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Susan Hiller: Ghost / TV 25 September–27 October 2019 | Channels 13 February–14 April 2013 | The Last Silent Movie 12, 13, 19, 20, 26 & 27 July 2008 | An Entertainment 19–31 January 1991 | Work in Progress 21 April–4 May 1980 | Publications | Editions | Artist’s Website

Susan Hiller| Channels | 13 February–14 April 2013 | Private View: Sunday 10 February 2–5pm

Susan Hiller, Channels, 2013. Installation photograph by Peter White courtesy the artist, Timothy Taylor Gallery and Matt’s Gallery, London.

Press Information
Channels, Susan Hiller's fourth exhibition at Matt's Gallery, is a vast audio-sculptural installation in which disembodied voices report on 'near-death' experiences.

Hiller uses audio accounts in many languages from people who believe they have experienced death as the raw materials for her new work. Vivid stories of those who believe they have died and returned to tell the tale constitute a remarkable contemporary archive, whether the accounts are regarded as metaphors, misperceptions, myths, delusions or truth.

Near-death experiences (NDEs) have and continue to be studied intensively in the fields of psychology, psychiatry, neuro-physiology and hospital medicine. Studies are inconclusive and at times contradictory, offering various explanations for the phenomenon. Despite the lack of a harmonious scientific explanation, increasing numbers of ordinary people continue to report such experiences.

Hiller's interest in this subject matter is neither the advocacy nor the dispute of the anecdotal, traditional or scientific evidence for or against the 'reality' of NDEs, but in considering them as social facts, widely spread in time and space, as appropriate for the subject matter of art as Cezanne's apples or Schwitters' bus tickets.

Channels is an artwork designed to engage us in a consideration of some of the gaps and contradictions in our modern belief system and collective cultural life. It is not intended as a religious consolation nor 'new age' fantasy, but rather as a de-stabilising aesthetic device opening to the un-representable.

Hiller has a special relationship to Matt's Gallery where her exhibition in 1980 was one of the gallery's first; in 1991 Matt's Gallery commissioned the video installation An Entertainment (the first synchronised multi-screen video work made in Europe); and in 2008, the first London showing of The Last Silent Movie took place at the Gallery.

Susan Hiller is represented by Lisson Gallery, London and was represented by Timothy Taylor Gallery, London at the time of this exibition.

Channels is generously supported by Arts Council England, The Henry Moore Foundation, CAF American Donor Fund (on behalf of an anonymous donor), Timothy Taylor Gallery, Integral Memory and Envirocom.

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Born Tallahassee, Florida, USA. Lives and works in London, UK; 1968 Residency at the Karolyi Foundation, Venice, France; 1969 Residency at the Ministère des Beaux Arts, Morocco; 1975 Artist in Residence, University of Sussex, Brighton, UK; 1976 Gulbenkenian Foundation Visual Artist's Award, Great Britain; 1977 Gulbenkenian Foundation Visual Artist's Award, Great Britain; 1981 Awarded a Greater London Arts Association Bursary; 1982 Visual Arts Board Travelling Fellowship, Australia National Foundation for the Arts Fellowship, USA; 1998 Awarded the Guggenheim Fellowship in Visual Art Practice, USA; Made Honorary Fellow, Dartington College of Arts, Great Britain; 2002 Awarded the DAAD Fellowship in Berlin, Germany; 2003 Kulturstiftung des Bundes, Halle (Germany); Baltic Chair of Contemporary Art at the University of Newcastle, Department of Fine Art; Recent Solo Exhibitions 2013 Susan Hiller: Channels, Matt’s Gallery, London; 2012 From Here to Eternity: Susan Hiller, Kunsthalle Nurnberg, Germany; Psi Girls, University Art Gallery, San Diego State University, San Diego, USA; 2011 Susan Hiller, Tate Britain, London; An Ongoing Investigation, Timothy Taylor Gallery, London; Psi Girls , Wellington College, Crowthome, Berkshire; The J.Street Project, Colby Museum of Art, Waterville, Maine, USA; Susan Hiller, Ex-Chiesa San Francesco, Spazio Culturale Antonio Ratti Como, Italy; The Last Silent Movie, Prefix Institute of Contemporary Art, Toronto, Canada; 2010 Galerie Karin Sachs, Munich, Germany; Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain; 2009 The J.Street Project, Contemporary Jewish Museum, San Francisco, USA; Magic Lantern, Index, Stockholm, Sweden; The Last Silent Movie, 101 Projects, Reykjavik, Iceland; 2008 Journey to the Land of the Tarahumara, Galerie Volker Diehl, Berlin, Germany; Outlaw Cowgirl and Other Works, BAWAG-Generali Foundation, Vienna, Austria; The Last Silent Movie, Matt’s Gallery, London; Psi Girls, Joy Art, Beijing, China; Proposals and Demonstrations, Timothy Taylor Gallery, London; The J.Street Project, Kunst-raum des Deutschen Bundestages, Berlin, Germany; The J.Street Project, The Jewish Museum, New York, USA; Psi Girls, 5-screen video 8 installation, Room 8, Level 5, Tate Modern, London; 2007 Moderna Museet, Stockholm, Sweden; 2006 Castello di Rivoli, Turin, Italy; Galerie Volker Diehl, Berlin, Germany; Centre des Arts Saidye Bronfman, Montreal; 2005 Kunsthalle Basel, Switzerland; Timothy Taylor Gallery, London; DAAD Gallery, Berlin, Germany; Compton Verney/Peter Moores Foundation, Warwickshire; The Wexner Centre for the Arts, Columbus, Ohio, USA; 2004 Susan Hiller: Recall - A Selection of Works 1969 — 2004, Baltic Centre for Contemporary Art, Gateshead; Museu Serralves, Porto, Portugal; 2002 Museet for Samtidskunst, Roskilde, Denmark; Galerie Volker Diehl, Berlin, Germany; 2001 Gagosian Gallery, New York, USA; Fondacion Mendoza, Caracas, Venezuela; 2000 Witness, Artangel commission at The Chapel, London; 1999 Delfina Gallery, London; Tensta Konshalle, Stockholm, Sweden; Henie Onstad Kunssenter, Oslo, Norway; Site Gallery, Sheffield; Northern Gallery for Contemporary Art, Sunderland; 1998 Institute of Contemporary Art, Philadelphia, USA; Projektgalerie, Leipzig, Germany; Experimental Art Foundation, Adelaide, Australia; Heine Onstad Kunstsenter, Oslo, Norway; Centre for Contemporary Photography, Melbourne, Australia; Berry House, London; 1997 Foksal Gallery, Warsaw, Poland; 1996 Susan Hiller: Selected Works, Tate Gallery, Liverpool; “Dream Screens”, Dia Center for the Arts, New York, USA; 1995 Gimpel Fils, London; 1994 Gimpel Fils, London; The Sigmund Freud Museum, London; Entwistle Gallery, London, [2-person]; 1992 Tom Solomon’s Garage Gallery, Los Angeles, California, USA; 1991 Pat Hearn Gallery, New York, New York, USA; Nicole Klagsbrun Gallery, New York, USA; Matt’s Gallery, London; Third Eye Centre, Glasgow, Scotland; 1990 Susan Hiller: Revenants of Time, Third Eye Centre, Glasgow, Scotland; Mappin Art Gallery, Sheffield. Recent Group Exhibitions 2013 In the Air Tonight, Galerie Lehmann, Dresden; La Fin du Langage , Gulbenkian Foundation, Paris; 2012 dOCUMENTA (13), Kassel, Germany; The Aesthetics Behind the Curtain,Kunsthaus Vienna, Austria; Musee de Elysee, Lausanne, Switzerland; The Future’s Not What it Used to Be, Chapter Art Centre, Wales; In the Air Tonight, Galerie Lehmann, Berlin; The Party Show, Victor Wynd Fine Art, London; Zeitgespenster, Museum Morsbroich, Leverkusen, Germany; Mer än ljud More Than Sound, Bonniers Konsthall, Stockholm; Olinka, Museo Rufino Tamayo, Mexico City; Wide Open School, Hayward Gallery, London; A Drawing While Waiting for an Idea, Large Glass, London; Transmitter/Receiver The Persistence of Collage, Southbank Centre Touring Exhibitions, London; Porta Nigra/Black Gate, Hidde van Seggelen Gallery, London; Dig Where You Stand, South Tipperary County Museum, Clonmel, Eire; The Residue of Memory, Aspen Art Museum, Aspen, USA; Wandering Lines II: From Automatic Drawing to Abstraction, Jane Gallery, London; Beyond the Frame, Gallery 27, London; Art In Our Time, Leeds City Gallery; L’institut des Archives Sauvages, Villa Arson, Nice, France; Helsinki Photography Biennial, Helsinki, Finland; Behind the Curtain - The Aesthetics of the Photobooth, The Musee de L’Elysee, Lausanne, Switzerland; Vorfuhrraum, Kunsthalle Bielefeld, Germany; Au Loin Une Isle, Fondation Ricard, Paris, France; The Deconstructive Impulse, Contemporary Arts Museum Houston, Houston, Texas, USA; 2011 The Thousand Dreams Of Stellavista, La Synagogue de Delme Contemporay Centre d’art, Delme, France; The Deconstructive Impulse, Neuberger Museum of Art, NY, USA; Nasher Museum, Duke University, NC, USA; Wunder: Kunst, Religion und Wissenschaft, Deichtorhallen, Hamburg/Siemens Stiftung Hamburg, Germany; Museum Show, Arnolfini, Bristol; Made in the UK, RISD Museum, Providence, Rhode Island, USA; Beyond the Curtain: The Aesthetics of the Photo booth, Musée de l’Elysée, Lausanne, Switzerland; September 11, MOMA/PS1, New York, USA; Olinka, or Where Movement is Created, Museo Tamayo, Mexico; Outrageous Fortune, Southbank Centre Touring Exhibition; Wonders of the Invisible World, Northern Gallery for Contemporary Art, Sunderland; Au Loin, Une Ile, FRAC Aquitane, Bordeaux, France; Mystics and Rationalists, Ingleby Gallery, Edinburgh, Scotland; Transmitter/Receiver;The Persistence of Collage, Southbank Centre Touring; Exhibition Moscow Biennale, Moscow, Russia; An Archival Impulse, Plimsoll Gallery, University of Tasmania, Australia; The Edge of Reason, Kino Kino, Sandnes, Norway; What the Folk Say-Contemporary Artists’ Interventions, Compton Verney Warwickshire; The Unknown Group, FRAC, Bourgogne, France; 2010 The Right to Protest, Museum on the Seam, Jerusalem, Israel; The Alchemy of the Unknown (and a Visual Meditation on Transformation) Khastoo Gallery, Los Angeles, USA; Polytechnic, Raven Row, London; Extra-Ordinary: Alternative Perspectives on the Everyday, Artsdepot, London; Dig Down in Time, Man & Eve, London; Bilder in Bewegung: Kunstler & Video/Film, Museum Ludwig, Cologne, Germany; Talking of Yves: Friendship sand Connections in Paris, New York and London, Jane England Gallery, London; Super Farmer’s Market, Handel Street Projects, London; The Deconstructive Impulse, Neuberger Museum, Purchase, New York, USA; Magic Show , Arts Council touring exhibition; Art Sheffield, Graves Art Gallery, Sheffield; Sami Arts Festival, Saemen Sitje, Snasa Norway; Broken Fall, Galleria Enrico Astuni, Bologna, Italy; Sydney Biennale, Sydney, Australia; The Glass Delusion, National Glass Centre, Sunderland; Art Unlimited, Basle, Switzerland; Elles, Centre Pompidou, Paris, France; En miroir, projections sur le folklore, Centre d’art de Fribourg, Fribourg, Switzerland; Yesterday Will be Better, Aargauer Kunsthaus, Aarau, Switzerland; Atlas, Reina Sofia, Madrid, Spain; Childish Things: Fantasy & Ferocity in Art 1980-1994, Fruitmarket, Edinburgh, Scotland; Never The Same River (Possible Futures, Probable Pasts), Camden Arts Centre, London; 2009 Not Made by a Human Hand, Wilfried Lentz, Rotterdam, Netherlands; At The Edge: British Art 1950-2000 Touchstones Gallery, Rochdale; British Subjects: Identity and Self-Fashioning, 1967-2009, Neuberger Museum of Art, State University of New York, Purchase, New York, USA Goteborg International Biennal for Contemporary Art, Sweden Collage London-New York, FRED Gallery, London; From Boule to Braid, Lisson Gallery, London; Elles, Centre Pompidou, Paris, France; Polyglottolalia, Tensta Konsthalle, Stockholm, Sweden; El pasado en el presente, Laboral Centro de Arte y Creacion Industrial, Gijon-Asturias; The World Question Center, Museum of Contemporary Art, Barcelona, Spain (MACBA); The Quick and the Dead, Ivan Doherty Gallery, Sydney, Australia; Awake are only the Spirits, Hartware MedienKunstVerein, Dortmund, Germany; Moby Dick, CCA Wattis Gallery San Francisco, USA; Fact and Fiction: Recent works from The UBS Art Collection, Guangdong Museum of Art, Guandong, China; Magic Show, Arts Council touring exhibition; 2008 Berlin Biennial 5, “The Last Silent Movie” at Neue National Galerie and “What Every Gardener Knows” at Skulpturenpark Berlin Centrum; Berlin, Germany; The hidden trace, Felix-Nussbaum-Haus, Osnabruck, Germany; Unreliable Witnesses, Tramway, Glasgow; Wild Signals:, Württembergischer Kunstverein, Stuttgart, Germany; Translation Paradoxes and Misunderstandings, Shedhalle, Zurich, Switzerland; Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, Parsons The New School for Design, New York, USA; Whack! Art and the Feminist Revolution, P.S. 1, New York, USA; Residents, L’Espace Electra, Paris; The Martian Museum of Terrestrial Art, Barbican Centre, London; Oggetti Smarriti (Lost & Found), Galleria Gentilli, Prato, Italy; Les Reves, Passage de Retz, Paris, France; Building Bridges, Modern Art Museum, Beijing, China; New Displays, Tate Modern, London; Hidden Narratives, Graves Gallery, Sheffield; 2007 Whack! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles, USA Romantic Conceptualism, Kunsthalle Nurnberg, Germany and touring; After The News BankART1929 Yokohama, Japan Garden Pleasures: The Garden in Art Osterreichische Galerie Belvedere Vienna, Austria; Critically Correct, Givon Gallery, Tel Aviv, Israel; Now You See It, Hessel Museum, Bard College thesis exhibition, Annandale-on-Hudson; A Secret Service: Art, Compulsion, Concealment De La Warr Pavilion, Bexhill; Whitworth Art Gallery, Manchester; 2006 Forms of Classification: Alternative Knowledge and Contemporary Art, Ella Fontanels Cisneros Foundation, Miami, USA; Sonic Presence, Kunsthalle, Bergen; A Secret Service: Art, Compulsion, Concealment Hayward Gallery Touring Exhibition; Hatton Gallery, Newcastle upon Tyne; The Signing, Keith Talent Gallery, London; Fast and Loose (My Dead Gallery), The Centre of Attention, London; This Land is Your Land, Kunsthalle Nurnberg: NBK Berlin, Germany; Sonambiente, Akademie der Kunst, Berlin, Germany; Art Unlimited, Basle Art Fair, Basle, Switzerland; Ghosting in the Dark, Arnolfini, Bristol; 2005 Thinking of the Outside, Bristol Legible City/Picture This/Situations Bristol; Monuments for the USA, CCA Wattis etc & White Columns, New York, USA; Itinarios del Sonida, Centro Cultural del Conde Duque/City of Madrid (commissioned au dio installation), Madrid, Spain; Looking at Words, Andrea Rosen Gallery, New York, USA; The Blur of the Otherwordly: Contemporary Art, Technology & the Paranormal, The Center for Art and Visual Culture, Baltimore, USA; 2004 Dream Extensions, Stedelijk Museum voor Actuele Kunst, Gent, Belgium; Outside of a Dog, Baltic, Newcastle; Haunted Media, Site, Sheffield; Unframed, Standpoint Gallery, London; Art of the Garden, Tate Britain, London; European Perspective, Gross Leuthen Schloss, Germany; Artists’ Favourites, ICA, London; 2003 A Bigger Splash: British Art from Tate 1960-2003, Pavilhao Lucas Nogueira Garcez-Oca, Sao Paulo, Brazil; Apparition, Kettles Yard, Cambridge; Your Memorabilia, NICAF, Tokyo International Forum, Japan; Memory, British Museum, London; Taster, DAAD Galerie, Berlin, Germany; Science Fictions, Earl Lu Gallery at Lasalle-Sia College of the Arts, Singapore; Genius Locii, Stadpark Lahr, Germany; Twilight, Gimpel Fils Gallery, London; Arrangement, Rhodes & Mann Gallery, London; 2002 Biennale of Sydney, Sydney, Australia; Real Life, Tate St Ives; Self-Evident, Tate Britain, London; Taster, DAAD Gallery, Berlin; The Map is not the Territory (II), Jane England Gallery, London; Apparition, Arnolfini, Bristol; 2001 Intelligence, Tate Britain, London, Empathy, Taidemuseon, Pori, Finland; Strip, National Portrait Gallery, London; The East Wing Collection, Courtauld Institute Galleries, London; The Map is not the Territory, Jane England Gallery, London; 2000 Bienale de Habana, Havana, Cuba; Live in Your Head: Conceptual Art in Britain 1965-75, Whitechapel Gallery, London; Amateur/Eksdale, Kunstmuseum, Goteborg, Sweden; The British Art Show 5, organised by the Hayward Gallery, London; Dream Machines, selected by Susan Hiller, organised by the Hayward Gallery;

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Solo Exhibition Catalogues 2011 Susan Hiller, Tate Gallery Publications, London (ed. & intro. Anne Gallagher, essays Yves Alain Bois, Guy Brett, Joerg Heiser, Alexandra Kokoli, Jan Verwoert and others); Susan Hiller, Timothy Taylor Gallery, London (texts Stella Santacaterina, Andreas Levantis, fully illus.); 2008 Susan Hiller: Outlaw Cowgirl and Other works, BAWAG Foundation, Vienna, Austria; Susan Hiller: Psi Girls, Beijing: JoyArt; Godfrey, Mark, Susan Hiller: The Last Silent Movie, London: Matt’s Gallery; 2005 Susan Hiller: The J.Street Project 2002-2005, Compton Verney/DAAD, Sept 2005, foreword by the artist, afterword by Jörg Heiser; 2004 Susan Hiller: Recall, Selected Works 1969-2004, Baltic, Gateshead, May 1 – July 18, 2004. Edited by James Lingwood; 2002 Susan Hiller, Museet For Samtidskunst, Denmark, includes the CDROM; Susan Hiller, Dream Screens, Dia Center for the Arts, New York, USA; 2000 Psi Girls: Susan Hiller, Site Gallery, Sheffield, UK and Testa Konsthall, Sweden; 1996 Susan Hiller, Tate Gallery, Liverpool, Tate Gallery Publishing; 1990 Susan Hiller: The Revenants of Time, Matt’s Gallery, London & Mappin Art Gallery, Sheffield & Third Eye Centre, Glasgow; 1986 Out of Bounds, ICA, London, UK, text by Lucy Lippard and the artist; 1984 The Muse My Sister, Derry, interview with the artist by Rozsika Parker, texts by Guy Brett and John Roberts; 1978 Susan Hiller, Recent Works, Museum of Modern Art, Oxford, Kettle’s Yard, Cambridge, introduction by David Elliot, essay by Caryn FaureWalker, text by the artist. Group Exhibition Catalogues 2012 dOCUMENTA (13), Hatje Cantz Verlag (ed. documenta and Museum Fridericianum Event GmbH, texts by Carolyn Christov-Bakargiev Ayreen Anastas, Franco Berardi, Iwona Blazwick, Rene Gabri, Dario Gamboni, Pierre Huyghe, Marta Kuzma, Raimundas Malasauskas, Chus Martínez, Kitty Scott, Andrea Viliani); 2008 Insomniac Promenades: Sleeping / Dreaming in Contemporary Art, with an introduction by Jacqueline Frydman, Passage de Retz; Bernstein, Joanne (ed.); Memories for Tomorrow: Works from the UBS Art Collection, Shanghai Museum of Art and UBS; Prof. Dr. Martin Roman Deppner (ed.); The Hidden Trace: Jewish Paths through Modernity, Knüstler: Felix-Nussbaum-Haus Osnabrück; Kwok, Nicolette; building bridges: 8 visions, one dream, London: The Red Mansion Foundation; 2007 WACK! Art and the Feminist Revolution, The Museum of Contemporary Art, Los Angeles, USA; Romantic Conceptualism, Kunsthalle Nürnberg, Germany; 2006 Richer, Francesca and Rosenzweig, ed’s, No. 1, First works by 362 Artists; 2004 Dream Extensions, Stedelijk Museum voor Actuele Kunst, Gent, Belgium; 2000 Live in Your Head: Conceptual Art in Britain 1965-75, Whitechapel Gallery, London, UK; The British Art Show 5, Hayward Gallery, London, UK; Dream Machines, selected by Susan Hiller, organised by the Hayward Gallery, London, for the Arts Council of England, which travelled to Dundee, Contemporary Arts, Mappin Art Gallery, Sheffield, and Camden Arts Centre, London; 1988 One Hundred Years of Art in Britain, Leeds City Art Gallery, UK; British Art: The Literate Link, Ashure/ Faure Gallery, Los Angeles, USA; 1987 State of The Art, ICA, London, UK; Photomotion: A Contemporary Survey of Photobooth Art, Pyramids Ar Center, New York, USA; Current Affairs: British painting and Sculpture in the 1980s, Museum of Modern Art, Oxford, UK; 1986 Staging the Self: Self Portrait Photography 1840s-1980s, National Portrait Gallery, London, UK; Contrariwise: Surrealism in Britain 1930-1986, Glynn Vivian Art Gallery, Swansea, Wales, UK; Between Identity and Politics: A New Art, Gimpel Fils, London, UK and New York, USA; Conceptual Clothing, Ikon Gallery, Birmingham, UK; 1985 Hand Signals, Ikon Gallery, Birmingham, UK; The British Show, The Arts Council of Great Britain, London, UK; Identities, Centre National de la photographie, Paris, France Kunst Mit Eigen-Sinn, Museum Moderner Kunst, Vienna, Austria; Livres dʼArtistes: Collection Semaphore, Centre Georges Pompidou, Paris, France; The Irish Exhibition of Living Art, The Arts Council of Great Britain, London, UK and Dublin, Ireland; British Film and Video 1980-1985: The New Pluralism, Tate Gallery, London, UK; Human Interest: Fifty Years of Art About People, Cornerhouse Gallery, Manchester, UK; 1984 The Selectorʼs Show, Camerawork, London, UK; New Media 2, Malmö Konsthall, Sweden; Sensations of Reading, Regional Art Gallery, London, UK; The British Art Show, The Arts Council of Great Britain, London, UK; 1983 Photo(graphic) Vision, Winchester Gallery, UK; 1982 Artistsʼ Books: From the Traditional to the Avant-garde, Rutgers, The State University of New Jersey, USA; Sense and Sensibility in Feminist Art Practice, Midland Group Gallery, Nottingham, UK; Visions of Disbelief, 4th Biennal of Sydney, Australia; 1981 A Mansion of Many Chambers: Beauty and Other Works, Arts Council of Great Britain, London, UK; Books by Artists, Art Metropole, Canada; New Works of Contemporary Art and Music, The Fruitmarket Gallery, Edinburgh, Scotland, UK; 1980 About Time: Video, Performance and Installation by 21 Women Artists, ICA, London, UK; 1978 Hayward Annual ʼ78, London, UK; 1976 American Artists in Britain, The University Gallery, Leeds, UK; Kunsterinnen International 1877-1977, NGBK, Berlin, Germany; 1975 Artists Bookworks, The British Council, London, UK; From Britain ʼ75, Taidehall, Helsinki, Finland; 1973 Photography Into Art, Camden Arts Centre, London, UK (artist’s entry under the pseudonym ‘Ace Possible’); Artists’ Books: 2012 Die Gedanken Sind Frei: Song Book, Mousse Publishing, Milan (intro., commentaries, compilation by the artist, lyrics of 102 songs in original languages); The Dream is The Word, Black Dog Press, London (compilation of images and texts with essay by the artist); 2008 The Provisional Texture of Reality, JRP Ringier, Zurich (text by the artist, ed. & intro Alexandra Kokoli, 166 pages, 20 b/w illustrations; Auras and Levitations, Homage to Marcel Duchamp /Homage to Yves Klein, Book Works, London and ICA, London, rep. 2010 (compilation and essays by the artist); 2005 The J. Street Project, Compton Verney Trust, UK with DAAD Berlin (images, intro. and additional info. by the artist, essay Joerg Heisser, Eng./Ger.); 2004 Split Hairs: The Art of Alfie West (text the artist and David Coxhead, 32 pages, fully illus.); 2000 After The Freud Museum, Book Works Press, London (paperback reprint, revised); Witness, Susan Hiller, Artangel, London; (colour & b&w, with cd, drawings, charts and text by the artist; text by James Lingwood); 1995 After The Freud Museum, Book Works Press,London, (texts/illus. by the artist); 1983 Sisters of Menon, Coracle Press for Gimpel Fils, London, 51 pages (scripts, charts as illus., hand-painted board covers); 1979 Enquiries/Inquiries, University of Sussex, Gardner Centre for the Arts, Brighton, 111 pages (texts as illus.); 1976 Rough Sea, book published on the occasion of artist’s residency and exhibition “Dedicated to the Unknown Artists”, University of Sussex, Gardner Centre for the Arts, Brighton, 1976, 60 pages (illus.); Monographs 2012 Susan Hiller: From Here to Eternity, Verlag fur moderne Kunst, Nurnburg (texts Richard Grayson, Jorg Heiser, Ellen Seifermann); 2002 Foundation for Art & Creative Technology, Liverpool, Factor 1991, "An Entertainment", Ian Hunt ( no. 2 in a series of dossiers ed. Claire Doherty), Selected critical articles and essays (1991 onwards); 2001 Fondacion Mendoza, Caracas, Susan Hiller; Video Instalaciones, Cecilia Fajardo, Richard Grayson, Denise Robinson, trans. Alicia Torres (illus. colour, monograph); 1999 Henie Onstad Kunstsenter, Oslo, Lucid Dreams, (Illus. colour monograph with reprinted texts by Tim Guest, Richard Grayson, Denise Robinson and others); 1999 Site Gallery Sheffield/ Tensta Konsthalle Stockholm, Psi Girls, Chris Turner, Matthew Higgs (Illus. colour cat., Swedish & English); 1998 Foksal Gallery, Warsaw/ Institute of Contemporary Art, Philadelphia, Wild Talents, Denise Robinson, Stuart Morgan (Illus, colour cat, Polish & English); 1996 ‘Thinking About Art: Conversations with Susan Hiller’, ed. Barbara Einzig, preface by Lucy Lippard, Manchester University Press, Manchester & New York; Liverpool, Tate Gallery Publications, Susan Hiller, texts by Guy Brett and Stuart Morgan, documentary section By Rebecca D. Cochran,120 pages (illus.,colour); 1994 London, Gimpel Fils, Susan Hiller, text by Michael Corris, 21 pages (illus.,b/w); 1990 London/Sheffield/Glasgow, Matt’s Gallery/Mappin Gallery/Third Eye Centre, The Revenants of Time, catalogue of major time-based works of Susan Hiller accompanying “An Entertainment", essay by Jean Fisher, 65 pages (illus., colour); 1989 Paris, Pierre Birtschansky Galerie, Susan Hiller, text by Jill Lloyd, (English/French/German), 12 pages (illus. colour); 1986 London, Institute of Contemporary Art, Susan Hiller, retrospective exhibition catalogue, texts by Lucy Lippard and the artist, 48 pages (illus. colour); 1985 London, Tate Gallery, Susan Hiller: “Belshazzarʼs Feast", interview with the artist by Catherine Lacey; Tate New Art/The Artist’s View Series, 16 pages (illus. b/w); 1984 Derry, Orchard Gallery, Susan Hiller 1974-1978: The Muse My Sister, catalogue of three exhibitions 1984, essays by John Roberts and Guy Brett; interview with the artist by Roszika Parker, 85 pages (illus. colour); 1981 Birmingham, Ikon Gallery & Toronto, A Space, Monument, catalogue of exhibition travelling to Bristol, Arnolfini; Rochdale, Municipal Gallery, etc.,introduction by Tim Guest, text by the artist (English/French),12 pages (illus.,colour); 1978 Cambridge, Kettle's Yard & Museum of Modern Art,Oxford, Susan Hiller: Recent Works, cat. of two simultaneous exhibitions, April – May 1978, introduced by David Elliott, texts by Caryn Faure-Walker and the artist,(36 pages, illus. colour); Selected Books 2009 Liss, Andrea, Feminist Art and the Maternal, University of Minnesota Press; 2008 Kokoli, Alexandra M., Feminism Reframed: Reflections on Art and Difference, Cambridge Scholars Publishing; 2007 Walker, Ian, So exotic, so homemade: Surrealism, Englishness and documentary photography, Mancester University Press; 2006 Richer, Francesca, Rosenzweig, Matthew, eds. No 1: First Works by 362 Artists Moderne Kunst die kunst des 20. Jahrhunderts und der gegenwart im überblick, herausgegeben von Ulrich Wilmes, Museum Ludwig Dumont New art on view, Scala Publishers Ltd.; 2006 Ghosting: The Role of the Archive within Contemporary Artists’ Film and Video published by Picture This; 2005Margaret Marsh, Michelle Watts and Craig Maylon; Art 2: Practice, published by Oxford University Press, Australia; 1999 Dream Machines, South Bank Centre, London; (Illus. colour cat. of touring exhibition curated by Susan Hiller; text by Jean Fisher, curatorial introduction by Susan Hiller; texts on participating artists by Fiona Bradley and Susan Hiller); 1998 Susan Hiller; Freudsche Objekte, Institute fur Buchkunst, Leipzig, (illus,colour & b/w); 1996 Barbara Einzig (ed.), Thinking About Art: Conversations with Susan Hiller, intro. Lucy Lippard, (illus.) Manchester University Press; 1991 Susan Hiller (compiled & introduced by), The Myth of Primitivism, Routledge, New York & London, (illus.), reprinted 1992, 1993, 1995 1976 David Coxhead; Susan Hiller; Dreams: Visions of the Night, London, Thames & Hudson; New York, Avon; Paris, Editions du Seuil; Amsterdam, de Haan; Frankfurt, Umschau Verlag; Tokyo, Heibonsha Ltd 1976, reprinted 1981,revised and reprinted 1989, 1991, 1994, 1996 (illus. colour); Public Collections: Akzo Nobel Art Foundation, Amsterdam; Arts Council of Great Britain, London; British Council, London; Centre Georges Pompidou (Musée National d’Art Moderne), Paris; Centro de Arte Cpntemporanea Imhotim, Minas Gerais, Brazil; Colby College Museum of Art, Colby, Maine; Contemporary Art Society, London; Deutscher Bundestag Art Collection, Berlin; Ella Fontanals Cisneros Foundation, Miami, Florida; Fonds Régional d’Art Contemporain de Bourgogne (RACB), Dijon, France; Fundação Serralves, Porto, Portugal; Government Art Collection (GAC), London; Henie-Onstad Kunstsenter, Oslo; Henry Moore Sculpture Collection, Leeds; Imperial War Museum, London; Israel Museum, Jerusalem; Kadist Fondation Pour L’Art Contemporain, Paris; Ludwig Museum, Cologne; Moderner Museet, Stockholm; Museum of London; National Gallery of Art of South Australia, Adelaide; Rhode Island School of Design Museum, Providence, Rhode Island; Seibu Saison Corporation, Japan; Smith College Museum of Art, Northampton, Mass., USA; Tate Gallery, London; Tokyo Metropolitan Museum of Photography; UBS Bank Collection, Zurich; Victoria and Albert Museum, London; Zabludowicz Collection, London;

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