2005Here & Elsewhere, Lewis Glucksman Gallery, Cork, Ireland
Kerry Tribe, Southern Exposure, San Francisco, CA
2003Florida, Los Angeles Contemporary Exhibitions, Los Angeles, CA
Kerry Tribe, Bodybuilder & Sportsman Gallery, Chicago, IL
1998Kerry Tribe, MWMWM Gallery, Brooklyn, NY
SELECTED GROUP EXHIBITIONS & SCREENINGS
2016 Telling Tales, Museum of Contemporary Art Australia, Sydney
2015 Literary Devices, Fisher Landau Center for Art, Long Island City, NY
Covert Operations: Investigating the Known Unknowns, SMoCA, Scottsdale, AZ Which Life? A Panoramic View of the Collection, Museum der Moderne Salzburg, Austria Exhibition Under Construction, Paramo, Guadalajara, Mexcio
2014 Catalyst: Contemporary Art and War, Imperial War Museum North, Manchester, UK Un Nouveau Festival, Centre Pompidou, Paris, France Migrating Forms Film Festival, Brooklyn Academy of Music, Brooklyn, NY
2013 Trapping Lions in the Scottish Highlands, Aspen Art Museum, Aspen, Colorado
Images of an Infinite Film, Museum of Modern Art, New York
NYFF51: Views from the Avant-Garde, New York Film Festival, New York
57th BFI London Film Festival, London
Salon Der Angst, Kunsthalle Wien, Vienna
Either - Or, Nikolaj Kunsthal, Copenhagen, Denmark
Be Like Water, Workplace Gallery, Gateshead, UK
Sound and Vision, Paris Photo Los Angeles, Los Angeles, CA
2012Greetings from Los Angeles, Starkwhite, Auckland, New Zealand
True Stories: Scripted Realities, Govett-Brewster Art Gallery, New Plymouth, New Zealand; Te Tuhi, Auckland, New
Lo Bueno y Lo Malo, Galeria Nara Roesler, Sao Paulo, Brazil
Out-Of-, Michael Benevento, Los Angeles, CA; Galerie Dohyang Lee, Paris, France
2011The Distance Between You and Me: Three Artists from Vancouver, Los Angeles and Guadalajara, Vancouver Art Gallery,
The Limits, Kitchener-Waterloo Art Gallery, Kitchener, Ontario, Canada
All of this and nothing, Hammer Museum, Los Angeles, CA
Highways Connect and Divide, Foxy Production, New York, NY
2010One Room, One Work, 1301PE, Los Angeles, CA
Whitney Biennial 2010, Whitney Museum of American Art, New York, NY
A Very, Very Long Cat, Wallspace, New York, NY
Auto-Kino!, Temporäre Kunsthalle Berlin, Germany
How Many Billboards, MAK Center for Art and Architecture, Los Angeles, CA
Exhibition, Exhibition, Castello di Rivoli Museum of Contemporary Art, Turin, Italy
2009Enonces, Musée d'Art Moderne et Contemporain de Strasbourg, France
talk talk: The Interview as Artistic Practice, HGB Academy of Visual Arts, Leipzig, Germany; Kunstverein Medienturm
Graz, Austria; Galerie 5020, Salzburg, Austria
Road Runners, VOX, centre de l'image contemporaine, Montreal, Canada
2008Memory is Your Image of Perfection, Museum of Contemporary Art, San Diego, CA
Multiverse, Claremont Museum of Art, CA
Idle Youth, Gladstone Gallery, New York, NY
I'll Be Your Mirror, Svarta Havet, Konstfack, Sweden
Construction, 1301PE, Los Angeles, CA
The Lining of Forgetting: Internal & External Memory in Art, Weatherspoon Art Museum, Greensboro, NC
The Cinema Effect: Illusion, Reality, and the Moving Image Part II: Realisms, Hirshhorn Museum and Sculpture Garden,
Washington DC (cat.)
History Will Repeat Itself: Strategies of Re-enactment in Contemporary Art, Centre for Contemporary Art, Warsaw,
2007Virtuosic Siblings: Berlin / LA Festival of Film / Art, REDCAT and Goethe Institute, Los Angeles, CA
Back to Nature, Galerie Ruzicska, Salzburg, Austria
History Will Repeat Itself: Strategies of Re-enactment in Contemporary Art, Hartware MedienKunstVerein, Dortmund and
KW Institute for Contemporary Art, Berlin, Germany (cat.)
Doppelgänger, Museo de Arte Contemporánea de Vigo, Spain (cat.)
Moment Making, ARTSPACE, Auckland, New Zealand
God's Waiting Room, Centre for Opinions in Music and Art, Berlin, Germany
Villa Photon, International Film Festival Rotterdam, 36th Edition, Rotterdam, The Netherlands
Elephant Cemetery, Artists Space, New York, NY (cat.)
Exile of the Imaginary: Politics / Aesthetics / Love, Generali Foundation, Vienna, Austria (cat.)
Material for the Making, Elizabeth Dee Gallery, New York, NY
2006Happiness, Gagosian Gallery, 4th Berlin Biennial for Contemporary Art, Berlin, Germany
Draft Deceit, Kunstnernes Hus, Oslo, Sweden
Down By Law, organized by The Wrong Gallery for the Whitney Museum of American Art, New York, NY
700% Plus KB Kunsthal Centenniale, KB Kunsthal, Copenhagen, Denmark
Ephemeralities, various locations, Menen, Belgium
Objects In the Mirror Are Closer Than They Appear, Centre for Opinions in Music and Art, Berlin, Germany
Vidéoformes 2006, Clermont-Ferrand, France
Being Here, Optica, Montreal, Quebec, Canada
2005De Sculptura, Galerie Ruzicska, Max-Gandolph-Bibliothek, Salzburg, Austria
Contour II, 2nd Biennial for Video Art, Mechelen, Belgium (cat.)
Over Sight, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY
E-flux Video Rental, venues include: 53 Ludlow Street, New York, NY; Kunst-Werke, Berlin, Germany; International
Manifesta Foundation, Amsterdam, The Netherlands; Portikus, Frankfurt am Main, Germany; Moore Space, Miami, FL;
Insa Art Space, Seoul, South Korea; Arthouse, Austin, TX; Carpenter Center, Cambridge, MA; Centre Culturel Suisse,
2004How Can You Resist?, LA Freewaves: 9th Biennial Festival of Film, Video and New Media, California Biennial, Orange
County Museum of Art, Newport Beach, CA (cat.)
Adaptive Behavior, New Museum of Contemporary Art, New York, NY
Between You and Me, SculptureCenter, Long Island City, NY
VJ Johnny D. Presents: Pops, ASU Art Museum, Tempe, AZ
Four Color Pen Show, Locust Projects, Miami, FL
2048 km, Or Gallery, Vancouver, Canada (cat.)
2003First Person, Mercer Union, Toronto, Canada
Pol-i-tick, Williams College Museum of Art, Williamstown, MA
Echo Sparks, Ars Electronica Center, Linz, Austria
2002Videodrome II, New Museum of Contemporary Art, New York, NY
A Show That Will Show That a Show Is Not Only a Show, The Project, Los Angeles, CA
Alternate Routes, California Museum of Photography, Riverside, CA
European Media Art Festival, Osnabrück, Germany
2001Not Quite Myself Today, ASU Art Museum, Tempe, AZ
Drawn From L.A. (Home Is Where the Heart Is), Midway Initiative, St. Paul, MN
Impakt Festival, Centraal Museum, Utrecht, The Netherlands
City Game, TENT, Rotterdam, The Netherlands
2000Leaving the Island: Pusan International Contemporary Art Festival, Pusan Metropolitan Museum of Art, Pusan, South
Sitegeist, Porter Troupe Gallery, San Diego, CA
Fact-Fiction, Edith-Ruß-Haus für Medienkunst, Oldenburg, Germany (cat.)
D>Art.00, Sydney Film Festival, Sydney, Australia
19994ème Manifestation Internationale Vidéo et Art Electronique, Champ Libre, Montreal, Canada
Impakt Festival, Utrecht, The Netherlands (cat.)
2015 Louise Steinman, "The Aphasia Book Club," Los Angeles Review of Books, October 5th, 2015 Christopher Knight, "Pulling back for the big picture of media overload" in Los Angeles Times, April 24 2015 Travis Diehl, "Kerry Tribe" in Art Forum, Critic's Picks, April 2015 Rita Gonzalez, "Kerry Tribe + Rita Gonzalez" in 356 Mission Blog, April 2015 Alex Teplitzky, "In Kerry Tribe's Artworks, Forgetting Leads to Creating" Creative Capital Blog, April 2015
2014 Martha Schwendener, "Phanstasms of an Analog Twilight" in The New York Times, Jan. 2, 2014
2013 Matthew Goulish, "A Clear Day and No Memories: Neurology, Philosophy, and Analogy in Kerry Tribe's H.M." in art journal,
Fall 2013 Andy Battaglia, "The Message is the Medium" in The Wall Street Journal, Sept. 6, 2013 Zellen, Jody. "Kerry Tribe: 1301PE." Artillery vol. 7 issue 3 January/February 2013.
2012Adler, Dan. "Kerry Tribe: Power Plant, Toronto, Canada." Frieze Issue 149. September 2012.
Finkel, Jori. "Artists Alison Saar, Kerry Tribe, William Leavitt are USA Fellows." Los Angeles Times December 2012.
Gilmartin, Wendy. "Artist Kerry Tribe's New Video Reconstructs the Famous Doheny Murder at Greystone Mansion." L.A.
Weekly Arts Blog 28 September 2012.
Mizota, Sharon. "In video art, Kerry Tribe works through Doheny mystery." Los Angeles Times October 2012.
Morinis, Leora. "Watching Audrey Think." ...might be good January 2012.
2011 Dillon, Brian. "Into the abyss." Sight & Sound The International Film Magazine July 2011: 15.
Doubal, Rosalie. "Kerry Tribe: Dead Star Light." Time Out London 23 May 2011.
Madden, Kathleen. "Critics' Picks London: Kerry Tribe, Camden Arts Centre." Artforum June 2011.
Sherwin, Skye. "Artist of the week 139: Kerry Tribe." The Guardian online May 19 2011.
2010Cheng, Scarlet. "Art is the message on these billboards." The Los Angeles Times 20 February 2010.
Cotter, Holland. "At a Biennial On a Budget, Tweaking And Provoking." The New York Times 26 February 2010: C21, C30.
Cumming, Laura. "Kerry Tribe: Dead Star Light." The Observer Sunday 22 August 2010.
Halle, Howard. "2010 Whitney Biennial." Time Out New York Issue 753 4-10 March 2010.
Hodge, Brooke. "Seeing Things: The Art of the Billboard." The New York Times Style Magazine online 18 February 2010.
McGarry, Kevin. "Making Memories: Kerry Tribe at the Whitney Biennial." Interview online 22 February 2010.
McGarry, Kevin. "2010: A Small Odyssey." Rhizome News online 10 March 2010.
Miranda,Carolina. "Whitney Biennial: Three Must-Sees." Morning Edition WNYC 25 February 2010.
1999 Daigle, Claire. "Kerry Tribe." New Art ExaminerDecember-January 1999: 58 (ill.)
SELECTED AWARDS, FELLOWSHIPS & RESIDENCIES
2012USA Simon Fellowship, United States Artists
2005-2006Guna S. Mundheim Fellow, American Academy in Berlin
Artist in Residence, Kunstlerhaus Bethanien, Berlin
2005Louis Comfort Tiffany Foundation Award
2003Artists' Resource for Completion Grant, The Durfee Foundation
Associate Artist, Atlantic Center for the Arts Residency, Florida
2001Hoyt Scholarship, Department of Art, UCLA
1999Clifton Webb Fine Arts Scholarship
Darcy Haymen Award, Department of Art, UCLA
TEACHING & LECTURES
2008-2009 California Institute of the Arts (CalArts), Santa Clarita, CA. Adjunct Faculty, Department of Art
George Washington University, Washington DC. Visiting Artist
2007 University of British Columbia, Vancouver, Canada. Visiting Artist
2006 California Institute of the Arts (CalArts), Santa Clarita, CA. Adjunct Faculty, Department of Art
Loyola Marymount University, Los Angeles, CA. Visiting Artist
2004-2005 Art Center College of Design, Pasadena, CA. Adjunct Faculty, Department of Art
2004 California Institute of the Arts (CalArts), Santa Clarita, CA. Visiting Artist
2003 Chapman University, Orange, CA. Adjunct Faculty, Department of Art
Otis College of Art and Design, Los Angeles, CA. Visiting Artist
SELECTED PUBLIC COLLECTIONS
Whitney Museum of American Art, New York, NY
Museum of Modern Art, New York, NY
Hammer Museum, Los Angeles, CA
General Foundation, Vienna, Austria
FRAC Pays de la Loire, Carquefou, France
FRAC Limousin, Limoges, France
Orange County Museum of Art, Newport Beach, CA
Stedelijk Museum voor Actuele Kunst, Ghent, Belgium
Issue 125 September 2009
'We do not remember', says Chris Marker's narrator in Sans soleil (Sunless, 1983), 'we write memory much as history is rewritten'. At the level of the individual, though, memory is history, underwritten by divergences in perception and by the fragile wirings of consciousness. This sphere of relative truth has been Kerry Tribe's heartland since The Audition Tapes (1998), wherein 15 actors play a grandfather, a mother, and a pair of artist siblings in 'a video project on family history and memory'. Between their conflicting testimonies, familial trauma flickers, ungraspable: the grandfather's memory is disintegrating and he only remembers good times, and 'what Mom and Virginia experienced as abuse, he and Grandma may have just experienced as parenting'. Layers of exposed artifice - actors coached onscreen, different performers' takes on the same character, false starts - reinforce an impression of imperfect narrative conveyance. The only certainty in The Audition Tapes, played against a background of high emotional stakes, is the abyssal and paradoxical one that no certainty exists.
Doubt, Tribe would go on to demonstrate, can dissolve a city. For her 2002 book North is West/South is East: 32 Maps of Los Angeles, she asked strangers at Los Angeles International Airport to draw thumbnail memory-maps of LA: the results, ranging from a neat grid of roads by 'Richard' to an empty obelisk by 'Krista', are as individual and experientially skewed as Saul Steinberg's famous 1976 map of the insignificant world as seen from domineering Manhattan. That's the reality inside those travellers' heads, you feel, its individuality redoubled in confrontation with others. The same year's two-screen film Here & Elsewhere further considers the hazy intersection between consciousness and exteriority, represented and real, via a dialogue between film theorist Peter Wollen and his prodigious young daughter, Audrey - in which he asks her questions adapted from those posed to schoolchildren in Jean-Luc Godard and Anne-Marie Miville's 1978 television documentary, France/tour/detour/deux/enfants (France/tour/detour/two/children). Are our bodies our selves, if our bodies are constantly changing? Does memory transpire in the present or in the past? Does a photograph tell you that something has actually happened? The ten-year-old says yes.
Given this emphatic shift towards the dominion of the lens, it's notable that Here & Elsewhere was shot in Los Angeles; Hollywood has long been an arbiter of cultural memory. Tribe, however, appears more interested in how film might serve a countermanding conception of unknowing and unravelling. Near Miss (2005), three staged, near-identical takes of a car ploughing off a road in a whiteout storm, engenders snowballing uncertainty about distinctions between the versions. (A necessarily one-sided reconstruction of an undocumented incident in the artist's own life a decade ago, it is exhibited alongside contradictory texts by members of the production team regarding what actually happens onscreen.) This, additionally, is part of a trilogy along with the film Northern Lights (Cambridge) (2005) - wherein sashaying coloured lights resembling the aurora borealis, their otherworldliness reinforced by eerie music played on an archaic synthesizer called a Lyricon, are actually produced by an Earl Reiback light-art work owned by Tribe's parents - and the connected investigation into collective phenomenology, Episode (2006).
Filmed in Berlin, Episode mimics a televised studio talk show, featuring an unscripted conversation between Tribe and two friends, Jade and Jolon, who as teenagers in 1991 had witnessed something and never talked about it since. At the start of the exchange, it seems they'd all seen the Northern Lights while driving together in Idaho; by the end it seems possible that, shortly after hearing Jade confess that her parents believed they'd once been abducted by aliens, they had seen a UFO. Convincingly, not only does the early story fall apart and this new one attain some disturbing plausibility but, shortly after, the revised narrative is in turn undermined by the idea that Jade's left-field confession might have precipitated a collective hallucination.
In Episode, the moderator notes Berlin's aptness as a site for considering memory and forgetting on a large, historical scale. It's tempting to read Tribe's analytical yet flexible practice as an accumulating metaphor for our distracted moment, and works such as her 2002-3 public project in Los Angeles, a sign at the intersection of Highland Avenue and Sunset Boulevard reading 'Cultural Amnesia', encourage such a take. But its deeper tug comes from her articulation, via extreme cases and technological invention, of how radically reality can be edited in the cortical arena. H.M. (2009), Tribe's most ambitious and finest achievement to date, is a documentary - again using actors - about the life of H.M., a man who since enduring, aged 27, a 'frankly experimental operation' on his brain for severe epilepsy, cannot make new episodic memories: his recall stops at 1953. H.M. has no idea how old he is, and can't recognize the scientist who's worked with him since 1962. Tribe's film, beckoning attention to its construction just as The Audition Tapes did, incorporates text, animation and photographs of famous people H.M. can't recognize. Sometimes we don't recognize them either. A greater anxiety, though, arises from Tribe running the 16mm film through two side-by-side projectors, so that footage appears on one screen 20 seconds after the other. That's the length of memory H.M. has, and often the film doesn't look the same twice. The first viewing is half-gone, warping in the dark already; and it feels like H.M. suffers, to an extreme degree, from something contained in us all.
Making Memories: Kerry Tribe at the Whitney Biennial
By Kevin McGarry 02/22/2010 07:30 AM
KERRY TRIBE, H.M. COURTESY THE ARTIST.
Kerry Tribe fits this year's Whitney Biennial by its title alone, 2010. For over a decade her film and video works have dealt with the significance of time and how it is remembered: in other words, memory. Typically her projects match personal and cultural constructions of memory against ones rooted in fact and neurology, weaving a cinematic effect that forces viewers to simulate and analyze cognitive experiences at the same time.
Working between Los Angeles and Berlin, Tribe has staged a talk show in which she and old friends revisit intensely ambiguous event; recreated filmic depictions of a mid-blizzard car accident; and enlisted film theorist Peter Wollen to probe his then ten-year-old daughter Audrey on the metaphysical aspects of representation and identity. For the Biennial, Tribe presents H.M., a double projection of a single, 16mm film about "patient H.M.," a man whose long-term memory was cut to a maximum of twenty seconds as the result of an experimental brain surgery in 1953.Exactly 20 seconds out of sync, the two side-by-side projections alternate between competing and dovetailing with each other as they recount the story of H.M.'s life.
KEVIN MCGARRY: More than once in your work people are asked whether they think of memories as things they go back in time to meet, or if they bring memories forward to meet them. Which do you think?
KERRY TRIBE: Memory does something funny to time, which we are accustomed to thinking of as linear and progressive. When we remember something, we bring it back to life. Neurologically, it's as though the experience were happening to us in the present. And of course our memories are always subjective, selective and shifting - we remember what we need to, how we need to - the "Rashomon Effect."
MCGARRY: Maybe you can call one up right now... how did you first learn of patient H.M. and his condition?
TRIBE: I first learned of patient H.M. years ago, from a guy who was working on one of my films. I found the story poignant and fascinating.
MCGARRY: And did the film come to you right away? The situation seems so tuned in to your interests.
TRIBE: It wasn't until I started thinking about what might happen if you played one film through two consecutive projectors that his story came back to me as a possible subject. Once I learned that H.M. could only remember things for 20 seconds, the content and the form came together.
MCGARRY: And while unity of form and content is a key component to each of your films, cognitive unity is something they all strive to undermine...
TRIBE: Right. And it's interesting, and sometimes really challenging, to make films that will be seen in a gallery, where the audience can come and go as they please. I mean, I try to keep them interesting enough that people will want to stay! But I'm working in a form that usually has narrative arcs - beginnings, middles and ends - in a context that doesn't allow for that. So I try to think circularly, wherever someone enters, it works.
MCGARRY: Your own patterns tend to be a bit circular as well, in terms of where you and your family live and work throughout the year. What's it like going back and forth between two cities as different as LA and Berlin?
TRIBE: Both are great cities to work in. And surprisingly, they're not that different in many ways. Both are sprawling, have great art scenes, are relatively affordable. The movie industry of course has a pervasive effect on everything in LA, and that can be useful for my work. But in some ways I feel more at home in Berlin because of its progressive politics, culture, and navigability. But my German sucks, and ultimately I'm always a little relieved to come back.