MAXXI, Museum of Contemporary Art, Rome, Award show, Prize for Art & Artificial Intelligence. May, 2021.
Awarded the re:humanism Prize for Art & Artificial Intelligence, 2021
Jan Van Eyck Academie, fellow, 2020-21
Galerie Roehrs & Boetsch, Zürich: FitArt / Female Body. In-app show, launch: 08/12/2020
SCHIRN KUNSTHALLE FRANKFURT: Filmreihe 2020. Screening of "Atmospheric Drafts of Intimacy". Double Feature: 30/09/2020
TBA 21, Academy, The Ocean's Many Waters, Screening & panel discussion now online
Löwenbräukunst, LUMA Westbau, Schwarzes Café, Zürich: Screening of "Molecular Sex", 26/09/20
HYPERTENSION at Arebyte Gallery, London, Showing "How will I remember your embrace". London, curated by Phylon Lab. Opening 07/08/2020.
Hyundai Motor Studios, Beijing: Love and Artificial Intelligence. Opening 30/09/2020.
With !Mediengruppe Bitnik, aaajiao, Adam Harvey, Benjamin Berman & Miguel Perez, Chen Zhou, Frank Wang Yefeng, Johanna Bruckner, Jonas Lund, Liu Shiyuan, Stine Deja, Wang NewOne, He Rongkai. Curated by Jenny Chen. Show from 30/09/2020 until 01/03/2021.
14/09/2020 Istituto Svizzero, Milano, Remembering your embrace, with Johanna Bruckner and Barbara Casavecchia
Impossible Bodies, s-Hertogenbosch, opening 23/10
Recipient of the 2020 Recognition Award for Fine Arts of Lower Austria
Kunststipendien Zürich 2020, Helmhaus Zürich, 10.7.2020-31.8.2020
The (In)Escapable Monotony of Pornographic Respresentations. Improper Walls, Vienna. Opening: 02/09/2020.
Review on Molecular Sex by Anabelle Lacroix
Bruckner’s was one of a series of works dispersed throughout HKW in smaller spaces. Two large standing projection screens occupied the room, disposed like an open book that immersed the viewer in both sound and image. Tension between dancers on one screen was paralleled with content on the second screen that fluctuated between snippets of feminists reading a manifesto, excerpts from a sex doll documentary and other footage. Speaking with the artist about her work—which deals with the entanglement of molecular biology, the development of nanotechnologies and the shaping of our own desires—the notion of agency became central to our conversation. How can we redistribute relations and influence patterns in the making of technology to embody non-normative and non-binary perspectives? For me the subtle layering in Bruckner’s video as well as her approach to identity politics and performance on screen provided an openness and sensitivity that performed a strong queering of the idealised vision of our technofuture. The video was accompanied by a scrolling text on a small side screen, a posthuman manifesto for interspecies sexuality from sexbots and every mutating techno-organisms with simultaneous co-habiting genres. Only then society would shift from binary sex to ‘quantum-sex’. (...) The live performance embodied the choreographed elements in her video work (which are reminiscent of both music videos and contemporary dance) layered with short excerpts of found footage and 3D renderings of a three-legged dancing creature, with meditative watery sounds and an occasional chorus. Many of the questions posed in Bruckner’s work also relate to ideas of networks and ecologies of trust and of care that were echoed in other works in the exhibition and later discussed in the symposium program that go beyond the scope of this review. There was a general consensus during the closing panel of the transmediale symposium that discussions had not reached any conclusions. This is telling of the amount of work there is to be done if we want to bring change to the development of society in relation to the limitations of new media technologies. This was clear at the end of the panel, in relation to an audience question reflecting on post-colonial and feminist perspectives as a shift in the field, asking about what strategies we could put in place to generate change beyond the surface. This is the kind of structural change that is needed—as intersectional feminist Nina Lykke once said in relation to her power as a Caucasian academic, sometimes one has to think about what we can give up and how we can make space. On Show at Haus der Kulturen der Welt, Berlin, transmediale 2020. Review in Art&Australia, 02/2020.
HASH AWARD, Zentrum für Kunst und Medien, Karlsruhe (nominated). Performance: 21/02/2020, ZKM.
Our Loves Are Not Only Human, Opening: 20/02/2020, Digital Solitude, Stuttgart
Haus der Kulturen der Welt, Berlin, transmediale 2020, End to End. Opening: 28/01/2020
Interview: Techno-Sex-Bots: Molecular Sex, Synthetic Love and Quantum Bodies
CTM / transmediale at Berghain, Berlin, Performance Sympoetic Desires, 29/01/2020
Schloss Akademie Solitude / ZKM: Engineering Care, Web Residency, November 2019.
23/01/20: Kunstraum Niederösterreich, Wien, Quantum Brittle Stars, Performance
57 Venice Biennale, 2019, Molecular Ghosts of Love at Cinema Teatro Italia, Venice, Opening 9 May
Johanna Bruckner: BRITTLE STARS, Q8, Cologne. Opening 23 August
SEA Foundation Tilburg, Digital Artist-in-Residence, October 2019
Istituto Svizzero, Rome, Artist-in-Residence, 2019-20
NIDA ART COLONY: artist in residence, August 2019
Digital Dramatizations: Ecologies from the Future, Center for Contemporary Art, Plovdiv, Bulgaria, Opening: 4 May
Bodies beyond currencies, Lecture performance by Johanna Bruckner, Plateaux Festival, CH, 20 April
"Small Projects for Coming Communities", Opening: 11 May, Stuttgart
CAC Centre d’art contemporain Genève, 5th Floor, solo project, February 2019
February 2019: CAC at artgeneve presenting 5th floor / Six Doors
Molecular Ghosts in Love: Lecture by Johanna Bruckner, Valand Art Academy, Gotheborg, 17 May
17 November: Displaying Cinematography: (Un-)Building Walls. Johanna Bruckner, Marie-France Rafael, Clemens von Wedemeyer, Architecture Biennale Venice
15 March - 28 April: Q8, Cologne, Act
SEXED POWER: POST-FEMINISMUS? POST ME TOO? POST-GENDER? 8 - 16 March, MOM Art Space Hamburg
Co-launch of BLOCC Building Leverage Over Creative Capitalism
Next public presentation: a circuit of workshops at HBK Bern & ZHdK Zürich, 2018
7 September: EIGEN+ART LAB Galerie, Nomadic Bodies, Opening, Berlin
Perspektivwechsel #5, Galerie EIGEN+ART LAB, Artist Talk, 11 September
KW Institute for Contemporary Art, Berlin
REALTY: Workshop hosted by the Sommerakademie Paul Klee fellowship program in conversation with Tirdad Zolghadr
Berlin Art Week: EIGEN+ART Lab, Performance TERRA X, 28 September
18 November: Venice Biennale 2018, Giardini, Venice, "Scaffolding Desires" by Johanna Bruckner & Sandra Oehy, Performing Architecture, Goethe Institute Milano
16. ARCHITECTURE- BIENNALE, VENICE: PERFORMING ARCHITECTURE, GOETHE-INSTITUT, 26 May, Panel discussion; Performance
24 August: Johanna Bruckner & Tyler Coburn, Opening, OnCurating Project Space, Zürich
Sommer Akademie Paul Klee Fellowship
Over the period of Summer 2017 to Spring 2019, the Sommerakademie Paul Klee Bern grants fellowships to eight artists committed to issues spelled out in the REALTY program.
All so Near: Textiled Bodies, China Girls and Archi-Finance. Künstlerhaus FAKTOR Hamburg
12 May: Galerie Reflector Contemporary: Performance: Toxicoloy Reports
28 November: EIGEN+ART Lab, Berlin: CHEERS, opening
Black Mountain College, Zürich, Workshop & Performance, Opening, 19 April, 2018
25–27 May 2018, Symposium Revisiting Black Mountain, ZHdK
Cross-discinplinary Experiments and Their Potential For Democratization (in Times of Post-Democracy)
5 April, 2018, Opening: Hyperbodies: Johanna Bruckner, Reflector Contemporary Gallery, solo, Bern
Deichtorhallen Hamburg, Sammlung Falkenberg, Arbeitsstipendium Bildende Kunst, Hamburg, 2018
Opening: 9 February, 2018
more info >
Panel discussion, Kunsthaus Hamburg: I too, have been seduced by the promise of exposure
LOWLAND Magazin, Edition 4, with an interview by Johanna Bruckner, Künstlerhaus Stuttgart
Research encounter 25-27 May: "Maritime Poetics: from Coast to Hinterland"
Maritimes spaces, history and poetics, Corner College, 25-27 May, 2018
From loss to survivals: on reconstruction and trans-missions of artistic gestures, 2018
Franklin University, Intervalla, Volume 5, Switzerland, with my text contribution The Building: a scaffold, a score. Exercises in re-materialisation
Terra Vague: Against the Ghosts of Land. Performance, HafenCity Hamburg, July 2108
Untertage - im Waldhuus, 2018, Opening: 09.12.2017, Panel discussion: 7 January 2018
Westwerk Hamburg, Video Club 17, 7-10 December
VIDEO Club knüpft an die 1999 gegründete, gleichnamige Präsentationsplattform der Hamburger Kunsthalle für Videokunst an.
Kino Rex, Bern: KUNST UND FILM
Kino Metropolis, Hamburg
The Building, a scaffold, a score: Screening of selected work by Johanna Bruckner, 31 October, 2017
Collaboration with Caro Baumann, ongoing, presentation 2018
Project, ongoing. A scaffold refers both to physical labour on the construction site as well as to the algorithmic scaffold, or framework, as both method and object in algorithmic infrastructure and logistics constitute the tools alongside which abstract, social and cooperative peformances are emerging.