Martin Kersels

Born in 1960, Los Angeles (California, USA).
Lives and works in Yale, New Haven (Connecticut, USA).
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Solo exhibitions

2015

Seen and Heard, Redling Fine Art, Los Angeles, USA

2014

Olympus, Galerie GP & N Vallois, Paris, France

2013

XXXXXXXXO, MOCAtv, MOCA, Los Angeles, USA

2012

Charms and Devotionals, Elizabeth Leach Gallery, Portland, USA
Charms (Black Cloud/Green Dog/Little, Little Boy/White House/Silver Clouds), Santa Barbara Museum of Art, USA

2011

Passionista, ACME., Los Angeles, USA
Charms, Stacks & Flotsam, Mitchell-Innes & Nash Gallery, New York, USA
X (collaborative project with choreographer Melinda Ring), St. Mark’s Church, New York, USA

2010

Five Songs, Galerie GP & N Vallois, Paris, France
Tumble Room, Tinguely Museum, Basel, Switzerland

2009

Fat Iggy: Discography, (Project Room), Galerie GP & N Vallois, Paris, France
Fat Iggy, Guido Costa Projects, Turin, Italy
Jason Martin wants to be a punk rocker, (in collaboration with Jason Kraus), Renwick Gallery, New York, USA

2008

Martin Kersels: Heavyweight Champion, curator: Ian Berry, Santa Monica Museum of Art, Los Angeles, USA*
Headache and Other New Works, ACME Gallery, Los Angeles, USA

2007

Martin Kersels: Heavyweight Champion, The Frances Young Tang Teaching Museum, Saratoga Springs, USA*

2006

Tumble Room, Deitch Projects, Art Unlimited, Art 37 Basel, Basel, Switzerland*
Charms in a Throne Room, ACME Gallery, Los Angeles, USA

2005

Orchestra for Idiots, Galerie GP & N Vallois, Paris, France

2004

Illuminous, Guido Costa Project, Turin, Italy

2003

Wishing Well, ACME Gallery, Los Angeles, USA

2002

Fat Man, Galerie GP & N Vallois, Paris, France
Bracelet, Peggy Phelps Gallery, Claremont Graduate University, USA
Showette, ACME. Gallery, Los Angeles, USA

2001

Tumble Room, Deitch Projects, New York, USA
Taste Gallery, Geneva, Switzerland
Modern Art, London, UK
A Girl’s Room, Galerie Edward Mitterrand, Geneva, Switzerland
ACME. Gallery, Los Angeles, USA

2000

Martin Kersels, Kunsthalle, Berne, Switzerland

1999

Spinning, Galerie GP & N Vallois, Paris, France
Brake Squeal, Bird Flap, Boing Box Whirling Photos and other new works, Dan Bernier Gallery, Los Angeles, USA

1998

Loud House, Dan Bernier Gallery, Santa Monica, USA
Theoretical Events (Th.e), Naples, Italy
Commotion: Martin Kersels, Yerba Buena Center for the Arts, San Francisco, USA; Contemporary Arts Forum, Santa Barbara, USA*

1997

Commotion: Martin Kersels, curator: Toby Kamps, Madison Art Center, Madison, USA*

1996

Jay Gorney Modern Art, New York, USA

1995

Objects of the Dealer (with Soundtracks), Dan Bernier Gallery, Santa Monica, USA

1993

A/B Gallery, Los Angeles, USA

1992

Weight, Los Angeles Contemporary Exhibitions, Los Angeles, USA (performance)

1989

Measured Table, Los Angeles Contemporary Exhibitions, Los Angeles, USA (performance)
Kay Sir Ra Sir Ra, Kid Aileck Gallery, Tokyo, Japan (performance)

1987

Shape of pools Today, Wallenboyd Theater, Los Angeles, USA (performance)

1985

Sweaters, Backlot Theater, Los Angeles, USA (performance)

Selected group exhibitions

2016

Energy Flash, Musée d’Art Contemporain, Anvers, Belgique
Heroes, commissaires : Barbara Soyer & Sophie Toulouse, Galerie GP & N Vallois, Paris, France*

2014

Sound or Art, Fondazione Prada, Milan, Italy

2013

La distance juste, curator: Albertine de Galbert (as part of the « Nouvelles Vagues » programmation), Galerie GP & N Vallois, Paris, France*
Tell me whom you haunt : Marcel Duchamp and the contemporary readymade, Blain Southern Gallery, London, GB

2012

Bruce Conner and the Primal Scene of Punk Rock, Museum of Contemporary Art, Denvers, USA
Tag, You’re it !, Royal/T, Los Angeles, USA

2011

Incongru, Musée Cantonal des Beaux-Arts, Lausanne, Switzerland
Under Destruction I-III, curators: Gianni Jetzer and Chris Sharp, Swiss Institute Contemporary Art, New York, USA *
Works of Paper, ACME. Gallery, Los Angeles, USA
X (collaborative project with choreographer Melinda Ring), St. Mark’s Church, New York, USA

2010

Biennale du Whitney 2010, The Whitney Museum of American Art, New York, USA*
Une forme pour toute action – Le Printemps de Septembre, curator: Eric Mangion, Toulouse,France*
15 Minutes of Fame: Portraits from Ansel to Andy Warhol, Orange County Museum of Art, Newport Beach, USA
Under Destruction, Tinguely Museum, Basel, Switzerland
Bas Jan Ader: Suspended Between Laughter and Tears, curator: Pilar Tompkins Rivas, Pitzer Art Galleries, Pitzer College, Claremont, USA

2009

Feldstarke International, Cent Quatre, Paris, France ; Essen, Allemagne ; CalArts, Los Angeles, USA
Seriously Funny, Scottsdale Museum of Contemporary Art, Scottsdale, USA
Second Nature: The Valentine Collection at the Hammer, UCLA Hammer Museum, Los Angeles, USA

2008

Ne pas jouer avec des choses mortes, Villa Arson, Nice, France*
Disorderly Conduct: Recent Art in Tumultuous Times, Orange County Museum of Art, Newport Beach, USA
California Video, curator: Glenn Phillips, The Getty Center, Los Angeles, USA
Comfort Zones, Bury St. Edmunds Art Gallery, Bury St. Edmunds, UK ; Tullie House Museum and Art Gallery, Carlisle, UK
Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, USA
Undone, Renwick Gallery, New York, USA

2007

Oeuvres Encombrantes, Galerie GP & N Vallois, Paris, France
Sculptors’ Drawings: Ideas, Studies, Sketches, Proposals, and More, Angles Gallery, Santa Monica, USA
Comfort Zones, Oriel Davies Gallery, Newton, Powys, Wales, and University for the Creative Arts, Farnham, UK
Situation Comedy: Humor in Recent Art, curators: Dominic Molon and Michael Rooks, Salina Art Center, Salina, USA
Kraus-Kop-Kersels, Erica Redling Fine Art, Los Angeles, USA

2006

Accidents, Galerie GP & N Vallois, Paris, France
Situation Comedy: Humour in Recent Art, curators: Dominic Molon and Michael Rooks, Chicago Cultural Center, Chicago, USA ; Winnipeg Art Gallery, Canada ; Museum of Art, Fort Lauderdale, USA*

2005

My Own Cinema, Galerie GP & N Vallois, Paris, France
Situation Comedy: Humour in Recent Art, curators: Dominic Molon and Michael Rooks, The Contemporary Museum, Honolulu, USA *
Dionysiac, curator: Christine Macel, Centre Georges Pompidou, Paris, France*
Pratique de la catastrophe: Burlesques contemporains, curator: Christophe Kihm, Jeu de Paume, Paris, France*
L'Idiotie, Expérience Pommery #2, curators: Jean-Yves Jouannais, Domaine de Pommery, Reims, France*
Attention à la marche (histoires de gestes), curator: Julie Pellegrin, La Galerie, Noisy-Le-Sec, France*
100 Artists See God, curators: John Baldessari & Meg Cranston, ICA, Institute of Contemporary Art, London, UK*
Californian artists in Greek Collections, curator: Max Henry, Athènes, Greece*
The Blake Byrne Collection, Museum of Contemporary Art, Los Angeles, USA

2004

Y a-t-il un commissaire pour sauver l'exposition ?, Galerie GP & N Vallois, Paris, France
Suburban House Kit, Deitch Projects, New York, USA
100 Artists See God, Independant Curators International, New York, USA ; moving exposition: The Contemporary Jewish Museum, San Francisco, USA ; Laguna Art Museum, Laguna Beach, USA ; Contemporary Art Center of Virginia, Virginia Beach, USA ; Institute of Contemporary Art, Londres, UK ; Albright College, Freedman Gallery, Reading, USA ; Cheekwood Museum of Art, Nashville, USA
Septembre en Octobre, Astérides, Marseille, France
Walk Ways, curator: Stuart Horodner pour Independant Curators International, Albright College Center for the Arts, Reading, USA ; The Surrey Art Gallery, Surrey, British Columbia, Canada
Suburban House Kit, Deitch Projects, New York, USA

2003

Home, Galerie GP & N Vallois, Paris, France
Mouvement de fond, M.A.C (Musée d'Art Contemporain), Marseille, France
NEURO, An Art & Science collaboration, The California Institute of Technology & Art Center College of Design, Pasadena, USA
Stat.ic (International Film Festival Rotterdam 2003), Tent, Rotterdam, Netherlands
Yankee Remix, Artists Take on New England, curator: Laura Heon, MASS MoCA, North Adams, USA
ACME. Gallery @ Inman, Inman Gallery, Houston, USA
Walk Ways, curator: Stuart Horodner pour Independant Curators International, Western Washington University, Bellingham, USA ; Dalhousie University Art Gallery, Halifax, Canada ; Oakville Galleries in Gairloch Gardens, Oakville, Canada ; Arthouse at the Jones Center, Austin, USA ; University of South Florida, Tampa, USA

2002

French Collection, 49 artistes d’aujourd’hui, un choix d’acquisitions du Fond National d’art contemporain (Paris), MAMCO, Geneva, Switzerland*
Sudden Glory: Sight Gags and Slapstick in Contemporary Art, California College of Arts and Crafts, Logan Galleries, San Francisco, USA
L.A. Post Cool, curator: Michael Duncan, The San Jose Museum of Art, San Jose, USA
Majestic Sprawl: Some Los Angeles Photography, Pasadena Museum of California Art, Pasadena, USA
Walk Ways, curator: Stuart Horodner pour Independent Curators International, Portland Institute of Contemporary Art, Pasadena, USA
Strolling Through an Ancient Shrine and Garden, curators: Chip Tom and ACME Gallery, ACME. Gallery, Los Angeles, USA
Ideal Avalanche, The Pond, Chicago, USA

2001

Soleil d’hiver / Sur un cheval / Une silhouette gelée, Galerie GP & N Vallois, Paris, France
Record all-over, 9eme Biennale de l’Image, MAMCO, Geneva, Switzerland
Martin Kersels / Laura Owens, ACME Gallery, Los Angeles, USA
The Americans: New Art, curator: Mark Sladen, Barbican Art Gallery, London, UK *
Ever Since Icarius, Lord Mori Gallery, USA
The Sensational Line, Museum of Contemporary Art, Denver, USA
Portraits, Galerie Edward Mitterrand, Geneva, Switzerland

2000

Comment tuer le temps, Ecole des Beaux Arts, Quimper, France
Departures, 11 artists at the Getty, curator: Lisa Lyons, The J. Paul Getty Museum, Los Angeles, USA*
Made in California and Made in California – NOW, Los Angeles County Museum of Art, Los Angeles, USA*
SOS: Scenes of Sounds, curator: Charles Stainback, The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, USA
An Active Life, curator: Sue Spaid, The Contemporary Art Center, Cincinnati, USA
Inventional, curator: Nowell J. Carten, Angles Gallery, Santa Monica, USA
Haulin’ Ass, Pierogi in L.A., POST, Los Angeles, USA
Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, USA

1999

EXTRAetORDINAIRE, Printemps de Cahors, commissaire : Christine Macel, Cahors, France*
Biennale de Melbourne, Melbourne, Australia*
Group Show, Brett-Mitchell Inc., Cleveland, USA

1998

Young American 2, Saatchi Gallery, London, UK*
Band Wi(d)th, Knitting Factory, New York, USA
Group Show, W-139, Amsterdam, Netherlands

1997

Need for Speed W-139, Amsterdam, Netherlands
Cruising L.A: Paul McCarthy, Martin Kersels, Catherine Opie, Lari Pittman, Jason Rhoades, curator: Alvaro Perdices, Galeria Soledad Lorenzo, Madrid, Spain
Vanessa Beecroft, Jennifer Bornstein, Martin Kersels, Gillian Wearing, S.L. Simpson Gallery, Toronto, Canada
Frankensteinian, curator: Stuart Horodner, Caren Golden Gallery, New York, USA
Celluloid Cave, curator: Dara Friedman, Thread Waxing Space, New York, USA
COLA: 1996-1997 Individual Artists Grants, The Municipal Art Gallery, Barnsdall Park, Los Angeles, USA
Group Show, New Langton Arts, San Francisco, USA
1997 Whitney Biennale, curators: Lisa Phillips and Louise Neri, Whitney Museum of American Art, New York, USA*
Ten Los Angeles Artists, Stephen Wirtz Gallery, San Francisco, USA

1996

Romper Room, commissaire : Danielle Chang, Thread Waxing Space, New York, USA
Power of Suggestion: Narrative and Notation in Contemporary Drawing, curator: Connie Butler, Museum of Contemporary Art, Los Angeles, USA
Hero, Common Wealth Gallery, Madison, USA
Defining the Nineties: Consensus – Making in New York, Miami, and Los Angeles, curator: Bonnie Clearwater,Museum of Contemporary Art, Miami, USA
Left of Center, Ten in One Gallery, Chicago, USA

1995

L.A Video Sampler II, curator: Diana Thater, David Zwirner Gallery, New York, USA
La Belle et la Bête: Un choix de jeunes Artistes Américains, curator: Lynn Gumpert,
Musée d’Art Moderne de la Ville de Paris, Paris, France
Post Marked L.A, P.P.O.W. Gallery, New York, USA

1994

L.A.X. – The L.A. Biennial, curator: Ann Ayres, Otis Parsons Gallery, Los Angeles, USA
Hooked on a Feeling, Kohn – Turner Gallery, Los Angeles, USA

*Catalog
**Forthcoming catalog

Solo performances

2014

In Vivo, Centre Pompidou, Paris France

2010

Five Songs, Galerie GP & N Vallois, Paris, France

1992

Weight, Los Angeles Contemporary Exhibitions, Los Angeles, USA

1990

Measured Table, Los Angeles Contemporary Exhibitions, Los Angeles, USA

1989

Kay Sir Ra Sir Ra, Kid Aileck Gallery, Tokyo, Japan
Breath, Odyssey Theater & Powerhouse Theatre, Los Angeles, USA Pools, Kid Aileck Gallery, Tokyo, Japan

1987

The Shape of Pools Today, Wallenboyd Theatre, Los Angeles, USA Sweaters(part B), Backlot Theatre, Hollywood, USA

1984

Sweaters, UCLA Fine Arts Productions, Los Angeles, USA

Collaborative performances

2010

Jason Martin Wants to be a DJ (in collaboration with Jason Kraus), Whitney Museum of American Art, New York, USA

2009

Jason Martin Wants to be a DJ (in collaboration with Jason Kraus), Renwick Gallery, New York, USA

1983 – 1995 et 2005

Membre du SHRIMPS, groupe de performance ; travaux réalisés pour Los Angeles : Los Angeles Contemporary Exhibitions, Highways, Music Center, UCLA, Claremont Graduate University, Mayan Theatre, Santa Monica Arts Comission ; New York : The Kitchen and Serious Fun at Alice Tully Hall ; San Francisco : New Langton Arts, Yerba Buena center for the Arts, and Footworks; Chicago : Randolph Street Projects; Minneapolis : Intersection for the Arts; San Diego : Sushi ; and Baltimore : Towson State University.

Public collections

Museum of Modern Art, MoMA, New York, USA
Santa Monica Museum of Art, Santa Monica, USA
Orange County Museum of Art, Newport Beach, USA
UCLA Hammer Museum, Los Angeles, USA
The Francis Tang Teaching Museum, Saratoga Springs, USA
Schwartz Art Collection, Harvard Business School, Cambridge, USA
Museum of Contemporary Arts, San Diego, USA
MoCA, Los Angeles, USA
Los Angeles County Museum of Art, Los Angeles, USA
Museum of Contemporary Art, Miami, USA
Madison Museum of Contemporary Art, Madison, USA
Centre Georges Pompidou, Paris, France
FNAC, Paris, France
CNAP, Paris, France
MACBA, Barcelona, Spain

Grants and awards

2010

Dean’s Interdisciplinary Grant, California Institute of the Arts

2008

The John Solomon Guggenheim Fellowship
The Fellows of Contemporary Art Artist’s Fellowship

1999

Foundation for Contemporary Performance Arts Fellowship

1996

City of Los Angeles Cultural Affairs Department Individual Artists Grant

Selective bibliography

Books and Catalogues

2016

Volume 10 – Heroes, revue de dessin, éd. The Drawer, Paris, couverture et pp.71-75 (coul.).

2015

Open This End : Contemporary Art From The Collection Of Blake Byrne, Joseph R. Wolin, éd. The Skylark Foundation, Los Angeles, p.64 (ill.)

2013

La distance juste, (texts) Albertine de Galbert, published by Galerie GP & N Vallois, Paris, p.18 (bilingual edition)

2011

Under Destruction, (texts) Barbara Casavecchia, Boris Groys, Martin Herbert, Justin Hoffmann, Gianni Jetzer, Piper Marshall Chris Sharp, Roland Wetzel, Michael Wilson, published by Swiss Institute Contemporary Art, New York (ill.)
Incongru. Quand l’art fait rire, published by MCB-A, Lausanne, pp120-121 (ill.)

2010

2010 Whitney Biennial, (texts) Francesco Bonami, Gary Carrion-Muryari, published by The Whitney Museum of American Art, New York (ill.)
Le Printemps de Septembre – à Toulouse, Une forme pour toute action, (texts) Eric Mangion,
published by Printemps de Toulouse, Toulouse, pp. 48-49 (ill.)

2009

Ne pas jouer avec des choses mortes, (texts) Julien Bismuth, Patricia Brignone, Marie de Brugerolle, Arnaud Labelle-Rojoux, Eric Mangion, Gérard Wajcman, Catherine Wood, published by Villa Arson, Nice (ill.)

2008

California Video : Artists and Histories, sous la direction de Glenn Philipps, (texts) Meg Cranston, Rita Gonzalez, Kathy Rae Huffman, Robert R. Riley, Steve Seid, and Bruce Yonemoto, ed. Getty Publications, Los Angeles, USA

2007

Collection art contemporain, catalog. Musée national d'Art Moderne, ed. Centre Pompidou, Paris, p. 247 (ill.)
Martin Kersels, Heavyweight Champion,eéd. The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, USA ***

2006

Attention à la marche (Histoires de gestes), ed. La Galerie, Noisy le sec, p.7 (ill.)
Art Unlimited, Art 37 Basel, Switzerland

2005

LA Artland, Contemporary Art from Los Angeles, (texts) Chris Kraus, Jan Tulmir and Jane McFadden, éd. Black Dog Publishing, London, UK, pp. 202-203 (ill.)
Art Athina, Californian artists in Greek Collections, (text) Max Henry, ed. Maria Panayides, Athens, Greece, pp. 26-27
Situation comedy: Humor in Recent Art, (text) Dominique Molon and Michael Rooks, ed. ICI, New York, USA, pp. 39-40 (ill.)
Dionysiac, exhibition catalogue, ed. Centre Georges Pompidou, Paris, France
One Hundred Artists who have seen God, ed. ICA, London, UK
De l'idiotie aux burlesques contemporains, exhibition catalogue, Hors Série Beaux Arts, Paris, France, pp. 26, 47, 78-79, 84

2001

The Americans, New Art, exhibition catalogue, ed. Booth Clibborn, Barbican Gallery, London, UK, pp. 45-51

2000

Departures: 11 artists at the Getty, exhibition catalogue, (text) Lisa Lyons, ed. Getty Museum, Los Angeles, USA

1999

EXTRAetORDINAIRE, exhibition catalogue Printemps de Cahors, Cahors, France, pp. 102-103.
Signs of Life: Melbourne International Biennial, catalogue, (text) d' Engberg and Murray, Melbourne, Australia

1998

Young Americans 2: New American Art at the Saatchi Gallery, (text) Brook Adams and Lisa Liebmann ed. Saatchi Gallery, London, UK

1997

Commotion: Martin Kersels, (text) Jerry Saltz, interview with Martin Kersels by Toby Kamps. ed. Madison Arts Center, Madison, USA ***
Jose Alvaro Perdices, Cruising LA, ed. Galeria Soledad Lorenzo Orfila, Madrid, Spain
Celluloid Cave, ed. by Thread Waxing Space, New York, USA
1997 Whitney Biennial Exhibition, catalogue, (text) Lisa Phillips and Louise Neri, ed. Whitney Museum of American Art, New York, USA, texts pp. 48, 102-103 (ill.)

1996

The Power of Suggestion: Narrative and Notation in Contemporary Drawing, (text) by Cornelia Butler, ed. Museum of Contemporary Art, Los Angeles, USA, pp. 7-8, 29-30 (ill.)
Defining the Nineties: Consensus-Making in New York, Miami, Los Angeles, (text) Bonnie Clearwater, Michael Duncan et Allan Schwartzman, ed. Museum of Contemporary Art, Miami, USA (ill. on the cover)

1995

La Belle et la Bête: un choix de jeunes atistes américains, (text) Lynn Gumpert, Béatrice
Parent and David Pagel, ed. Musée d’Art Moderne de la Ville de Paris, Paris, France
LAX/94, (text) Anne Ayers, The Los Angeles Exhibition, ed. LAX, Los Angeles, USA

*** monography

Press articles

2014

Julie Crenn, « Martin Kersels ‘Olumpus’ at Gallery Vallois, Paris », Mousse Magazine, 16 avril (ill.) n.s., « Martin Kersels », Mousse, n°43, avril – mai, p. 43 (ill.)

2013

Antoine Marchand, Volume, “Martin Kersels. The Body of Work”, n°6, pp.70-79, November (ill.)
n.s., The New School website, « ScultpureCenter – Subjective Histories of Sculpture : Martin Kersels », 28 janvier

2010

Valérie de Maulmin, Connaissance des Arts, “L’installation XXL de Martin Kersels”, september, n°685, p170 (ill.)
Jean-Yves Jouannais, Art Press, “Martin Kersels”, n° 372, november, p.100 (ill.)

2009

n.s., Technikart Hors-Série Art Contemporain, “Qui, Quoi, Où, Combien ? “, october, pp. 28-29 (ill.)

2008

Sonia Campagnola, Flash Art, “Live from Los Angeles”, Vol. XLI, n°263, pp.76-77,
Novembee-December (ill.)
Michael Shaw, THE Magazine, “Martin Kersels: Heavyweight Champion”, november, p. 45 (ill.)
Jervey Tervalon, laweekly, “Falling Hard”, 18 september
Christopher Knight, Los Angeles Time, “Garage of his mind”, 18 september (ill.)
Christopher Knight, latimes.com, “ Martin Kersels : Heavyweight Champion “, 18 september
David NG, Los Angeles Time, “Big in the Art World”, 10 september (ill.)
Marie Maertens, Technikart, “Such a lovely place”, n°124, p.118, July-August (ill.)
Mathilde Roman, Artpress, “Ne pas jouer avec des choses mortes”, may, n°345, p. 95
Roxana Azimi, Le Monde, “Le prix de l’éphémère”, 6-7 April

2006

Anne Rochette and Saunders Wade, Art in America, “Place Matters: Los Angeles Sculpture Today/Speaking Volumes : 19 Interviews”, november, 94, n°10
Eve Wood, ArtUS n°14, “Martin Kersels : ACME gallery, Los Angeles”, july-september
Christopher Miles, Los Angeles Times, “Ratting the cage of pop culture, politics”, 24 march

2005

Géraldine Selin, paris-art.com, “Burlesques contemporains”, september
Roxana Azimi, L’Oeil n°571, “Californie: des affreux jojos aux radicaux”, july-august, pp.108-111 (ill.)
Fabian Stech, Kunstforum, “ Sex and drugs and rock’n roll ”, july-august
Michel Gauthier, Art Press, “dionysiac”, may, pp. 78-79 (ill.)
Kathimerimi, 27 april
Giuditta Duron-Hess, Azione, “Provocare all’eccesso”, 20 april, pp. 1000-1001
di Flavia Fossa Marguti, Glamour.com, “dov'è finita l'emozione”, april (ill.)
Charles Danby, Art Review, “Dionysiac”, april
A nous Paris, “ Tristes Bacchanales ”, 21 march
Robert Guinot, La Montagne, “ Dionysiac à Beaubourg ”, 13 march
Muriel Denet, www. paris-art.com, “Dionysiac”, 4 march
Knack, “Testosteronkunst”, 20 march, p. 88
Exibart, “Dionysiac”, march-april
Judicaël Lavrador, Les Inrockuptibles, “Californicréation ”, n°485, 23 february-1 march, pp. 82-83 (ill.)
Anne Bonnin, 02, “Dionysiac”, n°33, spring
Harry Bellet et Benjamin Roure, Le Monde, “Les Vedettes de l'art trash au Ce
Geneviève Brerette, Le Monde, “Des figures de l'excès…”, 18 february
Judicael Lavrador, Les Inrocks, “Californicréation”, n°482, 23 february – 1 march (ill.)
Nicolas Thély, Enville, “Dream Team Déchaînée”, n°4, february
Philippe Piguet, L’œil, “Dionysac, dans le flux de la vie”, 1er february, p. 21

2004

William Jagger, Art New England, “Yankee Remix,” december 2003-january 2004

2003

Leslie Dick, Contemporary, “Gravity and Space”, (special edition), november (ill.)
Jean-Yves Jouannais, Art Press special, “La Station physiologique, laboratoire du burlesque”, n°24, pp. 24-29 (ill.)

2002

Andrew Gellatly, Frieze, “The American New Art : Barbican Art Gallery, London”, january-february, pp. 99-100 (ill.)
Thérèse Delpech, Libération “aujourd’hui, le nucléaire militaire revient en force”, 7 july (ill.)
Emmanuelle Lequeux, Aden, “Martin Kersels”, n°215, 3-9 july
Les Inrockuptibles, “Fat Man”, n°344, 26 june-2 july, p. 86 (ill)
Catherine Francblin, Les Cahiers du FNAC, “French Collection”, p. 23 (ill.)

2001

Nico Israel, Art Forum, “Martin Kersels, Deitch Projects”, Summer, pp. 184-185 (ill.)
James Trainor, Frieze, “Martin Kersels, Deitch Projects”, june-july-august, p. 122 (ill.)Grace Glueck, New York Times, 16 march
The Village Voice, 20 mars (ill.)
Michael Duncan, Art in America, “The serious Slapstick of Martin Kersels”, avril, pp. 120-125

2000

Deborah Irmas, Nano, “Martin Kersels”, n°1 (ill.)

1999

Bruce Hainley, Artforum, “Martin Kersels Talks About His Recent Work”, september, pp. 142-143 (ill.)
Jade Lindgaard, Les Inrockuptibles, “XXL”, spécial Printemps de Cahors, n°203, 16 June p. 13 (ill.)

1998

Takashi Murakami, Studio Voice, “Martin Kersels”, december, p. 111 (ill.)
Michael Darling, L.A. Weekly, “The Fat Man Sings”, 20 october – 5 november, p. 48 (Ill.)
William Wilson, Los Angeles Times, “Commotion pulls viewer into artistís wacky life”,21 october, p. F3
Jean-Yves Jouannais, Art Press, “L’idiotie, ésotérisme fin de siècle”, n°238, september pp. 40-41 (ill.)
Alison Smith, The Face, n° 20, september, pp. 186-187 (ill.)
Jesse Lerner, Poliester, “Martin Kersels (review, Dan Bernier Gallery)”, Summer Edition, pp.50-51
Jesse Lerner, Snowflake, n°3, p. 2
David Schafer, Art Papers, “Martin Kersels”, may-june, p. 30 (ill.)
Amy Gerstler, Artforum, “Martin Kersels (review, Dan Bernier Gallery)”, may, p. 155 (ill.)
Michelle Grabner, New Art Examiner, “Martin Kersels”, march, p. 49 (ill.)

1997

Karen Tom, Cover, “Commotion : Martin Kersels”, vol. 11, n°5, p. 97
Karen Tom, Buzz, “100 Coolest People in L.A.”, october, p. 98
Natasha Kassulke, The Capital Times, “Rhythm Sec.”, pp. 10-11 (ill + cover)
Fernando Huici, El Pais (Madrid), “Delicias del Microondas”, 12 july
Javier R. Nornblot, El Punto de las Artes (Madrid), “Cruising L.A.: el mundo fuera de la burat”, 4-17 july
Jose Maria Parreno, ABC (Madrid), “Los Angeles, punto de encuentro”, 4 july
M. Mora, El Pais (Madrid), “El arte crudo de seis « chicos malos » de Los Angeles
se muestra en Madrid : Cruising L.A. combina fotos instalaciones y peinturas”, 1er july
Marcos R. Barnatan, El Mundo (Madrid), “La Mirada despotica”, 28 june
Roberta Smith, The New York Times, “The Celluloid Cave”, 27 june, pp. 110-113
Christopher Knight, Los Angeles Times, “A Cola that refreshes”, 27 may, p. 1F & F8,
Christopher Knight, Los Angeles Times, “Show time at Biennial : send in the big crowds”, 23 march, pp. 74-75
Mark Sanders, Dazed & Confused, “Totally wired”, n°30, pp. 51-53 (ill.)
Paul Young, Buzz, “An A for UCLA Art Graduates to the top of the art school leader”, Summer Edition, p. 34
Hunter Drohojowska, Los Angeles Times, “He likes to throw his weight around”, 23 march,pp. 74-75 (ill.)
David Bonetti, San Francisco Examiner, 28 february, p. C11
George Melrod, World Art, n°18, pp. 40-45 (ill.)
Amy Fusselman, Bunnvrabbit, n°8, pp. 20-28 (ill.)
Christopher Miles, SOMA, “Multi-medium madcap”, march, pp. 13-16 (ill.)
David A. Greene, Art & Text, “Martin Kersels”, n°56, pp. 81-82 (ill.)
Joshua Decter, Artforum, “Martin Kersels”, february, pp. 86-87 (ill.)
Bruce Hainley, Artforum, “Power of suggestion”, february, p. 82 (ill.)
Bruce Hainley, Detour, “69 at the Whitney”, p. 156

1996

Calvin Reid, Art in America, “Martin Kersels at Jay Gorney”, november, pp. 111-112
Christopher Knight, Los Angeles Times, “Drawing the conventional conceptualist’s conclusion”, november, p. F3
Roberta Smith, The New York Times, “Martin Kersels at Jay Gorney”, 26 september, p. C29
Stuart Servetar, The New Art Examiner, “Martin Kersels”, october
Bill Arning, The Village Voice, “Big in L.A.”, 24 september, p. 71
Howard Halle, Time Out New York, “Heavy : An L.A. artist shows that size matters”, 4-11 september, p. 32
Randy Alexender, The New Art Examiner, “Hero”, may, p. 54 (ill.)
Roberta Smith, The New York Times, “Art, film and their brilliant, messy union”, 7 april, p. H33
Michael Kimmelman, The New York Times, “Ambitious Miami Reaches for a place in the sun”, 31 march, p. C34-37
Laurie Attias, Art News, “Beauty and the Beast”, april, p. 142 (ill.)
David Greene, Art Issues, “Need your love (Martin Kersels)”, march-april, pp. 15-18 (ill. + cover)
Deborah Wilke, The New Art Examiner, “Left of Center”, march, pp. 35-36
Amy Sillman, Things Review (internet magazine), “Left of Center”, 20 february, p. 1
Lisa Stein, Chicago New City, “Ten in one Gallery”, 18 february
Kaoru Jindalji, Bijutsu Techo (Tokyo), “Paris”, february, p.83
Roberta Smith, The New York Times, “Sampler 2: single channel video from Southern California”, 26 january p. C25

1995

Philippe Piguet, L’oeil, “La Belle et la Bête”, (ill.)
Philippe Piguet, Paris, Le Jourloi, “La Belle et la Bête”, 15 october, (ill.)
Alisa Tager, Art in America, november, p. 121 (ill.)
David Pagel, Frieze, “Musical chairs”, november – december, pp. 42-43 (ill.)
Terry R. Myers, New Art Examiner, “Martin Kersels”, october, pp. 48-49 (ill.)
Jody Zellen, Art Press, “Looking back in Anger”, september, p.1 (ill.)
Shizuyo Becker, BT (Japon), august, p. 123 (ill.)
David Greene, Los Angeles Reader, “For your listening & viewing pleasure”, 2 june, p.14 (ill.)
Christopher Knight, Los Angeles Times, “Artful sounds”, 10 may, p. F6
Marc Selwyn, Flash Art, “Report from Los Angeles”, may-june

1994

Michael Duncan, Art in America, L.A. Rising, december, pp. 74, 76-77 (ill.)
Susan Kandel, Los Angeles Times, “Sincerity focuses on beauty, but not without irony”, 24 november, p.F20,
Doug Harvey, Visions Quarterly, “Martin Kersels”, Winter edition, pp. 33-34 (ill.)
Michael Darling, Artweek, “An insistent whimsy”, august, p. 13
Jerry Saltz, Art & Auction, “L.A rising”, april, p. 91
Alisa Tager, Art Issues, “Martin Kersels”, march-april, p. 45 (ill.)
Alisa Tager, Galeries Magazine, “Ze news”, october, p. 35
Kerry Kugleman, Artweek, “The day of the machine”, 20 janvier, p. 13 (ill.)
Peter Frank, L.A. Weekly, “Art pick of the week”, 7 january (ill.)

1993

David Pagel, Los Angeles Times, “An enthusiastic embrace of powerful ambiguity”, 30 december, (ill.)

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