John Chilver Curriculum Vitae

born London, lives in London

Solo Exhibitions

2024
Ouse Gauge, BCCAR/ Yellowbox Arts, Borgholm, Sweden

2021
The Scene of Instruction, Coleman Projects, London

2019
The Near Abroads, Atlas House, Ipswich

2018
John Chilver, Xero, Kline & Coma, London

2009
John Chilver, Keith Talent Gallery, London

2001
John Chilver, Casey Kaplan, New York
John Chilver, Galeria Thomas Cohn, São Paulo
John Chilver, Il Capricorno, Venice

2000
John Chilver, Galerie Michael Janssen, Cologne
John Chilver, Asprey Jacques, London

1999
John Chilver, Morrison Judd, London

1998
John Chilver, Habitat, London
John Chilver, Rack Gallery, London

Selected Group Exhibitions

2023
Coat Heel Throat / John Chilver & Daniel Pettitt, Recent Activity, Birmingham
Rose Garden, Terrace Gallery, London

2022
Green, House of  Ebata, Tokyo
Signifiance, Cornerstone Gallery, Liverpool Hope University, Liverpool
Signifiance, Coleman Projects, London
Host & Guest/ Nick Stewart & Friends, Palfrey, London

2021
Julie's Bob, Terrace Gallery, London

2020
Sphinx of Black Quartz Judge My Vow, Palfrey, London

2019
Dark Lantern, Galerie Sabine Knust/ Knust & Kunz, Munich
Back Yard Sculpture, Domo Baal, London

2018
Reckless Hope, SR N4, Am Flutgraben, Berlin
Open Call, Atlas House, Ipswich
Not Dream of Islands, Palfrey, London
Malevolent Eldritch Shrieking, Attercliffe TM, Sheffield

2013
Art Britannia/ Best of New British, Madonna Building, Miami
Collective Diary, Hal Project, Space Mass, Seoul
Turf and Surface, Lion and Lamb, London
Six Degrees of Separation, Wimbledon Space, London

2012
The Happy Fainting of Painting, Zwinger Galerie, Berlin
Parallel Universe, Charlie Dutton Gallery, London

2010
Dawnbreakers, John Hansard Gallery, Southampton
Standard Candles, Vulpes Vulpes, London
Use and Mention, Stephen Lawrence Gallery, University of Greenwich, London
Terminator, Camberwell Space, London

2009
Now: Art of the 21st Century, Phillips de Pury, London

2006
Verdunklung/Darkening, Kunstlerhaus, Stuttgart

2004
Invisible Beauty, Galerie Giti Nourbakhsch, Berlin
Tonight, Studio Voltaire, London (collaboration with DJ Simpson)
But Not as We Know It - Part 2, Kontainer, Los Angeles
Uneven Surface, Temporary Contemporary, London

2003
Godzilla, Trailer, London
Some Things We Like, Asprey Jacques, London
But Not as We Know It, APT, London

2002
Sammeln Müssen, Halle für Kunst, Luneburg
Landscape, The Saatchi Gallery, London
Kerstin Kartscher & John Chilver, Nomadenoase, Golden Pudels Club, Hamburg (collaboration with Kerstin Kartscher)
Painting as A Foreign Language, Centro Brasiliero Britannico, São Paulo
Per Saldo, Noordbrabants Museum, s-Hertogenbosch

2001
Tattoo Show, Stuart Shave/ Modern Art, London 
The Wedding Show, Casey Kaplan, New York
For Once Then Something, Fruitmarket Gallery, Edinburgh
Art Futures, Contemporary Art Society, The Barbican, London

2000
British Art-Part 2: Painting, Diehl Vorderwülbecke, Berlin
Paintings, Sies & Höke, Düsseldorf
ZigZag, Galeria Thomas Cohn, São Paulo
Include Me Out, Provost Street, London
00 - Drawings 2000, Barbara Gladstone Gallery, New York
Wooden Heart, AVCO, London
nonstopopening, Galeria Ze dos Bois, Lisbon
blackandwhite.color.3D, Gio Marconi, Milan

1999
Zauberhaft, Waldschlösschen, Dresden
DIN/D-I-N, 4X4, Amsterdam
A Mountain and A Valley, Cubitt, London

1998
Surfacing, ICA, London
Grupp Show, Proposition Gallery, Belfast
Printemps, Deutsch-Britische Freundschaft, London
Sunshine Breakfast, Galerie Michael Janssen, Cologne
Clusterbomb, Morrison Judd, London
Goldsmiths Graduates, Portside Gallery, Yokohama
The Whitechapel Open, Whitechapel Art Gallery, London

1997
World of Painting, Unit, London
No Particular Place to Go, Unit, London

Selected Writing

'Minor Matters of Major Importance: on the Vicissitudes of Minor Painting' in Journal of Contemporary Painting, Volume 8:1, 2022, ISSN 2052-6695, p31-44

Gerard Hemsworth Obituary, Art Monthly, No. 445, April 2021, ISSN 0142 6702, p28

‘The Discursive Array: Towards a Politics of Painting as Time-Space Production’ in Journal of Contemporary Painting, Volume 4:1, 2018, ISSN 2052-6695, p81-101

‘Bridget Riley: The Curve Paintings’ in Journal of Contemporary Painting, Volume 2:2, 2016, ISSN 2052-6695, p318-321

‘Parts and Labour in Osan’ in The Manual: Parts and Labour (Osan), edited by Chang-il Kang, Osan Cultural Foundation, Osan, South Korea, 2015, ISBN 978-89-968848-2-8, p19-20 (catalogue for the exhibition Parts and Labour (Osan), Osan Museum of Art, November-December 2014, curated by John Chilver, Brighid Lowe and Honggyon Mok)

‘Glenn Brown October 2013’ in Glenn Brown, Rebecca Warren, Rennie Collection at Wing Sang, Vancouver, 2014, ISBN 978 0 9865961 7, p9-21 (French translation p23-35)

‘WLSX7834-6F’ in Schizm #8, London, 2015, p16

‘Number intersecting with art: three studies’ in Distinktion: Scandinavian Journal of Social Theory, volume 15, issue 2, 2014, ISSN 1600 910X, p239-249

‘Entkörperte Malerei’ translated by Bert Rebhandl, in The Happy Fainting of Painting, ed. Hans-Jurgen Hafner and Gunter Reski, Verlag der Buchhandlung Walter Koenig, Cologne, 2014, ISBN 978-3-86335-670-5, p62-67

‘6R-K-M5’ in Schizm #7, London, January 2014, p6

Review of Padraig Timoney at Raven Row, London, frieze.com, summer 2013

‘The Postconceptual Present’ (Review of Peter Osborne’s ‘Anywhere or Not at All’) in Spike, Vienna, issue 36, summer 2013, ISSN 1813-6281, p113-115

‘Sequence 328987’ in Schizm #6, London, May 2013, p12

‘Borremans: Eating the Beard’ (Review of Michaël Borremans at Taidehalle, Helsinki) in Turps Banana, issue 11, p70-74

‘6R-K-M4’ in Schizm #5, London, September 2012, p3

‘Deleuze Contra Analogy’ in Analogia e Mediacao, ed. Jose Quaresma, CIEBA-FBAUL/ CFUL, Lisbon, 2012, ISBN 978-989- 8300-36-2, p103-114

‘If Display Becomes Materiality’, in Painting with Architecture in Mind, ed. Edward Whittaker and Alex Landrum, Wunderkammer Press, Bath, 2012, ISBN 978-0-9566462-1-7, p113-134

‘In Exchange for Past Favours’, Schizm #4, London, April 2012, p9

‘Michael Stubbs: Decorative Delirium’, in Michael Stubbs exhibition catalogue, Laurent Delaye Gallery, London, 2010

‘New Variant Emergency’, Schizm #3, London, 2011, p18

‘Being-Not-There of the Concept versus Provisional Harvest (Reading Chapter Five of Badiou’s Deleuze)’ Schizm #2, London, 2011, p16-19

‘Félix Vallotton: Genres and Shallow Waters’, Turps Banana, Issue 7, October 2009, ISSN 1749-3994, p28-35

‘Contingency & the Paradox of Composition: Florian Slotawa', Art Papers, Atlanta, Georgia, Sept/ Oct 2008, Vol.32/ No.5, ISSN 1524-9581, p32-37

'Painting and its Strata: sub, super, etc.' catalogue essay for the exhibition ‘Superstratum’, Koraalberg Gallery, Antwerp, Oct-Dec 2008, ISBN 978-9-07987-400-2, p3-5

'Displacements of Shadow', Art Papers, Atlanta, Georgia, January/ February 2007, Vol.31/ No.1, ISSN 1524–9581, p36-41

‘Morandi with Heidegger’, in Nonsite to Celebration Park: Essays on Art & the Politics of Space, ed. Edward Whittaker and Alex Landrum, Bath Spa University Press, Bath, 2007, ISBN978-1-905200-72-6, p85-100

‘Group and Gang: The Absent Collective’, Afterall archive from autumn 2006: www.afterall.org

'Rene Daniëls: With Respect to Disrespect', Afterall 10, October 2004, ISSN 1465-4253, p46-53

'Vertical Acceleration', Starship nr.6, Berlin, spring 2004, ISSN 1619-2052, p137-146

'James Rosenquist', Untitled 32, London, autumn 2004, p70

Selected Curated Projects

2020
Evangelia Dimitrakopoulou: Phaneromene, Palfrey, London
Laura Ni Fhlaibhin: Roisin Silver Rockie, Palfrey, London

2019
Gerard Hemsworth: Works from the 70s, Palfrey, London (curated by John Chilver and Daniel Pettitt)

2014
Parts and Labour (Osan), Osan Museum of Art/ Culture Factory Osan, South Korea, curated by John Chilver, Brighid Lowe and Honggyun Mok; including works by: Leah Capaldi, Marc Camille Chaimowicz, Charlie Jeffery, Gareth Jones, Francesco Pedraglio, Adrian Piper, Martina Schmuecker, Florian Slotawa, Sarah Staton, Richard Wentworth, Soyoung Chung, Euyoung Hong, Bona Park, Sylbee Kim, Seokmin Kong, Namhee Kwon, An Minwook, Sung Sill Rhee, Yoon Jin Sup, Seo Hyun-Suk

2012
Parts and Labour, Camberwell Space, London (co-curated with Brighid Lowe)

1999
Janice Kerbel: 3 Marked Decks, Gasworks Gallery, London (curated by John Chilver for Unit)

1998
Post Neo-Amateurism, Chisenhale Gallery, London (curated by John Chilver for Unit) including works by: Michelle Griffiths, Janice Kerbel, Brighid Lowe, Klega, David Thorpe, Yasu Ichige, Stuart Croft, Wassim Khan

Selected Bibliography / Press

John Chilver in conversation with Michael Raedecker, Turps Banana #24, summer 2021, ISSN 1749-3994, p76-81

Back Yard Sculpture publication edited by Neil Gall & David Gates, Domo Baal, London 2019

Junggu Park, review of Parts & Labour, Wolgan Misul, Seoul, Vol 360, January 2015, p160

The Manual: Parts and Labour (Osan), edited by Chang-il Kang, Osan Cultural Foundation, Osan, South Korea, 2015, ISBN 978-89-968848-2-8

Parts & Labour booklet, Camberwell Space, London, 2012

Terminator booklet, Camberwell Space, London, 2010

Dawnbreakers catalogue, John Hansard Gallery, Southampton, 2010, ISBN 9780854329090

Sally O’Reilly ‘John Chilver/ Keith Talent Gallery’, Time Out London, 2-8 July 2009, p45

Nicoletta Combolli Gigli ‘Nuove Visioni British Style’, Arte, #369, Milan, May 2004, p126-132

Stephen Foster, review of Painting as a Foreign Language, Contemporary, June-July-August 2002, p148-149

Fabio Cypriano ‘Pintura britanica e aperitivo da Bienal’, Folha de São Paulo, 28 Feb 2002, Illustrada p3

Geraldo Galvão Ferraz ‘A pintura não morreu. Confira’, Jornal de Tarde, São Paulo, 23 March 2002, Variedades, p1

Painting as a Foreign Language catalogue, Edificio Cultura Inglesa, São Paulo, 2002, ISBN 85-88116-07-3, text by Suhail Malik

Landscape catalogue, The Saatchi Gallery, London, 2002

‘Een collectie/ A collection: Selected Works from the Collection of the ABN Amro Bank’, edited by Deborah Wolf, ABN Amro Bank, Amsterdam, 2002, ISBN 90-802677-4-0

Michael Wilson, ‘New York Round-up’, Art Monthly, November 2001, p42-43

Preview of The Wedding Show, Casey Kaplan, New York Times, 6 July 2001

Dave Beech ‘John Chilver’, in solo exhibition catalogue, Galeria Thomas Cohn, São Paulo, 2001, p14-16

Marta Savaris ‘John Chilver/ Il Capricorno’, Flash Art Italia, April-May 2001, p77

Fabio Cypriano ‘Chilver exibe a Inglaterra em pintura’, Folha de São Paulo, 18 August 2001, Illustrada p3

Neil Cameron ‘A Vague Idea of Nothing’, The Scotsman, 13 March 2001

Sue Wilson, review of For Once Then Something, Metro Scotland, 1 March 2001

For Once Then Something, Pick of the Week, The Guardian, 19 February 2001

Georg Imdahl ‘Wie sich die Dinge berühren’, Frankfurter Allgemeine Zeitung, 9 September 2000, p53

Jennifer Higgie, review of John Chilver/ Asprey Jacques, Bijutsu Techo, Tokyo, ISSN 0287-2218, Vol 52, #788, June 2000, p176-177

Shahin Afrassiabi ‘John Chilver /Asprey Jacques’, Flash Art International, Vol 33, #213, Summer 2000, p116

Mark Godfrey ‘John Chilver/ Apsrey Jacques’, Frieze, issue 53, Summer 2000, p107

British Art Part 2: Paintings catalogue, Diehl Vorderwühlbecke, Berlin, 2000

ZigZag catalogue, Galeria Thomas Cohn, São Paulo, 2000, curated/ text by Grant Watson

00 – Drawings 2000 catalogue, Barbara Gladstone Gallery, New York, 2000, ISBN 0-9703422-0-9, text by Klaus Kertess

Benedict Seymour, ‘Wooden Heart/ Avco London’, Art Monthly, April 2000, p41-42

Niru Ratnam ‘Tool Intentions’, The Face, vol 3, number 38, March 2000, p217

Gemma de Cruz ‘Made in England’, Flash Art Italia, Vol 33, #219, December 1999 - January 2000, p64-66

Zauberhalf catalogue, Waldschlösschen, Dresden 1999, text by Tim Sommer

Ben Judd ‘The Lie of the Land: Nature in London’, Flash Art International, Vol 32, #205, March-April 1999, p68-71

Martin Herbert ‘John Chilver/ Morrison Judd’, Time Out London, 28 July - 4 August,1999, p52

‘Unit and APG’, roundtable with John Chilver, Stuart Croft, John Latham, Barbara Steveni, Neil Zakiewicz; Everything, issue 2:4, 1999, p11

Paul Morrison ‘Bonjour Monsieur Caulfield’, Contemporary Visual Arts, ISSN 1028-5040, issue 22, 1999, p26-32

Martin Herbert ‘Jerwood Prize’, Time Out London, 30 Sept - 7 October 1998, p49

Review of Post Neo-Amateurism, The Independent, 4 July 1998

Mark Currah ‘John Chilver/ Rack Gallery’, Time Out London, 18-25 March 1998, p51

Steve Rushton ‘Dead Again’, roundtable with John Chilver, Stuart Cumberland, Keith Farquhar, Luke Gottelier, Paul Morrison, Michael Raedecker; Everything, issue 2:2, 1998, p7-9

Ben Judd ‘World of Painting/ Unit London’, Flash Art International, Vol 31, #198, Jan-Feb 1998, p66

Selected Conference Presentations

‘Hybrid as Strategy, Transcription as Tactic’ presented at ‘Painting, Transposition, Transcription’ symposium, University of Worcester, 6 February 2018, with Katrina Blannin, Selma Parlour, Karen David, Neil Gall et al

‘Rehearsals for Immanence: Three Paths’ presented at ‘Surface Value: Locating Conditions’ symposium, University of Reading, 10 June 2016, with Simon Willems, Maggie Roberts, Kirsten Cooke et al

‘Visible and Visual Public Spheres’ presented at ‘Intimacies’ symposium, Goldsmiths, Dept of Art, London, 1-2 June 2015, with Ed Atkins, Jesse Darling, Emily Rosamond, Alphonso Lingis, Mirca Madianou, Michael Newman et al

‘Deleuze Contra Analogy’ presented at ‘Analogia e Mediacao’ conference, University of Lisbon, 12 December 2012, with Michel Paty, Fernando Rosa Dias, Antonio Rocha Martins et al

‘Art and Number’ presented at ‘The New Numeracy: numbers and numbering practices’ conference, Goldsmiths, Dept of Sociology, London, 16-17 February 2012, with Celia Lury, Nina Wakeford, Helen Verran, Jane Guyer, Orit Halpern, Penny Harvey et al

‘Miss the Start, Miss the End’ presented at ‘Space, Time and the Image’ conference, APT Gallery, London, 14 May 2010, with Catherine Ferguson, Phoebe Unwin, Daniel Sturgis, Andrea Medjesi-Jones, Stuart Cumberland et al

‘Disappearance and Display’ presented at the ‘Collector Studies?’ conference, KHIO/ National Academy of Fine Arts, Oslo, 23- 24 March 2007, with Isabelle Graw, Monika Baer, Gunter Reski, Eberhard Haverkost et al

‘Morandi with Heidegger’ presented at the ‘Critical Topology of Landscape’ conference, Bath Spa University, 20 April 2007, with Peter Osborne, Andrea Phillips, Edgar Schmitz, Shahin Afrassiabi, Edward Whittaker et al

‘Painting as Technology of Enchantment’ presented at the ‘Painting, Specifically’ symposium, Serpentine Gallery, London, 6 November 2004, programmed for Glenn Brown’s Serpentine exhibition; with Glenn Brown, Suhail Malik, Jane Harris, Nigel Cooke, Michael Stubbs

Education

MA Fine Art, Goldsmiths College, 1997

BA Philosophy, University of Reading, 1986

Teaching

2007-
Department of Art, Goldsmiths, University of London

2004-2007
Bath School of Art and Design, Bath Spa University