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Mike Nelson: More things (To the memory of Honoré de Balzac) 13 February–14 April 2013 | AMNESIAC SHRINE or Double coop displacement 7 June–30 July 2006 | The Coral Reef 26 January–26 March 2000 | Lionheart (BACKSPACE) 9–13 December 1998 | TRADING STATION ALPHA CMa 27 January–3 March 1996 | Publications | Editions



Mike Nelson| The Coral Reef, 2000
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Mike Nelson The Coral Reef, 2000 (detail)
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Mike Nelson The Coral Reef, 2000 (detail)
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Mike Nelson The Coral Reef, 2000 (detail)

Press Information
Reception: A specific yet generic space from the physical fabric of the city. A place of work for guest-workers, ex-cons or insomniacs. This hinterland of the outsider is a parallel world where the rules of society and its economic structure are distorted. Within this given scenario the reception acts as a decompression chamber or preface to territory beyond, and the first intake of the imaginative intoxicant which will allow belief in a structure which is obviously a sham.

There is no horizon: Stepping through the artifice or the ‘front’ as the office obviously is, one is met by a myriad of corridors and rooms with multiple doorways allowing various combinations of advance; a sentence with no fixed language and a shifting syntax, allowing differing routes and varying conclusions by the visitors, who fast become the players in this elaborate set.

Changes of state: The interiors are shabby, run-down and lived in. They’ve been here for varying periods of time, slowly metamorphosing with the scars and scabs, breakages and mends indicative of the inhabitation of this ever increasing strain of humanity. Each door leads to a room, each room another reception, to a corridor, to more reception rooms each with their own particular identity. The individual idiosyncrasies, cultural histories and potentially ulterior motives begin to unfold, and their associative narratives to accumulate. The viewer arrives back at the first office only to find it a replicant, confusing their sense of direction, rendering them momentarily lost. Lost in a world of lost people, a dingy substrata of any global city in a mocking existential loop which both offers escape and entrapment.

To coincide with this exhibition, Matt’s Gallery has published Extinction Beckons, the first comprehensive publication of Mike Nelson’s work. Extinction Beckons features a series of newly commissioned texts on Nelson’s work by Jaki Irvine, which are presented as distinct chapters. Combined with considerable visual documentation of his major installations and sculptures, the book aims to give the reader a full insight into the motivations, concerns and major themes running throughout Nelson’s work.

During the past six years Mike Nelson has built a body of work that has involved travelling to different locales for varying periods of time: geographically spread from Bucharest to Copenhagen, socially and culturally diverse as Berwick-upon-Tweed and Amsterdam. The pieces have all involved a period of inhabitation and intensive work, ranging from two weeks to six months. References to the site are made sometimes cultural or actual, others fictional or to the circumstances of the show. These mix with other information from film and literature, personal experience and real political situations to construct an idiosyncratic language, often attributed to a fictional “other”: a dog with a human mind, a motorcycle gang called the Amnesiacs, or a renegade band of refugees. Such tales of alienation and otherness are at the core of Mike Nelson’s concerns, and which again have thematically driven his forthcoming show at Matt’s Gallery.

The exhibition has been generously supported by The Henry Moore Foundation, with additional support from James Latham PLC. The publication has been supported by The Arts Council of England and Edinburgh College of Art.

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Biography
Born Loughborough 1967, Lives and works in London Studied 1992/3 Chelsea College of Art & Design (MA Sculpture); 1986/90 Reading University (BA (Hons) Fine Art - first class) Selected Solo Exhibitions 2013 M6, Eastside Projects, Birmingham; 2012 space that saw (platform for a performance in two parts) neugerriemschneider, Berlin; 408 tons of imperfect geometry, Malmö Konsthall, Sweden; The Ebb Tide * An Invocation **, curated exhibition from Archive of Modern Conflict, at Sussex University; 2011 I, IMPOSTOR, British Pavilion, 54th Biennale di Venezia; 2010 Quiver of Arrows, 303 Gallery, New York; The Coral Reef, Tate Britain, London; 2009 The Paradise [33], The Douglas Hyde Gallery, Dublin; The caves of misplaced geometry, Galleria Franco Noero, Turin; 2008 Le Cannibal (parody, consumption and institutional critique), Villa Arson, Nice France; 2007 A Pyschic Vacuum, Creative Time, New York; 2006 Lonely Planet, ACCA, Melbourne, Australia; AMNESIAC SHRINE or Double coop displacement, Matt’s Gallery, London; After Kerouac, Centre d'Art Santa Monica, Barcelona; 2005 Spanning Fort Road and Mansion Street-Between a formula and a code, Turner Contemporary, Margate, [Publication]; Agent Dickson at the Red Star Hotel, British School at Rome, Rome; Studio apparatus for MAMCO, MAMCO, Geneva [publication]; 2004 Triple Bluff Canyon, Modern Art Oxford [publication]; 2001 Nothing is True. Everything is Permitted, Institute of Contemporary Art, London [publication]; The Deliverance and The Patience, Peer Commission for the 2001 Venice Biennale, off-site project at The Old Brewery, Giudecca; 2000 The Coral Reef, Matt’s Gallery, London [publication]; 1999 TOURIST HOTEL, Douglas Hyde Gallery, Dublin [publication]; To The Memory of H.P. Lovecraft, Collective Gallery, Edinburgh; 1998 Studio Apparatus for Camden Arts Centre..., Camden Art Centre, London; 1997 Master of Reality, Berwick Gymnasium Gallery, Berwick-upon-Tweed; Lionheart, Galerie im KunstlerHaus, Bremen; The Amnesiacs, Campbells Occasionally, Copenhagen; 1996 TRADING STATION ALPHA CMa, Matt’s Gallery, London; No can Teach A Dog Old Tricks New, Academia De Arta, Bucharest; 1995 Agent Dickson at the Red Star Hotel, Hales Gallery, London; 1994 Charity Shop, Transmission Gallery, Glasgow; Selected Group Exhibitions 2012 Art Unlimited, Art 43 Basel; Double Take, 2nd Mardin Biennial, Mardin Turkey; 2011 September 11, curated by Peter Eleey, PS1, New York; Outrageous Fortune, Hayward Touring Exhibition curated by Andrew Hunt, Focal Point Gallery, Southend; EROI (Heroes), curated by Danilo Eccher, GAM Civic Gallery of Modern and Contemporary Art, Turin Italy; Open House, Singapore Biennale 2011, Singapore; Never The Same River (Possible Futures, Probable Pasts), Camden Arts Centre, London; 2010 CRASH: Homage to JG Ballard, Gagosian Gallery, London; The Hand, Works Projects, Bristol; 2009 Altermodern: Tate Triennial 2009, Tate Britain, London [with publication]; Journey With No Return, Akbank Cultural Centre, Istanbul; 2008 Psycho Buildings, Hayward Gallery, London; Eclipse: Art in a Dark Age, Moderna Museet, Stockholm Sweden; Reality Check, Staten Museum for Kunst, Copenhagen, Denmark [with publication]; You Dig the Tunnel, I’ll Hide the Soil, WhiteCube, Hoxton Square and Shoreditch Town Hall, London; Martian Museum of Terrestrial Art, Barbican, London; Print the Legend, Fruitmarket Gallery, Edinburgh; Of this tale I cannot guarantee a single word, Royal College of Art, London; A show of many parts, each part more spectacular and elaborate than the last, The City Gallery, Leicester; 2007 AMNESIAC SHRINE or The misplacement (a futurological fable): mirrored cubes – inverted – with the reflection of an inner psyche as represented by a metaphorical landscape, Turner Prize, Tate Liverpool; The Pumpkin Palace, Basel Art Fair; Breaking Step - Displacement, Compassion and Humour in Recent British Art, Museum of Contemporary Art, Belgrade, Serbia; 2006 Douglas Hyde Gallery, Dublin [Forthcoming]; Hatton Gallery, Newcastle upon Tyne [Forthcoming]; Wandering Rocks, Gimpel Fils Gallery, London 2005 No Manifesto, GAMEC Museum, Bergamo, Italy; Galeria Franco Noero, Rome, Italy; 2004 XXVI Bienal de Sao Paolo, Sao Paolo, Brazil; Strange Weather, Modern Art, London; Into My World, Aldrich Contemporary Art Museum, Connecticut; 2003 Poetic Justice, 8th International Istanbul Biennal [publication]; Micro/ Macro, Mucsarnok, Kunsthalle, Budapest, British Council exhibition [publication]; Capp Street Project: 20th Anniversary exhibition, CCAC Wattis Institute of Contemporary Arts, San Francisco [publication]; 2002 Biennale of Sydney, curated by Richard Grayson (New Commission: 42a Orwell St.) [publication]; 2001 The Cosmic Legend of the Uroboros Serpent, Turner Prize, Tate Britain, London; Intentional Communities, Rooseum - Center for Contemporary Art, Malmo, curated by Charles Esche; New Settlements, Nikolaj Contemporary Art Center, Copenhagen (New Commission: The Genie), curated by Jacob Fabricius; 2000 British Art Show 5, National Touring Exhibitions for Hayward Gallery, London; Sited at multiple venues in Edinburgh, Southampton, Cardiff, Birmingham [publication]; Another Place, Tramway, Glasgow (New Commission: The Resurrection of Captain Mission); 1999 Holding Court, Entwistle, London; Word enough to save a life, Word enough to take a life, Clare College Mission Church, London, curated by Simon Morrissey (New Commission: Melnais Kakis); It’s Immaterial, Chiltern Sculpture Trail; The Office of Misplaced Events (Temporary Annexe), Lotta Hammer, London, curated by Simon Morrissey; 1998 Grey Area - Andrew Bannister/Philip Lai/Mike Nelson, Bonnington Gallery, Nottingham; Camouflague 2000, Gallerie Praz-Delavallade, Paris, curated by Robert Garnet; How to build a universe that doesn’t fall apart two days later, Fly, Glasgow; Show me the Money III, Duke’s Mews, London; It, Sali Gia, London, curated by David Burrows; Kling Klang, HMS Plymouth, East Boat Dock, Liverpool; BACKSPACE, Matt’s Gallery, London [leaflet]; 1997 Wish You Were Here Too, Glasgow; Oktober 1917 - 1997, Norwich Gallery, Norwich; 1996 Transit Zone - Mike Nelson/Ania Rachmat/Erlend Williamson, W139, Amsterdam; 1995 Maikafer Flieg, Hochbunker, Cologne; 1994 Turning Up, The View, Liverpool; Miniatures, The Agency, London; Wish You Were Here, Leeds; 1993 Economist Summer Show, collaboration with Public Art Development Trust; 1992/3 BT New Contemporaries, Cornerhouse, Manchester; Orchard Gallery, Derry; Mappin Art Gallery, Sheffield; City Museum & Art Gallery, Stoke-on-Trent; Centre for Contemporary Arts, Glasgow; Collections The New Art Gallery, Walsall, Contemporary Art Society Special Collection Scheme purchase; Arts Council Collection, Hayward Gallery, London; Private Collections in Britain, Germany and Switzerland; Awards/Residencies 2001 Shortlisted for the Turner Prize, Tate Britain; Paul Hamlyn Award; 1998-2001 Sculpture Research Fellow, Edinburgh College of Art, Edinburgh 1996 Berwick Gymnasium Fellowship, Berwick-upon-Tweed (6 month residency, Oct ‘96 - Apr ‘97); Shortlist Award, Paul Hamlyn Foundation Award to Individual Artists: Sculpture & Installation; Pepinieres europeennes pour jeunes artistes (3 month residency, May - July), Bucharest; 1995 London Arts Board Grant to Individual Artists; 1993 First prize winner - Economist Summer Show, London; Boise Travel Scholarship: Egypt, Turkey, Syria, North America, Mexico; Selection Panels 2009 to date, Rijksakademie; 2002/3 Prix de Roma, Rijksakademie; 2001 Bloomberg New Contemporaries 2001, London; New Works Scotland, Collective Gallery Program, Edinburgh;


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Bibliography
Selected Publications 2013 space that saw (platform for a performance in two parts), published by neugerriemschneider; World of Art: Sculpture Now by Anna Moszynska, published by Thames & Hudson; Contemporary Art in the United Kingdom, ARTWORLD series, published by Black Dog Publishing; 2012 Defining Contemporary Art: 25 Years in 200 Pivotal Artworks, published by Phaidon; Sanctuary: Britain’s Artists and their Studios published by Thames & Hudson; 2011 Lemistry: A Celebration of the Work of Stanislaw Lem, published by Comma Press, 2011; I, IMPOSTOR, 54th Venice Biennale, British Pavilion, Venice, published by British Council; EROI (Heroes), GAM Civic Gallery of Modern and Contemporary Art, Turin Italy; Open House, Singapore Biennale 2011, Singapore; 2010 Coral Reef, Tate Publishing; 2009 Kristus och Judas: A Structural Conceit (a performance in three parts) Museum for Kunst, Copenhagen; A Psychic Vacuum, Creative Time, New York; Altermodern: Tate Triennial 2009, Tate Britain, London; 2008 Eclipse: Art in a Dark Age, Moderna Museet, Stockholm Sweden; Psycho Buildings, Hayward Gallery, London; You Dig the Tunnel, I’ll Hide the Soil, White Cube, London; 2007 After Kerouac, Pork Salad Press; 2005 Mike Nelson: Between a formula and a code, Turner Contemporary, Margate; Studio apparatus for Mamco - an intermediate structure for a museum: introduction; building transplant in three sections; towards a revisiting of futurobjects (as Voodoo shrine); mysterious island*. *see introduction or humpty dumpty, MAMCO, Geneva; 2004 Mike Nelson: Triple Bluff Canyon, Modern Art Oxford; Magazine, produced by Bookworks, co-published by Matt’s Gallery, London; Capp Street Project: 20th Anniversary exhibition, CCAC Wattis Institute of Contemporary Arts, San Francisco; Micro/ Macro, Mucsarnok, Kunsthalle, Budapest, British Council; 2001 Turner Prize 2001, Tate Britain; A Forgotten Kingdom, produced to accompany solo exhibition at ICA, London; The Genie, an artist’s project for Documents, Editor Vincent Pécoil; British Art Show 5, National Touring Exhibitions for Hayward Gallery, London; 2000 Extinction Beckons, with texts by Jaki Irvine, Matt’s Gallery, London; 1999 TOURIST HOTEL, Douglas Hyde Gallery, Dublin; 1998 Projects 1997, Galerie im KunstlerHaus, Bremen; Pepineres 1995 - 1997, Pepineres; 1996 Untitled bookwork, produced to accompany Transit Zone , W139, Amsterdam; Life/Live, Les Musees de la Ville De Paris; 1995 Maikafer Flieg , Hochbunker, Cologne; 1994 BT New Contemporaries 1993/4; Selected Articles 2013 Mike Nelson, Ayako Terashima, Huge Magazine, Issue 98, January; 2012 Space Stories, Robert Enright, Border Crossings, Issue 124; Mike Nelson, Cara Cotner, Frieze d/e, Winter 2012; Mike Nelson, Mousse Magazine, 30 August; Now See This, Martin Herbert, Art Review, Issue 61, September; 2011 Aaaargh!, Jonathan Griffin, Tate Etc, Issue 23, Autumn 2011; Review by Waldemar Januszczak, The Sunday Times (Culture) 12 June; Tapping the light fantastic, Laura McLean-Ferris, The Independent (Views Paper), 7 June; The flotsam and jetsam of the Grand Canal, by Charles Darwent, The Independent, 5 June; Remembered Rooms, by Rachel Withers, The Guardian (Review), 4 June; Setting the Art World Alight, by Andrew McKie, Wall Street Journal (Europe), 3 June; Depth in Venice by Rachel Campbell-Johnston, The Times, 3 June; Seduced by Venice, by Alistair Sooke, Daily Telegraph, 3 June; A first-class trickster at work, by Richard Dorment, Daily Telegraph, 1 June; From tearoom to Turkish labyrinth: Britain's pavilion is transformed, by Charlotte Higgins, The Guardian, 1 June; Lose yourself in a dusty corner of Istanbul, by Laura Mclean-Ferris, The Independent, 1 June; Briton's labyrinthine installation is already the toast of Venice, by Rob Sharp. The Independent, 1 June; This year the art is well worth the wait in Venice by Rachel Campbell Johnston, The Times 1 June; Artist interview, with Luisa Buck, The Art Newspaper, no 225, June issue; Sculpt Classics, by Sophie Hastings, GQ, June issue; Private View, by Ben Lewis, Prospect Magazine, May issue; The Scene is Set, by Lizzie Carey-Thomas, Clarrie Wallis, Andrew Wilson, and Cerith Wyn Evans, TATE ETC, Issue 22, Summer 2011; Auf die Plätze, by Nicole Büsing, Monopol, June issue; Space Invader, by Coline Milliard, Modern Painters, April issue; Reinvestigations, by Andrea Viliani, Mousse Magazine, no.28. April issue; Lost and Found, by Francesca Gavin, Dazed and Confused, March; Materials Man, by Jan Ure-Smith, Financial Times 'Life & Arts', 19/20 March; 2010 Mike Nelson: Quiver of Arrows Review Bazaar II, Summer 2010; Review, Kim Levin, ARTnews, vol 109, number 6, June; Review, Jane Harris, Time Out New York, 1-7 April; Mike Nelson's America is Unhitched, Alex Gartenfield, Art in America, 15 March; Artifacts: Mike Nelson's Trailer Trash, Linda Yablonsky, The New York Times, 4 March; 2009 Mike Nelson – A Psychic Vacuum, Art Forum, January; 2008 Mike Nelson’s ‘The coral reef’, Nicholas Cullinan, The Burlington Magazine, November; Mike Nelson: Leverage of Space, Michele Robecchi Flash Art, October; Mike Nelson, Peter Kelly, Blueprint, May; 2007 Mike Nelson - A Psychic Vacuum, ArtForum, December; Mike Nelson, MOUSSE, Issue 11, November; Turner Prize review, Tom Lubbock, The Independent, 19 October; Mike Nelson- A Psychic Vacuum, Art in Review, The New York Times, 12 October; Mike Nelson meets Manhattan, The Art Newspaper, October; Lost in space, Sean O’Hagan, The Observer Magazine, 23 September; Mike Nelson, The New Yorker, 3 September; Belonging and Belief, Found in Scrap Lumber, The Arts, New York Times, 29 August Looking Back: Significant solo shows 2005, Peter Eleey, Frieze, Issue 96, January-February; 2005 Mike Nelson, Maria Rosa Sossai, Flash Art, vol XXXVIII, no. 23, July ­ September; Emporium and the senses, Maeve Connolly, Third Text, Vol 19 issue 4, July; 8th Istanbul Biennial, Joe Hill, Contemporary, No. 59; 8th Istanbul Biennial, Peter Eleey, Frieze, Issue 80, [February]; 2004 The 26th Bienal de Sao Paulo: Free territory or No-man’s Land?, Rodrigo Moura, Flash Art, Nov/ Dec 2004; Mending the Breach, Eleanor Hartney, Art in America, Istanbul Biennial, December; Unsafe as Houses, Waldemar Januszak, The Sunday Times, 6 June 2004; Cracking Nelson’s enigma, Catherine Croft, Building design, 21 May; Edinburgh Preview: On the Move, Charlotte Higgins, The Guardian, Saturday August 7; Mike Nelson: Triple Bluff Canyon, Nick Hackworth, The Evening Standard; Riddle of the sands, Adrian Searle, The Guardian, 11 May; Mike Nelson: Triple Bluff Canyon, Caroline Boucher, Observer Review, 16 May; Can you tell what it is yet? No? Good, The Independent on Sunday, 9 May; Mike Nelson: Triple Bluff Canyon, The Guardian Guide, 8 May; If these walls could speak, Tom Lubbock, The Independent Review, 11 May; All aboard the Pumpkin Palace for a journey through the state of the world, Alistair Jamieson, The Scotsman, Thursday 19 August 2004; Director’s Choice, Susanna Beaumont, The List, 19-26 August; Mike Nelson: The Pumpkin Palace, Moira Jeffrey, The Herald, Friday 13 August; Driven, Ruth Hedges, The List, 5-12 August; The Pumpkin Palace, Nick Barley, The List, 19-26 August; Don’t miss The Pumpkin Palace, Catriona Black, The Sunday Herald, 22 August; Triple Bluff, Mike Nelson interviewed by Patricia Bickers, Art Monthly, No. 278, July-August; 2003 Mike Nelson: Lionheart, Charles Darwent, The Independent on Sunday, 27 July; Mike Nelson: Walsall, Jessica Lack, The Guardian Guide, 26 July; Mike Nelson, John Rogers, Fused Magazine, Issue 16; 10 Artists to Watch, Simon Grant, ArtNews, March; A Thousand Words, Rachel Withers, Artforum, February; 2001 The Turner Prize 2001, Rachel Meredith, Tate, Winter; Artful Dodgers, Derren Gilhooley, Harpers & Queen, December; Alien World, Vogue, November; Foursight, Martin Coomer, Time Out, November; Almost Infamous, Laura Cumming, The Observer, 14 October; A Theatre of Desolate Space, William Packer, Financial Times (Weekend), 13 October; Loafers Guide, Life, The Observer magazine, 13 October; A Maze Thing, Martin Coomer, Time Out, 10-17 October; Master of the Universe, Niru Ratnam, The Face, October; It’ll Win, But is it art, Anna Pursglove, Evening Standard Magazine, 12 October; Much Ado About Nothing, Tom Lubbock, The Independent, 9 October; Confusion is Nelson’s Victory, Richard Cork, The Times, 3 October; Storytellers in the Studio, Richard Dorment, Daily Telegraph, 3 0ctober; Master of the Universe, Niru Ratnam, The Face, October; Artist’s pages, Modern Painters, October; Charles Darwent, Modern Painters, October; Richard Corks Choice, Richard Cork, The Times (Play), Sept 29; This artist is building a maze, Mark Irving, The Independent on Sunday, 23 September; The Alternative History Man, Martin Gayford, Daily Telegraph, (Arts & Books) Sept 8; Welcome to My Worlds , Jonathan Jones, The Guardian, 4 September The Shy Man of the Turner, Claire Bishop, The Evening Standard, 31 August; Contemporary Art, Stephen Beasley, Untitled, No. 26, Autumn/winter; The Zones of Venice, Andrew Wilson, Art Monthly, July/Aug; Mike Nelson, Sophie Howarth, Tate Magazine; Go on, get lost, Charles Darwent, The Independent on Sunday, 7 October; Jonathan Jones, The Guardian; Claire Bishop, The Evening Standard; Venice Biennale, Mark Godfrey, Untitled No. 25, Summer; Postcards from the cutting edge, Richard Dorment, The Daily Telegraph, 13 June; Too many tours spoil the broth, Richard Cork, The Times 2, 13 June; Marcus Field, The Independent on Sunday, 10 June; Appalling fascination of a career-enhancing competition, Adrian Searle, The Guardian, 31 May; Bookies see film-maker as surprise favourite, Maev Kennedy, The Guardian, 31 May; 2000 Magical Bleakness Engages, Elisabeth Mahoney, The Guardian, Friday 9 June; Art - Review of 2000, Adrian Searle, The Guardian, G2, 29 December; Master of Reality, Claire Bishop, Untitled, No. 22, Summer; Species of Spaces, Jonathan Jones, frieze, July – August; Mike Nelson, The Coral Reef, Hugh Stoddart, Contemporary Visual Arts, Issue 29; Another Place, John Calcutt, Scotland on Sunday, 11 June; Another Place, Elisabeth Mahoney, The Scotsman, 9 June; Another Place, Jonathan Jones, The Guardian, Friday 2 June; Another Place, Susanna Beaumont, The List, 8-22 June; Another Place, Duncan McLaren, Pick of the Galleries, The Independent on Sunday, 11 June; Welcome and Witty Return, Graeme Virtue, Sunday Herald, 4 June; British Art Show 5, Ian Hunt, Art Monthly, No.236, May; British Art Show 5, Contemporary Visual Arts, Issue 28; Mike Nelson, Mark Currah,  londonart.co.uk (http://www.londonart.co.uk), April; Mike Nelson, Rachel Withers, Artforum, April; Mike Nelson, Izi Glover, Time Out, March 14-22, No. 1543; Rooms with a dingy view, Jonathan Jones, The Guardian, 22 March; Mike Nelson, Dave Burrows, Everything Magazine, Issue 3.2, March; Mike Nelson: The Coral Reef, Jonathan Jones, The Guide Tuesday, The Guardian, 21 March; Coral Reef, Samantha Ellis, Going Out, The Evening Standard, 21 March; Coral Reef, Duncan McLaren, Pick of the Galleries, The Independent on Sunday, 19 March; Shifting Spaces, Jon Thomson, www.eyestorm.com, 3 March; Mike Nelson, Kate Mikhail, Thursday Review, The Independent, 2 March; Mike Nelson, Dave Beech, Art Monthly, No 234, March; spaced out, Stuart Shave, iD the drenched issue, No. 195, March; 1999 Entwistle, What’s On, Jan/Feb 27-31 January; Myth as Material, Simon Morrissey, Contemporary Visual Arts, Issue 26, November; Mike Nelson TOURIST HOTEL, Simon Morrissey, Contemporary Visual Arts, Issue 23, March; Mike Nelson at the Collective Gallery, Edinburgh, Dan Wilkinson, londonart.co.uk magazine, September (http://www.londonart.co.uk/editorial/reviews/nelson.htm); In Memory of HP Lovecraft, Elisabeth Mahoney, The Guardian, 23 August 1998 HMS Art, Dave Beech, Art Monthly, No 221, November; It & Show Me the Money 3, Michael Wilson, Untitled, No 17, Autumn; 1997 Mikes mystiske liv, Lars Bang Larsen, Politik, 24 October; Mike Nelson, Master of Reality, David Barrett, Frieze, Issue 36; Telling Tales: Art & Corporate Identity, Steve Rushton, Mute, September; Ein Tier namens Mensch, Christoph Koster, Taz Bremen, 12 June; Szenen aus der Jagdgesellschaft, Stephan Carter, Weser-Kurier, 25 June; Begegnung mit dem Mull, Detlev Zenglein, Prinz Bremen, June; Mike Nelson im Kunstlerhaus Bremen, Horst Griese, ‘Punkt’ Kunst im Nordwestern, June; Mike Nelson: Lionheart, Ikken Steen, Journal am Abend, Radio Bremen II, 18 June; 1996 Art & The City: A Dream of Urbanity, Art & Design No. 50, Academy Group Limited; Mike Nelson, Matt’s Gallery, Peter Davies, Flash Art, Vol. XXIX No.189 Summer; Mike Nelson, Matt’s Gallery, Simon Grennan, Untitled, No.10 Spring; Mike Nelson, Matt’s Gallery, David Burrows, Art Monthly, No.194 March; Met film kan ik een regenboog in eek kamer maken, Anna Tilroe, NRC Handelsblad, Netherlands, 22 March; Mike Nelson, Matt’s Gallery, Mark Currah, Time Out, 21-28 February; At lide for kunsten i London, Lars Movin, Information, 25 February; Around the Galleries, Sacha Craddock, The Times, 27 February; 1995 Mike Nelson, Hales Gallery, Jaki Irvine, Frieze, Issue 23 Summer; 1994 Turning Up, The View, Liverpool, Heidi Reitmaier, Art Monthly, No.181 November


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