's always a back-story to Gander's work, and very often we need a clue or a key to what's going on. Do I detect a look of pity in the eyes on the wall? There are gags here about Hergé's last unfinished Tin Tin book, top-shelf porn mags, TV art documentaries, coins that people glue to the floor for the pleasure of watching others bend to pick them up. Down on all fours, close inspection of the silver coin proves that it is an American "Quarter Centi-Dollar" minted in 2032. There's a story here, but I guess we must wait for years to find it out.
Writing in Hello Kitty-brand toothpaste covers a large mirror, and I catch my reflection through the squiggly calligraphy, which has been copied from a French school primer. I check my teeth as I mouth the fancy French script on the mirror. Is this it? Do I get it? Sometimes Gander makes me feel like a chump, or a dupe to his complications.
A series of pleasing white ceramic shapes stand in a row on a fancy baize-topped zebrawood plinth. They have something to do with the sections of an orange and the Sydney Opera House, as well as a form called a Gömböc, which I have never heard of until today. The arrangement of forms on the baize looks like a puzzle or a trick, but I doubt there's a solution. If art really were only a puzzle, there would be little point in going on, once you've found the answer. I look at a large group of circular paintings on clear Perspex that cover a wall. They look like natty abstractions that have tailed off. Hmmm, like the brushwork, I say to myself, love that ironic exhaustion. Then it turns out they are all palettes for portraits Gander has made, keeping the paintings themselves hidden away somewhere. In an amusing interview with his studio assistants in the big book that accompanies this show, one of his team is asked what Ryan would have been if he had not been an artist. "A painter", comes the reply.
The book, Culturefield, also contains brief descriptions of 288 of Gander's works. He has no consistent style, medium or way of working. Much of what he does needs technical collaboration, not least because he's a wheelchair user and there are limits to what he can make himself. But the ideas are the thing, and he lets his thoughts go their own way. Gander is one of the most complicated artists I know. Untroubled by inconsistency, his main problem is that he never knows when to stop; fizzing with ideas that are good, bad, too-clever-by-half, dumb, labyrinthine, exasperating, incomplete.
Some of his best works appear simple, or not even art at all. Annoyed that his wife wanted to spend good money on an Ikea lamp, Gander went to his shed and cobbled one together from a bricolage of things to hand. It was a bit wonky, and somehow ended up in an art fair (things in art fairs aren't obliged to work as normal objects do) and got sold, so he had to make another. That was sold too and he's still making bloody lamps. A group of them, fashioned from colanders, cable-ties, a discarded guitar stand, bits of piping, a tray, a bed-leg and other bits and pieces light a dark corner of the show. They make you want to go off and cobble one together yourself.
Gander can incite other people's creativity. That's one reason he is trying to open his own art school in Suffolk, where he now lives. It is also why he commissioned a short advert, purporting to have been made by the government Department of Business, Innovation and Skills, to foster "Imagineering", encouraging adults to re-acquire a sense of childhood wonder, in order, the ad says, to create a better future. The advert is flat-footed and cliched, with kids slurping spaghetti and a bloke amazed by twinkly soap bubbles wafting by in the street. It displays a corporate dearth of any imagination whatsoever.
Gander returns to childhood – both its wonder and its pranks, its fetishistic mania for collecting – again and again. One group of marble sculptures replicates his small daughter's indoor dens and hideaways, built from an ad-hoc arrangements of stools, paint tins, opened umbrellas, a laundry drying rack and piles of books, all hidden under draped bedsheets. Gander turns his daughter's temporary, fantasy filled wet-afternoon escapades into marmorial sculpture (cast using marble-dust and resin rather than chiselled from solid stone). As she grows, so her constructions get bigger. But these will never be outgrown.
Advertisement
I go from these to a darkened room containing an impressive, floor-to-ceiling technological device. Who knows what it does. Maybe nothing. The entrance and exits are covered by heavy curtains, that waft in an indoor breeze (reprising a terrific work Gander made for the last Documenta). Why?, you ask, and that seems to be the point. Another work presents us with a sealed-off world, visible through a door-sized glass sheet set into the gallery wall. Beyond is a narrow dirt track, tramping out of sight in a gloom of dense foliage. Who knows where it leads? Gander ensnares me.
The show's title, Make Every Show Like It's Your Last, is bold. Gander has used it before, and it reminds me of some aged trouper's endless final comeback tour. At 38, he is barely into what might be called his mid-career. And as the conversation between his studio assistants reveals, he is still waiting for the Turner prize call, in the way that most of us fantasise our Desert Island Discs half-hour. It is a surprise to me as much as to the artist that the phone hasn't rung.
The Guardian
Of Mice and Mortality: Ryan Gander
The biggest piece in Ryan Gander’s show Some Other Life at Esther Schipper in Berlin is also the smallest. Big, if you count the exposure it got on social media. It is a tiny animatronic mouse whose head protrudes from a hole in the wall, and in spite of its littleness, it makes the strongest aesthetic statement.
Ryan Gander’s second solo exhibition at Esther Schipper’s Berlin gallery turns the space into, well, a gray cube. With no artificial lighting except for the skylight, the gallery is unusually dark. The eyes need a moment to adjust. Some Other Life counts seven pieces in different media, plus eight drawings that function as a coda (or a prelude) to the show. Like a motif, most pieces feature a certain type of gray, the so-called 18 percent gray. It is the mean of all colors that occur in nature, and photographers use it to calibrate exposure. This hue in almost all of the pieces creates a nondescript, aseptic gallery interior.
The visitor is first presented with something that looks akin to a crime scene. Two rugs are half-unrolled on the floor; tire tracks and footprints are shaved into the surface of each of them. The fiber glows dirty white in the half darkness, like snow. Gray cubes, numbered 1 to 24, are strewn across the rugs. The arrangement suggests a narrative, two instances, both of which can only be experienced post hoc, like in a detective novel. The cubes tick like a polyrhythmic symphony, each in its own time. They are all equipped with a battery that lasts forty-eight hours; over this time, the ticking fades. A meditation on entropy, vulnerability, and ultimately mortality, like the entire show. The pieces are each marked with a light cube, numbered, this time, 1 to 7. More cubes lie ready in two cases. In total, there are twenty-four (again), and they can be reused for other exhibitions. The objects create a parcours: before you look at anything else, look at this piece; then you can move on to the miniature sculptures, to the video, to the light box.
Sometimes Gander’s works tell stories of possible worlds. In a niche, gray models of unrealized projects are subtly illuminated; there is a three-dimensional rendition of Paul Gauguin’s chair as painted by Vincent van Gogh (only gray in this version). On the opposite wall, a staircase leads up three steps to the white wall, but there is no door, as if to say, an entrance might well be here, just not for you. This work is titled So I see (So I see, the light is changing constantly, as is your perspective), and it recalls the artist’s Escape Hatch to Culturefield, an inconspicuous hatch well hidden in a park in Kassel, devised for documenta 13 in 2012. Variations of it make an appearance in several shows. “Culturefield is an imaginary place, a dream state where good creative energies lie,” said Gander in a lecture, and “You could get there by jumping the fence at the bottom end of my primary school playing field.”1 And don’t we all have a place like that? While the term “field” has a sociological ring, it also evokes the Elysian fields, the mythological place of blissful oblivion after death.
To say that death looms over this exhibition makes it sound more macabre than it is. For the video work, shown on three perpendicular screens hanging from the ceiling, Gander has imagined his studio in a postapocalyptic world. Not much can be seen except for faint shadows of leaves in the wind. No hint of what his studio looks like, or what the postapocalypse might look like, no hint of a climate catastrophe or nuclear fallout. The future seems very bright and very clean.
Ryan Gander, born in 1976, once said, “If you make enough work with enough diversity, you can make shows from the art. You can self-curate. Recombine. Works are made with the possibility of recombination into interesting shows.” For documenta 13, Gander left a space at the Fridericianum empty except for the wind created by a machine. For adidas, he has designed a sneaker; he wrote a children’s book; he has created sculptures for public space and for the gallery. Some of the work he did under pseudonyms. Gander creates output so diverse that it sometimes is impossible to tell if you are seeing a show by the British artist or a well-curated group show. But this time, it is different.
The objects all invite calm observation. Only one commands immediate attention. It is the mouse, stringing phrases together: “of course, in one sense, well,” and stuttering in a high-pitched voice. Its tiny mechanical face moves, as if struggling to return the viewers’ gaze, from the debris of a hole nibbled into the wall. It speaks with the voice of Gander’s nine-year-old daughter. Small, helpless, childlike, failing at enunciating—you feel the mouse has something important to say, but it just won’t come out. This final piece makes the strongest aesthetic statement: Because, to properly see it, viewers have to stoop, and it actively appeals to them. As if endowed with animated personhood, it demands empathy. And it is cute.
“Cute” is a very hazy aesthetic category, one that emerges from commodified mass culture. Gander is no stranger to the commercial realm. He is familiar with allegedly minor aesthetic categories—the soft categories, beyond “beautiful” or “sublime.” I… I… I… (2019) fits that category. The stuttering animal is not self-sufficient, like the other pieces; it does not exude coolness, like the gray cubes and the dirty white rugs. The mouse is antiheroic—unlike the many talking mice in the Disneyfied bestiary of popular culture. But it also hints at a pastoral prehistory when animals talked, a prelapsarian state before the loss of innocence. But it is out of reach, very much like the thing the animatronic mouse tries to communicate, on the other side of the wall, and possibly like the Elysian realm of Culturefield.
Sure, cuteness has been a part of commodity aesthetics since the industrial age. Gander knows that the same old magic tricks still work. This last piece in the show is an antithesis to heroic art, which tries to reboot the Kantian aesthetic of sheer force, either as overwhelming data-based pieces that want to teach about the digital age, or as the sublime updated for the age of climate change. Gander, on the contrary, has chosen to make the very little the star of his show.
Mousse Magazine
Ryan Gander on the hell of selfies: 'The world has gone mad'
We’re drowning in self-imagery. Is it harming the world? And can we wake up to ourselves again? The artist’s new documentary is on hand to help.
Earlier this month, a woman was attacked by a jaguar at a zoo in Arizona. The jaguar lacerated her arm after she climbed over the concrete barrier to try and take a selfie with it. Last year, a global study found that the quest for extreme selfies killed 259 people between 2011 and 2017. We cannot stop taking our own picture, even when it puts our lives in danger.
And yet the word ‘selfie’, now so embedded in our day-to-day language, only entered the Oxford English Dictionary in late 2013. In just a handful of years, the term has become as quotidian as the act it describes: taking a photo of oneself, invariably with a smartphone, usually to be posted on social media.
There is much cynicism about so-called narcissistic millennials who can’t get enough of their own image; the pouting, the filters that turn one’s face into a puppy, the 27 ‘takes’ to get the perfect shot. But as artist Ryan Gander points out in new documentary Me, My Selfie and I, this 21st-century phenomenon doesn’t signify a boom in narcissism so much as modern technology powering us to radically rethink who is looking back at us.
“It’s a revolution like the Industrial Revolution,” says Gander, drinking strong tea in his Haggerston studio. “But we are at this point in history where we haven’t worked out what this social acceleration does to us. The world has never changed as fast as it does now, but the speed means you don’t have time to address the morals, ethics and values of what’s happening.”
We know social media encourages us to present an idealised version of ourselves – particularly Instagram, where most selfies end up. We can filter ourselves to be shiny, exciting or covetable, creating digital holograms of the person we want to be. A fascination with “the modern idea that there is always something better for us to do or be” took Gander on a journey to meet a selection of ‘modern selves’, including: a woman living tech-free in rural Wales who believes the energy released through self-broadcast is harming the world, a YouTube star with an audience of millions, a transhumanist and a man who cryogenically freezes dead people who believe they will one day be thawed and live again. “This is not about science,” says Gander. “It’s about ego; the inability to let go of the idea that the world might not remember us when we’re gone.”
Each person has their own existential plight and there are fascinating insights into the different ways we try to make an impact on this world, whether that’s the overwhelming sense of responsibility a YouTube star feels to entertain his audience, or a transhumanist’s desire to draw out their life by replacing flesh and bone with robotics and circuit boards.
Gander’s lines of questioning make for compelling viewing. It would have been easy to be cynical, particularly when addressing the relationship young people have with social media, but as Gander points out when interviewing a twentysomething Instagram ‘influencer’, these people have barely been without it in their lives. How are they deserving of our judgment when they’ve never known anything else?
Gander is acutely self-aware (“It was a weird mirror for myself, because here’s me going on about everyone wanting to be noticed and here I am on bloody telly”) and talks a lot about perspective. “The problem we’re facing now is that people often only see things from their own singular perspective. I kept saying during filming that the world has gone mad, and that’s why.” He feels we’re in a “craze of individualisation”, that we have forgotten “our thoughts don’t just stop at the edge of our heads.”
One of the most striking scenes in the documentary is when the transhumanist with a chip imbedded in his palm to open doors implies that Gander might be “improved” with bionic limbs modelled on cheetah legs. It angers him. “Being in a wheelchair doesn’t affect my view on the world. In an age where everyone identifies with being different, I am someone who actually can’t walk and don’t associate with being disabled. I don’t tick the Arts Council funding box that says ‘disabled’ because I don’t identify.” As he says on screen, “I don’t want cheetah legs. I don’t know any cheetahs.”
The assumption that Gander would want to be superhuman when he says he is “happy being exactly the way I am” is a metaphor for what the social media monoliths compel us to do: keep reappraising who we are and, based on the positive feedback loops of likes, comments and retweets, keep reappraising some more. You end the documentary aware that Silicon Valley may actively be trying to hinder self-actualisation, because then why would you need them? Better to be stuck in self-questioning perpetuity. But Gander questions the mark we are trying to make with all these images of ourselves. “No one will be looking at all the selfies we take now because there’s too many. We’ve almost become drowned in self-imagery.”
There is hope, though. By examining our modern compulsions, Gander makes room for the idea that there is, in fact, real peace to be found in acknowledging the “perpetual present tense” we create on social media, putting our phones down and listening to other people’s stories. We all want to be seen. We all want to be liked. But in this Age of the Self, there may be a freedom in accepting that trying to be special and unique all the time can be bloody tiring.
The Guardian
Shows
Market position
Having completed a research residency at the Jan van Eyck Akademie in Maastricht, Gander participated in the artists' residency program of the Rijksakademie in Amsterdam. His recent projects and exhibitions include Esther Shipper, Berlin, Germany (2019), Lisson Gallery, Shanghai, China (2019), Cambridge Biomedical campus, Cambridge, UK (2019), TARO NASU, Tokyo, Japan (2018), GB Agency, Paris, France (2018), The National Museum of Art, Osaka, Japan (2017), Hyundai Gallery, Seoul, South Korea (2017), Museum Dhondt-Dhaenens, Deurle, Belgium (2016), Aspen Art Museum, Aspen, CO, USA (2016), Lisson Gallery, New York (2016), Scrapmetal, Toronto (2016), Contemporary Art Gallery, Vancouver (2015), ACCA, Melbourne (2015), The National Art Trust, London (2014), Aspen Art Museum, Aspen (2014), Palais de Tokyo, Paris (2012),Van Abbemuseum, Eindhoven (2011), Museum Boijmans Van Beuningen, Rotterdam (2011), Solomon R. Guggenheim Museum, New York (2010); Doris C. Freedman Plaza at the southeast corner of Central Park, New York (2010); MACBA, Museu d’Art Contemporani de Barcelona, Barcelona (2010); Carnegie Museum of Art, Pittsburg, (2008); 16th Biennale of Sydney (2008) and many others.
Gander has published a number of books. Among which a TV script 'Appendix, Appendix, A Proposal for a TV Series by Ryan Gander and Stuart Bailey' (2007) and a recent monograph, entitled 'Catalogue Raisonnable Vol: 1' co-published by JRP|Ringier and Thea Westreich/Ethan Wagner Publications (2010).
Ryan Gander won numerous prestigious prizes, among others the Zürich Art Prize (2009), the ABN Amro Art Price (2006), the Baloise Art Statements of the Art Basel (2006) and the Dutch 'Prix de Rome' (2003). Alongside his artistic production, Gander is a visiting lecturer at several art schools within Europe and writes regularly for art and design periodicals.
CV
1976 Born in Chester, UK
Lives and works in London, UK
Education
2001-2002 Post-Graduate Fine Art Participant - Rijksakademie van Beeldende Kunsten, Amsterdam, NL
1999-2000 Post-Graduate Fine Art Research Participant - Jan van Eyck Akademie, Maastricht, NL
1996-1999 First Class Degree, BA (Hons) Interactive Art - Manchester Metropolitan, University, Manchester, UK,
Solo Exhibitions
2019 Some Other Life, Esther Shipper, Berlin, GR
I see you’re making progress, Lisson Gallery, Shanghai, China
The Green and The Gardens, Cambridge Biomedical campus, Cambridge, UK
2018 Moonlighting, TARO NASU, Tokyo, JP
The Self Righting of All Things, Lisson Gallery, London, UK
Old Languages in Very Modern Style, GB Agency, Paris, FR
Time moves quickly, The Bluecoat, Liverpool Biennial, UK
Good Heart, BASE / Progetti per l’arte, Florence, IT
Other Places, 21st Biennale of Sydney, Sydney, AUS
From five minds of great vision (The Metropolitan Cathedral of Christ the King disassembled and
reassembled to conjure resting places in the public realm), The Metropolitan Cathedral, Liverpool
Biennial, UK
2017 These wings aren't for flying, The National Museum of Art, Osaka, JP
Faces of Picasso: The Collection Selected by Ryan Gander, Remai Modern, Saskatoon, Canada
The Day-to-Day Accumulation of Hope, The Contemporary Austin, TX, USA
Dazaifu Tenmangu Collection, Dazaifu Shrine, Fukuoka, JP
Soft modernism, Hyundai Gallery, Seoul, Korea
Human / non Human / Broken / non Broken, CC Foundation, Shanghai, CH
2016 Heterotopias, Musee d’Art Modern at Contemporain and Aubette 1928, Strasbourg, FR
I See Straight Through You, Lisson Gallery, New York, USA
Creative Play May Entail Some Risk Taking, Scrapmetal, Toronto, CA
To stand amongst the elements and to interpret what one knows, Museum Dhondt-
Dhaenens, Deurle, BE
2015 Make Every Show Like It’s Your Last, Aspen Art Museum, Aspen, Colorado, US
Jolly Grown Up, with Olive May Gander, Quartz Studio, Turin, IT
Fieldwork, Lisson Gallery, London, UK
Make Every Show Like It’s Your Last, Contemporary Art Gallery, Vancouver, CAN
Read Only, ACCA, Melbourne, AU
Portrait of a blind artist obscured by flowers, Singapore Tyler Print Institute, SG
Make Every Show Like It’s Your Last, OK Centre for Contemporary Art, Melbourne, AU
Zona Maco (with Marc Foxx gallery), Mexico Arte Contemporaneo, MX (forthcoming)
Nobody walks away from True collaboration Triumphant or Un-bruised, collaboration with Mario Garcia
Torres, Proyectos Monclova, Mexico City, MX
2014 Make every show like it’s your Last, Centre for Contemporary Art, Derry
The artists have the keys, The National Art Trust, London, UK
Make every show like it’s your last, travelling to Manchester City Art Gallery, Manchester, UK ; Centre for
Contemporary Art, Derry, N-IR; Aspen Art Museum, US; Vancouver Art Gallery, CA; Mac, Montreal, CA
New Art, 2 Willow Road, London, UK
Explorers vs Pioneers, Taro Nasu Gallery, Tokyo, JP
Chance Everything, Oriel Mostyn Gallery, Llandudni, Wales, UK
2013 Make every show like it’s your last, Frac Ile de France, Le Plateau, Paris, FR
Associative Photographs, 2004, Zabludowicz Collectionm New York, US
Loop Fair 2013, with Annet Gelink Gallery, Barcelona, ES
Once upon a bicycle, not so long ago, Annet Gelink Gallery, Amsterdam, NL
Desktop Residency, www.desktopresidency.com
2012 “These are things that I don’t understand, Daiwa. Hiroshima, JP
‘‘They came out of nowhere’ he said, pointing to nowhere’, with Jonathan Monk, Taro Nasu, Tokyo, JP
These are the things that I don’t understand, Daiwa Press Viewing Room, Hiroshima, JP
Ryan Gander: An Exhibition of Recent Paintings, David Risley Gallery, Copenhagen, DK
Esperluette, Palais de Tokyo, Paris, FR
Boing Boing Squirt, Museo Tamayo Arte Contemporaneo, Mexico City, MX
The Fallout of Living, Lisson Gallery, London, UK
Lost My Own Recursive Narrative, Fondazione Morra Greco, Naples, ITA
The Magnificent Seven, CCA Wattis Institute, San Fransisco, US
An Exercise in Cultural Semaphore, GB Agency, Paris, FR
2011 Now there’s not enough of it to go around, Annet Gelink Gallery, Amsterdam, NL
Really Shiny Things That Don't Mean Anything, Trybuna Honorowa, Plac Defilad
Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw, PL
Ryan Gander, Billboard for Edinburgh: Year 4, Ingleby Gallery, Edinburgh, UK
Icarus Falling – An exhibition lost, Maison Hermes, 8th floor Le Forum, Tokyo, JP
New Collisions in Culturefield, Jörg Johnen Galerie, Berlin, DE
Locked Room Scenario, The Depot, commissioned by Artangel, London, UK
Meaning… surrounds me now, 1223 Gendaikaiga, Tokyo, JP
You have my word, Taro Nasu, Fukuoka, JP
Attempting to remain light on ones feet: Work from Daiwa Collection, Okinawa Prefectural Museum,
Tokyo, JP
Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture
came into being, an illustration of the physicality of an argument between Theo and Piet regarding the
dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic
scenes Taru Nasu Gallery, Tokyo,
JP
2010 Saying something is made of something when it is actually made of something else, YU-UN, Tokyo, JP
Intervals, Solomon R. Guggenheim Museum, New York, US
The Happy Prince, Public Art Fund, Doris C. Freedman Plaza at the southeast corner of Central Park, New
York, US
Approach it slowly from the left, Haus Konstruktiv, Zürich, CH
You walk into a space, any space, Lisson Gallery, London, UK
I am an Aurefilian, Taro Nasu Gallery, Tokyo, JP
A Whole Hole, G-Tokyo, Tokyo, JP
2009 I let somebody get under my skin, Annet Gelink Gallery, Amsterdam, NL
The die is cast, Villa Arson, Nice, FR
It’s a right Heath Robinson affair, gb agency, Paris, FR
It’s a right Heath Robinson affair, Kadist, Paris, FR
Eleanor Antin, Marcel Broodthaers, Peter Friedl, Ryan Gander, Erna Hecey Gallery Temporary Space,
Cologne, DE
Heralded as the new black, Museum Boijmans Van Beuningen, Rotterdam, NL*
As it presents itself, Picture This, Bristol, UK
2008 Somebody’s playing me 1998 – 2008, Taro Nasu Gallery, Tokyo, JP
And it came to life, Marz Galleria, Lisbon, PT
Championed by Rigour, Tanya Bonakdar Gallery, New York, USA
Heralded as the new black / Forward, IKON Gallery, Birmingham, UK*
Heralded as the new black / Forward, South London Gallery, London, UK*
Something Vague, Sankt Gallen Kunstverein, Sankt Gallen, CH
Something Vague, Bonner Kunstverein, Bonn, DE
How I learnt to use my senses, how I learnt to think and how I learnt to feel, TARO NASU, Tokyo, JP
Basquiat, Store Gallery, London, UK
2007 Gallery Cover, Annet Gelink Gallery, Amsterdam, NL
Ghostwriter Subtext, Taro Nasu Galley, Tokyo, JP
More than the weight of your shadow, Daiwa Factory, Hiroshima, JP
Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco, US
Phantom of Appropriation, In the stream of life Betonsalon, Paris, FR
Short Cut through the trees, MUMOK, Vienna, AT
The Last Work, Stedelijk Museum, Amsterdam, NL
Of Any Actual Person, Living or Dead, STORE, London, UK
2006 Art Unlimited, Art Basel, with Annet Gelink Gallery, Basel, CH
Gostwriter Subtext, Premier container, Art Basel Premier with STORE, Miami Basel, US
Didactease, Marc Foxx, Los Angeles, CA, US
ABN AMRO Kunstprijs, ABN AMRO head quarter, Amsterdam, NL
Templates for… Massimo de Carlo, Milan, IT
Is this guilt in you too? (Cinema Verso), Whitechapel, London, UK
The title taken from reading that book (with George Henry Longly), Elisabeth Kaufmann, Zurich, CH
Is this guilt in you too – (The study of a car in a field), MUMOK, Vienna, AT
Your clumsiness is the next man’s stealth, Annet Gelink Gallery, Amsterdam, NL
Nine Projects for the Pavilion de l’Esprit Nouveau, GAM, Bologna, IT
2005 But it was all green, Artists Space, New York, US
Of Any Actual Person, Living or Dead, with Aurélien Froment, Les Laboratoires d'Aubervilliers, Paris, FR
Art Basel Statements with Annet Gelink Gallery, Basel, CH
Is This Guilt in You Too– (The Study of a Car in a Field), Annet Gelink Gallery, Amsterdam, NL
Somewhere between 1886 and 2030, Store, London, UK
2004 But it was all green, Annet Gelink Gallery, Amsterdam, NL
An Incomplete History of Ideas, Cornerhouse, Manchester, UK
Dagger of the Mind, La Gallerie dans ma Poche, Leeds and London, UK
2003 But it was all green, Store, London, UK
The Death of Abbé Faria, Stedelijk Museum Bureau, Amsterdam, NL*
2002 Marie Aurore Sorry, The International 3, Manchester, UK*
In Return, with Shahryar Nashat, Centre Pasquart, Bienne, CH
Group Exhibitions
2019 Time Kills – Time based art from Julia Stoscheck Collection, SESC, São Paulo, BZ
Jews, Money, Myth, The Jewish Museum, London, UK
Hate Speech, Aggression and Intimacy, Künstlerhaus Graz, Graz, Austria
The Historian’s Craft, ICA Milano, Milan, Italy
In My Shoes: Art and the Self Since the 1990s, Aberystwyth Arts Centre, Aberystwyth
UK Drawing Biennial 2019, Drawing Room, London, UK
2018 Fleeting Exists, Sursock Museum, Beirut, Lebanon
Knock, Knock: Humour in Contemporary Art, South London Gallery, London, UK
Open Call, Atlas House, Annual Ipswich Biennial, UK; MusMex Shoreditch, London, UK
Beautiful world, where are you?, The Metropolitan Cathedral, Liverpool Biennial, UK
In My Shoes: Art and the Self Since the 1990s, Attenborough Center, UK
Summer Exhibition 2018, Royal Academy of Art, London, UK
Dime-Store Alchemy, FLAG Art Foundation, New York, USA
Velvet Ropes, David Risley Gallery, Copenhagen, Denmark
KADIST: General Rehearsal, Moscow Museum of Modern Art, Moscow, Russia
In My Shoes: Art and the Self Since the 1990s, Yorkshire Sculpture Park, UK
Other Places, Sydney Biennale, Sydney, AUS
Chair, Chair, Chair, Lamp, Table, Bed, Sofa, David Risley Gallery, Copenhagen, Denmark
Triennial of Contemporary Art by Sea, Beaufort Triennial, Koksijde, Belgium GAUDIOPOLIS, Kulturstiftung Des
Bundes, Project Leitung, Leipzig, Germany RESONANCE by Frac Normande Rouen, Musee des Beaux-arts de Rouen,
Rouen, FR Degas: A Passion for Perfection, Denver Art Museum, Colorado, CO, USA
The Stories of Almost Everyone, Hammer Museum, Los Angeles, CA, USA
ZEIGEN. An Audio Tour through the Collection of NMAO, National Museum of Osaka, JP
Darbyshire, Gander, Pica, Starling, Hayward Gallery, London, UK
The Land We Live In - The Land We Left Behind, Hauser & Wirth, Somerset, UK
Good Grief, Charlie Brown! Celebrating Snoopy and the Enduring Power of Peanuts, Somerset House, London, UK
Re:Collecting / Curatoren VBCN OPEN 2018, Museum Singer, Laren, Netherlands Pacific Breeze, White Conduit
Projects, London, UK
TRACÉ, Josée et Marc Gensollen, La Fabrique, Marseille, Fance
Atypical Curated Project (Chinese Whispers), Meessen De Clerq, Brussels, Belgium I’m just resting my eyes (Pavement
encounter), MusMex Shoreditch, London, UK
The Annotated Reader, curated by Ryan Gander, London, UK
2017 Art Lesson, Museo Thyssen- Bornemisza, Madrid, Spain
Dance to the Music of Time – A Homage to Howard Hodgkin, Dvir Gallery, Brussels, Belgium
We Are Not Alone, Athr Gallery, Jeddah, Saudi Arabia
Everything at Once, The Store, London, UK
Push Play, ICI, Vicki Myhren Gallery, University of Denver, Denver, USA
De Fotokopie, Irma Boom Studio, Amsterdam, Netherlands
Iconoclash / Il conflitto delle immagini, Museo di Castelvecchio, Verona, Italy Publishing as an Artistic Toolbox: 1989-
2017, Kunsthalle Wien, Vienna, Austria
A Year From Monday In Mexico, Fifi Projects, Monterry, Mexico
Degas: A Passion for Perfection, Fitzwilliam Museum, Cambridge, UK
We Came Here to Conquer, Norfolk Museum, Norwich, UK
Magic Lantern Film Festival, Cinema dei Piccoli, Rome, Italy
Enjoy, Bramante Cloister Gallery, Rome, Italy
The Policeman’s Beard, Bonner Kunstveiren, Bonn, Germany
I Speak to People on the Telephone, Cristina Guerra Contemporary Arts, Lisbon, Portugal
Enjoy, Art Meets Amusement, Bramante Cloister Gallery, Rome, IT
Sculpture in the City, London, UK
Perfectly Concocted Context, Los Angeles, CA, USA
EXIT, Rodolphe Janssen, Brussels, Belgium
The Greatest Story Ever Told, curated by Ryan Gander, The National Museum of Art Osaka, Osaka, JP
Dioramas, Palais de Tokyo, Paris, FR
Synthetic Landscapes, Shrewsbury Museum, Shrewsbury, UK
Het Zalig Nietsdoen, Museum Kranrnburgh, Bergen, Norway
Original Fake, MAISTERRAVALBUENA, Madrid, Spain
The Heart of the Tin Woodman, M Woods, Beijing, China
The Transported Man, Broad Art Museum, Michigan, USA
I Want! I Want! Art and Technology, Gas Hall, Birmingham Museum & Art Gallery, Birmingham, UK
Colori, Castello di Rivoli, Museo d’Arte Contemporanea, Torino, Italy
Night in the Museum, curated by Ryan Gander, The Attenborough Centre, Leicester, UK
Lisson Presents..., Lisson Gallery, London, UK
Art of the Postcard, Handel Street Projects, London, UK
Field Guide, Remai Modern, Saskatoon, Canada ‘Pallaksh Pallaksh’, Dvir Gallery, Tel Aviv, Israel
Push Play, ICI, Hendreen Gallery, Seattle University, Seattle, USA
2016 Ghosts of Other Stories: The British Council Colleciton, The Model, Sligo, IE
Night in the Museum: Curated by Ryan Gander, Longside Gallery, Yorkshire
Sculpture Park, UK
Found, The Foundling Museum, London, UK
British Art Show 8, Scottish National Gallery of Modern Art, Edinburgh, UK
Not All That Falls Has Wings, ARTER, Istanbul, TR
2015 Collateral Drawing, Waterfront Gallery, Ipswich, UK
Transparancies: The Ambivalence of a New Visibility, Kunstverein Nürnberg and Albrecht Dürer Gesellschaft,
Nürnberg, DE
Performa 15, New York, New York, US
Duh? Art & Stupidity, Focal Point Gallery, Southend-on-Sea, UK
British Art Show 8, Leeds Art Gallery, Leeds, UK
“I Speak, Knowing It’s Not about Speaking”,*, Caixaforum, Barcelona, ESP
The Dream of Modern Living: Contemporary Artists Explore IKEA, Warrington
Contemporary Arts Festival in Partnership with NORTH, Warrington Museum & Arts Gallery, Warrington, UK
By Boat (Farewell), JoséGarcía, Mexico City, MX
Collaborations, Singapore Taylor Print Institute, Singapore, SG
CRU, Centro Cultural Banco do Brasil, Rio de Janeiro, BR
Business as usual, Turf Projects, London, UK
Pequod, 11 Columbia, Monaco Ville, MC
WATOU 15, Kunstenfestival Watou, Watou, BE
Imaterialidade, SESC Belenzinho, Sao Paulo, BR
Icastica 2015, Taverna, Arezzo, IT
Station to Station: A 30 Day Happening, Barbican Art Centre, London, UK
Back to the Future, Annet Gelink Gallery, Amsterdam, NL
Open City, Lublin, PL
Ryan Gander and A. Four present Brand Evangelism and The Universe as I knew it aged 5, collapsed and expanded
several times or more (Reflector), Wild West Active Space, Maastricht, NL
This sentence, curated by Public Fiction, China Art Objects, Los Angeles, US
Adventures in Bronze, Clay & Stone, curated by Adam Carr, Arezzo Biennale Arts Festival, Arezzo, IT
Art as a verb, Artspace, Sydney, AU
2014 Between the Idea and the Experience, 12th Havana Biennial, Havana, CU
When I give, I give myself (with Maria Barnas), Van Gogh Museum, Amsterdam, NL
Panorama, High Line, New York, New York, US
Let’s start playing the game, De Brakke Grond, Amsterdam, NL
Blu Times, Kunsthalle Wien, Vienna, AT
Business as Usual, Set The Controls For the Heart of the Sun, Leeds, UK
Inside, Palais de Tokyo, Paris, FR
RE-Corbusier. Seize oeuvres contemporaines, Fondation Le Corbusier Maison La Roche, Paris, FR
Private Utopia, Dunedin Public Art Gallery, Dunedin, NZ
In-We Trust: Art and Money, Columbus Museum of Art in Ohio, US
PER/FORM, CA2M, Madrid, ES
Ryan Gander, Ordrupgaard Museum, Charlottenlund, DK
The Human Factor, Hayward Gallery, London, UK
Black and White, Royal Academy of Art, London, UK
Der Kubist Marcel Duchamp mag nicht malen, Galerie Thomas Schulte, Berlin, DE
Itself Not So, Lisa Cooley Fine Art, New York City, US
Undertones, Marres, Centre for Contemporary Culture, Maastricht, NL
A Guest Without A Host Is A Ghost, Townhouse Gallery, Cairo, EG
Will Happiness Find Me?, Tokyo Opera City Art Gallery, Tokyo, JP
PER/FORM. How to do things with[out] words, CA2M, Centro de Arte Dos de Mayo, Mostoles, ES
Curatorial Open 2014: Listening, with Haroon Mirza, Bluecoat, Liverpool, UK
Postscript: Writing after Conceptual Art , Eli and Edythe Broad Art Museum, East Lansing, US
Private Utopia, Okayama Museum of Art, Okayama, JP
Considering Britain, curated by Simon Fujiwara, Hayward Gallery, London, UK
SCHLAFLOS, curated by Mario Codognato, 21er Haus, Vienna, AT
SMALL curated by Adam Carr, Frutta Gallery, Rome, IT
Art Basel Miami Public Sector, curated by Nicholas Baume, Miami, US.
SOME/THINGS, Proyectos Monclovo, Mexico, MX
L’Avenir/Looking Forward, curated by Gregory Burke and Peggy Gale, La Biennale do Montréal, Montréal, CA
The Peace One Day, ICA, London, UK
Art as a Verb, Monash University Museum of Art, Melbourne, AU
Exercises for a Revolution, in collaboration with Nomas Foundation, MAXXI Museum, Rome, IT
Rose , CEAAC - Centre européen d'actions artistiques contemporaines, Strasbourg, FR
Art By TeLePhone..., ReCalLed - La Panacée, Montpellier, FR
Return Journey , Oriel Mostyn Gallery, Llandudno, Wales, UK
A man walks into a bar…, Landshuter Strasse 49, Mainburg, DE
2013 If you will it, it`s not a dream, Annet Gelink Gallery, Amsterdam, NL
Dear Portrait, MOSTYM, Cymru, UK
Disappearing into one, Zabludowicz Collection, London, UK
Nostalgic for the Future, Lisson Gallery, London, UK
ONE TORNO #1, an appropriation by Santo Tolone, Castello Di Rovolio, Torino, IT
Mijn Derde Land, Frankendael Foundation, Amsterdam, NL
De leur temps (4), Regards croisés sur la jeune creation, Le Hangar a Banane, Nantes, FR
The Eye on Time: Works from the Adrastus Collection, Museo de Arte Carrillo Gil, Mexico City, MX
Helicotrema, Recorded Audio Festival, MACRO Musea d’Arte Contemporanea Roma, Rome, IT
Dans cinquante ans d’ici, curated by Niekolaas Johannes Lekkerkerk, part of Livre Imagine: Source Ouverte
2013, Les Territoires, Montreal, CA
TECTONIC, The Moving Museum, Dubai, UAE
The Earth Turns and All Things Slip Away, curated by Edith Jeřábková + Jiří Kovanda, hunt kastner, Praha, CZ
Inventing a future’, GB agency, Paris, FR
A House of Leaves. Third Movement, David Roberts Art Foundation, London, UK
Cast Recording, PRISM, Hollywood, US
Book Machine Nouvelle Festival, Centre Pompidou, Paris, FR
Testing Ground 2013, Zabludowicz Collection, London, UK
Moral Holiday, Northern Gallery for Contemporary Art, Sunderland, UK
Artists’ Artists, Centre PasquArt, Biel Bienne, CH
2012 The Beginning, Wild West Active Space, Maastricht, NL
Chester, CO2, Rome, IT
Art by Telephone…Recalled, CNEAI, Chatou, CAPC, Bordeaux, FR, Emily Harvey Foundation, New York, US
‘‘They came out of nowhere’ he said, pointing to nowhere’, with Jonathan Monk, Taro Nasu, Tokyo, JP
Museum of Contemporary Art, Denver, US
Go Deep or Go Home, ASC Studios, London, UK
VIP Showroom, Annet Gelink Gallery, Amsterdam, NL
Moral Holiday, Northern Gallery for Contemporary Art, Sunderland, UK
9th Shanghai Biennale, Shanghai, CN
Curated By, Galerie Martin Janda, Vienna, AT
Checkhov’s Gun, G39, Cardiff, UK
Artists of the No, Projectraum Victor Bucher. Vienna, AT
Detective, Galerie Andreas Huber, Vienna, AT
Documenta 13, Kassel, DE
Beyond Words, Gesellschaft fuer Aktuelle Kunst GAK, Bremen, DE
SNAP Art, Aldeburgh Festival 2012, Aldeburgh, UK
Glazed, Galerie Chez Valentin, Paris, FR
When Attitudes Became Form Become Attitudes, CCA Wattis, San Francisco, US
There must be a 'right way, Gallery of the Art School of Brest, Brest, FR
British Group Exhibition, The Arts Club, London, UK
An Incomplete History of Incomplete Works of Art, Francesca Minini, Milan, IT
The eyes of the soul: A selection of works from the collection of Isabelle and Jean-Conrad Lemaitre, Fundació
Godia, Screen from Barcelona, Barcelona, SP
FOREIGNERS EVERYWHERE: Contemporary Art from the Pomeranz Collection, Jewish Museum Vienna,
Vienna, AT
A common feeling, gb Agency, Paris, FR, in conjunction with Murray Guy, New York, US
The Artists’ Postcard Show, Spike Island, Bristol, UK
Several Silences, Knoxville Museum of Art, TN, US
MacLean 705, MacLean 705, School of the Art Institute of Chicago, Chicago, IL, US
New presentation of the collection, MNAM, Centre Georges Pompidou, Paris, FR
L’Institut des Archives Sauvages, Villa Arson, Nice, FR
Rotary Connection, Casey Kaplan, New York, US
Blind Cut, Marlborough Gallery, New York, US
Coup Double at Bordeaux, Frac Aquitaine, Bordeaux, FR
Postscript, Museum of Contemporary Art, Denver, US
Without (Jonathan Monk), Meessen de Clerq, Brussels, BE
Drawing Alive, Ipswich Museum, Ispwich, UK.
SNAP: Art at the Aldeburgh Festival, Snape Maltings, UK
The eyes of the soul: A selection of works from the collection of Isabelle and Jean-Conrad Lemairte, Fundacio Godia,
Screen from Barcelona, Barcelona, SP
Accidently on Purpose, Quad, Derby, UK
Institute of Savages Archives, Villa Arson, Nice, FR
2011 Two Versions of the Imaginary, curated by Maria Barnas, Annet Gelink Gallery, Amsterdam, NL
There must be a right way, Benoit Maire Studio/ Francois Aubait, Nantes, FR
Gesture, form, technique, Taro Nasu, Tokyo, JP
Politics is Personal, Stonescape, California, US
Billboard for Edinburgh: Year 4, Ingleby Gallery, Edinburgh, Scotland, UK
The New Place Tribune, Museum of Modern Art Warsaw, PL
Le Sentiment des choses, Le Plateau, Frac Ile de France, Paris, FR
I know about creative block and I know not to call it by name, Lisson Gallery, Milan, IT
Our Magic Hour, Yokohama Triennale 2011, Yokohama, JP
5 x 5 Castelló 11 Premi Internacional d’art contemporani Diputació de Castelló, Espai d’art contemporani de
Castelló, Castelló, SP
The Collector’s Show: part of VANUIT HIER/OUT OF HERE, Van Abbemuseum, Eindhoven, NL
KnowHow!, Campbell Works N16, London, UK
Han Nefkens – 10 jaar mecenas, Museum Boijmans Van Beuningen, Rotterdam, NL
Invisibleness is visibleness, MOCA Taipei, TW
The Object of Observation (Changes By Being Observed), curated by Tim Lee, Johnen Galerie, Berlin, DE
Humid, but cool, I think, curated by Ryan Gander, Taro Nasu, Tokyo, JP
Bischoff/Weiss, Glaze, London UK
Two Times Once – an exhibition by mr Rossi, Limoncello, London, UK
Nul si Découvert/Void if removed curated by Guillaume Désanges, Le plateau, Paris, FR
Commercial Break, presented by Garage Center for Contemporary Culture, Moscow & POST, 54th International
Venice Biennale, Venice, IT
Ryan Gander & Michael Marriot, The Russian Club, London, UK
Artzuid, Amsterdam, NL
The Aldeburgh Beach South Lookout, Aldeburgh, UK
Le Slurm, Haute Ecole d’Art, Geneva University, Geneva, CH
Paysages Avec Objets Absents, Centre d’art contemporain de Fribourg, Fribourg, CH
Fat Chance to Dream (Una opportunidad para sonar/Tania Pardo, Galeria Maisterra Valbuena, Madrid, ES
Invocations of the blank page, curated by Frances Loeffler, Project Space, Spike Island, Bristol, UK
The Shape We’re In, 176 Zabludowicz Collection, London, UK
The missing part, La Sorbonne, Paris, FR
Art + Drama, Whitechapel Gallery, London, UK
IllumiNATIONS, Giovanni Carmine / Bice Curiger, Venice Biennale, Venice, IT
Radical Autonomy/ nieuwe werelden van niks, Netwerk, Aalst, BE
Round and Round and Round (Part 2): Ryan Gander, Francesco Gennari, Rodney Graham, La collection du
Frac Ile-de-France, Marne-la-Vallee, FR
Glaze, curated by George Henry Longly, Bischoff/Weiss, Londen, UK
The Lake of Fire, Den Frei Udstillingsbygning, Copenhagen, DK
2010 Art Unlimited, with Annet Gelink Gallery, Art 41 Basel, Basel, CH
Laocoon II, COCO, Vienna, AT
Excoffon, IFF, Marseille, FR
Publics and Counterpolitics, Centro de Andaluz de Arte, Contemporaneo CAAC, Seville, ES
Things slowly curve out of sight until they are gone. Afterwards only the curve remains, curated by Elodie
Royer, & Yoann Gourmel, Hermes Und Der Pfau, Stuttgart, DE
Propective Xxieme siecle, Frac Ile-de France / Le Plateau / L’Antenne France, Paris, FR
Faint to Black, Henninsen Contemporary, Copenhagen, DK
Manifesta 8, Region of Murcia, ES
The Storyteller, Salina Art Center, Kansas, USA
Lake of Fire, Den Frie Udstillingsbygning, Copenhagen, DK
The Art of Camo, Cardi Black Box Gallery, Milan, IT
Resonance, Suntory Museum (Tempozan), Osaka, JP
Auto-Kino!, Berlinale, Kunsthalle Berlin, DE
Hors d’oeuvre II, Campagne Première, Berlin, DE
About us, Johann König, Berlin, DE
Tatton Park Biennial, Tatton Hall, Knutsford, UK
Sameness and difference, Russian Club Gallery, London, UK
Present is a thing of the past, now, GAMeC Art Centre, Bergamo, IT
Art Parcours, Art 41 Basel, Basel, CH
Les Interlocuteurs, Beaux Arts of Toulouse, Toulouse, FR
Ecce Homo Ludens, Musée Régional d’Art Contemporain Languedoc Roussillion, Sérignan, FR
Okay, I have had enough, what else can you show me?, DOCVA, Milan, IT
It is it, Espacio 1414, Santurce, PR
Motage, Maison d’Art Bernard Anthonioz, Paris, FR
The Storyteller, Art Gallery of Toronto, Ontario, CA
A performance cycle, Nomas Foundation, Rome, IT
Double Blind, Villa Arson, Nice, FR
Dark After After Dark, Khastoo Gallery, Los Angeles, USA
Che cosa sono le nuvole? Artworks from the Enea Righi Collection, Museion, Bolzano, IT
The Library of Babel, 176 Collection, London, UK
The Boy Who Cried Wolf (Left Loosey, Righty Tighty), gb Agency, Paris, FR
Exhibition, exhibition, Castello di Rivoli – Museo d’Arte Contemporanea, Rivoli, IT
Les Belles Images: Second Scenario, La Box, Bourges, FR
FAX, Para/Site Art Space, Hong Kong, CN
Artprojx Presents, Wimbledon College of Art, London, UK
Répétition dans l’Épilogue, Super # 11, Galerie Lucile Corty, Paris, FR
Gallery, Galleria, Gallerie, Norma Mangione Gallery, IT
Production Site: The Artist’s Studio Inside-Out, MCA, Chicago, USA
The Storyteller, Anna-Maria and Stephen Kellen Gallery, New York, USA
2009 Places To Be. New York – Shanghai – Tel Aviv – Texas – Zagreb, video program The Bakery, Annet Gelink
Gallery, Amsterdam, NL
Lisson Presents 6, Lisson Gallery, London, UK
Where water comes together with other water, Chapter 3, gb Agency, Paris, FR
7 Words, Am Nuden Da Session, London, UK
Can Art Save Us. Millennium Galleries, Sheffield, UK
Mille e Tre, Musée du Louvre, Paris, FR
The Store, Artissima, Turin, IT
Radical Autonomy, Centre D’Art Contemporain, Saint-Nazaire, FR
TV, Mercer Union, Toronto, CA
The Storyteller, Salina Art Center, Kansas, US
Eleanor Antin, Marcel Broodthaers, Peter Friedl, Ryan Gander, Erna Hecey, Gallery Temporary Space,
Cologne, DE
Still Nacht, Outlet, Manchester, UK
7a Bienal do Mercusol, Porto Alegre, BR
Sculpture of the Space Age, David Roberts Foundation, London, UK
Chasing Napoleon, Palais de Tokyo, Paris, FR
Assembly, Yvon Lambert, Paris, FR
Richard Prince and the Revolution, PROJECTE SD, Barcelona, ES
Era New Horizons Film Festival, Warsaw, PL
Space as Medium, Miami Art Museum, Miami, USA
Pete and Repeat, works from Zabludowicz Collection, London, UK
Paper Show, David Risley Gallery, Copenhagen, DK
The Making of Art, Schirn Kunsthalle Frankfurt, DE
Forms of Enquiry, Architects Association, London, UK
The Space of Words, MUDAM, Luxembourg, LU
Talk Show, ICA, London, UK
The Happy Interval, Tulips & Roses, Vilnius, LI
Fax, The Drawing Center, New York, USA
Natural Wonders, Baibakov Art Projects, Moscow, RU
Lisson presents 4, Lisson Gallery, London, UK
Contested Ground, 176 Gallery, London UK
Trying to cope with things that aren’t human, David Cunningham Projects, San Francisco, USA
The Malady of Writing, MACBA, Museu d’Art Contemporani de Barcelona, Barcelona, ES
Younger than Jesus, New Museum, New York, USA
Lisson Presents 4, Lisson Gallery, London, UK
Mirrors, MARCO, Vigo, ES
Several Silences, The Renaissance Society, Chicago, US
British Subjects: Identity and Self-Fashioning, Neuberger Museum of Art, New York, US
Trying to cope with things that aren’t human, AirSpace Gallery, Stoke on Trent, UK
Forms of Enquiry, Architects Association, London, UK
The Little Shop on Hoxton Street, Limoncello Gallery, London, UK
Desiring Necessities, John Hansard Gallery, Southampton, UK
Trying to cope with things that aren’t human, AirSpace Gallery, Stoke on Trent, UK
The Story Teller, ICI, New York, USA
Desire Acquire, Galerie Bob van Orsouw gmbh, Zürich, CH
2008 Never let the truth get in the way of a good story, Site Gallery, Sheffield, UK
Future Landscape, Royal Academy of Arts, London, UK
Panoramica ciclo de video, Bailando sin salir de casa, Museo Tamayo arte contemporáneo, Bosque de
Chapultepec, MX
One of these things is not like other things, Galleria 1/9 unosunove, Rome, IT
The flight of the Dodo, Project Arts Centre, Dublin, IR
AWOL – Biennale of Young Artists, META Cultural Foundation, Bucharest, R
A Recent History of Drawing & Writing, ICA, London, UK
Playtime, Betasalon, Paris, FR
Out of sight, Proyectos Monclova, Mexico, MX
Wouldn’t it be nice, Somerset House, London, UK
Wouldn’t it be nice, Centre d’Art Contemporain, Zurich, CH
Self Storage, Curatorial Industries, San Francisco, USA
I desired what you were, I need what you are, Galleria Maze, Torino, IT
Within the big structure, Berlin-Mitte, Berlin, DE
Delirious Beijing, PKM Gallery, Beijing, CH
Life on Mars, Carnegie International, Carnegie Museum of Art, Pittsburg, USA
Revolutions – forms that turn, 16th Biennale of Sydney, AUS
As It Presents Itself, Whitstable Biennale, Whitstable, UK
Art Now Curate, Tate Modern, London, UK
Featuring, Galerie Chez Valentin, Paris, FR
Inaugural Show, Marz Galleria, Lisbon, P
The show is not a void, Galeria Luisa Strina, Sao Paolo, BRA
2007 Performa 07, New York, USA
In the stream of life, Betonsalon, Paris, FR
For Sale, Cristina Guerra Contemporary Art, Lisbon, PT
Wouldn’t it be nice, Centre d’Art Contemporain, Geneva, CH
WITHOUT, Curated by Adam Carr, Yvon Lambert, Paris, FR
How soon is now?, Fundación Luís Seoane, Coruna, ES
Didactease work, Christina Wilson Galerie, Copenhagen, DK
Of any actual person living or, STORE, London, UK
Projection, Lentos Art Museum, Linz, AU
Words Fail Me, MoCAD, Detroit, USA
Language of Vision, Middlesbrough Institute of Modern Art, Middlesbrough, UK
Last Work, Lyon Biennale, Lyon, FR
Took my hands, Bonakdar Curate Show, New York, USA
Wouldn’t it be nice, Centre d’Art Contemporain, Geneva, CH
Car in Field, Wattis, San Francisco, USA
Loose Associations, Performa, New York, USA
2006 Constellations, Tanya Bonakdar, New York, USA
Spencer, Forget About Good, with Annet Gelink Gallery Amsterdam, Art Basel Unlimited with Annet Gelink
Gallery, Basel, CH
Curating the Library, de Singel, Antwerp, B
Projection, Museum of Art Lucerne, CH
Wrong, Klosterfelde, Berlin, D
The show will be open when the show will be closed, STORE, London, UK
Whitstable Biennale, Whitstable, UK
Le Spectre des Armatures, Glassbox, Paris, FR
Trial Balloons, MUSAC, Leon, ES
Don Quijote, Witte de With, Rotterdam, NL
Objet a Part, Centre d’art Contemporain, Noisy le sec, FR
Cohen and Leslie, New York, USA
In touchable, Villa Arson, Nice, FR
Tate Triennial, Tate Britain, London, UK*
2005 Spectator T, Sheffield, UK*
T1 Triennial, Castello di Rivoli Museo d'Arte Contemporanea, Turin, IT Free Library, M + R Gallery, London,
UK
Romance – A Novel, Cristina Guerra Contemporary Art, Lisbon, P
Jaybird, ZERO... Milan, IT
Post No Bills, White Columns, New York, USA
Petites Compositions Entre Amis, GB Agency, Paris, F
Invisible Script, W139, Amsterdam, NL
Beck’s Futures, CCA, Glasgow, UK*
In This Colony, Kunstfort bij Vijfhuizen, NL*
Beck’s Futures, ICA, London, UK*
A Show Without Works, Project Room, Spazio Lima, Milan, I*
The World, Abridged, Kettles Yard, Cambridge, UK*
Timeline, The Store & Window 32, Paris, F
2004 Romantic Detachment, PS1, New York, USA*
Romantic Detachment, Chapter Arts, Cardiff, UK*
Romantic Detachment, Q Arts, Derby, UK*
Romantic Detachment, Folly Gallery, Lancaster, UK*
Making Public, CBK, Dordrecht, NL
Summer Pursuits, STORE, London, UK
Loose Associations, Centre Pompidou, Beaubourg, Paris, F
Loose Associations, Foksal Gallery, Warsaw, P
Artist House, The Round Foundry, Leeds, UK
2003 Catch Me, Onufri, National Gallery of Albania, AL
Tourette's, W139, Amsterdam, NL*
RDV Résonance, Galerie des Terreaux, Lyon Biennale, Lyon, FR
Prix de Rome Winner, Gem, Museum voor Actuele Kunst, Den Haag, NL*
Grizedale Artist in Residence, Cumbria, UK
2002 Unloaded, (Disused Military Bunkers), Oberschan, CH*
2001 Record Collection, Forde Gallery, Geneva, CH
In a language…, Project ruimte zuid en oost, Amsterdam, NL
Year of the Artist Residency, The Lowry, Manchester, UK
2000 The Oriel Mostyn Open, Llandudno, UK
Square City, Holden Gallery, Manchester, UK
Goethe’s Oak Has Woodworm, Static Gallery, Liverpool, UK
Unfortunately Last Sunday, Museum Het Domein, Sittard, NL*
Free Space, Nieuw Internationaal Cultureel Centrum, Antwerpen, BE*
Awards and Prizes
2009 Nominee for The Times, South Bank Breakthrough Award, UK
Winner of the Zurich Art Prize, Haus Konstruktiv, CH
Shortlist for Bishops Square Public Art Commission, Spitalfields, UK
2008 Paul Hamlyn Award, UK
2007 DENA Foundation Art Award, F*
2006 ABN AMRO Art Price, ABN AMRO head office Amsterdam, NL*
2005 Baloise Art Statements Prize, Art Basel, CH
Beck’s Futures Shortlist, ICA, London, UK
2004 Cocheme Fellowship, Byam Shaw School of Art, London, UK
2003 Prix De Rome for Sculpture, NL
2001-2003 Arts Council of England International Fellowship, UK
Artists Publications / Monographs
2014 Culturefiled, IBSN: 3863355709
2013 Artists’ Cocktails, ISBN: 978-1-907908-16-3
2012 Ampersand, Dent-de-Leone, ISBN 9-781907-908088
2010 Fan No5 - Ryan Gander – Footnotes on Headnotes – Sep 2010
Ryan Gander: Catalogue Raisonnable Vol. 1, Westreich/Wagner Publications: part of the artists’ books series
Christopher Keller Edition / JRP Ringier, 978-3-03764-146-0
2008 Heralded as the new black, artist book published on the occasion of the exhibition at the Ikon gallery, Birmingham,
South London gallery, London, and the Museum Boijmans Van Beuningen, Rotterdam, 978-1904864370
The Viewing Room, Volume 5, Daiwa Press Co. Ltd (with Taro Nasu)
2007 Appendix Appendix, A proposal for a TV Series, Christophe Keller Editions/JRP Ringier (with Stuart Bailey),
Intellectual Colours, book published on the ocassion of the presentation the Dena Foundation Art Award 2006 Dena Foundation of Contemporary Art and Silvana Editoriale, 13:97888-3660875-1 (with Will Holder), ABN
Amro Award
Parallel Cards, a project by Ryan Gander (with Mia Frostner, Robert Sollis, Paul Tisdell, Rasmus Troelsen),
Loose Associations and other Lectures, One Star Press, Paris (with EUROPA)
New New Alphabet, poster (with Rasmus Spanggaard Troelsen)
2006 Pure Associations, on the occasion of the ABN AMRO Art Foundation, ABN AMRO Bank, Amsterdam
2005 From The Alpinist, Fort Vijfhuizen / Artimo, 90-8546-042-5
It’s Like the Spoilt Brat of the Dictionary... (with Alice Fisher), STORE, 0-9550142-0-4
2004 The Boy that always looked up, (with Sara De Bondt), Cornerhouse Manchester, 0-948797-44-4
2003 Appendix, (with Stuart Bailey), Artimo Amsterdam, 90-75380-60-7
2002 In a language you don’t understand (with Sara De Bondt), The International 3, Mancheste
Teaching / Lectures
AA School of Architecture, London, UK
Art Basel Miami Beach | Art Basel Conversations, Miami, US
Barbican, London, UK
Barnard College, New York City, US
Byam Shaw School of Art, London, UK
Carnegie Mellon University
Chelsea School of Art, The London Institute, London, UK
Coventry School of Art and Design, Coventry, UK
De Appel, Amsterdam, NL
East Street Arts, Leeds, UK
Edinburgh University, The Protoacademy, Edinburgh, UK
École nationale des beaux-arts, Lyon, F
Gerrit Rietveld Academie, Amsterdam, NL
Goldsmiths College, London, UK
Leeds Metropolitan University, Leeds, UK
Manchester Metropolitan University, UK
Piet Zwart Institute, Rotterdam, NL
Plymouth College of Art and Design, Plymouth, UK
Roski School of Fine Arts, University of Southern California, Los Angeles, US
Royal College of Art, London, UK
Ruskin School of Art, Oxford, UK
Sheffield Hallam University, Sheffield, UK
Slade School of Art, London, UK
Somerset House, London, UK
Staffordshire University, Sheffield, UK
Tate Britain, London, UK
The New School, New York, US
The Society for Contemporary Art at the Art Institute of Chicago, Chicago, US
The Royal Danish Academy of Art, School of Architecture, Copenhagen, DE
UNIDEE Cittadellarte-Fondazione Pistoletto, Biella, I
University of Brighton, Brighton, UK
University of East London, London, UK
University of South Florida, Florida, US
University of East-London, London, UK
University of West England, Bristol, UK
Van Gogh Museum, Amsterdam, NL
Werkplaats voor Typografie, Arnhem, NL
Whitechapel Gallery, London, UK
Wimbledon School of Art, University of Central St Martins, London, UK
Curating
2016 Night in the Museum: Curated by Ryan Gander, Longside Gallery, Yorkshire
Sculpture Park, UK
2012 Young British Art II, DIENSTGEBAUDE, Zurich, CH
Field of Meaning, Kimberling Gallery, London, UK
I know about creative block and I know not to call it by name, Lisson Gallery, Milan, IT
Humid but cool, I think, Taro Nasu, Tokyo, JP
Young British Art, Limoncello Group Show, London, UK
Humid but cool, I think, Taro Nasu Gallery, Tokyo, JP (artists: Cory Arcangel, Ceal Floyer, Simon Fujiwara, Liam Gillick,
Cornelia Parker, Danh Vo)
The way in which it landed, Art Now, Tate Britain, London, UK (artists: Lucy Clout, Mellors, Aurelien Froment, David
Renggli, Carol Bove)
2007 Associates Gallery, Project Space directed with Rebecca May Marston, London, UK (artists: Matthew Smith, Stella
Capes, Kim Coleman & Jenny Hogarth, Matthew Harrison, Josephine Flynn, Tom Gidley, Sean Edwards, Lucy Clout,
Alice Channer, Adria Julia, Ben Chain, Adam Thomas)
Took my hands off of your eyes too soon, Tanya Bonakdar Gallery, New York, US (artists: Jesse Ash, Justin Beal, Alice
Channer, Sean Edwards, Jack Strange)
2004 Now then now then, International 3 Gallery, Manchester, UK (artists: Josephine Flynn, Harrison & Hughes, Lucy Skaer,
Bedwyr Williams)
Collections
Arts Council Collection, London, UK
The Boijmans van Beuningen Museum, Rotterdam, NL
British Council. London, UK
Carnegie Museum of Art, Pitsburgh, US
Carré d’art, Musée d’Art Contemporain, Nimes, FR
Fnac, Paris. FR
FRAC du Nord Pas-de-Calais, Calais, FR
Frac Haute Normandie, Rouen, FR
Frac Ile de France, Paris, FR
Government Art Collection, London, UK
Haus Konstruktiv, Zurich, CH
Kadist Art Foundation, Paris, FR
MacBA, Barcelona, SP
MaMBO, Bologna, IT
MCA, Chicago, US
MUMOK, Vienna, AT
Museo Tamayo Arte Contemporáneo, Mexico City, MX
Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw, PL
Tate Collection, London, UK
Welsh Museum, Cardiff, UK
Lives and works in London, UK
Education
2001-2002 Post-Graduate Fine Art Participant - Rijksakademie van Beeldende Kunsten, Amsterdam, NL
1999-2000 Post-Graduate Fine Art Research Participant - Jan van Eyck Akademie, Maastricht, NL
1996-1999 First Class Degree, BA (Hons) Interactive Art - Manchester Metropolitan, University, Manchester, UK,
Solo Exhibitions
2019 Some Other Life, Esther Shipper, Berlin, GR
I see you’re making progress, Lisson Gallery, Shanghai, China
The Green and The Gardens, Cambridge Biomedical campus, Cambridge, UK
2018 Moonlighting, TARO NASU, Tokyo, JP
The Self Righting of All Things, Lisson Gallery, London, UK
Old Languages in Very Modern Style, GB Agency, Paris, FR
Time moves quickly, The Bluecoat, Liverpool Biennial, UK
Good Heart, BASE / Progetti per l’arte, Florence, IT
Other Places, 21st Biennale of Sydney, Sydney, AUS
From five minds of great vision (The Metropolitan Cathedral of Christ the King disassembled and
reassembled to conjure resting places in the public realm), The Metropolitan Cathedral, Liverpool
Biennial, UK
2017 These wings aren't for flying, The National Museum of Art, Osaka, JP
Faces of Picasso: The Collection Selected by Ryan Gander, Remai Modern, Saskatoon, Canada
The Day-to-Day Accumulation of Hope, The Contemporary Austin, TX, USA
Dazaifu Tenmangu Collection, Dazaifu Shrine, Fukuoka, JP
Soft modernism, Hyundai Gallery, Seoul, Korea
Human / non Human / Broken / non Broken, CC Foundation, Shanghai, CH
2016 Heterotopias, Musee d’Art Modern at Contemporain and Aubette 1928, Strasbourg, FR
I See Straight Through You, Lisson Gallery, New York, USA
Creative Play May Entail Some Risk Taking, Scrapmetal, Toronto, CA
To stand amongst the elements and to interpret what one knows, Museum Dhondt-
Dhaenens, Deurle, BE
2015 Make Every Show Like It’s Your Last, Aspen Art Museum, Aspen, Colorado, US
Jolly Grown Up, with Olive May Gander, Quartz Studio, Turin, IT
Fieldwork, Lisson Gallery, London, UK
Make Every Show Like It’s Your Last, Contemporary Art Gallery, Vancouver, CAN
Read Only, ACCA, Melbourne, AU
Portrait of a blind artist obscured by flowers, Singapore Tyler Print Institute, SG
Make Every Show Like It’s Your Last, OK Centre for Contemporary Art, Melbourne, AU
Zona Maco (with Marc Foxx gallery), Mexico Arte Contemporaneo, MX (forthcoming)
Nobody walks away from True collaboration Triumphant or Un-bruised, collaboration with Mario Garcia
Torres, Proyectos Monclova, Mexico City, MX
2014 Make every show like it’s your Last, Centre for Contemporary Art, Derry
The artists have the keys, The National Art Trust, London, UK
Make every show like it’s your last, travelling to Manchester City Art Gallery, Manchester, UK ; Centre for
Contemporary Art, Derry, N-IR; Aspen Art Museum, US; Vancouver Art Gallery, CA; Mac, Montreal, CA
New Art, 2 Willow Road, London, UK
Explorers vs Pioneers, Taro Nasu Gallery, Tokyo, JP
Chance Everything, Oriel Mostyn Gallery, Llandudni, Wales, UK
2013 Make every show like it’s your last, Frac Ile de France, Le Plateau, Paris, FR
Associative Photographs, 2004, Zabludowicz Collectionm New York, US
Loop Fair 2013, with Annet Gelink Gallery, Barcelona, ES
Once upon a bicycle, not so long ago, Annet Gelink Gallery, Amsterdam, NL
Desktop Residency, www.desktopresidency.com
2012 “These are things that I don’t understand, Daiwa. Hiroshima, JP
‘‘They came out of nowhere’ he said, pointing to nowhere’, with Jonathan Monk, Taro Nasu, Tokyo, JP
These are the things that I don’t understand, Daiwa Press Viewing Room, Hiroshima, JP
Ryan Gander: An Exhibition of Recent Paintings, David Risley Gallery, Copenhagen, DK
Esperluette, Palais de Tokyo, Paris, FR
Boing Boing Squirt, Museo Tamayo Arte Contemporaneo, Mexico City, MX
The Fallout of Living, Lisson Gallery, London, UK
Lost My Own Recursive Narrative, Fondazione Morra Greco, Naples, ITA
The Magnificent Seven, CCA Wattis Institute, San Fransisco, US
An Exercise in Cultural Semaphore, GB Agency, Paris, FR
2011 Now there’s not enough of it to go around, Annet Gelink Gallery, Amsterdam, NL
Really Shiny Things That Don't Mean Anything, Trybuna Honorowa, Plac Defilad
Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw, PL
Ryan Gander, Billboard for Edinburgh: Year 4, Ingleby Gallery, Edinburgh, UK
Icarus Falling – An exhibition lost, Maison Hermes, 8th floor Le Forum, Tokyo, JP
New Collisions in Culturefield, Jörg Johnen Galerie, Berlin, DE
Locked Room Scenario, The Depot, commissioned by Artangel, London, UK
Meaning… surrounds me now, 1223 Gendaikaiga, Tokyo, JP
You have my word, Taro Nasu, Fukuoka, JP
Attempting to remain light on ones feet: Work from Daiwa Collection, Okinawa Prefectural Museum,
Tokyo, JP
Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture
came into being, an illustration of the physicality of an argument between Theo and Piet regarding the
dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic
scenes Taru Nasu Gallery, Tokyo,
JP
2010 Saying something is made of something when it is actually made of something else, YU-UN, Tokyo, JP
Intervals, Solomon R. Guggenheim Museum, New York, US
The Happy Prince, Public Art Fund, Doris C. Freedman Plaza at the southeast corner of Central Park, New
York, US
Approach it slowly from the left, Haus Konstruktiv, Zürich, CH
You walk into a space, any space, Lisson Gallery, London, UK
I am an Aurefilian, Taro Nasu Gallery, Tokyo, JP
A Whole Hole, G-Tokyo, Tokyo, JP
2009 I let somebody get under my skin, Annet Gelink Gallery, Amsterdam, NL
The die is cast, Villa Arson, Nice, FR
It’s a right Heath Robinson affair, gb agency, Paris, FR
It’s a right Heath Robinson affair, Kadist, Paris, FR
Eleanor Antin, Marcel Broodthaers, Peter Friedl, Ryan Gander, Erna Hecey Gallery Temporary Space,
Cologne, DE
Heralded as the new black, Museum Boijmans Van Beuningen, Rotterdam, NL*
As it presents itself, Picture This, Bristol, UK
2008 Somebody’s playing me 1998 – 2008, Taro Nasu Gallery, Tokyo, JP
And it came to life, Marz Galleria, Lisbon, PT
Championed by Rigour, Tanya Bonakdar Gallery, New York, USA
Heralded as the new black / Forward, IKON Gallery, Birmingham, UK*
Heralded as the new black / Forward, South London Gallery, London, UK*
Something Vague, Sankt Gallen Kunstverein, Sankt Gallen, CH
Something Vague, Bonner Kunstverein, Bonn, DE
How I learnt to use my senses, how I learnt to think and how I learnt to feel, TARO NASU, Tokyo, JP
Basquiat, Store Gallery, London, UK
2007 Gallery Cover, Annet Gelink Gallery, Amsterdam, NL
Ghostwriter Subtext, Taro Nasu Galley, Tokyo, JP
More than the weight of your shadow, Daiwa Factory, Hiroshima, JP
Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco, US
Phantom of Appropriation, In the stream of life Betonsalon, Paris, FR
Short Cut through the trees, MUMOK, Vienna, AT
The Last Work, Stedelijk Museum, Amsterdam, NL
Of Any Actual Person, Living or Dead, STORE, London, UK
2006 Art Unlimited, Art Basel, with Annet Gelink Gallery, Basel, CH
Gostwriter Subtext, Premier container, Art Basel Premier with STORE, Miami Basel, US
Didactease, Marc Foxx, Los Angeles, CA, US
ABN AMRO Kunstprijs, ABN AMRO head quarter, Amsterdam, NL
Templates for… Massimo de Carlo, Milan, IT
Is this guilt in you too? (Cinema Verso), Whitechapel, London, UK
The title taken from reading that book (with George Henry Longly), Elisabeth Kaufmann, Zurich, CH
Is this guilt in you too – (The study of a car in a field), MUMOK, Vienna, AT
Your clumsiness is the next man’s stealth, Annet Gelink Gallery, Amsterdam, NL
Nine Projects for the Pavilion de l’Esprit Nouveau, GAM, Bologna, IT
2005 But it was all green, Artists Space, New York, US
Of Any Actual Person, Living or Dead, with Aurélien Froment, Les Laboratoires d'Aubervilliers, Paris, FR
Art Basel Statements with Annet Gelink Gallery, Basel, CH
Is This Guilt in You Too– (The Study of a Car in a Field), Annet Gelink Gallery, Amsterdam, NL
Somewhere between 1886 and 2030, Store, London, UK
2004 But it was all green, Annet Gelink Gallery, Amsterdam, NL
An Incomplete History of Ideas, Cornerhouse, Manchester, UK
Dagger of the Mind, La Gallerie dans ma Poche, Leeds and London, UK
2003 But it was all green, Store, London, UK
The Death of Abbé Faria, Stedelijk Museum Bureau, Amsterdam, NL*
2002 Marie Aurore Sorry, The International 3, Manchester, UK*
In Return, with Shahryar Nashat, Centre Pasquart, Bienne, CH
Group Exhibitions
2019 Time Kills – Time based art from Julia Stoscheck Collection, SESC, São Paulo, BZ
Jews, Money, Myth, The Jewish Museum, London, UK
Hate Speech, Aggression and Intimacy, Künstlerhaus Graz, Graz, Austria
The Historian’s Craft, ICA Milano, Milan, Italy
In My Shoes: Art and the Self Since the 1990s, Aberystwyth Arts Centre, Aberystwyth
UK Drawing Biennial 2019, Drawing Room, London, UK
2018 Fleeting Exists, Sursock Museum, Beirut, Lebanon
Knock, Knock: Humour in Contemporary Art, South London Gallery, London, UK
Open Call, Atlas House, Annual Ipswich Biennial, UK; MusMex Shoreditch, London, UK
Beautiful world, where are you?, The Metropolitan Cathedral, Liverpool Biennial, UK
In My Shoes: Art and the Self Since the 1990s, Attenborough Center, UK
Summer Exhibition 2018, Royal Academy of Art, London, UK
Dime-Store Alchemy, FLAG Art Foundation, New York, USA
Velvet Ropes, David Risley Gallery, Copenhagen, Denmark
KADIST: General Rehearsal, Moscow Museum of Modern Art, Moscow, Russia
In My Shoes: Art and the Self Since the 1990s, Yorkshire Sculpture Park, UK
Other Places, Sydney Biennale, Sydney, AUS
Chair, Chair, Chair, Lamp, Table, Bed, Sofa, David Risley Gallery, Copenhagen, Denmark
Triennial of Contemporary Art by Sea, Beaufort Triennial, Koksijde, Belgium GAUDIOPOLIS, Kulturstiftung Des
Bundes, Project Leitung, Leipzig, Germany RESONANCE by Frac Normande Rouen, Musee des Beaux-arts de Rouen,
Rouen, FR Degas: A Passion for Perfection, Denver Art Museum, Colorado, CO, USA
The Stories of Almost Everyone, Hammer Museum, Los Angeles, CA, USA
ZEIGEN. An Audio Tour through the Collection of NMAO, National Museum of Osaka, JP
Darbyshire, Gander, Pica, Starling, Hayward Gallery, London, UK
The Land We Live In - The Land We Left Behind, Hauser & Wirth, Somerset, UK
Good Grief, Charlie Brown! Celebrating Snoopy and the Enduring Power of Peanuts, Somerset House, London, UK
Re:Collecting / Curatoren VBCN OPEN 2018, Museum Singer, Laren, Netherlands Pacific Breeze, White Conduit
Projects, London, UK
TRACÉ, Josée et Marc Gensollen, La Fabrique, Marseille, Fance
Atypical Curated Project (Chinese Whispers), Meessen De Clerq, Brussels, Belgium I’m just resting my eyes (Pavement
encounter), MusMex Shoreditch, London, UK
The Annotated Reader, curated by Ryan Gander, London, UK
2017 Art Lesson, Museo Thyssen- Bornemisza, Madrid, Spain
Dance to the Music of Time – A Homage to Howard Hodgkin, Dvir Gallery, Brussels, Belgium
We Are Not Alone, Athr Gallery, Jeddah, Saudi Arabia
Everything at Once, The Store, London, UK
Push Play, ICI, Vicki Myhren Gallery, University of Denver, Denver, USA
De Fotokopie, Irma Boom Studio, Amsterdam, Netherlands
Iconoclash / Il conflitto delle immagini, Museo di Castelvecchio, Verona, Italy Publishing as an Artistic Toolbox: 1989-
2017, Kunsthalle Wien, Vienna, Austria
A Year From Monday In Mexico, Fifi Projects, Monterry, Mexico
Degas: A Passion for Perfection, Fitzwilliam Museum, Cambridge, UK
We Came Here to Conquer, Norfolk Museum, Norwich, UK
Magic Lantern Film Festival, Cinema dei Piccoli, Rome, Italy
Enjoy, Bramante Cloister Gallery, Rome, Italy
The Policeman’s Beard, Bonner Kunstveiren, Bonn, Germany
I Speak to People on the Telephone, Cristina Guerra Contemporary Arts, Lisbon, Portugal
Enjoy, Art Meets Amusement, Bramante Cloister Gallery, Rome, IT
Sculpture in the City, London, UK
Perfectly Concocted Context, Los Angeles, CA, USA
EXIT, Rodolphe Janssen, Brussels, Belgium
The Greatest Story Ever Told, curated by Ryan Gander, The National Museum of Art Osaka, Osaka, JP
Dioramas, Palais de Tokyo, Paris, FR
Synthetic Landscapes, Shrewsbury Museum, Shrewsbury, UK
Het Zalig Nietsdoen, Museum Kranrnburgh, Bergen, Norway
Original Fake, MAISTERRAVALBUENA, Madrid, Spain
The Heart of the Tin Woodman, M Woods, Beijing, China
The Transported Man, Broad Art Museum, Michigan, USA
I Want! I Want! Art and Technology, Gas Hall, Birmingham Museum & Art Gallery, Birmingham, UK
Colori, Castello di Rivoli, Museo d’Arte Contemporanea, Torino, Italy
Night in the Museum, curated by Ryan Gander, The Attenborough Centre, Leicester, UK
Lisson Presents..., Lisson Gallery, London, UK
Art of the Postcard, Handel Street Projects, London, UK
Field Guide, Remai Modern, Saskatoon, Canada ‘Pallaksh Pallaksh’, Dvir Gallery, Tel Aviv, Israel
Push Play, ICI, Hendreen Gallery, Seattle University, Seattle, USA
2016 Ghosts of Other Stories: The British Council Colleciton, The Model, Sligo, IE
Night in the Museum: Curated by Ryan Gander, Longside Gallery, Yorkshire
Sculpture Park, UK
Found, The Foundling Museum, London, UK
British Art Show 8, Scottish National Gallery of Modern Art, Edinburgh, UK
Not All That Falls Has Wings, ARTER, Istanbul, TR
2015 Collateral Drawing, Waterfront Gallery, Ipswich, UK
Transparancies: The Ambivalence of a New Visibility, Kunstverein Nürnberg and Albrecht Dürer Gesellschaft,
Nürnberg, DE
Performa 15, New York, New York, US
Duh? Art & Stupidity, Focal Point Gallery, Southend-on-Sea, UK
British Art Show 8, Leeds Art Gallery, Leeds, UK
“I Speak, Knowing It’s Not about Speaking”,*, Caixaforum, Barcelona, ESP
The Dream of Modern Living: Contemporary Artists Explore IKEA, Warrington
Contemporary Arts Festival in Partnership with NORTH, Warrington Museum & Arts Gallery, Warrington, UK
By Boat (Farewell), JoséGarcía, Mexico City, MX
Collaborations, Singapore Taylor Print Institute, Singapore, SG
CRU, Centro Cultural Banco do Brasil, Rio de Janeiro, BR
Business as usual, Turf Projects, London, UK
Pequod, 11 Columbia, Monaco Ville, MC
WATOU 15, Kunstenfestival Watou, Watou, BE
Imaterialidade, SESC Belenzinho, Sao Paulo, BR
Icastica 2015, Taverna, Arezzo, IT
Station to Station: A 30 Day Happening, Barbican Art Centre, London, UK
Back to the Future, Annet Gelink Gallery, Amsterdam, NL
Open City, Lublin, PL
Ryan Gander and A. Four present Brand Evangelism and The Universe as I knew it aged 5, collapsed and expanded
several times or more (Reflector), Wild West Active Space, Maastricht, NL
This sentence, curated by Public Fiction, China Art Objects, Los Angeles, US
Adventures in Bronze, Clay & Stone, curated by Adam Carr, Arezzo Biennale Arts Festival, Arezzo, IT
Art as a verb, Artspace, Sydney, AU
2014 Between the Idea and the Experience, 12th Havana Biennial, Havana, CU
When I give, I give myself (with Maria Barnas), Van Gogh Museum, Amsterdam, NL
Panorama, High Line, New York, New York, US
Let’s start playing the game, De Brakke Grond, Amsterdam, NL
Blu Times, Kunsthalle Wien, Vienna, AT
Business as Usual, Set The Controls For the Heart of the Sun, Leeds, UK
Inside, Palais de Tokyo, Paris, FR
RE-Corbusier. Seize oeuvres contemporaines, Fondation Le Corbusier Maison La Roche, Paris, FR
Private Utopia, Dunedin Public Art Gallery, Dunedin, NZ
In-We Trust: Art and Money, Columbus Museum of Art in Ohio, US
PER/FORM, CA2M, Madrid, ES
Ryan Gander, Ordrupgaard Museum, Charlottenlund, DK
The Human Factor, Hayward Gallery, London, UK
Black and White, Royal Academy of Art, London, UK
Der Kubist Marcel Duchamp mag nicht malen, Galerie Thomas Schulte, Berlin, DE
Itself Not So, Lisa Cooley Fine Art, New York City, US
Undertones, Marres, Centre for Contemporary Culture, Maastricht, NL
A Guest Without A Host Is A Ghost, Townhouse Gallery, Cairo, EG
Will Happiness Find Me?, Tokyo Opera City Art Gallery, Tokyo, JP
PER/FORM. How to do things with[out] words, CA2M, Centro de Arte Dos de Mayo, Mostoles, ES
Curatorial Open 2014: Listening, with Haroon Mirza, Bluecoat, Liverpool, UK
Postscript: Writing after Conceptual Art , Eli and Edythe Broad Art Museum, East Lansing, US
Private Utopia, Okayama Museum of Art, Okayama, JP
Considering Britain, curated by Simon Fujiwara, Hayward Gallery, London, UK
SCHLAFLOS, curated by Mario Codognato, 21er Haus, Vienna, AT
SMALL curated by Adam Carr, Frutta Gallery, Rome, IT
Art Basel Miami Public Sector, curated by Nicholas Baume, Miami, US.
SOME/THINGS, Proyectos Monclovo, Mexico, MX
L’Avenir/Looking Forward, curated by Gregory Burke and Peggy Gale, La Biennale do Montréal, Montréal, CA
The Peace One Day, ICA, London, UK
Art as a Verb, Monash University Museum of Art, Melbourne, AU
Exercises for a Revolution, in collaboration with Nomas Foundation, MAXXI Museum, Rome, IT
Rose , CEAAC - Centre européen d'actions artistiques contemporaines, Strasbourg, FR
Art By TeLePhone..., ReCalLed - La Panacée, Montpellier, FR
Return Journey , Oriel Mostyn Gallery, Llandudno, Wales, UK
A man walks into a bar…, Landshuter Strasse 49, Mainburg, DE
2013 If you will it, it`s not a dream, Annet Gelink Gallery, Amsterdam, NL
Dear Portrait, MOSTYM, Cymru, UK
Disappearing into one, Zabludowicz Collection, London, UK
Nostalgic for the Future, Lisson Gallery, London, UK
ONE TORNO #1, an appropriation by Santo Tolone, Castello Di Rovolio, Torino, IT
Mijn Derde Land, Frankendael Foundation, Amsterdam, NL
De leur temps (4), Regards croisés sur la jeune creation, Le Hangar a Banane, Nantes, FR
The Eye on Time: Works from the Adrastus Collection, Museo de Arte Carrillo Gil, Mexico City, MX
Helicotrema, Recorded Audio Festival, MACRO Musea d’Arte Contemporanea Roma, Rome, IT
Dans cinquante ans d’ici, curated by Niekolaas Johannes Lekkerkerk, part of Livre Imagine: Source Ouverte
2013, Les Territoires, Montreal, CA
TECTONIC, The Moving Museum, Dubai, UAE
The Earth Turns and All Things Slip Away, curated by Edith Jeřábková + Jiří Kovanda, hunt kastner, Praha, CZ
Inventing a future’, GB agency, Paris, FR
A House of Leaves. Third Movement, David Roberts Art Foundation, London, UK
Cast Recording, PRISM, Hollywood, US
Book Machine Nouvelle Festival, Centre Pompidou, Paris, FR
Testing Ground 2013, Zabludowicz Collection, London, UK
Moral Holiday, Northern Gallery for Contemporary Art, Sunderland, UK
Artists’ Artists, Centre PasquArt, Biel Bienne, CH
2012 The Beginning, Wild West Active Space, Maastricht, NL
Chester, CO2, Rome, IT
Art by Telephone…Recalled, CNEAI, Chatou, CAPC, Bordeaux, FR, Emily Harvey Foundation, New York, US
‘‘They came out of nowhere’ he said, pointing to nowhere’, with Jonathan Monk, Taro Nasu, Tokyo, JP
Museum of Contemporary Art, Denver, US
Go Deep or Go Home, ASC Studios, London, UK
VIP Showroom, Annet Gelink Gallery, Amsterdam, NL
Moral Holiday, Northern Gallery for Contemporary Art, Sunderland, UK
9th Shanghai Biennale, Shanghai, CN
Curated By, Galerie Martin Janda, Vienna, AT
Checkhov’s Gun, G39, Cardiff, UK
Artists of the No, Projectraum Victor Bucher. Vienna, AT
Detective, Galerie Andreas Huber, Vienna, AT
Documenta 13, Kassel, DE
Beyond Words, Gesellschaft fuer Aktuelle Kunst GAK, Bremen, DE
SNAP Art, Aldeburgh Festival 2012, Aldeburgh, UK
Glazed, Galerie Chez Valentin, Paris, FR
When Attitudes Became Form Become Attitudes, CCA Wattis, San Francisco, US
There must be a 'right way, Gallery of the Art School of Brest, Brest, FR
British Group Exhibition, The Arts Club, London, UK
An Incomplete History of Incomplete Works of Art, Francesca Minini, Milan, IT
The eyes of the soul: A selection of works from the collection of Isabelle and Jean-Conrad Lemaitre, Fundació
Godia, Screen from Barcelona, Barcelona, SP
FOREIGNERS EVERYWHERE: Contemporary Art from the Pomeranz Collection, Jewish Museum Vienna,
Vienna, AT
A common feeling, gb Agency, Paris, FR, in conjunction with Murray Guy, New York, US
The Artists’ Postcard Show, Spike Island, Bristol, UK
Several Silences, Knoxville Museum of Art, TN, US
MacLean 705, MacLean 705, School of the Art Institute of Chicago, Chicago, IL, US
New presentation of the collection, MNAM, Centre Georges Pompidou, Paris, FR
L’Institut des Archives Sauvages, Villa Arson, Nice, FR
Rotary Connection, Casey Kaplan, New York, US
Blind Cut, Marlborough Gallery, New York, US
Coup Double at Bordeaux, Frac Aquitaine, Bordeaux, FR
Postscript, Museum of Contemporary Art, Denver, US
Without (Jonathan Monk), Meessen de Clerq, Brussels, BE
Drawing Alive, Ipswich Museum, Ispwich, UK.
SNAP: Art at the Aldeburgh Festival, Snape Maltings, UK
The eyes of the soul: A selection of works from the collection of Isabelle and Jean-Conrad Lemairte, Fundacio Godia,
Screen from Barcelona, Barcelona, SP
Accidently on Purpose, Quad, Derby, UK
Institute of Savages Archives, Villa Arson, Nice, FR
2011 Two Versions of the Imaginary, curated by Maria Barnas, Annet Gelink Gallery, Amsterdam, NL
There must be a right way, Benoit Maire Studio/ Francois Aubait, Nantes, FR
Gesture, form, technique, Taro Nasu, Tokyo, JP
Politics is Personal, Stonescape, California, US
Billboard for Edinburgh: Year 4, Ingleby Gallery, Edinburgh, Scotland, UK
The New Place Tribune, Museum of Modern Art Warsaw, PL
Le Sentiment des choses, Le Plateau, Frac Ile de France, Paris, FR
I know about creative block and I know not to call it by name, Lisson Gallery, Milan, IT
Our Magic Hour, Yokohama Triennale 2011, Yokohama, JP
5 x 5 Castelló 11 Premi Internacional d’art contemporani Diputació de Castelló, Espai d’art contemporani de
Castelló, Castelló, SP
The Collector’s Show: part of VANUIT HIER/OUT OF HERE, Van Abbemuseum, Eindhoven, NL
KnowHow!, Campbell Works N16, London, UK
Han Nefkens – 10 jaar mecenas, Museum Boijmans Van Beuningen, Rotterdam, NL
Invisibleness is visibleness, MOCA Taipei, TW
The Object of Observation (Changes By Being Observed), curated by Tim Lee, Johnen Galerie, Berlin, DE
Humid, but cool, I think, curated by Ryan Gander, Taro Nasu, Tokyo, JP
Bischoff/Weiss, Glaze, London UK
Two Times Once – an exhibition by mr Rossi, Limoncello, London, UK
Nul si Découvert/Void if removed curated by Guillaume Désanges, Le plateau, Paris, FR
Commercial Break, presented by Garage Center for Contemporary Culture, Moscow & POST, 54th International
Venice Biennale, Venice, IT
Ryan Gander & Michael Marriot, The Russian Club, London, UK
Artzuid, Amsterdam, NL
The Aldeburgh Beach South Lookout, Aldeburgh, UK
Le Slurm, Haute Ecole d’Art, Geneva University, Geneva, CH
Paysages Avec Objets Absents, Centre d’art contemporain de Fribourg, Fribourg, CH
Fat Chance to Dream (Una opportunidad para sonar/Tania Pardo, Galeria Maisterra Valbuena, Madrid, ES
Invocations of the blank page, curated by Frances Loeffler, Project Space, Spike Island, Bristol, UK
The Shape We’re In, 176 Zabludowicz Collection, London, UK
The missing part, La Sorbonne, Paris, FR
Art + Drama, Whitechapel Gallery, London, UK
IllumiNATIONS, Giovanni Carmine / Bice Curiger, Venice Biennale, Venice, IT
Radical Autonomy/ nieuwe werelden van niks, Netwerk, Aalst, BE
Round and Round and Round (Part 2): Ryan Gander, Francesco Gennari, Rodney Graham, La collection du
Frac Ile-de-France, Marne-la-Vallee, FR
Glaze, curated by George Henry Longly, Bischoff/Weiss, Londen, UK
The Lake of Fire, Den Frei Udstillingsbygning, Copenhagen, DK
2010 Art Unlimited, with Annet Gelink Gallery, Art 41 Basel, Basel, CH
Laocoon II, COCO, Vienna, AT
Excoffon, IFF, Marseille, FR
Publics and Counterpolitics, Centro de Andaluz de Arte, Contemporaneo CAAC, Seville, ES
Things slowly curve out of sight until they are gone. Afterwards only the curve remains, curated by Elodie
Royer, & Yoann Gourmel, Hermes Und Der Pfau, Stuttgart, DE
Propective Xxieme siecle, Frac Ile-de France / Le Plateau / L’Antenne France, Paris, FR
Faint to Black, Henninsen Contemporary, Copenhagen, DK
Manifesta 8, Region of Murcia, ES
The Storyteller, Salina Art Center, Kansas, USA
Lake of Fire, Den Frie Udstillingsbygning, Copenhagen, DK
The Art of Camo, Cardi Black Box Gallery, Milan, IT
Resonance, Suntory Museum (Tempozan), Osaka, JP
Auto-Kino!, Berlinale, Kunsthalle Berlin, DE
Hors d’oeuvre II, Campagne Première, Berlin, DE
About us, Johann König, Berlin, DE
Tatton Park Biennial, Tatton Hall, Knutsford, UK
Sameness and difference, Russian Club Gallery, London, UK
Present is a thing of the past, now, GAMeC Art Centre, Bergamo, IT
Art Parcours, Art 41 Basel, Basel, CH
Les Interlocuteurs, Beaux Arts of Toulouse, Toulouse, FR
Ecce Homo Ludens, Musée Régional d’Art Contemporain Languedoc Roussillion, Sérignan, FR
Okay, I have had enough, what else can you show me?, DOCVA, Milan, IT
It is it, Espacio 1414, Santurce, PR
Motage, Maison d’Art Bernard Anthonioz, Paris, FR
The Storyteller, Art Gallery of Toronto, Ontario, CA
A performance cycle, Nomas Foundation, Rome, IT
Double Blind, Villa Arson, Nice, FR
Dark After After Dark, Khastoo Gallery, Los Angeles, USA
Che cosa sono le nuvole? Artworks from the Enea Righi Collection, Museion, Bolzano, IT
The Library of Babel, 176 Collection, London, UK
The Boy Who Cried Wolf (Left Loosey, Righty Tighty), gb Agency, Paris, FR
Exhibition, exhibition, Castello di Rivoli – Museo d’Arte Contemporanea, Rivoli, IT
Les Belles Images: Second Scenario, La Box, Bourges, FR
FAX, Para/Site Art Space, Hong Kong, CN
Artprojx Presents, Wimbledon College of Art, London, UK
Répétition dans l’Épilogue, Super # 11, Galerie Lucile Corty, Paris, FR
Gallery, Galleria, Gallerie, Norma Mangione Gallery, IT
Production Site: The Artist’s Studio Inside-Out, MCA, Chicago, USA
The Storyteller, Anna-Maria and Stephen Kellen Gallery, New York, USA
2009 Places To Be. New York – Shanghai – Tel Aviv – Texas – Zagreb, video program The Bakery, Annet Gelink
Gallery, Amsterdam, NL
Lisson Presents 6, Lisson Gallery, London, UK
Where water comes together with other water, Chapter 3, gb Agency, Paris, FR
7 Words, Am Nuden Da Session, London, UK
Can Art Save Us. Millennium Galleries, Sheffield, UK
Mille e Tre, Musée du Louvre, Paris, FR
The Store, Artissima, Turin, IT
Radical Autonomy, Centre D’Art Contemporain, Saint-Nazaire, FR
TV, Mercer Union, Toronto, CA
The Storyteller, Salina Art Center, Kansas, US
Eleanor Antin, Marcel Broodthaers, Peter Friedl, Ryan Gander, Erna Hecey, Gallery Temporary Space,
Cologne, DE
Still Nacht, Outlet, Manchester, UK
7a Bienal do Mercusol, Porto Alegre, BR
Sculpture of the Space Age, David Roberts Foundation, London, UK
Chasing Napoleon, Palais de Tokyo, Paris, FR
Assembly, Yvon Lambert, Paris, FR
Richard Prince and the Revolution, PROJECTE SD, Barcelona, ES
Era New Horizons Film Festival, Warsaw, PL
Space as Medium, Miami Art Museum, Miami, USA
Pete and Repeat, works from Zabludowicz Collection, London, UK
Paper Show, David Risley Gallery, Copenhagen, DK
The Making of Art, Schirn Kunsthalle Frankfurt, DE
Forms of Enquiry, Architects Association, London, UK
The Space of Words, MUDAM, Luxembourg, LU
Talk Show, ICA, London, UK
The Happy Interval, Tulips & Roses, Vilnius, LI
Fax, The Drawing Center, New York, USA
Natural Wonders, Baibakov Art Projects, Moscow, RU
Lisson presents 4, Lisson Gallery, London, UK
Contested Ground, 176 Gallery, London UK
Trying to cope with things that aren’t human, David Cunningham Projects, San Francisco, USA
The Malady of Writing, MACBA, Museu d’Art Contemporani de Barcelona, Barcelona, ES
Younger than Jesus, New Museum, New York, USA
Lisson Presents 4, Lisson Gallery, London, UK
Mirrors, MARCO, Vigo, ES
Several Silences, The Renaissance Society, Chicago, US
British Subjects: Identity and Self-Fashioning, Neuberger Museum of Art, New York, US
Trying to cope with things that aren’t human, AirSpace Gallery, Stoke on Trent, UK
Forms of Enquiry, Architects Association, London, UK
The Little Shop on Hoxton Street, Limoncello Gallery, London, UK
Desiring Necessities, John Hansard Gallery, Southampton, UK
Trying to cope with things that aren’t human, AirSpace Gallery, Stoke on Trent, UK
The Story Teller, ICI, New York, USA
Desire Acquire, Galerie Bob van Orsouw gmbh, Zürich, CH
2008 Never let the truth get in the way of a good story, Site Gallery, Sheffield, UK
Future Landscape, Royal Academy of Arts, London, UK
Panoramica ciclo de video, Bailando sin salir de casa, Museo Tamayo arte contemporáneo, Bosque de
Chapultepec, MX
One of these things is not like other things, Galleria 1/9 unosunove, Rome, IT
The flight of the Dodo, Project Arts Centre, Dublin, IR
AWOL – Biennale of Young Artists, META Cultural Foundation, Bucharest, R
A Recent History of Drawing & Writing, ICA, London, UK
Playtime, Betasalon, Paris, FR
Out of sight, Proyectos Monclova, Mexico, MX
Wouldn’t it be nice, Somerset House, London, UK
Wouldn’t it be nice, Centre d’Art Contemporain, Zurich, CH
Self Storage, Curatorial Industries, San Francisco, USA
I desired what you were, I need what you are, Galleria Maze, Torino, IT
Within the big structure, Berlin-Mitte, Berlin, DE
Delirious Beijing, PKM Gallery, Beijing, CH
Life on Mars, Carnegie International, Carnegie Museum of Art, Pittsburg, USA
Revolutions – forms that turn, 16th Biennale of Sydney, AUS
As It Presents Itself, Whitstable Biennale, Whitstable, UK
Art Now Curate, Tate Modern, London, UK
Featuring, Galerie Chez Valentin, Paris, FR
Inaugural Show, Marz Galleria, Lisbon, P
The show is not a void, Galeria Luisa Strina, Sao Paolo, BRA
2007 Performa 07, New York, USA
In the stream of life, Betonsalon, Paris, FR
For Sale, Cristina Guerra Contemporary Art, Lisbon, PT
Wouldn’t it be nice, Centre d’Art Contemporain, Geneva, CH
WITHOUT, Curated by Adam Carr, Yvon Lambert, Paris, FR
How soon is now?, Fundación Luís Seoane, Coruna, ES
Didactease work, Christina Wilson Galerie, Copenhagen, DK
Of any actual person living or, STORE, London, UK
Projection, Lentos Art Museum, Linz, AU
Words Fail Me, MoCAD, Detroit, USA
Language of Vision, Middlesbrough Institute of Modern Art, Middlesbrough, UK
Last Work, Lyon Biennale, Lyon, FR
Took my hands, Bonakdar Curate Show, New York, USA
Wouldn’t it be nice, Centre d’Art Contemporain, Geneva, CH
Car in Field, Wattis, San Francisco, USA
Loose Associations, Performa, New York, USA
2006 Constellations, Tanya Bonakdar, New York, USA
Spencer, Forget About Good, with Annet Gelink Gallery Amsterdam, Art Basel Unlimited with Annet Gelink
Gallery, Basel, CH
Curating the Library, de Singel, Antwerp, B
Projection, Museum of Art Lucerne, CH
Wrong, Klosterfelde, Berlin, D
The show will be open when the show will be closed, STORE, London, UK
Whitstable Biennale, Whitstable, UK
Le Spectre des Armatures, Glassbox, Paris, FR
Trial Balloons, MUSAC, Leon, ES
Don Quijote, Witte de With, Rotterdam, NL
Objet a Part, Centre d’art Contemporain, Noisy le sec, FR
Cohen and Leslie, New York, USA
In touchable, Villa Arson, Nice, FR
Tate Triennial, Tate Britain, London, UK*
2005 Spectator T, Sheffield, UK*
T1 Triennial, Castello di Rivoli Museo d'Arte Contemporanea, Turin, IT Free Library, M + R Gallery, London,
UK
Romance – A Novel, Cristina Guerra Contemporary Art, Lisbon, P
Jaybird, ZERO... Milan, IT
Post No Bills, White Columns, New York, USA
Petites Compositions Entre Amis, GB Agency, Paris, F
Invisible Script, W139, Amsterdam, NL
Beck’s Futures, CCA, Glasgow, UK*
In This Colony, Kunstfort bij Vijfhuizen, NL*
Beck’s Futures, ICA, London, UK*
A Show Without Works, Project Room, Spazio Lima, Milan, I*
The World, Abridged, Kettles Yard, Cambridge, UK*
Timeline, The Store & Window 32, Paris, F
2004 Romantic Detachment, PS1, New York, USA*
Romantic Detachment, Chapter Arts, Cardiff, UK*
Romantic Detachment, Q Arts, Derby, UK*
Romantic Detachment, Folly Gallery, Lancaster, UK*
Making Public, CBK, Dordrecht, NL
Summer Pursuits, STORE, London, UK
Loose Associations, Centre Pompidou, Beaubourg, Paris, F
Loose Associations, Foksal Gallery, Warsaw, P
Artist House, The Round Foundry, Leeds, UK
2003 Catch Me, Onufri, National Gallery of Albania, AL
Tourette's, W139, Amsterdam, NL*
RDV Résonance, Galerie des Terreaux, Lyon Biennale, Lyon, FR
Prix de Rome Winner, Gem, Museum voor Actuele Kunst, Den Haag, NL*
Grizedale Artist in Residence, Cumbria, UK
2002 Unloaded, (Disused Military Bunkers), Oberschan, CH*
2001 Record Collection, Forde Gallery, Geneva, CH
In a language…, Project ruimte zuid en oost, Amsterdam, NL
Year of the Artist Residency, The Lowry, Manchester, UK
2000 The Oriel Mostyn Open, Llandudno, UK
Square City, Holden Gallery, Manchester, UK
Goethe’s Oak Has Woodworm, Static Gallery, Liverpool, UK
Unfortunately Last Sunday, Museum Het Domein, Sittard, NL*
Free Space, Nieuw Internationaal Cultureel Centrum, Antwerpen, BE*
Awards and Prizes
2009 Nominee for The Times, South Bank Breakthrough Award, UK
Winner of the Zurich Art Prize, Haus Konstruktiv, CH
Shortlist for Bishops Square Public Art Commission, Spitalfields, UK
2008 Paul Hamlyn Award, UK
2007 DENA Foundation Art Award, F*
2006 ABN AMRO Art Price, ABN AMRO head office Amsterdam, NL*
2005 Baloise Art Statements Prize, Art Basel, CH
Beck’s Futures Shortlist, ICA, London, UK
2004 Cocheme Fellowship, Byam Shaw School of Art, London, UK
2003 Prix De Rome for Sculpture, NL
2001-2003 Arts Council of England International Fellowship, UK
Artists Publications / Monographs
2014 Culturefiled, IBSN: 3863355709
2013 Artists’ Cocktails, ISBN: 978-1-907908-16-3
2012 Ampersand, Dent-de-Leone, ISBN 9-781907-908088
2010 Fan No5 - Ryan Gander – Footnotes on Headnotes – Sep 2010
Ryan Gander: Catalogue Raisonnable Vol. 1, Westreich/Wagner Publications: part of the artists’ books series
Christopher Keller Edition / JRP Ringier, 978-3-03764-146-0
2008 Heralded as the new black, artist book published on the occasion of the exhibition at the Ikon gallery, Birmingham,
South London gallery, London, and the Museum Boijmans Van Beuningen, Rotterdam, 978-1904864370
The Viewing Room, Volume 5, Daiwa Press Co. Ltd (with Taro Nasu)
2007 Appendix Appendix, A proposal for a TV Series, Christophe Keller Editions/JRP Ringier (with Stuart Bailey),
Intellectual Colours, book published on the ocassion of the presentation the Dena Foundation Art Award 2006 Dena Foundation of Contemporary Art and Silvana Editoriale, 13:97888-3660875-1 (with Will Holder), ABN
Amro Award
Parallel Cards, a project by Ryan Gander (with Mia Frostner, Robert Sollis, Paul Tisdell, Rasmus Troelsen),
Loose Associations and other Lectures, One Star Press, Paris (with EUROPA)
New New Alphabet, poster (with Rasmus Spanggaard Troelsen)
2006 Pure Associations, on the occasion of the ABN AMRO Art Foundation, ABN AMRO Bank, Amsterdam
2005 From The Alpinist, Fort Vijfhuizen / Artimo, 90-8546-042-5
It’s Like the Spoilt Brat of the Dictionary... (with Alice Fisher), STORE, 0-9550142-0-4
2004 The Boy that always looked up, (with Sara De Bondt), Cornerhouse Manchester, 0-948797-44-4
2003 Appendix, (with Stuart Bailey), Artimo Amsterdam, 90-75380-60-7
2002 In a language you don’t understand (with Sara De Bondt), The International 3, Mancheste
Teaching / Lectures
AA School of Architecture, London, UK
Art Basel Miami Beach | Art Basel Conversations, Miami, US
Barbican, London, UK
Barnard College, New York City, US
Byam Shaw School of Art, London, UK
Carnegie Mellon University
Chelsea School of Art, The London Institute, London, UK
Coventry School of Art and Design, Coventry, UK
De Appel, Amsterdam, NL
East Street Arts, Leeds, UK
Edinburgh University, The Protoacademy, Edinburgh, UK
École nationale des beaux-arts, Lyon, F
Gerrit Rietveld Academie, Amsterdam, NL
Goldsmiths College, London, UK
Leeds Metropolitan University, Leeds, UK
Manchester Metropolitan University, UK
Piet Zwart Institute, Rotterdam, NL
Plymouth College of Art and Design, Plymouth, UK
Roski School of Fine Arts, University of Southern California, Los Angeles, US
Royal College of Art, London, UK
Ruskin School of Art, Oxford, UK
Sheffield Hallam University, Sheffield, UK
Slade School of Art, London, UK
Somerset House, London, UK
Staffordshire University, Sheffield, UK
Tate Britain, London, UK
The New School, New York, US
The Society for Contemporary Art at the Art Institute of Chicago, Chicago, US
The Royal Danish Academy of Art, School of Architecture, Copenhagen, DE
UNIDEE Cittadellarte-Fondazione Pistoletto, Biella, I
University of Brighton, Brighton, UK
University of East London, London, UK
University of South Florida, Florida, US
University of East-London, London, UK
University of West England, Bristol, UK
Van Gogh Museum, Amsterdam, NL
Werkplaats voor Typografie, Arnhem, NL
Whitechapel Gallery, London, UK
Wimbledon School of Art, University of Central St Martins, London, UK
Curating
2016 Night in the Museum: Curated by Ryan Gander, Longside Gallery, Yorkshire
Sculpture Park, UK
2012 Young British Art II, DIENSTGEBAUDE, Zurich, CH
Field of Meaning, Kimberling Gallery, London, UK
I know about creative block and I know not to call it by name, Lisson Gallery, Milan, IT
Humid but cool, I think, Taro Nasu, Tokyo, JP
Young British Art, Limoncello Group Show, London, UK
Humid but cool, I think, Taro Nasu Gallery, Tokyo, JP (artists: Cory Arcangel, Ceal Floyer, Simon Fujiwara, Liam Gillick,
Cornelia Parker, Danh Vo)
The way in which it landed, Art Now, Tate Britain, London, UK (artists: Lucy Clout, Mellors, Aurelien Froment, David
Renggli, Carol Bove)
2007 Associates Gallery, Project Space directed with Rebecca May Marston, London, UK (artists: Matthew Smith, Stella
Capes, Kim Coleman & Jenny Hogarth, Matthew Harrison, Josephine Flynn, Tom Gidley, Sean Edwards, Lucy Clout,
Alice Channer, Adria Julia, Ben Chain, Adam Thomas)
Took my hands off of your eyes too soon, Tanya Bonakdar Gallery, New York, US (artists: Jesse Ash, Justin Beal, Alice
Channer, Sean Edwards, Jack Strange)
2004 Now then now then, International 3 Gallery, Manchester, UK (artists: Josephine Flynn, Harrison & Hughes, Lucy Skaer,
Bedwyr Williams)
Collections
Arts Council Collection, London, UK
The Boijmans van Beuningen Museum, Rotterdam, NL
British Council. London, UK
Carnegie Museum of Art, Pitsburgh, US
Carré d’art, Musée d’Art Contemporain, Nimes, FR
Fnac, Paris. FR
FRAC du Nord Pas-de-Calais, Calais, FR
Frac Haute Normandie, Rouen, FR
Frac Ile de France, Paris, FR
Government Art Collection, London, UK
Haus Konstruktiv, Zurich, CH
Kadist Art Foundation, Paris, FR
MacBA, Barcelona, SP
MaMBO, Bologna, IT
MCA, Chicago, US
MUMOK, Vienna, AT
Museo Tamayo Arte Contemporáneo, Mexico City, MX
Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw, PL
Tate Collection, London, UK
Welsh Museum, Cardiff, UK
Free Magazine Subscription
Articles, interviews, shows & events. Delivered to your mailbox weekly.