Nadja Verena Marcin was born in Würzburg, Germany, is of Slovak-German descent, and lives and works in Berlin as a visual artist, performance artist, filmmaker, researcher, and lecturer. Her work explores gender, history, morality, psychology, and human behavior through an intersectional analysis of feminism and emotional architecture within theatrical and cinematic contexts.
She is best known for her performances OPHELIA and #SOPHYGRAY, in which she deconstructs clichéd images of women from historical and media perspectives to expose ideological power structures and psychological effects at the moment of their creation. Through a unique blend of absurdity, surrealism, and bold reinterpretations of motifs from literature, history, philosophy, art, and pop culture, she addresses ecological and human rights issues. Her work creates encounters that provoke reflection, challenge existing norms, and prompt a reevaluation of global paradigms.
She has presented solo exhibitions and performances at venues such as alpha nova for the Vorspiel of transmediale & CTM Festival (2024), Onassis Stegi (2023), Kunstverein Ruhr (2021/22), Stadtgalerie Saarbrücken (2020), SCHAUWERK Sindelfingen (2019), Minnesota Street Project (2018), CONTEXT Art Miami (2017), SOHO20 Gallery (2016), Esther Donatz Galerie Munich (2015), GOETHE Center Santa Cruz (2014), and Dortmunder Kunstverein (2012).
Her work has also been featured in group exhibitions at Spazju Kreattiv, Malta (2025); FORT Biennale (2024), IMPAKT, Utrecht (2024), Ars Electronica (2023), TICKTACK Antwerp (2022), Transpalette Bourges (2021), Gropius Bau Berlin (2020), Ecofutures London (2019), Fridman Gallery New York (2018), Microscope Gallery New York (2017), 5th Moscow International Biennale for Young Art (2016), Middle Gate Geel (2013), ZKM Karlsruhe (2012), and Garage Center for Contemporary Art Moscow (2010).
Marcin has received numerous awards and grants, including the Travel Grant of the Berlin Senate (2024), an Honorable Mention for the European Union Prize for Citizen Science at Ars Electronica (2023), NEUSTARTPlus Work Grant (2023), EMAP Residency (2022), NEUSTART Module C from the BBK and the Federal Commissioner for Culture and Media (2021/2022), Individual Artist’s Grant in Electronic Media & Film from the New York State Council on the Arts (2022/2019), the Cultural Office of Cologne (2018), Franklin Furnace Grant New York (2017), NRW Film and Media Foundation (2013), DAAD Germany (2011), and a Fulbright Scholarship to New York (2007).
Her work has been featured in Texte zur Kunst, Berlin Art Link, Artforum, VICE Creator’s Project, Huffington Post, Interview Magazine, Artnet News, and Art Frankly. She has taught and lectured at institutions including Wellesley College, the International Center of Photography, University of North Carolina at Chapel Hill and Greensboro, State University of Santa Cruz, City College of New York, PI Art Center, and Brooklyn College.
Marcin is represented by Art Claims Impulse in Berlin and AKArt in San Francisco. She is the co-founder and advisory director of KUNSTRAUM in Brooklyn.
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
(Selection)
| 2022 – 2025 | Visiting Critic, Rhode Island School of Design, Rhode Island |
| 2019 – 2025 | Visiting Critic, International Center for Photography, New York |
| 2024 | Diploma Mentor, Burg Giebichenstein, University of Art and Design, Halle |
| 2023 – 2024 | Guest Lecturer, “The Hidden Server – Digital Technologies, Myths of Appearance, Power Relations, and Body Politics,” Digitalvilla, University of Potsdam, Potsdam |
| 2022 – 2024 | Workshop, “#SOPHYGRAY – Write-A-Thon Workshop,” Onassis Stegi, Athens; Ntizeza, Athens; Kunstraum LLC, Brooklyn; alpha nova galerie futura, Berlin; Women’s Museum, Meran |
| 2019 | Visiting Critic, University of North Carolina, Chapel Hill & Greensborough |
| 2018 – 2019 | Visiting Artist & Lecturer, Wellesley College, Wellesley |
| 2015 – 2018 | Adjunct Professor, PI Art Center, New York |
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, 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, curated by Rodrigo Rada OPHELIA, Minnesota Street Project, San Francisco, USA, curated by Amy Kisch (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, curated by Jürgen Dehm |
| 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, curated by Sandra Dichtl Action Manual Vol II, Orangerie Schloss Rheda/ Werkstatt Bleichhäuschen, Rheda- Wiedenbrück, Germany, curated Melanie Körkemeier |
| 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, curated by Greta Gesenberg (C) |
| 2008 | Loss of hearing, G727 Gallery, Los Angeles, USA |
| 2006 | Lend me your Doberman, Kapinos Gallery, Berlin, Germany, curated by Greta Gesenberg |
Solo Performances
(Selection | P = Performance, C = Catalog)
| 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 (C) |
| 2017 | YES: Nadja Verena Marcin/ Rachelle Beaudoin, Microscope Gallery, Brooklyn (2 persons) |
| 2012 | Premiere of //KIDS//, ZKM – Center for Art and Media, Karlsruhe |
Biennials
(P = Performance, C = Catalog)
| 2024 | FORT Biennale_01, Landesmuseum Franzensfeste, Franzensfeste (P/C) Every Women Biennial – I Will Always Love You, La MaMa Galleria, New York, USA |
| 2023 | WRO-Biennale 2023, WRO Art Center, Wroclaw (P) |
| 2021 | Every Women Biennial – My Love is Your Love, Superchief Gallery NFT, London/New York |
| 2019 | 24th Biennial of Humor and Satire, House of Humor and Satire, Gabrovo (Bulgaria) (C) Every Women Biennial, La MaMa Galeria, New York |
| 2017 | V BIENAL CONTEXTOS, Museo Nacional de Arte, La Paz; Centro Pedagógico y Cultural Simón I. Patiño, Cochabamba (C) The Whitney Houston Biennial – Greatest Love of All, La MaMa Galeria, New York |
| 2016 | Deep Inside – 5th Moscow Int. Biennale for Young Art, Trekhgornaya Manufactory, Moscow (C) |
| 2010 | Qui Vive? – 2nd Moscow Int. Biennale for Young Art, Garage Museum of Contemporary Art, Moscow (C) |
| 2009 | Kauno Biennal TEXTILE’09, M.K. Čiurlionis National Art Museum, Kaunas (P/C) |
| 2008 | Mediations Biennale – Camouflashed / Videoperformance, National Museum Poznań, Poznań (C) |
Art Fairs
NADA New York, CONTEXT Art Miami, VOLTA Basel, NEXT Art Fair Chicago, The Solo Project Basel
Group Exhibitions
(Selection | P = Performance, C = Catalog)
| 2025 | Post Eden, Art Claims Impulse, Berlin Glitch: Ontological Exhaustions and System Failures, Spazju Kreattiv, Malta (C) Bruch|Stücke II (Fracture|Fragments II), Art Claims Impulse, Berlin |
| 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 |
| 2023 | Who Owns the Truth? – Ars Electronica, Linz (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 (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, curated by Julie Crenn (C) UN/CUBE, online group show, Zurich, Switzerland, curated by Katalin Tesch |
| 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 Even when the rocks reach out to kiss you, Transpalette – Contemporary Art Center, Bourges, France, curated by Julie Crenn (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, curated by Maureen Sullivan Performance Is Alive, Satellite Art Show, New York, USA, curated by Quinn Dukes Staring at the Sun, Mile End Art Pavilion, London, United Kingdom, curated by Giulia Casalini and Diana Georgiou Re: INSITU, The Boiler, Brooklyn, USA |
| 2018 | Art in Odd Places, Westbest Gallery, New York, USA, curated by Katya Grokhovsky (P) Object Action: The “F” Word in a Post-Truth Era, state, San Francisco, USA, curated by Amy Kisch, Heather Zises and State Test Bed, Parsons – New School, Aronson Gallery, New York, USA, curated by Pillow Culture |
| 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, curated by Rodrigo Rada 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), Verona, Italy, curated by Giulia Casalini Video Shop, NADA New York presented by Kunstraum LLC, New York, USA 4to Festival de Performance Cimientos, Centro Cultural Simón I. Patiño, Cochabamba, Bolivia, curated by Rodrigo Rada und Alejandra Dorado (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, curated by Zinze Siegerink |
| 2014 | FEARFULAWESOME – Ecstasy, death and rebirth of a male painter, TEMP Art Space, New York, USA, curated by S.A.N.E. DEW21 Kunstpreis, Museum für Kunst- und Kulturgeschichte, Dortmund, Germany |
| 2013 | Middle Gate Geel‘13, Kunstenhuis Yellow Art, Geel, Belgium, curated by Jan Hoet (P/C) Coup de Ville 2013, Sint Niklaas, Belgium, curated by Stef Van Bellingen (C) Dream Extension – Photographs from Germany, Gallery On, Seoul Peekskill Project, Hudson Valley Center for Contemporary Art, Peekskill, USA |
| 2012 | 80WSE presents…, 80WSE Gallery – NYU Steinhardt, New York, curated by Michael Cohen 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, Korea, curated by Sun-Jung Kim (C) Queering Sex, Human Resources, Los Angeles, USA, curated by Sarvia Jasso The days of this society are numbered, Abrons Arts Center, New York, USA, curated by Miguel Amado WE ARE: Live and Let Die, Nuture Art, Brooklyn, USA, curated by Guillermo Creus (C) |
| 2010 | Short-term deviation, Elizabeth Foundation for the Arts, New York, curated by Jie Liang Lin in collaboration with Showpaper (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, curated by Thomasz Wendlandt I am my own private dancer, Gallery Jens Fehring, Frankfurt, Germany, curated by David Buob Women’s Voices / Women’s Visions, St. Mark’s Church, New York, USA, curated by Dawn Chan |
| 2008 | Video Performance – Models of Self-Reflection, Kunsthalle Münster, Münster, Germany, curated by Georg Elben (C) European Attitude, Shanghai Himalayas Museum (formerly Zendai MoMA), Shanghai, China, curated by Thomasz Wendland |
| 2007 | Videonale 11, Kunstmuseum Bonn, Germany, curated by Georg Elben (C) Shelf Life, Pawnshop Gallery, Los Angeles, USA, curated by Courtney Shermer (P/C) Asian European Mediations, Kunsthalle Faust, Hannover/ Museum of Modern Art, Poznan, Poland (C) Grosse Kunstausstellung, Haus der Kunst, Munich, Germany (C) |
| 2006 | 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, curated by Georg Elben Stadt Kunst, Bonn, Germany, curated by Georg Elben (C) |
Festivals | Screenings
(Selection)
| 2021 | 17th Athens Digital Arts Festival (ADAF), Tāctus, Athens (online) ADAF in collab. with Primarolia Festival, Aigio at Kipos Chartopoiias, Athens |
| 2019 | Re: INSITU, The Boiler, Brooklyn |
| 2018 | Dream Machines, Parsons – New School, Kellen Auditorium |
| 2017 | The Border Pavilion at The Research Pavilion, Venice Biennale, Venice Mythic Age, acinema, Milwaukee |
| 2015 | Woman. Equal and Different, Festarte Videoart Festival, Space On Art, Rome |
| 2014 | Dirty Minds – Reading below the frame, Rooster Gallery, New York |
| 2013 | Aesthetica Film Festival, York, Great Britain (C) |
| 2012 | AIVA Festival, Angelholm, Sweden 29. Kasseler Dokumentarfilm- und Videofest, Kassel (C) |
| 2011 | Busan International Video Festival, Media Center, Busan Female Cut – made in U.S.A, US Embassy/FestArt VideoArt Festival, Circolo degli Artisti, Rome |
| 2010 | Uncontrollable Flesh, Berkeley Art Museum, Berkeley SCREENING/SALON/CABARET/DISCO, ICA Philadelphia (C) |
| 2009 | INDISCIPLINES, Villa Arson, Nice Brooklyn is burning, IMPRENTA, Los Angeles/Santos Partyhouse, New York |
| 2008 | EJECT- Performance Festival, Ex Teresa Arte Actual, Mexico City FIFA – Festival pour film sur l’art, Montreal (C) |
| 2007 | New Beijing International Film Festival, Beijing European Media Art Festival, Film Festival, Osnabrück (C) |
| 2006 | Jumpnights, Museum Ludwig, Cologne Fish’06, Film Festival, Rostock |
| 2005 | European Media Art Festival, Osnabrück (C) Vienna Shorts, Film Festival, Vienna |
| 2004 | 15th International Videofestival, Film Festival, Bochum Deutscher Jugendvideopreis, Bundesfestival Video, Film und Multimedia, Dresden (C) |
Grants | Awards
(Selection)
| 2025 | Atelierförderung, Atelierbüro, kulturwerk des bbk berlin, Berlin, Germany Anschubförderung, PhD-Programm / Artistic Research, Kunstuniversität Linz, Linz, Austria |
| 2024 | Travel Grant, Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt, Berlin |
| 2023 | European Union Prize for Citizen Science Honorary Mention, Ars Electronica, Linz NEUSTARTplus, Stiftung Kunstfonds, Bonn Nominated for Villa Massimo Stipend, Bundesland Berlin, Berlin |
| 2022 | NEUSTART Kulturstipendium, Stiftung Kunstfonds, Bonn Individual Artist’s Grant in Electronic Media & Film, New York State Council of the Arts, New York |
| 2021 | NEUSTART Modul C – Innovative Kunstprojekte, BBK, Berlin NEUSTART KULTUR, VG Bild-Kunst, Berlin |
| 2019 | Individual Artist’s Grant in Electronic Media & Film, New York State Council of the Arts, New York |
| 2018 | Exhibition Grant for ‘OPHELIA’, DC Open, Moltkerei Werkstatt, Kulturamt Köln, Cologne Project Grant for ‘OPHELIA’, Puffin Foundation, Teaneck |
| 2016 | Franklin Furnace Grant, Franklin Furnace Archive, New York Foundation for Contemporary Arts Emergency Grant, New York Art Fair Goers Award for Best Booth, Artspace, NADA New York |
| 2014 | Arbeitsstipendium, Stiftung Kunstfonds, Bonn |
| 2013 | Production Grant for ‚Triple F‘, Film und Medienstiftung NRW, Düsseldorf Award for ‘Art and Language’, Kunststiftung Sparkasse UnnaKamen, Unna Stipend for Artistic Research Abroad, Ministerium für Kultur des Landes NRW, Düsseldorf |
| 2012 | Grant for ‘King Kong Theory’, Puffin Foundation, Teaneck |
| 2011 | Auslandsstipendium New York, DAAD, Bonn Stipend for Artistic Research Abroad, Ministerium für Kultur des Landes NRW, Düsseldorf |
| 2010 | Stipend for Artistic Research Abroad, Ministerium für Kultur des Landes NRW, Düsseldorf Artist Business Career Development Grant, ARTWORKinternational, Inc., Santa Fe |
| 2009 | 1st Price Women’s Voices, juried by Katherine Brinson, St. Mark’s Church, New York |
| 2008 | MFA Tuition Stipend, Falckenberg Collection, Hamburg Merit Scholarship, School of the Arts, Columbia University, New York |
| 2007 | Fulbright Award, Fulbright Commission, Berlin |
| 2006 | DAAD Freemover Award, German Academic Exchange Service, Bonn |
| 2004 | Young Media Award for ‘Losing Virginity’, Deutscher Jugendfilmpreis, Dresden |
Artist Residencies
(Selection)
| 2022 | EMAP/EMARE Residenz, Onassis Stegi, Athens |
| 2018 | The Growlery – Artist Residency, San Francisco |
| 2016 | Seminar: Denniston Hill, Denniston Hill Residency, Glen Wild |
| 2014 | Residency Program, KIOSKO Galeria, Santa Cruz |
| 2011 | Deutsche Börse Residency Program, Frankfurter Kunstverein, Frankfurt |
| 2010 | ISCP – International Studio & Curatorial Program, New York |
Artist Lectures
(Selection)
| 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 |
| 2022 | Festival Internacional Denis Stoklos de Solo Performance, ‘Nadja Verena Marcin – Masterclass, ’Irati Warzsawa Biennale, ‘Artist Lecture – Room to Bloom’, Warsaw |
| 2020 | Cabíria – Festival & Prêmio de Roteiro, ‘Nadja Verena Marcin – Masterclass’, São Paulo |
| 2019 | Queen Mary University, ‘Feminist Ecocriticism in Live Art and Visual Cultures International Conference’, London CAA Annual Conference, Lecture ‘Like a Hurricane: John Everett Millais’ Ophelia (1852), Nadja Verena Marcin’s OPHELIA (2017/19), and the Hysteria of Nature’ presented by Prof. Kimberly Rhodes and Nadja Verena Marcin as part of ‘Climate Change and British Art’, Hilton, New York CAA Annual Conference, Lecture ‘Re-storying the Female Body’ presented by Susan Silas and Nadja Verena Marcin as part of ‘Contested Site: The Female Body in Contemporary Art’, CAA Conference, Hilton, New York |
| 2018 | Universidad Autónoma Gabriel René Moreno – Faculty of Arts, ‘Master Class: Nadja Verena Marcin – How to Make a Performance’, Santa Cruz 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 |
| 2015 | Galerie Esther Donatz, Artist Talk moderated by Jürgen Dehm, Munich |
| 2014 | GOETHE Center, Artist Roundtable ‘Perspektiva Feminina’, Santa Cruz |
| 2013 | 532 Gallery Thomas Jaeckel, Artist Talk for ‘Zero Gravity’, New York |
| 2012 | Dortmunder Kunstverein, Artist Talk ‚Action Manual Vol. I‘ with MFA students from Kunstkritik & Kuratorisches Wissen of Ruhr University Bochum, Dortmund |
| 2011 | Christie’s Education, Artist/ Curator Panel with Nadja Verena Marcin, Oliver Herring and Sarvia Jasso, New York Frankfurter Kunstverein, Artist Lecture, Frankfurt |
| 2010 | ISCP – International Studies and Curatorial Program, Salon, New York |
| 2009 | Kaunas Biennial – Artist Talk, Hotel Reval Neris, Kaunas |
Monographies
| 2023 | P.Friese, A.Dongus, A.Huffman, „Nadja Verena Marcin – #SOPHYGRAY“, Essen: Kunstverein Ruhr |
| 2019 | K.Battista, L.Gillick, S.Silas, K.Rhodes, „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*$©H, p. 118-129 |
| 2024 | Ulrike Buck, Margareth Kaserer, Festung Franzensfeste, “In the Body of Language – Im Körper der Sprache – Nel Corpo del Linguaggio”, Venedig: Bruno Books Rocio Chuquimia, “Retrato de un hombre y una mujer – Catálogo de los artistas“, La Paz: Rocio Chuquimia, p. 21 |
| 2023 | Verena Voigt, “GLITCH PHENOMENA 3.0”, Potsdam: EMBLEMATIC PI*$©H, p. 19-26 Julian Asbäck, Matthis Frickhoeffer, Dalia Moniat, Sarah Steffens, “State of Interim – Wartenau Art Education”, Hamburg: Paraeducational papers, Kunstpädagogik/ Hochschule für bildende Künste, p. 3.3. (digital) |
| 2022 | „The Ulterior Narrative Cinema“, Antwerp: TICK TACK |
| 2021 | Julie Crenn, „Even the rocks reach out to kiss you“, Bourges: Antre Peaux |
| 2019 | Kathy Battista, “New York New Wave: The Legacy of Feminist Art in Emerging Practice”, New York: I.B.Tauris, p. 77–79 “24. Gabrovo Biennial of Humor and Satire in Art – Dimensions of Publicness”, Sofia: Museum House of Humor and Satire, p. 178–179 |
| 2017 | “Future Now – 100 Contemporary Artists From The Aesthetica Art Prize”, York: Aesthetica Magazine Ltd, p. 180–181 |
| 2016 | Nadim Samman, “5th Moscow International Biennale for Young Art”, Moscow: Moscow Museum of Modern Art, p. 34, 191 Emergency Index: an annual documentation of performance practice – Vol 4., Brooklyn: Ugly Duckling Press, p. 110–111 |
| 2015 | John A. Parks, “Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing, and Practicing Art”, Beverly: Rockport Publishers, p. 126–127 |
| 2014 | Peter Gregorio, “VECTOR 3”, New York: VECTOR, p. 146–152 |
| 2013 | “Middle Gate Geel 13”, Brussels: Agora/ Tempus, 2013, p. 184, 228 “Coup de Ville – Attracted by another level”, Gent/ Sint Niklaas: Borgerhoff & Lamberigts/ WARP/ participating artists, p. 140–145 |
| 2012 | „2. Ruhrbiennale“, Duisburg: Aorta Kunst & Kulturverein, p. 70–73 “tina b. – The Prague Contemporary Art Festival”, Prague: Galerie Vernon, p. 138–139 |
| 2011 | “German Photography Now – Emotion, Drama and Narration in the stylistic variety”, Seoul: Jinsun Gallery, p. 5–7 “WE ARE: …”, Brooklyn: Nuture Art, 2011, p. 15, 17 “The-Solo-Project – Solo Shows by 50 Selected Galleries”, Basel: The-Solo-Project, p. 78–81 |
| 2010 | “Qui Vive? 2nd Moscow International Biennale for Young Art”, Moscow: Museum of Modern Art Georg Elben, Gail B. Kirkpatrick, „Videoperformance – Modelle der Selbstbetrachtung“, Münster, p. 97–99, 123–124 “USA/MFA@Bezalel – Bezalel hosts USA MFA Graduates of 2010, Bezalel Academy of Arts and Design Jerusalem, Tel Aviv, 2010, p. 10–15 |
| 2009 | „Kauno Bienalé TEXTILE 09“, Kaunas: Kauno Dailiniku Paramos Fondas, p. 48–49 |
| 2008 | “Mediations Biennale – Poznan 2008”, Poznań: Centrum Kultury Zamek, p. 388, 457 |
| 2007 | Courtney Shermer, “Shelf Life”, Los Angeles: Pawnshop Gallery, p. 3 “Asia – Europe Mediations – Contemporary Asian and European Art”, Poznań: Stowarzyszenie Kontekst Sztuki, p. 150–151 „Große Kunstausstellung“, Munich: Haus der Kunst München, p. 46, 143 „Videonale 11“, Bonn: Videonale e.V. (Georg Elben)/ Köln: Walter König Verlag, p. 7, 62–6 |
| 2006 | „Vorfahrt“, Stuttgart: Kunstprojekt Vorfahrt (Wolfgang Seitz)/ ARNOLDSCHE Art Publishers, p. 4, 69, 137 „Große Kunstausstellung 2006 – through the looking glass“, Munich: Haus der Kunst München, p. 95, 159 |
| 2005 | „Videonale 10“, Bonn: Videonale e.V. (Georg Elben)/ Köln: Walter König Verlag, p. 62–63 |
Reviews
(Selection)
| 2025 | “Exhibition reflects on today’s technology-dependent society”, Valetta: Times of Malta, 16 Mar 2025 |
| 2024 | Silvia M.C. Senette, “L’assistente virtuale feminista”, Bolzano: Corriere dell’Alto Adige, 10 Oct 2024 Fionn Adamian, “Project Space Festival Reveals Berlin’s Changing Art Landscape”, Berlin: Berlin Art Link, 21 Jun 2024 Ariana Dongus, “Can We Create an Intersectional AI?”, New York: Hyperallergic, 15 Jan 2024 |
| 2023 | Lena Schneider, “Kunst gewordene Verweigerung – Glitch Art”, Potsdam: Tagesspiegel, 11 Apr 2023 |
| 2022 | „Feminist App #SOPHYGRAY“, Metropolitan Luxury Magazine, Februar 2023, p. 96-97 |
| 2021 | Martina Schürmann, “Künstliche Intelligenz lädt zum Dialog“, Essen: WAZ/ NRZ |
| 2019 | Kat, „Künstlerischer Tauchgang der Ophelia – Performance im Schauwerk in Sindelfingen“, Stuttgart: Stuttgarter Zeitung/ Stuttgarter Nachrichten, 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“, Wien: ARTinWORDS Charles Desmarais, “Ophelia returns after 400 years with new message”, San Francisco: San Francisco Chronicle/ SF Gate/ Murack.com/ USA, Breaking News, 27 Mar 2018 Anna Volpicelli, “Nadja Verena Marcin’s Ophelia goes on a World Tour”, New York: Cultured Magazine, 11 Mar 2018 |
| 2017 | Sarah Cascone, “Everything You need to Know about all 23 Artfairs at Art Basel Miami Beach”, New York: Art Net, 5 Dec 2017 Monica Uszerowicz, “Your Concise Guide to Art Basel Miami 2017”, New York: Hyperallergic, 4 Dec 2017 Priscilla Frank, “Feminist Artist’s How To Undress in Front Of Your Husband Skewers Retro Mansplaining”, New York: Huffington Post, 24 Mar 2017 Jillian Steinhauer, “The Greatest Biennial of All”, New York: Hyperallergic, 24 Mar 2017 Rachel Bishop, Sarah Francis, “Incredibly sexist 1930s reconstructions instruct women how to ‘UNDRESS PROPERLY’ for their husbands”, London/ Birmingham: Mirror/ Birmingham Mail/ World News Live/ Microsoft, 4 Apr 2017 |
| 2016 | Andrew Nunes, “A Sexist 1960s Film Remake Rewrites Cinema”, New York: VICE Creator’s Project, 23 Sep 2016 Arielle Bier, “Young and the Restless”, New York: Artforum, 12 Jul 2016 Hettie Judah, “The 5th Moscow Biennale for Young Art Signals Millennials’Deepest Anxieties”, New York: artnet, 7 Jul 2016 Andrew Nunes, “Finally, the Art World Gets a Bootleg Video Store”, New York: The Creator’s Project, 16 May 2016 Brian Boucher, “11 Booths I could hardly tear myself away from at NADA New York”, New York: artnet News, 6 May 2016 |
| 2015 | „Das Münchner Wochenende – Wenn die Musen durchmachen“, Munich: Süddeutsche Zeitung, 8 May 2015 Claude Lorent, “Le fruit trop savoureux du jardin d’Eden”, Namur: La Libre Culture, 18 Mar 2015 |
| 2014 | Lotte Allen, “Stand-In: Self & Subjectivity as Performing Artist, Participatory Research & Social Inquiry”, New York: The New School, 15 May 2014, p. 3, 12–19, 22 (academic paper) Sarah Corona, “FEARFULAWESOME – Ecstasy, death and rebirth of a male painter, TEMP Art Space”, New York: Wallstreet International Magazine, Jan 2014 Laurence Rickels, “Before the Middle Gate”, Berlin: Texte zur Kunst/ Heft 92, Dec 2013, p. 243 Sarah Corona, “L’arte senza Gravita, Wallstreet International Magazine”, New York, Dec 2013 |
| 2013 | Ashli Molina, “Artist Nadja Verena Marcin Travels to Florida to Recite Nietzsche in Zero Gravity”, Miami: Miami New Times, 30 Jul 2013 |
| 2012 | Katy Diamond Hamer, “80WSE presents: Annual Group Show”, New York: Eyes-Towards-The-Dove, 2 Dec 2012 Tilman Abegg, „Die Gefahrensucherin“, Dortmund: Ruhrnachrichten, Nov 2012 Marion Gay, „Aktionskünstlerin Nadja Verena Marcin in Dortmund“, Hamm: WA.de, Nov 2012 |
| 2011 | Gail Victoria Braddock, “The days of this society are numbered”, New York: The Brooklyn Rail, 16 Apr 2011 Ruth Reader, “WE ARE: Cash, Guns, and Feminism”, Brooklyn: Bushwick BK, 4 Aug 2011 “Lost in Translation”, New York: Art Agenda, Jan 2011 |
| 2010 | Keith Garth, “Zines, Zombies, and Rackets: Short-Term Deviation Opens at EFA”, New York: The Faster Times, 12 Oct 2010 |
| 2009 | Katherina Schwarz, „Aktuelle Positionen in der Medienkunst“, Kassel: Arte.Fact, 31 Dec 2009 Patricia König-Stach, „Ausstellung – Konfrontation mit Tabus“, Dorsten: WAZ, May 2009 |
| 2008 | “Meditation on Mediations – An East West Cultural Exchange: Dialogue, Misunderstanding, Growing Pains and an Evolution of Artists Before Egos”, Lodz: Artist Organized Art, 2 Oct 200 „Video Performance: Mediale Authentizität – exhibitionistische Einsamkeit – ironische Intimität“, Münster: Echo-Münster, 30 Oct 2008 “European Attitude”, Beijing: Chinaculture.org, Jan 2008 |
| 2005 | „Süß/Sauer angemacht“, Gütersloh: Gütersloher Zeitung, 2005 |
Interviews
(Selection)
| 2024 | Verena Voigt, „Nadja Verena Marcin: #SOPHYGRAY Kollektive Feministische Intelligenz (KFI) und ihre Alter Egos“, Berlin: art-in-berlin, 30 Jun 2024 Ilyn Wong, “Intersectional Fembots: An Interview with Nadja Verena Marcin”, Berlin: Berlin Art Link, 20 Feb 2024 Chris Styles, “IMPETUS Interview – SOPHYGRAY, the feminist chatbot, Impetus for Citizen Science”, Navarra: IMPETUS website, 19 Jan 2024 |
| 2022 | Eliane Eisenring, “Von Audiobots, Servicemitarbeiterinnen und Teufelskreisen“, Wien: Binary Dreams/Trivadis |
| 2021 | Frank Talks, “Nadja Verena Marcin – Visual Artist and Director of Kunstraum LLC”, New York: Art Frankly |
| 2020 | Scott Indrisek, “How to Do a Virtual Studio Visit with an Artist”, New York: Artsy |
| 2019 | Andreas Langen, „Ophelia-Performance – Nadja Verena Marcin feiert die rebellische Frau in Sindelfingen“, Stuttgart: SWR-Radio, 8 Feb 2019 |
| 2018 | Nora Höglinger, „Wie ein Schwarm Bienen um den Wassertank – Über das Abtauchen, Umweltschutz und das Wesen der Performancekunst“, Vienna: Art In Words, 17 Oct 2018 Mascha Schlubach, „OPHELIA – Die Verletzlichkeit der Welt“, Berlin: Barton Magazine, 3 Sep 2018 “Women Cinemakers – Special Edition”, Berlin: Cinemakers Women, Mar 2018 Priscilla Son, “Conversations | Nadja Verena Marcin’s OPHELIA World Tour”, New York Foundation for the Art, New York, 24 May 2018 |
TV | Radio
| 2019 | Sebastian Dingler, „Zwei Frauen, zwei Welten, eine Ausstellung“, Saarbrücken: Saarländischer Rundfunk Jana Gührer, „Kunst im Aquarium? – Die Performance Ophelia im Schauwerk Sindelfingen“, Stuttgart: Kunscht!, SWR Television, 2 Feb 2019 |
Collections
SCHAUWERK Sindelfingen, Schaufler Foundation, Sindelfingen
MONA Inner Spaces Collection, National Museum in Poznań, Poznań
Videonale Archive, Kunstmuseum Bonn
Kunststiftung Sparkasse UnnaKamen, UnnaA
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