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Lindsay Seers: Entangled2 (Theatre II) 9 October–1 December 2013 | It has to be this way 21 January–15 March 2009 | Publications | Editions | Press | Artist’s Website



Lindsay Seers|  It has to be this way, 2009

Lindsay Seers, It has to be this way, 2009 (installation view)


Lindsay Seers, It has to be this way, 2009 (video still)


Lindsay Seers, It has to be this way, 2009 (invitation image)

Press Information
I could say that I was in love with her, but it was not in an ordinary sense. I was consumed by her, so that it became painful. I wanted to merge with her entirely, to become her. After the accident the nature of this intense connection with her became much more dangerous for me, as if the things had become polarised and the differences between us became more erratic - swinging violently between attraction and repulsion…

In the years and months preceding It has to be this way, Lindsay Seers’ first exhibition at Matt’s Gallery, a catastrophic accident has caused a chain of events that take us on a journey through history where everything is connected.

In a recent visit to Stockholm, the artist photographed anything that was associated with her step-sister, Christine, and followed streams of associations and connections attempting to reconstruct a past in which characters move across history and slip from one person to another. Within the gallery, a viewing chamber forms part of a sculptural installation housing a double-screen video projection and two monitor works that use several characters to stage the differences between renaissance and modern thought on art, philosophy and science.

Drawing on historical theories of vision, Seers creates highly personal narratives by interweaving concepts of science, philosophy and photographic theory into the work, in an ongoing investigation into how cinematic and photographic technologies shape us. These narratives are punctuated by incredible plot devices – stalkings, burglaries, shipwrecks – that mimic the rupture at the heart of image production, creating a dramatisation of selfhood in all its melancholy and failure. By re-casting photography as an act that actually creates experiences rather than records them, or as David Burrows describes it in Human Camera, by creating ‘an indexical process that is transformative’, the boundaries of photography in Seers’ work are truly extended.

The opening paragraph is an extract from a novel concerning Christine Parkes, Seers and a character known only as S. In 1999 Christine was involved in an accident that left her with severe retrograde and anterior grade memory loss. She went missing in Rome in 2001.



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Biography
Education 1999–2001 MA Fine Art Goldsmiths College, London; 1991–1995 BA (Hons) Fine Art (sculpture and media) The Slade School of Fine Art, London Forthcoming Exhibitions 2013 Entangled2 (Theatre II), Matt's Gallery, London; Monocular4, QUAD, Derby; 2012 Nowhere Less Now, Tin Tabernacle, Kilburn, London [Artangel commission]; Entangled2,Turner Contemporary, Margate [commission]; 2011 Extramission 6, TPW Gallery, Toronto [as part of Images Festival]; It has to be this way2, BALTIC, Gateshead; 2010 It has to be this way2, Mead Gallery, Warwick; It has to be this way1.5, Aspex Gallery, Porstmouth; 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct); It has to be this way2, National Gallery of Denmark, Copenhagen [commission]; 2009 It has to be this way, Matt’s Gallery, London [commission]; 2008 Performance, Event Horizon, Royal Academy of Art [commission]; 2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commission]; 2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia; The truth was always there, The Collection, Lincoln [commission]; I can’t tell you, Grundy Gallery, Blackpool [commission]; Don’t look through me, City Gallery Leicester [commission]; 2005 Image in Me, Market Gallery, Glasgow; Eyes of Others, Gallery of Photography, Dublin [commission]; I saw the light, Gasworks Gallery, London [commission]; 2003 You said that without moving your lips, Limerick City Gallery, Ireland; Calidoscopio, Museo del Barro, Asuncion, Paraguay; 2002 Photoscoptocus, Public commission, Camden Lock/ Henley-on-Thames; 2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme,‘Lindsay Seers, Artist’s Eye’, Rory Logsdail); For the dead travel fast, Worcester City Museum and Art Gallery [commission]; 1998 Cannibal, Old Museum Art Centre, Belfast; 1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin; Selected Group Exhibitions 2013 Narrative Structures, Stryx, Birmingham; Nowhere Less Now2, MONA, Tasmania [commission]; 2013 Toulouse International Art Festival [commission]; To that Wallpaper Vault, Departure Lounge, Luton; The Book Lovers, EFA Project Space, New York; Disappearing Into One, Zabludowicz Collection, London; 2012 The Book Lovers, MHKA, Antwerp; Reality Bites, Kiasma, Helsinki; Focal Points: Art and Photography, Manchester Art Gallery; Møte (Meeting), Galleri Festiviteten, Norway; Ich is ein Anderer, Kunstverein, Freiburg, Germany; A Trip to the Moon, Bonniers Konsthall, Stockholm, Sweden; 2011 Monodrome, Athens Biennale, Greece; Beyond Deception, Erik Steen Gallery, Oslo, Norway; Something In The Way, Lofoten International Art Festival, Norway; Outrageous Fortune, Focal Point Gallery, Southend, UK; Dis-covery, Salamanca Art Centre, Tasmania; The Collection, Rugby Art Gallery, inaugural exhibition of CAS and V&A purchase for the collection; Just Photography, Ancient and Modern at Martos Gallery, New York; 2010 Persistence of Vision, Kunsthallen Nikolaj, Copenhagen, Denmark; Persistence of Vision, FACT, Liverpool; Steps into the arcane, Kunstmuseum Thurgau, Switzerland; Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna; Depatterrn, Galleri Erik Steen, Oslo; 2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich; Performance, Whitechapel Gallery, London; Altermodern, Fourth Tate Triennial, Tate Britain; Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil; 2008 Performance, Happy Hand, British Film Institute, London; 2007 Cinemart, The Auditorium, Rome; Foreign Bodies, White Box, New York; The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen; 2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc.); Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @798 Space, Beijing, China; Performance, Inside, Masonic Temple, Great Eastern Hotel, London; Performance, Don’t Look Through Me, Y Theatre, Leicester; Performance, Screening at Witte de With/Tent, Rotterdam; John Skies or Sally Swims, UKS Gallery, Oslo; Wandering Rocks, Gimpel Fils Gallery, London; 2005 Wunderkammer, The Collection (curated by Edward Allington); 2004 Adam, Smart Projects, Amsterdam; Mind the Gap, La Friche, Triangle, Marseille, France; Shattered Love, Keith Talent Gallery, London; Eating at Another’s Table, Metropole Galleries, Folkestone (performance/exhibition); Tonight, Studio Voltaire, London (curated by Paul O’Neill); Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard); Mesmer, Temporarycontemporary, London; Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson/Craighead, S Mark Gubb); 2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt); Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum); A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass); The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths); 2002 History Revision, Plymouth Arts Centre (including Terry Atkinson); Nausea: encounters with ugliness, London Print Studio; Dramatic Events, Kent Institute of Art and Design; Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson); 2001 Trinity College, Zwemmer Gallery, London; Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith); 2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown); Assembly, Stepney City, London; A Shot In The Head, Lisson Gallery, London; Unfound, Chisenhale Gallery, London; City Projects, Artomatic, London (with Jemima Brown, Marcel Price); The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher); On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson); 1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall); Quotidian, Paper Bag Factory (curated by Julia Lancaster); Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean); 1998 Multiples, Temple Bar Gallery, Dublin; 1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London; Ghost, ACAVA Open Studios, Denmark St, London; Ad Hoc, London Artforms. Curated by Phyllida Barlow. (with Eric Bainbridge, Leila Galloway, Stephen Johnson); Residencies / Commissions / Awards 2012 Sharjah Art Foundation Production Award 2010 Paul Hamlyn Awards for Artists; Arts Council England, Grants for the Arts for a residency in Tasmania; 2009 Winner of Film London & Channel 4’s Jarman Award (cash prize and a broadcast commission for Channel 4’s highly acclaimed 3 Minute Wonder strand); Arts Council Individual Artist Award; 2007 Wingate Scholarship at British Academy /British School at Rome; British Council Award for new work; 2006 AHRC Research Leave Award Arts Council National Touring Award; 2005 British Council Award Arts Council Individual Artist Award; 2004 Triangle International Artists Workshop, Mauritius; 2003 Arts Council and Triangle Trust funded residency in Paraguay; 1999 Arte Viva, residency and exhibition, Senigallia, Italy; 1998 Beach Life, Public Art Project, supported by Islington Council; 1997 Residency with Acme Studios, The Old Fire Station, London; Seven month residency at The Irish Museum of Modern Art; 1995 First Base Studio Award (One year studio residency at ACAVA); Ray Finnis Award; 1993 Slade Prize (Pankerd Jones Memorial Prize);

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Bibliography
2013 One of Many, Adrian Dannatt, Artist Comes First, Jean-Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013; Lindsay Seers, George Barber, Frieze, January 2013; 2012 Lindsay Seers, Artangel at the Tin Tabernacle – Jo Applin, ArtForum, December 2012; Lindsay Seers, Martin Herbert, Art Monthly, October 2012; Exhibition, Ben Luke, Evening Standard, (pg 60-61) 20 September 2012; Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012; Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012; Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012; Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012; Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6-12 September 2012; Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012; Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012; Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012; Das Identitätsvakuum – Dietrich Roeschmann, Badische Zeitung, 27 March 2012; Ich ist ein anderer-Kunstverein Freiburg – Badische Zeitung, 21 March 2012,; Action Painting – Jacob Lundström, FLM NR.16, March 2012; Dröm-fabriken – Peter Cornell, Kultur, 21 Febraury 2012; Vita duken lockar Konstnärer – Fredrik Söderling, Dagens Nyheter (pg 4-5) 15 February 2012; Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4-5) 12 Febraury 2012; Uppshippna hyllningar till – Helena Lindblad, Dagens Nyheter (pg 8-9) 9 February 2012; Bonniers Konsthall – Sara Schedin, Scan Magazine, (pg 48-9) February 2012; Ausstellungen – Monopol, (pg 120) February 2012; Modeprovokatörer plockas up par museerna – Susanna Strömquist, Dagens Nyheter (pg 8-9) January 2012; 2011 Promosing in Kabelvåg – Seers' 'Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011; Reconstructing the Past – Lindsay Seers' Photographic Narrative, Lee Halpin, Novel2, May/June 2011; Lindsay Seers, Oliver Basciano, Art Review, May 2011; Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011; Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011; The Projectionist, David Balzer, Eye Weekly, 6 April 2011; dis-covery, exhibition catalogue, 2011; Lindsay Seers: It has to be this way2, Paul Usherwood, Art Monthly, April 2011; Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011; It has to be this way2, 2011, published by Matt’s Gallery, London; 2010 Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010; Steps into the Arcane, published 2010; It has to be this way1.5, 2010, published by Matt’s Gallery, London; 2009 Jarman Award, Laura McLean-Ferris, The Guardian, September 2009; Top Ten, ArtForum, Summer 2009; Reel to Real – On the material pleasure of film, Colin Perry, Art Monthly, July/August 2009; Remember Me, Tom Morton, Frieze, June/July/August 2009; It has to be this way, 2009, published by Matt’s Gallery, London; Lindsay Seers at Matt’s Gallery, Gilda Williams, ArtForum, May 2009; Lindsay Seers: It has to be this way – Matt’s Gallery, Chris Fite-Wassilak, Frieze, April 2009; Lindsay Seers: It has to be this way, Rebecca Geldard, Art Review, April 2009; Review of Altermodern – Tate Triennial 2009, Jorg Heiser, Frieze, April 2009; Tate Triennial: ‘Altermodern’ – Tate Britain February 3 – April 26, 2009, Colin Perry, Art Monthly, March 2009; Lindsay Seers: It has to be this way (Matt’s Gallery, London), Jennifer Thatcher, Art Monthly, March 2009; No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009; Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 Altermodern, Nicolas Bourriaud, Tate publishing (exhibition catalogue), 2009 ‘Altermodern’ review: ‘The richest and most generous Tate Triennial yet’, Adrian Searle, The Guardian, February 2009; Critics’ Choice for exhibition at Matt’s Gallery, Time Out London, January 29 – February 4 2009; In the studio, Time Out London, January 22 – 28 2009; 2007 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007; Human Camera, June 2007, Monograph book Published by Article Press; 2006 Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006; Review of Wandering Rocks, Time Out London, February 1 –8, 2006; Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS; 2005 Artistic sleight of hand – ‘Eyes of Others’ at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005; There is Always an Alternative, Catalogue (Dave Beech /Mark Hutchinson) 2005; Wunderkammer, Catalogue, The Collection, October 2005; 2004 Lindsay Seers’ ‘We Saw You Coming’; ’20,000 Leagues Under the Sea’; ‘Apollo 13’; ‘2001’, Lisa Panting, Sphere Catalogue (pg 46-50), Presentation House Gallery, 2004; Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004; Miser and Now, essays in issues 1, 2 + 3; 2003 Expressive Recall –‘You said that without moving you lips’, Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003; Braziers International Artists Workshop Catalogue, 2002; Review of Lost Collection of an Invisible Man, Art Monthly, April 2003; 2002 Slade – Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002; Radical Philosophy, 113, Cover and pages 26/30, June 2002; Elle magazine, page 92-93, June 2002; Review, Dave Beech, Art Monthly, June 2002; Nausea: encounters with ugliness, Catalogue; Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail; The Fire Station, a film by William Raban and a catalogue by Acme; Assembly, Catalogue; Arte Viva, Catalogue; 2000 The Double, Catalogue from the Lowry, Lowry Press, July 2000; 1999 Contemporary Visual Arts, Roy Exley, June 1999; Hot Shoe, Chris Townsend. July/ August, 1999; Evening Standard, page 54, 13 May 1999; Occupational Hazard, critical writing on recent British art, edited by Duncan McCorquedale,; Naomi Siderfin and Julian Stallabras (essay by Mark Hutchinson -Pages 160-164); AWP, published by the Irish Museum of Modern Art. Front cover, pages 7 /44; 1998 Review, Sunday Times (Irish) supplement, page 25, Sept. 20th, 1998; Collections Tate Collection, London; Arts Council Collection; Rugby Art Gallery; Museum of Old and New Art, Tasmania.

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