Behind Glass
A conversation with Silvia Kolbowski
November 30th, 2017
7-8:30 pm
[A discussion of storefront-related projects from the 1990s]
Audio now available on Text/Interviews section of this website.

Bodega Gallery
167 Rivington Street, New York

This Monument Which is Not One
[Screening of A Few Howls Again and Like a Clap of Thunder)

Harvard University, Senior Loeb Lecture 
Art, Design, and the Public Domain
October 24th, 2017, 1pm, Gund Hall 124

12 September 2017 - 19 March 2018
Tension and Conflict
MAAT, Lisbon, Portugal
Co-curated by Pedro Gadanho and Luisa Santos
[The exhibition includes A Few Howls Again and Like a Clap of Thunder.]
"Video Art after 2008 focuses on an exceptional selection of artistic representations [22] which, with unusual eloquence, have resorted to video as a means of registering the impact and consequences of the 2008 global financial crisis."

23 May 2017 - 10 June 2017
That I am reading backwards and into for a purpose, to go on:
The Kitchen, New York
Curated by Magdalyn Asimakis, Jared Quinton, and Alexandra Symons Sutcliffe
May 23-June 10
[The exhibition includes A Few Howls Again and Like a Clap of Thunder.]

May 25 to June 25, 2017


Callicoon Fine Arts

A group exhibition with works by Etel Adnan, Cy Gavin, Kahlil Irving, Silvia Kolbowski, Jumana Manna, and Ulrike Müller

Opening reception: Thursday, May 25th, 6 to 8pm 

[Includes "Missing Asher."] 

a short text included in Out of Place, a publication
of Skulptur Projekte Munster, Spring 2017, 
distributed by frieze. Now on the texts/interviews page 
of this website.

March 23-April 23, 2017
You May Add or Subtract from the Work: 
On the work of Christopher D'Arcangelo and Michael Asher
[The exhibition includes my 2017 video loop, "Missing Asher.".]

Critics' Picks, Artforum:

In 1977, artist Christopher DArcangelo placed a blank centerfold in the journal of the Los Angeles Institute of Contemporary Art along with a note suggesting that readers paste the insert to the institutes walls. Blank would meet blank: The artist exhibiting there at the time was Michael Asher, who, as usual, hung nothing, but instead hired folks to spend their days in the gallery at four bucks an hour. From that historical intersection comes this shows historicizing axis. Curators Simon Leung and Sébastien Pluot present original scholarship on Asher and DArcangelo, including video interviews conducted by Pluot and Dean Inkster with the likes of Benjamin H. D. Buchloh and Lawrence Weiner; vintage ephemera; and copies of Ashers collected writings, and a 1978 Artists Space catalogue in which DArcangelo had his name replaced by blank space. Recent works by Dorit CypisBen KinmontEmilie Parendeau, and Silvia Kolbowski each reflect an explicit engagement with one of these influential artists.

Kolbowski's video Missing Asher, 2017, for instance, relates her hunt for a previous homage to the artist and presents her droopy 1990 brochure of Asher quotes. DArcangelo and Asher would likely have appreciated such recursions. In their way, they both insisted that artworks and art history dont make themselves. DArcangelo once exhibited an hourly accounting of his day job refurbishing lofts. Thus, the curators prominent placement of the Working Artists and the Greater Economy (W.A.G.E.) poster Wo/Manifesto, 2014, the last line of which reads W.A.G.E.DEMANDS PAYMENT FOR MAKING THE WORLD MORE INTERESTING. Clearly, its not enough to muse over the variously inequitable conditions of display, nor to top up the slim honoraria of art workers with the vague benefits of brand recognition. The four dollars an hour paid to Ashers participants, adjusted for inflation, meets the W.A.G.E. standard for performers. Rare is the artist today who could say the same.

Travis Dieh

April 18, 2017
Dead Subjects Speak
2nd Annual Brabson Filmmaker Lecture
Sam Fox School of Design & Visual Arts
Washington University in St. Louis
Organized by Monika Weiss

Friday, March 3, 7pm
Screening of A Few Howls Again at
Northwestern University Block Museum of Art 
as part of the program:
The Gay Left: Homosexuality in the Era of Late Socialism
Together with Bruce LaBruces The Raspberry Reich, 2004
Organized by Thomas Love

Installation Art and the Practices of Archivalism
Routledge, 2016
David Houston Jones, Associate Professor of 
French Literature and Visual Culture at the University of Exeter, UK

With an extensive analysis of After Hiroshima Mon Amour
in a chapter entitled 
"The Relational Archive: Silvia Kolbowski and Eija-Liisa Ahtila."

Find book here (cut and paste):

Another article by David Jones on After Hiroshima Mon Amour, "The inadequate archive: ethical remaking in Silvia Kolbowskis After Hiroshima mon amour," can be read here (cut and paste):

Just what is it that makes today's museums so different, 
so appealing? Notes on a Museum of Resistance

My contribution to the "Returning" online platform at 
San Francisco MoMA,  by Grupa O.K.

April 15 - July 23, 2016
Tues - Sat, 2:30 - 7:30
Opening 7pm, April 14

an inadequate history of conceptual art
Institut national d'histoire de l'art
Galerie Colbert, salle Roberto Longhi
2 rue Vivienne our
6 rue des Petits-Champs
75002 Paris

Une table ronde autour dan inadequate history of conceptual art 
se tiendra en salle Walter Benjamin le vendredi 15 avril à 11 heures 
et réunira, autour des notions darchives, de mémoire et dexpérience, 
Silvia Kolbowski, Sébastien Pluot, Larisa Dryansky et Johanne Lamoureux. 

[ Curated by Johanne Lamoureux; Poster: Marc Riou]


The first full installation of an inadequate history of conceptual art
in New York since its first installation at American Fine Arts in 1999.
In the group exhibition:

In Place Of
Curated by Leah Pires
Miguel Abreu Gallery
88 Eldridge Street, New York
January 10th through February 7th, 2016

From the press release:
"This exhibition brings together work that, in various ways, might be understood
as placeholders: for objects withdrawn for legal or political reasons; for absent bodies;
for anticipated content; for unfulfilled desires or needs; for the otherwise forgotten; for
those who choose to drop out; or simply because a surrogate was good enough."
[Photo, top: Stephen Faught; Photo, bottom: Dushko Petrovich ]

Lecture: Dead Subjects Speak
Carnegie Mellon School of the Arts
Tuesday, December 1, 2015, 5pm
McConomy Auditorium

A discussion at Cabinet Magazine
The Magazine as Medium 2: The Questionnaire
Panelists: Hal Foster and Silvia Kolbowski
Moderated by Lori Cole
Monday, 11 May 2015
7-9 PM

What is the avant-garde? What constitutes political art? What should Latin

American art be? These are just a few of the questionnaires issued by

editors from the late nineteenth century through the present in publications

ranging from La Révolution Surréaliste to the Partisan Review to Artforum.

This evening's panelists will examine both the impulse to issue questionnaires

and their relationship to aesthetics: Hal Foster will discuss several

questionnaires from October on visual culture, the contemporary, and recessional

aesthetics, while Silvia Kolbowski will focus on the difference between the

questionnaire on feminism she issued in October in 1995 and her use of the form

in the context of her installation an inadequate history of conceptual art.

Location: Cabinet, 300 Nevins Street, Brooklyn

FREE. No RSVP necessary

2014 Grantee of the Creative Capital/Warhol Foundation Arts Writers
Program for blog category

A conversation with Silvia Kolbowski 
by Chrysanne Stathacos and Susan Silas 
on the MOMMY website
November 2014

Exhibition: "A Letter Always Arrives at its Destination"

Centre de Culture Contemporaine - Montpellier
July 18, 2014-September 21, 2014
Co-Curated by Franck Bauchard and Sebastien Pluot
(photos by Olivier Cablat; courtesy La Panacee)  

   Mona Hatoum, Adela Jusic, Silvia Kolbowski, Paky Vlassopoulou
   26 July - 1 August 2014
   Curated by Kostas Stasinopoulos
   Syros International Film Festival
   Syros, Greece

Above: Production still from upcoming video project on Rosa Luxemburg (March).

Lecture: After Hiroshima Mon Amour

   April 7, 2014

   Department of the History of Art

   University of Pennsylvania, Philadelphia  

"Take It or Leave It: Institution, Image, Ideology"

Above: Proximity to Power, installed in Take It or Leave It. P2P can also be found in book form.

Take It or Leave It
February 9, 2014 - May 18, 2014
10899 Wilshire Blvd
Los Angeles, CA 90024
Co-Curated by Johanna Burton and Anne Ellegood         

Lecture: Dead Subjects Speak

March 13, 2013
Brandeis University
415 South Street, 5pm

Siri, 2012, Silvia Kolbowski by Zoe Harris. 

In Art by Telephone...Recalled,curated by Sebastien Pluot and Fabien Vallos, Emily Harvey Foundation, New York, and other locations.

View video

Lecture: Dead Subjects Speak

September 25, 2012
Cooper Union Interdisciplinary Seminar
41 Cooper Square, 7pm

A few howls again? in Silvia Kolbowski and Naeem Mohaiemen

Co-presented by  Off-Screen, Images Festival and A-Space, Toronto
April 12-May 26, 2012

Globe and Mail review                                   


A few howls again? on public television, Argentina

An excerpt from A few howls again? was broadcast on Visión Siete Internacional, an international news show on public television in Buenos Aires, Argentina.                  

Video and translation of news anchor's comments.                  

Screening: A few howls again? and Bambule (script by Ulrike Meinhof)                      
Panel discussion: Silvia Kolbowski, Judith Rodenbeck;                   
organized and moderated by Pati Hertling.                  
January 15, 2012                  
Bulletin Board
208 Bowery, 2nd floor

Lecture: an inadequate archive of conceptual art 
February 7, 2012                  
Ecole supérieure des beaux-arts, Tours Angers Le Mans                  

Lecture: The research that cannot speak its name.                      
Conference on aesthetic research in practice and pedagogy.                  
February 9-10, 2012                  
L'École nationale supérieure d'architecture de Paris-Belleville                  
60, bd. De la Villette, Paris

Lecture: Dead Subjects Speak 
Tuesday, February 21, 2012                  
17:30 - 18:30                  
Friends Lecture Series                  
Art and Psychoanalysis: War in the Time of Peace                  
Kenneth Clark Lecture Theatre                  
Courtauld Institute, London         

In Conversation
The Brooklyn Rail         

This Will Have Been: Art, Love & Politics in the 1980s

Curated by Helen Molesworth.
Museum of Contemporary Art, Chicago, Winter 2012
(Traveling to the Walker Art Center, Minneapolis, and ICA, Boston)

Dear Silvia...July 2009 Podcast and Pamplet

Dear Silvia...July 2009 is now available as a free podcast at

Dear Silvia...July 2009 is also available in pamphlet form; published by Fillip Editions, as part of Fillip, Issue 11. This issue also includes a related text by Antonia Hirsch, "Indirect Speech."
Newstands: April 1 - July 1

For the limited edition LP (edition of 25; $250 each, benefitting Fillip), contact:

"A few howls again?"


Commissioned by Taipei Bienniel, 2010; Curated by Lin Hong-John and Tirdad Zolghadr

September 7 - November 14, 2010

A few howls again? "resurrects" the brilliant and notorious German journalist and political militant, Ulrike Meinhof (1934-1976) in a stop-motion photo "animation" video loop with titles, as well as installed photos. The project raises questions about contemporary state violence and political resistance.

At left are installation views of the work at the Taipei Bienniel.

See this link for an excerpt of the video under project listing. (link)

"After Hiroshima Mon Amour" and "A Movie Will Be Shown Without the Sound"

May 8, 2009-June 14, 2009
One-person exhibition at Moderna Galerija, Ljubljana, Slovenia

The projection on opposite walls of a colored rectangular space of "After Hiroshima Mon Amour" (2008) and "A Movie Will Be Shown Without the Sound" (2006) allows the spectator to choose a position from which to take in either the Resnais/Duras film "Hiroshima mon amour" (1959), played without sound or titles, or "After Hiroshima Mon Amour." Enclosed in the same visual and aural space, the video and the film have the possibility of transforming each other.

"Nothing and Everything"

One-person exhibition at Leonard and Bina Ellen Gallery
Concordia University, Montreal
January 30 - March 7, 2009
Curated by Michele Theriault

Curator's statement:
This exhibition presents two major works, produced ten years apart, which consider very different contemporary issues. On the one hand, "an inadequate history of conceptual art" (1998-1999) reflects upon the renewed interest in Conceptual Art, and on the other, "After Hiroshima Mon Amour" (2008), engages with American military interventions in Iraq, and the associated criminal neglect of post-hurricane New Orleans. These works offer subtle and provocative explorations of the meeting of unconscious forces with social, political, and historical structures as they are imbricated, not only with these events, but also with forms of art, cinema and writing that have radically transformed existing conventions.

A catalogue of the same title, with a discussion between Theriault and Kolbowski can be ordered from

"After Hiroshima Mon Amour"

One-person exhibition at La><art, Los Angeles
September 20 - November 1, 2008. (web link) (press release)
Curated by Christopher Bedford

"Manifesto Marathon"

Participation in Manifesto Marathon, Curated by Hans Ulrich Obrist
Serpentine Gallery, London
October 19, 2008 (web link)
All photos © Serpentine Gallery, London and
Mark Blower, photography

"Younger and Stronger Men"

F.T. Marinetti's "Futurist Manifesto" was scrambled and turned into a dialogue. A performance including 60 images of mass audiences from around the world, and two actors each reading parts of Marinetti's scrambled manifesto as a pseudo political debate dialogue.

"an inadequate history of conceptual art"
One-person exhibition at Center for Contemporary Art Ujazdowski Castle, Warsaw, Poland
3/9/07 - 4/22/07
Curated by Pawel Polit
Photos 3-11 by Mariusz Michalski

This 1998/1999 project was reinstalled, with the addition of a Polish audio translation, and a new projection component. Due to the fact that a loan of audio equipment from Bang + Olufsen, required for the original specifications, was not able to be procured, this component was substituted with high-end Polish audio equipment from the 1970s.

Selected Bibliography
an inadequate history of conceptual art (Center for Contemporary Art, Ujazdowski Castle, Warsaw), 2007. (Includes an interview by Luiza Nader.) (See Publications)
Review, (April 2007) In Polish

ghd sale

© 2018 Silvia Kolbowski