Ashes Withyman – CV

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Ashes Withyman
Lives and works in Montreal, Canada

Selected Solo Exhibitions

  • 2017 Geoffrey Farmer & Gareth Moore. A Dark Switch Yawning, Neptune Skeletons Thronging, Black Bucket Prolonging, World Turtle Longing, Sink Plug Wronging, Salzburger Kunstverein, Salzburg, Austria
    Bullae, Catriona Jeffries, Vancouver
  • 2015 A Burning Bag as a Smoke-Grey Lotus, La Loge, Brussels, Belgium; Stroom den Haag, The Hague, the Netherlands
  • 2014 Household Temple Yard, La Criée - Centre d’art contemporain, Rennes, France
    An Ultrasonic Flute, Lüttgenmeijer, Berlin, Germany
    Blocked Arch, Deferred Ceremony, Dawn Chorus, Tra-diddle da. Like a fly in slow suspense, Glasgow Sculpture Studios, Glasgow, Scotland
  • 2013 Household Temple Yard, Catriona Jeffries, Vancouver
    Allochthonous Window, Vancouver Art Gallery, Vancouver
  • 2009 Rocks on a Clock, Some Photos of Ducks, A Collection of Masks and a Post to Touch, Lüttgenmeijer, Berlin, Germany
    Selected Chapters from Uncertain Pilgrimage, Catriona Jeffries, Vancouver
  • 2008 Passengers 1.9: Gareth Moore, CCA Wattis Institute for Contemporary Arts, San Francisco, USA
    As A Wild Boar Passes Water, Witte de With, Rotterdam, the Netherlands
  • 2007 St. George Marsh Denaturalized, in collaboration with Jacob Gleeson, Belkin Satellite, Vancouver
  • 2006 Art Perform, Art Basel Miami Beach, Miami, USA
    St. George Marsh Quitting Business: Everything Must Go Away, in collaboration with Jacob Gleeson, Catriona Jeffries, Vancouver
  • 2005 Dave Johnson, aware of the danger of eruption, contemplates a conversation he had with a friend twenty-five years ago. “I feel like we’ve exhausted the possibilities of this picnic table,” his friend said. “Yeah,” Dave replied., in collaboration with Christian Kliegel, Charles H. Scott Gallery, Vancouver

Selected Group Exhibitions

  • 2019 Unexplained Parade, Catriona Jeffries, Vancouver
  • 2017 Live Arts Week VI, Xing, Museo d’Arte Moderna di Bologna, Bologna, Italy
  • 2015 O Horizon, Nanaimo Art Gallery, Nanaimo, Canada
    Under Construction, Páramo, Guadalajara, Mexico
  • 2014 Play Time, Les ateliers de Rennes, Biennale d’art contemporain, Rennes, France
    The Intellection of Lady Spider House, Art Gallery of Alberta, Edmonton, Canada
    Bat Ear, Lüttgenmeijer, Berlin, Germany
    Journeys, Israel Museum, Jerusalem, Israel
    Andrea Büttner, Joëlle de la Casinière, Gareth Moore, Catriona Jeffries, Vancouver, Canada
  • 2012 Absolute Beginner, Fürstenberg Zeitgenössisch, Donaueschingen, Germany
    dOCUMENTA (13), Kassel, Germany
    Sobey Art Award, Museum of Contemporary Canadian Art, Toronto, Canada
  • 2011 Elements of Chance, La Biennale de Montréal, Montreal, Canada
  • 2010 It Is What It Is: Recent Acquisitions of New Canadian Art, Canadian Biennial, National Gallery of Canada, Ottawa, Canada
    The International Chilliwack Biennial, organized by the Or Gallery, Cultus Lake Provincial Park, BC, Canada
    Right Right Now Now, Arthur Boskamp-Stiftung M.1, Hohenlockstedt, Germany
    An einem schönen Morgen des Monats Mai, Gesellschaft für Aktuelle Kunst GAK, Bremen, Germany
    The Chained Lady, the Microscope and the Southern Fish, SOFA Gallery, University of Canterbury, Christchurch, New Zealand
    Woodman, Woodman, Spare That Tree, Lüttgenmeijer, Berlin, Germany
    Freischuss, Kleine Humboldt Galerie, Berlin, Germany
  • 2009 Every Version Belongs to the Myth, Project Arts Centre, Dublin, Ireland
    Sentimental Journey, Contemporary Art Gallery, Vancouver
    Nothing to Declare: Current Sculpture from Canada, The Power Plant, Toronto, Canada
    Nomads, National Gallery of Canada, Ottawa, Canada
  • 2008 Begin Again Right Back Here, White Columns, New York, USA
    Wizard of Oz, CCA Wattis Institute for Contemporary Arts, San Francisco, USA
  • 2007 Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco, USA
    Street Scene, Murray Guy, New York, USA
    …what will be told of today tomorrow: KölnShow2, Galerie Daniel Buchholz, European Kunsthalle, Cologne, Germany
    Door Slamming Festival, Projektraum Alexander Schröder, Berlin, Germany
    The Theatre of Life, Galleria Civica di Arte Contemporanea, Trento, Italy
    Working Back, Belkin Satellite, Vancouver
  • 2006 Street: behind the cliché, Witte de With, Rotterdam, the Netherlands
  • 2003 Transformer, Helen Pitt Gallery, Vancouver
    Apology, Access Gallery, Live: Biennial of Performance Art, Vancouver

Books and Exhibition Catalogues

  • 2017 Maaike Lauwaert and Francien van Westrenen, eds., Facing Value – Radical perspectives from the arts, Valiz and Stroom den Haag, The Hague, the Netherlands
  • 2016 Helga Pakasaar, Surrogates, Griffin Art Projects, North Vancouver, Canada
  • 2015 Gareth Moore and Maaike Lauwaert, Gareth Moore: A Burning Bag as a Smoke-Grey Lotus, Stroom Den Haag, The Hague, the Netherlands
    Chris Fite-Wassilak, ‘Gareth Moore: A place, near the buried canal’, in Out of Time, Out of Place: Public Art (Now), ed. Claire Doherty, Art Books Publishing Ltd., London, UK
  • 2013 Reid Shier, ‘Gareth Moore’, in Art Cities of the Future: 21st Century Avant-Gardes, Phaidon Press Ltd., London, UK
    dOCUMENTA (13): The Guidebook, Hatje Cantz, Berlin, Germany
  • 2011 Thomas Thiel, Luke Fowler & Toshiya Tsunoda / Children’s Films, Bielefelder Kunstverein, Bielefeld, Germany
  • 2010 Josée Drouin-Brisebois, ed., It Is What It Is: Recent Acquisitions of New Canadian Art, National Gallery of Canada, Ottawa, Canada
  • 2009 Jenifer Papararo and Michael Turner, Landscape, Contemporary Art Gallery, Vancouver
    Josée Drouin-Brisebois, Nomads, National Gallery of Canada, Ottawa, Canada
  • 2008 Jens Hoffmann and Rebecca Loncraine, The Wizard of Oz, CCA Wattis Institute for Contemporary Arts, San Francisco, USA
    Jens Hoffmann, Passengers: 1.9 Gareth Moore, CCA Wattis Institute for Contemporary Arts, San Francisco, USA
    Zoë Gray and Monika Szewczyk, eds., As a Wild Boar Passes Water: Excerpts from the writings of Viktor Schauberger (1885-1958), Witte de With Publishers, Rotterdam, the Netherlands
  • 2007 Reid Shier, ‘Do Artists Need Artist-Run Centres?’, in Vancouver Art and Economies, ed. Melanie O’Brian, Arsenal Pulp Press and Artspeak, Vancouver
  • 2006 Lance Blomgren, ‘Serial Space’, Postscript 17, Artspeak, Vancouver
  • 2004 Anne Low, ‘Transformer/Survivor’, Helen Pitt Gallery, Vancouver

Magazines and Periodicals

  • 2017 Lucien Durey, ‘Art in 2017: A View from Vancouver’, Canadian Art, 18 December
    Wolfgang Tillmans, ‘Best of 2017’, Artforum, December
    Elena Bordignon, ‘Ashes Withyman Moore | Live Arts Week VI’, ATP Diary, 28 April
  • 2016 Angela Jerardi, ‘A Burning Bag as a Smoke-Grey Lotus’, C Magazine, Issue 128, Winter
  • 2015 Ive Stevenheydens, ‘Shopper zonder geld en leven om te werken’, Metropolis M, Number 3, June/July
  • 2014 Katie McCain, ‘Gareth Moore Goes Local in Glasgow’, Canadian Art online, 22 May
  • 2013 Alice Ming Wai Jim, ‘How to Occupy Retreat: dOCUMENTA (13) from Kassel to Banff’, Journal of Curatorial Studies, Volume 2, Number 2
  • 2012 Michael Turner, ‘Local Visual Artists Showcased at Germany’s dOCUMENTA (13)’, Vancouver Magazine, 9 October
    Michael Turner, ‘Gareth Moore: Utility and Fragility’, Canadian Art online, 2 August
  • 2011 Bryne McLaughlin, ‘Biennale de Montréal: The Gamblers’, Canadian Art online, 19 May
    Adam Carr, ‘Deferred Interview’, Mousse Magazine, Issue 27, February/March
  • 2009 Murray Whyte, ‘Make of it what you will’, Toronto Star, 13 December
    Aaron Peck, ‘A New Salvage Paradigm’, Canadian Art, Fall
    Sarah Milroy, ‘Artists in a land of wanderers’, The Globe and Mail, 24 April
  • 2008 Carla Ferraris, ‘Gareth Moore’, Artkey Magazine, November/December
    Nicholas Brown, ‘Geoffrey Farmer: Forgetting Air/Gareth Moore: As A Wild Boar Passes Water, Witte de With, Rotterdam’, C Magazine, Issue 99, Autumn
    Andrew Bonacina, ‘Uncertain Pilgrim: Gareth Moore with Andrew Bonacina’, Uovo, Issue 17, April/June
  • 2007 Robin Laurence, ‘Lamentations for a landfill’, The Georgia Straight, 20 August
    Jennifer Allen, ‘Door Slamming Festival’, Artforum, Summer
    Silke Hohmann, ‘Die Monopol-Watchlist: Fünf Künstler, dies uns aufgefallen sind’, Monopol, June
    Helen Johnson, ‘Door Slamming Festival’, Whitehot Magazine, Issue 3, May
    Fabio Cavallucci, ‘The Theatre of Life’, Work: Art in Progress, Spring
  • 2006 Jordan Levin, ‘Performers breathe life into art’, The Miami Herald, 9 December
    Jens Hoffmann, ‘Gareth Moore’, Work: Art in Progress, Autumn/Winter
    Jens Hoffmann, ‘Gareth Moore and Jacob Gleeson’, Contemporary, Issue 85
    Brian Lynch, ‘Store/Gallery Closes Shop’, The Georgia Straight, 31 August
    Sarah Efron, ‘St. George Marsh: A grocery store for the art set on Main Street’, CBC Radio 3, 15 January
    Matt O’Grady, ‘Best Non-Perishables’, Vancouver Magazine, January/February
    Steve Burgess, ‘Best of the City’, Vancouver Magazine, January/February

Selected Curatorial Projects

  • 2018 A Hill with No Name, Montreal, Canada

  • 2016 Kitchen Midden, in collaboration with Anne Low, Griffin Art Projects, North Vancouver, Canada

  • 2014 Children’s Films, Spike Island, Bristol, UK
    A Hill with No Name, Burma Wood, Vashon Island, WA, USA; Vancouver; Glasgow, UK

  • 2013 Children’s Films, for Das Kind, die Stadt und die Kunst, Schmela Haus, Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany

  • 2012 Children’s Films, Contemporary Art Gallery, Vancouver; International Project Space, Birmingham, UK; Whitstable Biennale, Whitstable, UK
    A Hill with No Name, Kassel, Germany
    A Horse with No Name, Basel, Switzerland

  • 2011 Children’s Films, Bielefelder Kunstverein, Bielefeld, Germany
    A Horse with No Name, Berlin, Germany; Vancouver

  • 2005–2006 St. George Marsh, in collaboration with Jacob Gleeson, 4393 St. George Street, Vancouver