Nadja Verena Marcin (Berlin/New York) is an award-winning visual artist, filmmaker, and researcher working across video, film, photography, and digital media. Her practice examines how bodies, images, language, and technologies encode meaning, reinterpreting canonical and pop-cultural imagery to reveal ideological, gendered, and anthropocentric underpinnings of contemporary life. Across her oeuvre—from early works like Sissi (2005) to projects such as Zero Gravity (2013) and OPHELIA (2017–2021)—Marcin’s interplay of humor, absurdity, and criticality centers the female body as both subject and mediator, exposing cultural ambiguities while foregrounding human vulnerability, agency, and transformation.
Through reenactment, irony, and reconfiguration, Marcin investigates how power, gender, and world views are embedded in visual and linguistic codes. Her work engages with archetypes and tropes—from Ophelia and Eve to cover girls and virtual assistants—turning them into performative laboratories that reveal hidden psychological mechanisms. Using theatrical sceneries, allegories, and digital interfaces—including AI-based installations like #SOPHYGRAY (2021–2025)—and staging herself as an Alter Ego, she fuses satire, poetry, and conceptual rigor to create works that navigate empathy and critique, humor and seriousness, while mirroring social myths reflecting life in fractured realities. By rewriting familiar narratives in charged tableaux, she invites audiences to rethink the paradigms we live by—of gender, power, nation, and self.
Marcin’s work has been exhibited extensively at internationally renowned institutions, including Ars Electronica (Linz), Gropius Bau (Berlin), Fridman Gallery (New York), Onassis Stegi (Athens), Garage Museum (Moscow), ZKM Museum (Karlsruhe), Himalayas Museum (Shanghai), Museum Ludwig (Cologne), ICA Philadelphia, Kunstmuseum Bonn, Berkeley Art Museum, SCHAUWERK Sindelfingen, Dortmunder Kunstverein, National Museum La Paz, IMPAKT (Utrecht), Museum of Modern Greek Culture (Athens), Fridericianum (Kassel), Haus der Kunst (Munich), and WRO Art Center (Wroclaw).
She has been awarded numerous grants and prizes from Ars Electronica, Berlin Senate, New York State Council for the Arts, Stiftung Kunstfonds, EMAP/EMARE, Fulbright Association, DAAD, the Film- und Medienstiftung (Düsseldorf), Franklin Furnace, Foundation for Contemporary Art, and BKM, among others. Her work has been reviewed in international media, including Artnet News, Hyperallergic, VICE, Artforum, Texte zur Kunst, Berlin Art Link, art-in-berlin, ARTinWORDS, Barton, Cultured Mag, Tagesspiegel, WAZ, SWR, San Francisco Chronicle, and HuffPost, and others.
Marcin has been invited to speak at institutions such as Queen Mary University of London, School of the Visual Arts (New York), Brooklyn College, Warsaw Biennial, Cabíria Festival (Rio), Centro Cultural Simón I. Patiño (Santa Cruz), and CUNY (New York). She has taught at Wellesley College, P.I. Art Center, University of Potsdam, and Burg Giebichenstein and has served as a guest critic at the University of North Carolina Chapel Hill and Greensboro, the City College of New York, and serves regularly as critic at the International Center of Photography (ICP) in New York and the Rhode Island School of Design.
She is represented by Art Claims Impulse in Berlin and AKArt in San Francisco, and is also the founder and director of KUNSTRAUM, a Brooklyn-based hub for artists that features a gallery, studio program, curatorial and artist residencies.
CURICCULUM VITAE
NADJA VERENA MARCIN
Born in Würzburg, Germany
Lives and works in Berlin, Germany and New York, USA
Research-based interdisciplinary visual artist, performance artist, filmmaker and lecturer creating immersive installations, interactive apps, performances, photography and moving images.
EDUCATION
| 2025 | PhD-Programm / Artistic Research, Kunstuniversität Linz, Linz, Austria |
| 2010 | MFA Visual Arts / New Genre, Columbia University, New York, USA |
| 2009 | Independent Studies, Prof. John Bock, Berlin, Germany |
| 2007 | Diploma Fine Arts / New Media, Appt. Meisterschülerin Prof. Daniele Buetti, Kunstakademie Münster, Münster, Germany |
| 2004 | Intermediate Diploma / Fine Arts, Bauhaus Universität, Weimar, Germany |
TEACHING
| 2023-2024 | Diploma Mentor, Visual Arts Diploma by Leon Meschede, Burg Giebichenstein, Kunsthochschule Halle, Halle, Germany Guest Lecturer, The Hidden Server – Digital Technologies, Myths of Appearance, Power Relations, and Body Politics, Digitalvilla, Department of Information Systems, Processes and Systems, University of Potsdam, Potsdam |
| 2018-2019 | Visiting Artist & Lecturer, Art Department, Wellesley College, Wellesley, USA |
| 2018 | Adjunct Professor in Video and Film Department, Course Advanced Editing Course for Premiere CC 2015, P.I. Art Center, New York, USA |
| 2015-2018 | Adjunct Professor in Video and Film Department, Course Video and Performance Art in Snippets, P.I. Art Center, New York, USA Adjunct Professor in Video and Film Department, Course Experimental Film Production/Post-Production, P.I. Art Center, New York, USA |
| 2009-2010 | Teaching Assistant in Visual Arts Department, Course Video I by Prof. Shelly Silver, School of the Arts, Columbia University, New York, USA |
| 2008-2010 | Media Lab Assistant in Visual Arts Department, School of the Arts, Columbia University, New York, USA |
WORKSHOPS & MASTERCLASSES
| 2024 | Workshop #SOPHYGRAY’S Feminist Write-A-Thon, Frauenmuseum Meran, Meran, Italy Workshop #SOPHYGRAY’S Feminist Write-A-Thon, alpha nova & galerie futura as part of Vorspiel at transmediale & ctm festival, Berlin, Germany |
| 2023 | Workshop Digital Writing Workshop: Legacy Russell’s Manifesto GLITCH FEMINISM in conversation with #SOPHYGRAY, Digitalvilla, University of Potsdam, Germany |
| 2022 | Workshop #SOPHYGRAY – A Feminist Audio Bot, KUNSTRAUM LLC, New York, USA Workshop #SOPHYGRAY – A Feminist Audio Bot, Onassis Stegi as part of EMAP/EMARE Artist Residency, Athens, Greece Workshop #SOPHYGRAY – A Feminist Audio Bot, Ntizeza during EMAP/EMARE Artist Residency, Athens, Greece Master Class Master Class: Nadja Verena Marcin, Festival Internacional Denis Stoklos de Solo Performance, Irati – Paraná, Brazil |
| 2020 | Master Class Master Class: Nadja Verena Marcin, Cabíria Festival & Prêmio de Roteiro, São Paulo, Brazil |
| 2018 | Workshop OPHELIA PIY (Perform It Yourself), Centro Cultural Simón I. Patiño, Santa Cruz, Bolivia Master Class Master Class: Nadja Verena Marcin – How to Make a Performance, Faculty of Arts, Universidad Autónoma Gabriel René Moreno, Santa Cruz, Bolivia |
VISITING ARTIST & CRITIC
| 2022-2025 | Visiting Critic, Portfolio Reviews, International Center for Photography, New York, USA |
| 2021-2025 | Visiting Critic, Portfolio Reviews, Rhode Island School of Design, Rhode Island, USA |
| 2021 | Visiting Critic, Studio Visits, GlogauAir Residency, Berlin, Germany |
| 2019 | Visiting Artist, Artist Lecture & Studio Visits, Department of Art and Art History, University of North Carolina at Greensboro, Greensboro, USA Visiting Artist, Artist Lecture & Studio Visits, Department of Art and Art History, University of North Carolina at Chapel Hill, Chapel Hill, USA |
| 2013 | Visiting Artist, Artist Lecture & Studio Visits, MFA in Digital and Interdisciplinary Art Practice, CCNY Art Department, City College, New York, USA |
| 2011 | Visiting Artist, Artist Lecture & Studio Visits, MFA Performance and Interactive Media Arts, Brooklyn College, New York, USA |
SOLO EXHIBITION
(Selection | P = Performance, C = Catalog)
| 2024 | #SOPHYGRAY, alpha nova & galerie futura as part of Vorspiel of transmediale & ctm festival, Berlin, Germany (P) |
| 2023 | #SOPHYGRAY, Onassis Stegi, Athens, Greece (P) |
| 2021-2022 | #SOPHYGRAY, Kunstverein Ruhr, Essen, Germany (P/C) |
| 2019-2020 | OPHELIA, Stadtgalerie Saarbrücken, Saarbrücken, Germany (P) |
| 2019 | OPHELIA, SCHAUWERK Sindelfingen, Sindelfingen, Germany (P/C) The Great Dictator, ZQM, Berlin, Germany |
| 2018 | OPHELIA, Moltkerei e.V. Werkstatt as part of DC Open, Cologne, Germany (P) OPHELIA, Nube Gallery, Santa Cruz, Bolivia OPHELIA, Minnesota Street Project, San Francisco, USA (P) |
| 2017 | OPHELIA, CONTEXT Art Miami, 532 Gallery Thomas Jaeckel, New York, USA (C) |
| 2016 | Cinema Pirata – How to Undress in Front of Your Husband, SOHO20 Gallery, Brooklyn, USA |
| 2015 | 01111010 01100101 01110010 01101111 01100111 01110010 01100001 01110110 01101001 01110100 01111001, Esther Donatz Gallery as part of Kino der Kunst, Munich, Germany |
| 2014 | Zero Gravity, Kunstverein Unna, Unna, Germany |
| 2013 | Zero Gravity, 532 Gallery Thomas Jaeckel, New York, USA Award for ‘Art and Language’, Kunststiftung Sparkasse UnnaKamen, Unna, Germany |
| 2012 | Action Manual Vol I, Dortmunder Kunstverein, Dortmund, Germany Action Manual Vol II, Orangerie Schloss Rheda/ Werkstatt Bleichhäuschen, Rheda- Wiedenbrück, Germany |
| 2011 | Solo Exhibition, The-Solo-Project presented by Jens Fehring Gallery, Basel, Switzerland (C) Lost in translation, Jens Fehring Gallery, Frankfurt, Germany (P) |
| 2009 | Confessions of a Donkey, Kunstverein Dorsten, Germany (C) |
| 2008 | Loss of hearing, G727 Gallery, Los Angeles, USA |
| 2006 | Lend me your Doberman, Kapinos Gallery, Berlin, Germany |
SOLO PERFORMANCES
| 2024 | FORT Biennale_01, Landesmuseum Franzensfeste, Fortezza, Italy |
| 2018 | OPHELIA at New Ear Festival, Fridman Gallery, New York, USA |
| 2014 | La Mujer, Goethe Center, Santa Cruz, Bolivia |
| 2012 | Reise nach Ägypten, a collaboration between Skulpturenmuseum Glaskasten, Marl, Dortmunder Kunstverein, Dortmund, Werkstatt Bleichhäuschen, Rheda-Wiedenbrück, Germany King Kong Theory, MOMENTUM | Berlin as part of Month of Performance Art, Berlin, Germany |
SOLO SCREENINGS
(Selection | P = Performance, C = Catalog)
| 2018 | Der Stinknormale Mann, Motorenhalle, Dresden, Germany (C) |
| 2017 | YES: Nadja Verena Marcin/ Rachelle Beaudoin, Microscope Gallery, Brooklyn, USA (2 persons) |
| 2012 | Premiere of //KIDS//, ZKM – Center for Art and Media, Karlsruhe, Germany |
BIENNIALS
(P = Performance, C = Catalog)
| 2024 | FORT Biennale_01, Landesmuseum Franzensfeste, Franzensfeste, Italy (P/C) Every Women Biennial – I Will Always Love You, La MaMa Galleria, New York, USA |
| 2023 | WRO-Biennale 2023, WRO Art Center, Wroclaw, Poland (P) |
| 2021 | Every Women Biennial – My Love is Your Love, Superchief Gallery NFT, London/New York, USA |
| 2019 | 24th Biennial of Humor and Satire, House of Humor and Satire, Gabrovo, Bulgaria (C) Every Women Biennial, La MaMa Galeria, New York, USA |
| 2018-2017 | V BIENAL CONTEXTOS, Museo Nacional de Arte, La Paz; Centro Pedagógico y Cultural Simón I. Patiño, Cochabamba, Bolivien (C) Greatest Love of All – Whitney Houston Biennial, chashama at XOCO 325, New York, USA |
| 2017 | The Whitney Houston Biennial – Greatest Love of All, La MaMa Galeria, New York, USA |
| 2016 | Deep Inside – 5th Moscow Int. Biennale for Young Art, Trekhgornaya Manufactory, Moscow, Russia (C) |
| 2010 | Qui Vive? – 2nd Moscow Int. Biennale for Young Art, Garage Museum of Contemporary Art, Moscow, Russia (C) |
| 2009 | Kauno Biennal TEXTILE’09, M.K. Čiurlionis National Art Museum, Kaunas, Lithuania (P/C) |
| 2008 | Mediations Biennale – Camouflashed / Videoperformance, National Museum Poznań, Poznań, Poland (C) |
GROUP EXHIBITIONS
(Selection | P = Performance, C = Catalog)
| 2025 | Loose Ground, SAP Space, B-LA-M, Mexico City, Mexico Post Eden, Art Claims Impulse, Berlin, Germany Glitch: Ontological Exhaustions and System Failures, Spazju Kreattiv, Malta (C) Bruch|Stücke II (Fracture|Fragments II), Art Claims Impulse, Berlin, Germany |
| 2024 | Retrato de un hombre y una mujer, Museo de Arte Contemporáneo, Santa Cruz; Museo National de Arte, La Paz, Bolivia (C) In Touch, IMPAKT Center for Media Culture, Utrecht, Netherlands You Know What You Know, Space 776 & KUNSTRAUM, New York, USA PAR(I)TY WITH US, aquabitArt Galerie, Berlin, Germany Close to the Edge, Spor Klübü, Berlin, Germany |
| 2023 | Who Owns the Truth? – Ars Electronica, Linz, Austria (C) Zero Tolerance, Spor Klübü, Berlin, Germany Platform Glitch Asthetics, Digitalvilla, University of Potsdam, Potsdam (C) |
| 2022 | The Ulterior Narrative Cinema, CINEMA TICK TACK, Antwerp, Belgium (C) eco-Logix, Kunstraum flat 1, Vienna, Austria |
| 2021 | Tāctus – 17th Athens Digital Arts Festival (ADAF), Bath House of Winds, Museum of Modern Greek Culture, Athens, Greece Even when the rocks reach out to kiss you, Transpalette – Contemporary Art Center, Antre Peaux, Bourges, France (C) UN/CUBE, online group show, Zurich, Switzerland |
| 2020 | Down to Earth as part of Avtonomi Akadimia, Berliner Festspiele at Gropius Bau, Berlin, Germany Femme Fatale, FAIR presented by Kunstraum LLC, New Art Dealers Alliance, New York, USA Even when the rocks reach out to kiss you, Transpalette – Contemporary Art Center, Bourges, France (C) ISCP: Benefit Auction 2020 via Artsy, International Studies and Curatorial Program, New York, USA |
| 2019 | Come On In, The Water’s Fine, Artnews at W Hotel, Miami, USA Performance Is Alive, Satellite Art Show, New York, USA Staring at the Sun, Mile End Art Pavilion, London, United Kingdom Re: INSITU, The Boiler, Brooklyn, USA |
| 2018 | Art in Odd Places, Westbest Gallery, New York, USA (P) Object Action: The “F” Word in a Post-Truth Era, state, San Francisco, USA Test Bed, Parsons – New School, Aronson Gallery, New York, USA |
| 2017 | Meaning and Difference, a collaborative project by Darren Bader, The Power Station, Dallas, USA (C) Todos los ojos en Bolivia, Museo National de Arte, La Paz, Palacio Portales, Cochabamba, Manzana Uno and Centro Cultural Simón I. Patiño, Santa Cruz, Bolivia Space Odyssey – beyond Material Confinements, Radiator Gallery, Brooklyn, USA Aesthetica Art Prize, York Art Gallery, Great Britain |
| 2016 | Così fan tutte, ossia la scuola degli amanti (Thus Do They All, or The School for Lovers), Biblioteca Civica del Comune di Verona (Veneto Videoart Archive Headquarters) Video Shop, NADA New York presented by Kunstraum LLC, New York, USA 4to Festival de Performance Cimientos, Centro Cultural Simón I. Patiño, Cochabamba, Bolivia (P/C) |
| 2015 | Le fruit défendu, Galerie du Beffroi, Namur, Belgium Call of the Wild: Pioneers, Rebels and Heroines, Vox Populi, Philadelphia, USA GlobalDraw Project, Oude Stadsgalerij in Heerlen, Netherlands |
| 2014 | FEARFULAWESOME – Ecstasy, death and rebirth of a male painter, TEMP Art Space, New York, USA DEW21 Kunstpreis, Museum für Kunst- und Kulturgeschichte, Dortmund, Germany |
| 2013 | Middle Gate Geel‘13, Kunstenhuis Yellow Art, Geel, Belgium (P/C) Coup de Ville 2013, Sint Niklaas, Belgium (C) Dream Extension – Photographs from Germany, Gallery On, Seoul, South Korea Peekskill Project, Hudson Valley Center for Contemporary Art, Peekskill, USA |
| 2012 | 80WSE presents…, 80WSE Gallery – NYU Steinhardt, New York, USA Spring Show, 532 Thomas Jaeckel Gallery, New York, USA TINA B. – The Prague Festival of Contemporary Art, Prague, Czech Republic (C) |
| 2011 | German Photography Now – Emotion, Drama and Narration, Jinsun Gallery, Seoul, South Korea (C) Queering Sex, Human Resources, Los Angeles, USA The days of this society are numbered, Abrons Arts Center, New York, USA WE ARE: Live and Let Die, Nuture Art, Brooklyn, USA (C) |
| 2010 | Short-term deviation, Elizabeth Foundation for the Arts, New York, USA (P) As you like it II, Heidi Cho Gallery, New York, USA |
| 2009 | Monitoring, Fridericianum, Kasseler Dokumentarfilm- und Videofestival, Kassel, Germany (C) MONA Collection, Kunsthalle Faust, Hannover, Germany I am my own private dancer, Gallery Jens Fehring, Frankfurt, Germany Women’s Voices / Women’s Visions, St. Mark’s Church, New York, USA |
| 2008 | Video Performance – Models of Self-Reflection, Kunsthalle Münster, Münster, Germany (C) European Attitude, Shanghai Himalayas Museum (formerly Zendai MoMA), Shanghai, China |
| 2007 | Videonale 11, Kunstmuseum Bonn, Germany (C) Shelf Life, Pawnshop Gallery, Los Angeles, USA (P/C) Asian European Mediations, Kunsthalle Faust, Hannover/ Museum of Modern Art, Poznan, Poland (C) Grosse Kunstausstellung, Haus der Kunst, Munich, Germany (C) |
| 2006 | Grosse Kunstausstellung – Through the looking glass, Haus der Kunst, Munich, Germany (P/C) Vorfahrt, Gallery Wolfgang Seitz, Stuttgart, Germany (P/C) Stufo, European Media Art Festival, Osnabrück, Germany (C) |
| 2005 | Videonale 10, Kunstmuseum Bonn, Germany Stadt Kunst, Bonn, Germany (C) |
FESTIVALS | SCREENINGS
(Selection)
| 2025 | Simulacra, 21st Athens Digital Arts Festival (ADAF), Athens, Greece |
| 2021 | 17th Athens Digital Arts Festival (ADAF), Tāctus, Athens, Greece (online) ADAF in collab. with Primarolia Festival, Aigio at Kipos Chartopoiias, Athens, Greece |
| 2020 | NICHT MUSEUM ZEITGEMÄßER KUNST, DEI FUNK WuK, das PARASIT – Dresdner mobile EuropaInstitut für Neue Kunst, Neue Kulturarbeit, Kultur & Wissenschaft & Wirtschaft, Frauenkirche, Dresden, Germany |
| 2019 | Re: INSITU, The Boiler, Brooklyn, USA |
| 2018 | Dream Machines, Parsons – New School, Kellen Auditorium |
| 2017 | The Border Pavilion at The Research Pavilion, Venice Biennale, Venice, Italy Mythic Age, acinema, Milwaukee, USA |
| 2015 | Woman. Equal and Different, Festarte Videoart Festival, Space On Art, Rome, Italy |
| 2014 | Dirty Minds – Reading below the frame, Rooster Gallery, New York, USA |
| 2013 | Aesthetica Film Festival, York, Great Britain (C) |
| 2012 | AIVA Festival, Angelholm, Sweden 29. Kasseler Dokumentarfilm- und Videofest, Kassel, Germany (C) |
| 2011 | Busan International Video Festival, Media Center, Busan, South Korea Female Cut – made in U.S.A, US Embassy/FestArt VideoArt Festival, Circolo degli Artisti, Rome, Italy |
| 2010 | Uncontrollable Flesh, Berkeley Art Museum, Berkeley, USA SCREENING/SALON/CABARET/DISCO, ICA Philadelphia, USA (C) Collective Show, Participant Inc., New York, USA |
| 2009 | INDISCIPLINES, Villa Arson, Nice, France Brooklyn is burning, IMPRENTA, Los Angeles/Santos Partyhouse, New York, USA |
| 2008 | EJECT- Performance Festival, Ex Teresa Arte Actual, Mexico City, Mexico International Video Art Festival, Athens, Greek FIFA – Festival pour film sur l’art, Montreal, Canada (C) |
| 2007 | New Beijing International Film Festival, Beijing, China European Media Art Festival, Film Festival, Osnabrück, Germany (C) |
| 2006 | Jumpnights, Museum Ludwig, Cologne, Germany Fish’06, Film Festival, Rostock, Germany |
| 2005 | European Media Art Festival, Osnabrück, Germany (C) Media Art Friesland, Film Festival, Academy of Pop Culture, Leeuwarden, Netherlands Vienna Shorts, Film Festival, Vienna, Austria |
| 2004 | 15th International Videofestival, Film Festival, Bochum, Germany Deutscher Jugendvideopreis, Bundesfestival Video, Film und Multimedia, Dresden, Germany (C) |
ART FAIRS
NADA New York, CONTEXT Art Miami, VOLTA Basel, NEXT Art Fair Chicago, The Solo Project Basel
COLLECTIONS
SCHAUWERK Sindelfingen, Schaufler Foundation, Sindelfingen
MONA Inner Spaces Collection, National Museum in Poznań, Poznań
Videonale Archive, Kunstmuseum Bonn
Souvenirs from Earth, Media Art Platform, Paris
Digitalvilla, University of Potsdam, Potsdam
Kunststiftung Sparkasse UnnaKamen, Unna
Collection Manfred Moors, Essen
Private collections in Annecy, Athens, Berlin, Brooklyn, Chapel Hill, Dorsten, Dothan, Essen, Frankfurt, Greensboro, Köln, Lyon, Marl, New Jersey, Munich, New York, Paris, Rheda-Wiedenbrück, San Francisco, Würzburg
GRANTS | AWARDS
| 2025 | Anschubförderung, PhD-Programm / Artistic Research, Kunstuniversität Linz, Linz, Austria Atelierförderung, Atelierbüro, kulturwerk des bbk berlin, Berlin, Germany |
| 2024 | Travel Grant, Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt, Berlin, Germany |
| 2023 | European Union Prize for Citizen Science Honorary Mention, Ars Electronica, Linz, Austria NEUSTARTplus, Stiftung Kunstfonds, Bonn Nominated for Villa Massimo Stipend, Bundesland Berlin, Berlin, Germany |
| 2022 | NEUSTART Kulturstipendium, Stiftung Kunstfonds, Bonn, Germany Individual Artist’s Grant in Electronic Media & Film, New York State Council of the Arts, New York |
| 2021 | NEUSTART Modul A – Digitalgutschein, BBK– Bundesverband Bildender Künstlerinnen und Künstler, Berlin, Germany NEUSTART Modul C – Innovative Kunstprojekte, BBK, Berlin, Germany NEUSTART KULTUR, VG Bild-Kunst, Berlin, Germany Room to Bloom programme, supported by Creative Europe programme of the European Union, Athens, Germany Künstlerstipendium, NRW-Soforthilfe 2021, Stipendienprogramm des Ministeriums für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Düsseldorf, Germany |
| 2020 | Künstlerstipendium, NRW-Soforthilfe 2020, Stipendienprogramm des Ministeriums für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Düsseldorf, Germany Nominated for Prize of Contemporary Talents, Foundation Francois Schneider, France |
| 2019 | Individual Artist’s Grant in Electronic Media & Film, New York State Council of the Arts, New York, USA |
| 2017 | Franklin Furnace Grant, Franklin Furnace Archive, New York, USA |
| 2018 | Exhibition Grant for ‘OPHELIA’, DC Open, Moltkerei Werkstatt, Kulturamt Köln, Cologne, Germany Project Grant for ‘OPHELIA’, Puffin Foundation, Teaneck, New Jersey, USA |
| 2016 | Franklin Furnace Grant, Franklin Furnace Archive, New York, USA Foundation for Contemporary Arts Emergency Grant, New York, USA Art Fair Goers Award for Best Booth, Artspace, NADA New York, USA |
| 2014 | Arbeitsstipendium, Stiftung Kunstfonds, Bonn, Germany |
| 2013 | Production Grant for ‚Triple F‘, Film und Medienstiftung NRW, Düsseldorf, Germany Award for ‘Art and Language’, Kunststiftung Sparkasse UnnaKamen, Unna, Germany Stipend for Artistic Research Abroad, Ministerium für Kultur des Landes NRW, Düsseldorf, Germany |
| 2012 | Grant for ‘King Kong Theory’, Puffin Foundation, Teaneck, New Jersey |
| 2011 | Auslandsstipendium New York, DAAD, Bonn, Germany Stipend for Artistic Research Abroad, Ministerium für Kultur des Landes NRW, Düsseldorf, Germany |
| 2010 | Stipend for Artistic Research Abroad, Ministerium für Kultur des Landes NRW, Düsseldorf, Germany Artist Business Career Development Grant, ARTWORKinternational, Inc., Santa Fe, USA |
| 2009 | 1st Price Women’s Voices, juried by Katherine Brinson, St. Mark’s Church, New York, USA |
| 2008 | MFA Tuition Stipend, Falckenberg Collection, Hamburg, Germany Merit Scholarship, School of the Arts, Columbia University, New York, USA |
| 2007 | Fulbright Award, Fulbright Commission, Berlin, Germany |
| 2006 | DAAD Freemover Award, German Academic Exchange Service, Bonn, Germany |
| 2004 | Young Media Award for ‘Losing Virginity’, Deutscher Jugendfilmpreis, Dresden, Germany |
ARTIST RESIDENCIES
| 2022 | EMAP/EMARE Residenz, Onassis Stegi, Athens, Greece |
| 2018 | The Growlery – Artist Residency, San Francisco, USA |
| 2017 | Seminar: Denniston Hill, Denniston Hill Residency, Glen Wild, USA Wassaic Artist Residency, Wassaic, USA |
| 2014 | Residency Program, KIOSKO Galeria, Santa Cruz, USA |
| 2012 | Prattsville Artist Residency, Prattsville, USA International Artist Village, WARP at C-Mine, Genk, Belgium |
| 2011 | Deutsche Börse Residency Program, Frankfurter Kunstverein, Frankfurt, Germany |
| 2010 | ISCP – International Studio & Curatorial Program, New York, USA |
ARTIST LECTURES
| 2025 | Hochschule für Technik und Wirtschaft Berlin, Demo Presentation at 25th ACM-Konferenz IVA – Intelligent Virtual Agents, Berlin, Germany bbk berlin, Moderator of Panel Discussion Talking Back – Das Scheitern der #MeToo in der Kunst?, Berlin, Germany |
| 2024 | School of the Visual Arts – MA for Curatorial Studies, The Algorithmic State: Adversarial Aesthetics, panel discussion with Rosemary Lee, Nadja Verena Marcin, and Joanna Zylinska, New York, USA alpha nova & galerie futura for Vorspiel at transmediale & ctm festival, Artist Talk – #SOPHYGRAY, Berlin, Germany |
| 2023 | Platform Glitch Aesthetics 3.0. at Digitalvilla, Artist Talk – #SOPHYGRAY – Character analysis of a feminist audio bot, moderated by Verena Voigt M.A., GFZK e.V. Potsdam, Germany Pontificia Universidad Católica de Chile, and Centre for Urban Studies, Panel Discussion on Cruising: Urban Studies, Art Practices, and Queerness, MARQ, Escuela de Arquitectura, Chile & University of Amsterdam, Netherlands |
| 2022 | Festival Internacional Denis Stoklos de Solo Performance, Masterclass – Nadja Verena Marcin – Masterclass, Irati, Brazil Room to Bloom: Artist Talks II, artist talk with Q&A with Ségolène Pruvot, Room to Bloom at Warzsawa Biennale, Warsaw, 2022 |
| 2021 | “Penny Travlou, Nadja Verena Marcin, Eleni Riga, Joulia Strauss and Marc Müller ^^ Ecofeminism”, Room to Bloom – Ecofeminist Workshop, artist talk, Avtonomi Akadimia at Room to Bloom, Athens, 2021 |
| 2020 | Cabíria – Festival & Prêmio de Roteiro, Masterclass – Nadja Verena Marcin – Masterclass, São Paulo, Brazil |
| 2019 | “Repair, Resist, Revitalize: New Synergies in the Anthropocene”, Queer Feminist Ecocriticism in Live Art and Visual Cultures International Conference, lecture-performance, Queen Mary University of London, London, 2019 “‘Like a Hurricane’: John Everett Millais’ Ophelia (1852), Nadja Verena Marcin’s OPHELIA (2017-present), and the Hysteria of Nature,” Climate Change and British Art, discussant with Kimberly Rhodes (Professor at Drew University), College Art Association Annual Conference, New York, 2019 “Re-storying the Female Body,” Contested Site: The Female Body in Contemporary Art, presenter with Susan Silas (Artist/Critic), College Art Association Annual Conference, New York, 2019 Elsewhere Residency, Visiting Artist Lecture, Greensboro, USA |
| 2018 | Universidad Autónoma Gabriel René Moreno – Faculty of Arts, Masterclass – Master Class: Nadja Verena Marcin – How to Make a Performance, Santa Cruz, USA Minnesota Street Project, Panel Discussion OPHELIA: Rebel Meme to Systems of Power & Oppression with Dena Beard, Dorka Keehn and Nadja Verena Marcin, moderated by Amy Kisch, San Francisco, USA Motorenhalle, Videoabend Nadja Verena Marcin- Embodiment as part of Der Stinknormale Mann, moderated by Sophia and Franziska Hoffmann, Dresden, Germany |
| 2016 | Pratt Institute, Franklin Furnace Archive, Artist Lecture, Franklin Furnace Grant Ceremony, New York, USA |
| 2015 | Galerie Esther Donatz, Artist Talk moderated by Jürgen Dehm, Munich, Germany |
| 2014 | GOETHE Center, Artist Roundtable Perspektiva Feminina, Santa Cruz, USA |
| 2013 | 532 Gallery Thomas Jaeckel, Artist Talk Zero Gravity, New York, USA |
| 2012 | Dortmunder Kunstverein, Artist Talk Action Manual Vol. I with MFA students from Kunstkritik & Kuratorisches Wissen of Ruhr University Bochum, Dortmund, Germany |
| 2011 | Christie’s Education, Artist/ Curator Panel with Nadja Verena Marcin, Oliver Herring and Sarvia Jasso, New York Frankfurter Kunstverein, Artist Lecture, Frankfurt, Germany |
| 2010 | ISCP – International Studies and Curatorial Program, Salon, New York, Germany |
| 2009 | Kaunas Biennial, Artist Talk, Hotel Reval Neris, Kaunas, Lithuania |
COMMISSIONS
| 2024 | #SOPHYGRAY, live performance/ installation, Berlin Senate & FORT Biennale_01, Fortezza/Bolzano, Italy #SOPHYGRAY, live performance/ installation, EMAP/EMARE & alpha nova & galeria futura, Berlin, Germany |
| 2023 | #SOPHYGRAY, live performance/ installation, EMAP/EMARE, Onassis Stegi & WRO Media Art Biennale, Wroclaw, Poland #SOPHYGRAY, print edition, Gesellschaft für zeitgenössische Konzepte e.V. & Digitalvilla, Potsdam, Germany |
| 2022 | #SOPHYGRAY, mobile app, EMAP/EMARE & Onassis Stegi, Athens, Greece |
| 2021 | #SOPHYGRAY, live performance/ installation, Kunstverein Ruhr, Essen, Germany |
| 2019 | OPHELIA, live performance/ installation, Stadtgalerie Saarbrücken, Saarbrücken, Germany OPHELIA, live performance/ installation, SCHAUWERK Sindelfingen, Sindelfingen, Germany |
| 2018 | OPHELIA, video installation at Nube Gallery, Centro Simón I. Patiño, Santa Cruz, Bolivia OPHELIA, live performance/ installation, Minnesota Street Project, Goethe Institute, San Francisco, USA |
| 2017 | New Cube, live performance as part Open House, Denniston Hill, Glen Wild, USA |
| 2015 | La Mujer II, live performance, Centro Simón I. Patiño, Cochabamba, Bolivia |
| 2014 | La Mujer, live performance, GOETHE Center, Santa Cruz, Bolvia |
| 2013 | Zero Gravity, video/performance, Coup de Ville, WARP, Sint Niklaas, Belgium Nadja By Breton II, live performance, Middle Gate Geel’13, Geel, Belgium |
| 2012 | Reise nach Ägypten, video/ performance, Dortmunder Kunstverein/ Skulpturenmuseum Glaskasten Marl/ Werkstatt Bleichhäuschen, Germany King Kong Theory 1977, live performance, Tina B.Festival, Prague, Czech Republic |
| 2010 | Love’s Surrogates II, live performance, Elizabeth Foundation, New York, USA |
| 2009 | Are you lonesome tonight, video-performance, Kaunas Biennale, Lithuania Marriage with a Donkey, video-performance, Kunstverein Dorsten, Germany |
MONOGRAPHIES
| 2023 | P.Friese, A.Dongus, A.Huffman, Nadja Verena Marcin – #SOPHYGRAY, Essen: Kunstverein Ruhr |
| 2019 | K.Battista, L.Gillick, S.Silas, K.Rhodes, U.Rüth, Nadja Verena Marcin – OPHELIA, Dresden: Sandstein |
| 2009 | Greta Gesenberg, Nadja Marcin – Confessions of a Donkey, Dorsten: Dorstener Kunstverein |
CATALOGS
(Selection)
| 2025 | Verena Voigt, Glitch: Ontological Exhaustions & System Failures, Potsdam: EMBLEMATIC PI$©H*, 2025. 118–129. |
| 2024 | Ulrike Buck and Margareth Kaserer, eds., In the Body of Language – Im Körper der Sprache – Nel Corpo del Linguaggio, Venice: Bruno Books, 2024. 48–51, 159, 252–255. Rocio Chuquimia, Retrato de un hombre y una mujer – Catálogo de los artistas, La Paz: Rocio Chuquimia, 2024. 21 (Digital). |
| 2023 | Verena Voigt, GLITCH PHENOMENA 3.0, Potsdam: EMBLEMATIC PI*$©H, 2023. 19–26. Julian Asbäck, Matthis Frickhoeffer, Dalia Moniat, and Sarah Steffens, State of Interim – Wartenau Art Education. Paraeducational papers, Hamburg: Kunstpädagogik / Hochschule für bildende Künste, 2023. 1-19. (Digital). |
| 2022 | Alex McQuilkin, The Ulterior Narrative, Antwerp: TICK TACK, 2022. 52-54. |
| 2021 | Julie Crenn, Even the rocks reach out to kiss you, Bourges: Antre Peaux, 2021. |
| 2019 | Kathy Battista, New York New Wave: The Legacy of Feminist Art in Emerging Practice, New York: I.B. Tauris, 2019. 77–79. Margarita Dorovska, Marilena Nardi, Tchavdar Nikolov, Martin Rowson, Berta Sichel, Anton Staykov and Tanya Hristova, 24. Gabrovo Biennial of Humor and Satire in Art – Dimensions of Publicness, Sofia: Museum House of Humor and Satire, 2019. 178–179. |
| 2017 | Olivier Richon, Dr Rebekka Kill, Alistair Payne and Sophia Kosmaoglou, Future Now – 100 Contemporary Artists From The Aesthetica Art Prize, New York: Aesthetica Magazine Ltd, 2017. 180–181. |
| 2016 | Nadim Samman, Elvia Wilk and Andrey Shental, Deep Inside, Moscow: Pareto-Print, 32-35, 191. 2016. |
| 2015 | John A. Parks, Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing, and Practicing Art, Beverly: Rockport Publishers, 2015. 126–127. Yelena Gluzman and Matvei Yankelevich, Emergency Index: an annual documentation of performance practice – Vol. 4, Brooklyn: Ugly Duckling Press, 2015. 110–111. |
| 2014 | Peter Gregorio, VECTOR 3, New York: VECTOR, 2014. 146–152. |
| 2013 | Detlef Petry, Leni Van Goidsenhoven & Arnout De Cleene, Patrick Allegaert, Bart Marius and Philippe Vandenberg, Middle Gate Geel 13, Brussels: Agora/Tempus, 2013. 184, 228. Lieven Jonckheere, Johan Heirman, Catherine Lampo, Olivia Rutazibwa, Stef Van Bellingen, Jos Van Immerseel and Christine Veugen, Coup de Ville – Attracted by another level, Gent/Sint-Niklaas: Borgerhoff & Lamberigts/WARP/participating artists, 2013. 140–145. |
| 2012 | 2. Ruhrbiennale, Ruhrbiennale, Duisburg: Aorta Kunst & Kulturverein, 2012. 70–73. tina b., The Prague Contemporary Art Festival, Prague: Galerie Vernon, 2012. 138–139. |
| 2011 | Sun-Jung Kim, German Photography Now – Emotion, Drama and Narration in the stylistic variety, Seoul: Jinsun Gallery, 2011. Guillermo Creus, WE ARE:…, Brooklyn: Nuture Art, 2011. Jens Fehring Gallery, The-Solo-Project – Solo Shows by 50 Selected Galleries, Basel: The-Solo-Project, 2011. 78–81. |
| 2010 | Qui Vive?, 2nd Moscow International Biennale for Young Art, Moscow: Museum of Modern Art, 2010. Georg Elben, Gail B. Kirkpatrick, Videoperformance – Modelle der Selbstbetrachtung, Münster, 2010. 97–99, 123–124. USA/MFA@Bezalel, Bezalel Hosts USA MFA Graduates of 2010, Tel Aviv: Bezalel Academy of Arts and Design Jerusalem, 2010. 10–15. |
| 2009 | Kauno Bienalé, TEXTILE 09, Kaunas: Kauno Dailiniku Paramos Fondas, 2009. 48–49. |
| 2008 | Mediations Biennale, Poznań 2008, Poznań: Centrum Kultury Zamek, 2008. 457. |
| 2007 | Courtney Shermer, Shelf Life, Los Angeles: Pawnshop Gallery, 2007. 3. Asia – Europe Mediations, Contemporary Asian and European Art, Poznań: Stowarzyszenie Kontekst Sztuki, 2007. 150–151. Große Kunstausstellung, Munich: Haus der Kunst München, 2007. 46, 143. Videonale 11, Bonn: Videonale e.V. (Georg Elben)/Köln: Walter König Verlag, 2007. 7, 62–63. |
| 2006 | Vorfahrt, Stuttgart: Kunstprojekt Vorfahrt (Wolfgang Seitz)/ ARNOLDSCHE Art Publishers, 2006. 4, 69, 137. Große Kunstausstellung 2006 – through the looking glass, Munich: Haus der Kunst München, 2006. 95, 159. |
| 2005 | Videonale 10, Bonn: Videonale e.V. (Georg Elben)/ Köln: Walter König Verlag, 2005. 62–63. |
REVIEWS
(Selection)
| 2025 | “Exhibition reflects on today’s technology-dependent society,” Times of Malta, Valetta, 16 Mar 2025. |
| 2024 | Silvia M.C. Senette, “L’assistente virtuale feminista,” Corriere dell’Alto Adige, Bolzano, 10 Oct 2024. Fionn Adamian, “Project Space Festival Reveals Berlin’s Changing Art Landscape,” Berlin Art Link, Berlin, 21 Jun 2024. Ariana Dongus, “Can We Create an Intersectional AI?,” Hyperallergic, New York, 15 Jan 2024. Verena Voigt, “Nadja Verena Marcin: #SOPHYGRAY Kollektive Feministische Intelligenz (KFI) und ihre Alter Egos,” art-in-berlin, Berlin, 30 Jun 2024. Ilyn Wong, “Intersectional Fembots: An Interview with Nadja Verena Marcin,” Berlin Art Link, Berlin, Feb 20, 2024. |
| 2023 | Lena Schneider, “Kunst gewordene Verweigerung – Glitch Art,” Tagesspiegel, Potsdam, 11 Apr 2023. |
| 2022 | „Feminist App #SOPHYGRAY,“ Metropolitan Luxury Magazine, Feb 2022, 96–97. |
| 2021 | Martina Schürmann, “Künstliche Intelligenz lädt zum Dialog,” WAZ / NRZ, Essen, 2021. |
| 2019 | Kat, „Künstlerischer Tauchgang der Ophelia – Performance im Schauwerk in Sindelfingen,“ Stuttgarter Zeitung / Stuttgarter Nachrichten, Stuttgart, 10 Feb 2019. Thomas Volkmann, „Taucherbrille und Kaktus-Schwert – Nadja Verena Marcin beschäftigt sich mit Frauenbildern / Live-Performance im Schauwerk,“ Sindelfinger Zeitung / Böblinger Zeitung, Sindelfingen, 9 Feb 2019. |
| 2018 | Nora Höglinger, „Wie ein Schwarm Bienen um den Wassertank,“ ARTinWORDS, Wien, 2018. Charles Desmarais, “Ophelia returns after 400 years with new message,” San Francisco Chronicle / SF Gate / Murack.com / USA, Breaking News, San Francisco, 27 Mar 2018. Anna Volpicelli, “Nadja Verena Marcin’s Ophelia goes on a World Tour,” Cultured Magazine, New York, 11 Mar 2018. |
| 2017 | Sarah Cascone, “Everything You Need to Know About All 23 Art Fairs at Art Basel Miami Beach,” ArtNet, New York, 5 Dec 2017. Monica Uszerowicz, “Your Concise Guide to Art Basel Miami 2017,” Hyperallergic, New York, 4 Dec 2017. Priscilla Frank, “Feminist Artist’s How To Undress in Front Of Your Husband Skewers Retro Mansplaining,” Huffington Post, New York, 24 Mar 2017. Jillian Steinhauer, “The Greatest Biennial of All,” Hyperallergic, New York, 24 Mar 2017. Rachel Bishop and Sarah Francis, “Incredibly sexist 1930s reconstructions instruct women how to ‘UNDRESS PROPERLY’ for their husbands,” Mirror / Birmingham Mail / World News Live / Microsoft, London / Birmingham, 4 Apr 2017. |
| 2016 | Andrew Nunes, “A Sexist 1960s Film Remake Rewrites Cinema,” VICE Creator’s Project, New York, 23 Sep 2016. Arielle Bier, “Young and the Restless,” Artforum, New York, 12 Jul 2016. Hettie Judah, “The 5th Moscow Biennale for Young Art Signals Millennials’ Deepest Anxieties,” ArtNet, New York, 7 Jul 2016. Andrew Nunes, “Finally, the Art World Gets a Bootleg Video Store,” The Creator’s Project, New York, 16 May 2016. Brian Boucher, “11 Booths I Could Hardly Tear Myself Away From at NADA New York,” ArtNet News, New York, 6 May 2016. |
| 2015 | „Das Münchner Wochenende – Wenn die Musen durchmachen,“ Süddeutsche Zeitung, Munich, 8 May 2015. Claude Lorent, “Le fruit trop savoureux du jardin d’Eden,” La Libre Culture, Namur, 18 Mar 2015. |
| 2014 | Sarah Corona, “FEARFULAWESOME – Ecstasy, Death and Rebirth of a Male Painter, TEMP Art Space,” Wallstreet International Magazine, New York, Jan 2014. Laurence Rickels, “Before the Middle Gate,” Texte zur Kunst / Heft 92, Berlin, Dec 2014, 243. Sarah Corona, “L’arte senza Gravità,” Wallstreet International Magazine, New York, Dec 2014. |
| 2013 | Ashli Molina, “Artist Nadja Verena Marcin Travels to Florida to Recite Nietzsche in Zero Gravity,” Miami New Times, Miami, 30 Jul 2013. |
| 2012 | Katy Diamond Hamer, “80WSE Presents: Annual Group Show,” Eyes-Towards-The-Dove, New York, 2 Dec 2012. Tilman Abegg, „Die Gefahrensucherin,“ Ruhrnachrichten, Dortmund, Nov 2012. Marion Gay, „Aktionskünstlerin Nadja Verena Marcin in Dortmund,“ WA.de, Hamm, Nov 2012. |
| 2011 | Gail Victoria Braddock, “The Days of This Society Are Numbered,” The Brooklyn Rail, New York, 16 Apr 2011. Ruth Reader, “WE ARE: Cash, Guns, and Feminism,” Bushwick BK, Brooklyn, 4 Aug 2011. “Lost in Translation,” Art Agenda, New York, Jan 2011. |
| 2010 | Keith Garth, “Zines, Zombies, and Rackets: Short-Term Deviation Opens at EFA,” The Faster Times, New York, 12 Oct 2010. |
| 2009 | Katherina Schwarz, „Aktuelle Positionen in der Medienkunst,“ Arte.Fact, Kassel, 31 Dec 2009. Patricia König-Stach, „Ausstellung – Konfrontation mit Tabus,“ WAZ, Dorsten, May 2009. |
| 2008 | “Meditation on Mediations – An East West Cultural Exchange: Dialogue, Misunderstanding, Growing Pains and an Evolution of Artists Before Egos,” Artist Organized Art, Łódź, 2 Oct 2008. „Video Performance: Mediale Authentizität – exhibitionistische Einsamkeit – ironische Intimität,“ Echo-Münster, Münster, 30 Oct. “European Attitude,” Chinaculture.org, Beijing, Jan 2008. |
| 2005 | „Süß/Sauer angemacht,“ Gütersloher Zeitung, Gütersloh, 2005. |
OTHER PUBLICATIONS
| 2019 | Kimberly Rhodes, Like a Hurricane’: John Everett Millais’ Ophelia (1852), Nadja Verena Marcin’s OPHELIA (2017/19), and the Hysteria of Nature, CCA conference, New York, 2019 (academic paper) |
| 2014 | Lotte Allen, Stand-In: Self & Subjectivity as Performing Artist, Participatory Research & Social Inquiry. The New School, New York, 15 May 2014, p. 3, 12 –19, 22 (academic paper) |
INTERVIEWS
(Selection)
| 2024 | Verena Voigt, “Nadja Verena Marcin: #SOPHYGRAY Kollektive Feministische Intelligenz (KFI) und ihre Alter Egos”, art-in-berlin, Berlin, 30 Jun 2024. Ilyn Wong, “Intersectional Fembots: An Interview with Nadja Verena Marcin”, Berlin Art Link, Berlin, 20 Feb 2024. Chris Styles, “IMPETUS Interview – SOPHYGRAY, the feminist chatbot”, Impetus for Citizen Science, Navarra, 2024. |
| 2022 | Eliane Eisenring, “Von Audiobots, Servicemitarbeiterinnen und Teufelskreisen,” Binary Dreams/Trivadis, Wien, 2022. |
| 2021 | Frank Talks, Nadja Verena Marcin – Visual Artist and Director of Kunstraum LLC, Art Frankly, New York, 2021. |
| 2020 | Scott Indrisek, “How to Do a Virtual Studio Visit with an Artist,” Artsy, New York, 30 Jun 2020. |
| 2019 | Andreas Langen, “Ophelia-Performance – Nadja Verena Marcin feiert die rebellische Frau in Sindelfingen”, SWR Radio, Stuttgart, 8 Feb 2019. Sebastian Dingler, „Zwei Frauen, zwei Welten, eine Ausstellung,“ Saarländischer Rundfunk, Saarbrücken, 2019. Jana Gührer, „Kunst im Aquarium? – Die Performance Ophelia im Schauwerk Sindelfingen,“ Kunscht!, SWR Television, Stuttgart, 2 Feb 2019. |
| 2018 | Nora Höglinger, „Wie ein Schwarm Bienen um den Wassertank – Über das Abtauchen, Umweltschutz und das Wesen der Performancekunst,“ Art In Words, Vienna, 17 Oct 2018. Mascha Schlubach, „OPHELIA – Die Verletzlichkeit der Welt,“ Barton Magazine, Berlin, 3 Sep 2018. “Women Cinemakers – Special Edition,” Cinemakers Women, Berlin, Mar 2018. Priscilla Son, “Conversations | Nadja Verena Marcin’s OPHELIA World Tour,” New York Foundation for the Art, New York, 24 May 2018. |
JURY PARTICIPATION
| 2019-2025 | Kunstraum LLC, Jury for Open Call for Curator-In-Residence, Brooklyn, USA |
| 2021-2025 | Kunstraum LLC, Jury for Open Call for Spring Exhibition, Brooklyn, USA |
| 2020-2021 | New York Council for the Arts, Individual Artist’s Grant in Electronic Media & Film, New York, USA |
| 2016-2021 | Kunstraum LLC, Jury for Open Call for Exhibition Proposals, Brooklyn, USA |
| 2017 | Transmission Festival, Prize of the Jury, Karlsruhe/ Berlin, Germany SOHO20 Gallery, Jury for the Annual Open Call for Solo Shows, Brooklyn, USA |
| 2009 | Columbia University, Jury for Admissions Committee for MFA Program, New York, USA |
CURATORIAL PROJECTS
| 2022 | kunstraum flat1, eco-Logics, Vienna, Austria |
| 2020 | FAIR | NADA presented by Kunstraum LLC, Femme Fatale, New York, USA |
| 2017 | Radiator Gallery, Space Odyssey – beyond Material Confinements, Brooklyn, USA |
| 2016 | Untitled Art Fair presented by Kunstraum LLC, Floodline, New York, USA NADA New York presented by Kunstraum LLC, Video Shop, New York, USA |
| 2015 | Kunstraum LLC, 7 Women 7 Sins, Brooklyn, New York, USA |
| 2014 | TEMP Art Space, F E A R F U L A W E S O M E – Ecstasy, death and rebirth of a male painter, New York, USA |
| 2011 | Jens Fehring Gallery, Lost in translation, Frankfurt, Germany (Scr) |
| 2009 | Kaunas Biennial, Vytautas Magnus University Art Gallery 101, Videoperformance – Models of Self-Reflection, Kaunas, Lithuania (Scr) |
GALLERY REPRESENTATION & AGENT AFFILIATION
Art Claims Impulse, Berlin, Germany
AKArt, San Francisco, USA
Blink.de // Sökeland media art, Hamburg, Germany
PROFESSIONAL ORGANIZATIONS
BBK Berlin e.V.
Saloon Berlin
ArtTable New York
Fulbright Alumni Association
DAAD Alumni Association
Columbia University Alumni Association
Ivy Circle Alumni Association