Warren Neidich works and lives between Berlin and London. His interdisciplinary time-based works explore the way that culture and language are interacting in ways that affect subjectivity and identity through the reconfiguration of brain and mind. Recent exhibitions include Each Rainbow must Retain the Chromatic Structure, it, Magnus Müller, Berlin (2008), Multitasking, NGBK, Berlin (2007), Neon Lights and LEDs, Edward Mitterrand Gallery, Geneva, Switzerland (2007), My Vision, Zephyr-Raum für Fotografie, Mannheim, Germany (2007), Saloon, The Moscow Biennial (2007), Protections, Kunsthaus Graz, Austria (2006), Masquerade, Los Angeles County Museum, Los Angeles (2006), The Expanded Eye, Kunsthaus, Zurich (2006), Sweet Dreams, Contemporary Art and Complicity, Bayle Art Museum, University of Virginia (2006), Earthling, Andrew Mummery Gallery, London (2006).

His work has been exhibited internationally in such institutions as the Whitney Museum of Art, New York City, Palais de Tokyo, Paris, Ludwig Museum, Cologne, Los Angeles County Museum of Art, Los Angeles, Walker Art Museum, Minneapolis, Minnesota, and P.S.1, MOMA, Long Island City. Seven books of his work have been published including American History Reinvented, Aperture Foundation, 1989, Unknown Artist, Fricke-Schmid, 1993, Camp O.J., DAP, 1996 and Earthling, Pointed Leaf Press, 2005 with an interview by Hans Ulrich Obrist and an essay by Barry Schwabsky. A collection of his writing Blow-up: Photography, Cinema and the Brain was published by DAP in 2003. He is recipient of the AHRB-ACE Art Award, 2004, The Arts Council of England Merit Award, 2005 and The British Academy Award, 2005. He is currently Visiting Artist and Research Fellow at the Center for Cognition, Computation and Culture at Goldsmiths College, London (2006-2008). Neidich has been invited to do a residency at IASPIS in Stockholm, Sweden, in summer 2008.

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Selected Solo Exhibitions
2008 __Onomatopee, Eindhoven, Netherlands forthcoming
______ Each Rainbow Must Retain the Chromatic Signature, it..., Magnus Müller Gallery, Berlin
2006 __Earthling 2, Andrew Mummery Gallery, London
2005 __Earthling, Michael Steinberg Fine Arts, New York
2004 __Silent: A State of Being, Madrid Abierto Public Scupture Competition, Madrid
2003 __Froöhliche Wissenschaft, Brandenurgischer Kunstverein, Potsdam, Germany
2002 __Warren Neidich: The Mutated Observer, Part 2, California Museum of
_________Photography, Riverside, CA
______ Warren Neidich: Photographs and Videos, Storefront for Art & Architecture, New York
______ Remapping, Edward Mitterand Gallery, Geneva
______ Some Stories Concerning the Relations of a Mutated Observer, Gallery
_________MüllerDeChiara, Berlin
2001 __Warren Neidich: The Mutated Observer, Part 1, California Museum of
_________Photography, Riverside, CA
______ Beyond the Vanishing Point: Los Angeles, Gandy Gallery, Prague
______ The Camp O.J. Installation, Laguna Art Museum, Laguna Beach, CA
2000 __Beyond the Vanishing Point: Media and Myth in America, Bayle Art Museum,
_________Univ. of Virginia, Charlottesville, VA
1997 __Re-cognition, Steffany Martz Gallery, New York
1996 __Pollock: Holding a Crow With Alchemy, Steffany Martz Gallery, New York
1994 __Cultural Residue, Villa Arson, Nice
1993 __Together We Stand / Divided We Fall, Künstlerhaus Bethanien, Berlin
1991 __Historical Interventions, List Visual Arts Center, M.I.T., Cambridge, MA
______ American History Reinvented, Perpectif Space, Rotterdam
______ The Battle of Chicamauga, Photographic Resource Center, Boston
______ American History Reinvented, Aperture Foundation, New York

Selected Group Exhibitions
2009 __La Filature, Mulhouse, France forthcoming
2008 __Third Guangzhou Triennial: Farewell to Post-Colonialism, curated by Gao Shiming,
_________Sarat Maharaj, and Johnson Chang Tsong-zung, Guangdong Museum of Art,
_________Guangzhou, China forthcoming
______ Open Studios, International Artists Studio Program in Sweden (IASPS),
_________Stockholm, Sweden forthcoming
______ Garden of Delights: Yeosu International Art Festival, curated by Raul Zamudio,
_________Yeosu, South Korea forthcoming
2007 __House Trip, curated by Ami Barak, Art Forum Berlin
______ Light and Neon, Edward Mitterand Gallery, Geneva
______ Multitasking, curated by Barbara Lauterbach, NGBK, Berlin, continued to:
_________Stedelijk Museum s’-Hertogenbosch, Netherlands;
_________Overbeck-Gesellschaft, Lübeck, Germany
______ Saloon, Special Projects Section, Moscow Biennial, Moscow
______ My Vision, Reiss-Engelhorn-Museen and Zephyr–Raum für Fotografie, Mannheim
2006 __Apparatus, curated by Adina Popescu, Program Gallery, Berlin
______ The Expanded Eye, curated by Bice Kuriger, Kunsthaus Zürich
______ Protections, curated by Adam Budak and Christine Peters, Kunsthaus Graz, Graz
______ Sweet Dreams: Contemporary Art and Complicity, curated by Johanna Drucker,
_________Bayle Art Museum, Univ. of Virginia, Charlottesville, VA
______ Masquerade, curated by Deborah Irmas, Los Angeles California Museum of Art,
_________Los Angeles, CA
2005 __Go-Between, curated by Wolfgang Fetz and Peter Lewis, Magazin 4 and Bregenzer
_________Kunstverein, Bregenze, Austria
______ Library, Librarie, curated by Idealondon, Institute of Contemporary Art, London
______ New Economy, curated by Eric Angles, Columbia University Art Gallery, New York
______ CAC/tv, curated by Raimundas Malasauskas, Contemporary Arts Center, Vilnius,
_________Lithuania
2004 __Synaesthesia: A Neuro-aesthetic Exhibition, curated by Chloe Vaitsou, Institute
_________of Contemporary Arts, London
______ Everything is Connected, He, He, He., curated by Gunnar Kvaran, Astrup Fearnley
_________Museum of Modern Art, Oslo
2003 __Harlem Postcards, curated by Christine Kim, Studio Museum of Harlem, New York
______ Mobility, A Room with a View, curated by Francine Houben, International Architecture
_________Biennale (part of Indesem), Rotterdam
2002 __Proper Villians, curated by David Hunt, Artists Space, New Haven, CO
______ Charlie Magazine, curated by Bettina Funcke and Maurizio Cattalan, PS1
_________Contemporary Art Center, New York
2001 __Bitstreams, curated by Larry Rinder, Whitney Museum of American Art, New York
______ Urban Pornography, curated by Laurie Firstenberg, Artists Space, New York
______ Optical Verve, curated by Sylvie Fortin, Ottawa Art Gallery, Ottawa
______ The Fact Show, curated by Vickie Clark, Pittsburgh Center for Contemporary Art,
_________Pittsburgh, PA
2000 __Chronos, curated by Regine Basha, Palazzo Tupputi, Bisceglie, Italy
______ Alternative-Alternative, curated by William Stover, Roebling Hall, Brooklyn
1997 __Notions of the Nineteenth Century, curated by Meg Linton and Tyler Stallings,
_________Huntington Beach Art Center, Huntington, CA
______ Making It Real, curated by Vik Muniz, Aldrich Museum of Art, Ridgefield, CO,
_________continued to:
_________Reykjavik Municipal Art Museum, Reykjavik, Iceland;
_________Bayle Art Museum, Univ. of Virginia, Charlottesville, Virginia;
_________Portland Museum of Art, Portland, Maine;
_________Bakalar Gallery, Massachusetts College of Art, Boston, MA;
_________Emerson Gallery, Hamilton College, Clinton, New York
1996 __Ports of Entry: William Burroughs, curated by Robert Sobieszek, Los Angeles County
_________Museum of Art, Los Angeles, CA, continued to:
_________Spencer Museum of Art, Kansas City, Missouri
1995 __Mapping a Response to MOMA, curated by Peter Fend, American Fine Arts, New York
______ Photography After Photography, curated by Hubertus von Amelunxen, Stefan Iglhaut
_________and Florian Rotzer, Aktionsforum Praterinsel, Munich, Germany, continued to:
_________Kunsthalle Krems, Krems, Austria;
_________Städtische Galerie Erlagen, Erlagen, Germany;
_________Brandenburgische Kunstammlungen, Cottbus, Germany;
_________Musset for Fotokunst, Odense, Denmark;
_________Fotomuseum Winterthur, Winterthur, Switzerland;
_________The Finnish Museum of Photography, Helsinki;
_________Institute of Contemporary Art, Philadelphia, Pennsylvania
1993 __Fontanelle, curated by Christoph Tannert, Potsdam, Germany
1992 __Salvage Utopia, curated by Paul Bloodgood and Elissa Friedman, AC Project Room,
_________New York
______ Relative Truths, curated by Tracey Bashkoff, Guild Hall- East Hampton, New York
______ Summer Show, curated by Max Lang, Blum Helman Warehouse, New York
1991 __New York Stories, curated by Richard Wasko, P.S.1 Institute of Contemporary Art,
_________Long Island City, New York
______ Chimique versus Numerique, curated by Allain D’hooge, Palais de Tokyo, Paris
1989 __Photography of Invention, curated by Joshua Smith, National Museum of American
_________Art, Washington DC, continued to:
_________The Museum of Contemporary Art, Chicago, Illinois; Walker Museum Of Art,
_________Minneapolis, Minnesota
1988 __Vom Landschaftsbild zur Spurensicherung, curated by Rheinhold Misselbeck, Museum
_________Ludwig, Köln
______ Television and Art, curated by Mark Miller, Queens Museum, Queens
______ The Nature of the Real, curated by Renee Ricardo and Paul Laster, White Columns,
_________New York

Books and Catalogues
2005 __Earthling, essays by Barry Schwabsky and Interview by Hans Ulrich Obrist,
_________Pointed Leaf Press, New York, New York
2003 __Blow-up: Photography, Cinema and the Brain, essays by Warren Neidich,
_________with an introduction by Norman Bryson, published by D.A.P. and the University
_________of California, Riverside
2000 __Camp O.J., photographs of Warren Neidich, texts by Charles Steinback and
_________David Hunt, Bayle Art Museum
1994 __Cultural Residue: Contamination and Decontamination, Philip Pocock, Villa
_________Arson catalogue, Nice, France
1993 __Unknown Artist, with an essay by Bodjana Pedjick, Fricke & Schmid
1991 __Historical Intervention, David Joselit, M.I.T. List Center (catalogue), Cambridge, MA
1989 __American History Reinvented, editor Steve Dietz, photographs by Warren Neidich,
_________essays by Linda Day, Reinhold Misselbeck, Christopher Philips, Lew Thomas
_________and John Welchman, Aperture

Education and Teaching Positions
2006-08 __Research Fellow, Center for Cognition, Computation and Culture
2005_____Visiting Tutor, Center for Cultural Studies, Goldsmiths College, London, England
2004_____Visiting Artist, Department of Visual Arts, Goldsmiths College, London, England
2003 __ __Visiting Artist, The Cooper Union for Arts and Science, New York, New York
1993 __ __Visiting Instructor, Photography, School of Visual Arts, New York, New York

Professional Experience
2005 __Conference Organizer: Neuroaesthetics, Goldsmiths College, London, May 20–21
_________Plenary Speakers included, Sarat Maharaj, Diedrich Diedrichson, Joseph Kosuth,
_________Brian Massumi, DJ Spooky, Marcos Novak, Barbara Marie Stafford
______ Panel Chair, Creative Evolution, Goldsmiths College, London, February 13–14
______ Conference organizer: The Phantom Limb Phenomenon: A Neurobiological Entity
_________with Æsthetic, Cultural and Philosophical Implications, Goldsmiths College, London
2003 __Conference Organizer: "Movies, Buildings and Brains", University of California at
_________Los Angeles, Department of Art, Los Angeles, California Panel Chair, Some
______ Stories Concerning the Mutated Observer, College Art Association, New York
1999 __Symposium Organizer: Can Art Investigate the Brain?, Thread Waxing Space,
_________New York
______ Exhibition Organizer: Conceptual Art as a Neurobiologic Praxis, Thread Waxing
_________Space, New York City. Artists included: Mathew Ritchey, Douglas Gordon,
_________Carl Fudge, Spencer Finch, Rickie Albende, Uta Barth, Thomas Ruff, Liam
_________Gillick, T. Kelly Mason, Andrea  Robbins, Jack Pierson, Jonathan Horowitz,
_________Sam Durant, and Rainir Ganahl
1995-__Exhibition Organizer: Spot Art Foundation, 61 Vandam Street, New York
1997_____ An artist initiative – a self-reflexive exhibition space that investigated the
_________apparatus and process of alternative spaces in New York City. Participating
_________artists included Douglas Gordon, John Baldessari, Matthew Buckingham,
_________Joachim Koester, Peter Rostovsky, Fatimah Tuggar, Vik Muniz, Carola
_________Dertnig, Martin Beck, Rainald Schumacher and Peter Fend
1996 __Exhibition Organizer: Blow-Up: The Relation of Photography to Cinema.
_________International Curators Incorporated. 

Founder and Editor: artbrain.org, The Journal of Neuroaesthetics, and Netspace Gallery

Guest Speaker and Visiting Artist
2007 __Guest Speaker, Transmediale 2007, Berlin
2006 __Lecturer, Photographers Gallery, Gallery talk on show Blow-up, London
______ Lecturer, Serpentine Gallery, Traumatic and False Memory in the Work of
_________Thomas Demand, London
______ Visiting Speaker, Sparwasser, Berlin
______ Visiting Tutor, California Institute of the Arts, Los Angeles, California
______ Visiting Tutor, Architectural Association, Design Research Lab, London
2005 __Visiting Speaker, La Laboratoire, Mexico City, Mexico, November
______ Visiting Speaker, Brown University, Departments of Modern Culture and Media
_________and Visual Arts, November
______ Visiting Speaker, Chicago Art Institute
______ Keynote speaker, Society for Literature, Science and the Arts, Emergent
_________Systems, Cognitive Environments, Chicago
______ Guest Speaker: Engaging the Impossible, Central St. Martins College of Art, London
______ Guest Tutor, Columbia University, MA, School of Fine Arts, New York City
______ Guest Tutor, Architectural Association, Design Research Lab, London
______ Exhibitor, Creativity and Cognition, Goldsmiths College, London, April13-15
2004 __Guest speaker, Institute of Contemporary Art, London
______ Guest speaker, 4S et EASST Meeting, Paris
______ Guest speaker, Mapping Intensities, Goldsmiths College
______ Guest speaker, Piet Zwart Institute, Rotterdam
______ Guest speaker, Inscriptions, Eastern Mediterranean University, Cyprus
______ Guest speaker, Silence and Photography, University of Kent, Canterbury
______ Keynote speaker, Designer Bodies, Museum of Fine Arts, Edinburgh
______ Guest speaker, The First Visual Studies Conference, Arco, Madrid
2003 __Guest speaker, The Royal Institute, London
______ Guest Lecturer, Rijksakademie, Amsterdam
______ Guest Lecturer, Goldsmiths College, London
______ Guest lecturer, Indesem 2003, Technical University, Delft
2002 __Artbrain.org #2, launched at the Basel Art Fair, June
2001 __Editor and chief of {artbrain.org}, launched May 31, White Box, New York
2000 __Guest lecturer, “Vision and the Visionary: Art and Perception in the work of Warren
_________Neidich”, panel discussion moderated by Stephen Margulies with Johanna R.
_________Drucker and Michael Kubovy, Bayle Art Museum of Art, Charlottesville, VA
______ Guest lecturer, “Visual Ergonomics” College Art Association, New York
1999 __Guest lecturer, Graduate Center of the City University of New York, Department
_________of Literature, New York
1998 __Guest lecturer, University of Virginia, Department of Art, Charlottesville, Virginia
1993 __Visiting Lecturer, Düsseldorf Art Academy, Dusseldorf, Germany
1991 __Guest lecturer, Society for Photographic Education, Santa Fe New Mexico
______ Guest lecturer, San Francisco Camera Work, San Francisco, California
______ Visiting Artist, Art Center College for Art and Design, Pasadena, California
1989 __Visiting artist, University of California, Santa Barbara, California

Awards, Fellowships and Honors
2008_____Residency at IASPIS, Stockholm, Sweden
2005_____Finalist Creative Capital Grant
_________Glenfiddich Artist Residency, American Representative, Summer
_________British Academy Award
2004-05 __Arts Council of England Research Fellowship
2004_____ACE-AHRB Arts and Science Research Fellowships
2004_____Madrid Abierto Public Sculpture Competition, Madrid
2003_____Light Works, Schenectady, New York
_________Künstlerhaus Bethanien, Berlin
2002_____Lower Manhattan Cultural Council Studios, Brooklyn,
2000_____Santa Fe Art Institute, Santa Fe, New Mexico
1998_____MacDowell Foundation, Petersborough, New Hampshire
1997_____Vermont Studio Center, Johnson, Vermont
1994-95__ Villa Arson, Nice, France
1994_____Hotel Chelsea Artist-in-Residence, Cologne, Germany
1993-94 __Künstlerhaus Bethanien, Berlin, Germany