Julika Rudelius
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For full-length documentation of the works:
documentation@rudelius.org

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li-ma.nl

Excerpts

The only reason for mass homelessness
is that you turned our living spaces
into speculative objects.

Excerpt from:
The only reason....
8:49 min with 10 channel audio

Excerpt from:
Changeroom
6:25 min, silent

Excerpt from:
Ridders
7:38 min, stereo sound

Excerpt from:
The Hare
4-6 min, stereo sound

Excerpt from:
Threshold
9:30 min, stereo sound

Excerpt from:
Liaison
9:37 min, stereo sound

Excerpt from:
And I For No Woman
9:54 min, stereo sound

Excerpt from:
Rituals
11:53 min, stereo sound

Having you near me is magic, I tingle. It doesn’t matter
what’s going on in my life circumstances are irrelevant they’re just circumstances. You’re what is real,
and everything else is just stuff. I’ll never let you forget who you are.

Excerpt from:
One of us
10:15 min, stereo sound

Excerpt from:
Dressage
8:59 min, stereo sound

The moment there is a flicker of doubt, a flicker of self criticism that becomes visible to others, the magic falls away. You have to be believable. You have to have no fear. If you don't believe yourself, that's your own problem.

Excerpt from:
Rites of Passage
14 min, stereo sound

Excerpt from:
Adrift
4:50min, stereo sound

Actually it’s all about… being happy.
Getting up in the morning and deciding you’re going to
be happy. You have to work at it. Because we all have little things we have to go through. Rich or poor.

Excerpt from:
Forever
16:40 min, stereo sound

Excerpt from:
Where do we migrate to
7:10 min, stereo sound

It’s inevitable that some people are poor. Someone is always the poorest... People shouldn’t have to starve to death. But... recently, I was in a room where I was clearly the poorest. All the other guys had more than 100 million dollars...... so I was the poorest. Someone always is.

Excerpt from:
Economic Primacy
17:56 min, stereo sound

Julika: Do you still like modelling?
Anthony: It was fun, anyway. You meet a lot of people.
But sometimes I discover I’m the only black there.
Julika: You’re doing the what? The black bear?
Anthony: Sometimes I discover I’m the only black.

Excerpt from:
Your blood is as red as mine
15:56 min, stereo sound

Excerpt from:
Family Times
6 min, stereo sound

I think clothes come first. You have to look good.
For yourself, so people can see you look good.
That’s important. Then they respect you more.
And you are cooler of course. You buy things
that other people can’t afford.

Excerpt from:
Tagged
13:24 min, stereo sound

Excerpt from:
The highest point
12:40 min, stereo sound

Excerpt from:
Looking at the other/ desire
2:50 min, stereo sound

Excerpt from:
Train
6:20 min, stereo sound

Works

The only reason..., 2019
Video installation with three synchronized hard drives
HD video and 10 synchronised audio speakers, surround sound
8:49 min

The only reason for mass homelessness is that you turned our living spaces into objects of financial speculation. “In her three-channel video work, JR presents an apparently endless tracking shot through downtown Los Angeles, past huge parking lots guarded by fences and filled with cars, past empty luxury real estate waiting to be leased and – in contrast – endless successions of dilapidated buildings. The viewer doesn’t seem to resemble the other drivers who occasionally come into view and, both isolated and armored, fight their way forward through the traffic. There is no protection, on the other hand, for the homeless persons who have set up their refuges on the sidewalks. Clustering their last possessions around them, they endeavor to defend themselves against their environment, against violence and abuse”, Catalogue, Good Spaces, Villa Merkel, Esslingen, 2019

Changeroom, 2019
Video Installation in a public space in Amsterdam
3 synchronized vertical screens, metal frame
4K video, silent
06:25 min

Having been invited to produce a work in public under the header “social capital” to show that there are still functioning neighborhoods in Amsterdam, I decided to film and exhibit in the biggest gentrifying cultural mall in Amsterdam, De Hallen. I cast the few remaining eccentric, older neighborhood residents I could find and set up a film shoot in a fictional dressing room: a group of younger people made up to look like the eccentrics.
The suggestion is that the real estate company advertising our neighborhood as a creative, lively place is running an operation where the eccentrics are working in shifts and are mostly paid younger people made up to look like the original residents, like Mickey Mouse in Disneyland. During the shoot, one of the older men was stopped by a young mother who wanted to take a picture of him and her daughter...

Ridders (Horsemen), 2019
Video installation with two synchronized screens
4K video, stereo sound
07:38 min

A group of young men, bike couriers, dressed in bomber jackets and hoodies, hanging out together. The setting of the scooter get-together is a no-man’s land of empty lots, of city architecture in geometric concrete and brick patterns, with stretches of waterfront roads – neither private, nor public. The young men move in unison, swarming, more or less one with their scooters and in control of their engines. Formations converge, withdraw and regroup to the music of roaring engines – secretly they leave their role as adolescents and ride ballet.

Matters recorded, 2019
Installation with 16 drawings 120x70, 70x50 cm and 6 blank pages 70x50 cm
Two speakers with voice-over in space, audio loop 4:30 min

Excerpts from voice over: "Young male lions stay in the pride until they are sexually mature, only returning to the pride when they are strong enough to defeat the older males. After violently taking over the pride, the new coalition of males will attempt to kill all living cubs. (…) Among humans, the struggle for influence and survival is often sublimated and not overtly life threatening. [It] may be cultivated into initiation rites, where a far lower number of participants die in the outcome and power can be retained for a lifetime. (…) [T]he rich usually generate their money through inheritance and wide-scale exploitation of natural and human resources. Members of the ruling class use their access to power and excessive capital to maintain structures that protect their investments. The surplus of poor people not necessary for further wealth accumulation is culled in a variety of manners, including wars, religious conflicts, drugs, poor or no healthcare, bad housing and education, and a lack of social justice."

The Hare, 2018
Video installation with four HD videos on variable-sized screens on wooden structure in various configurations
4-6 min depending on setup

Rituals of power, representation and self-assurance; recording of business people in the Amsterdam business district with a sexist gaze

Small social rituals disturbed, 2017
Performance
Vacuum machine, transparent bags, poster with instructions
At Bei Cosy, a new interpretation of a bar and art space
Bei Cosy (1969-1981) by Cosy Pièro, Munich.
By Philipp Gufler and Richard John at RONGWRONG , Amsterdam

Instructions: Please wear your cell phone with the screen towards the room, to add illumination. After your phone is vacuum-sealed, you won't be able to use it to text, take photographs, or record videos, till you leave the space and we cut the seal. You cannot drink the drinks you brought yourself – please exchange them with your fellow visitors. Check whether the name on the cell phone bag matches the name on the beverage bottle a person is holding, and if this visitor still has drinks to exchange: approach them and get a drink. Please don't drink out of a bottle that has the same name on its tag as the name on your cell phone bag.

Threshold, 2015
HD video, videostills
09:30 min

Celebrity villas, projections of fantasies; longing dreams of adoring fans. Do celebrities really live in these houses? How do they manage to appear on site so quickly? At the downtown restaurants or the clubs away from Beverly Hills Calabasas? How far do those tunnels reach? An attempt to access their houses on foot, by air, and virtually. Are we getting closer?

Believe, 2014
Live Performance on faith, ideologies and charismatic speaking at the Museum of Arts and Design, NYC

The performance addresses capitalism as a faith among collective, religious, and individual (self-help, neo liberalism, etc.) belief systems. It also presents the seduction of persuasive speech in these systems. A language that appeals to instincts rather than the intellect: a mesmerizing, dazzling happening, which overpowers its content. I invited five speakers of religious, secular and capitalist persuasions with highly performative speaking techniques. A Priest, an Imam a Republican, a Scientologist, Kabbalah Master. The piece is structured as a poetry slam. All speakers get a limited amount of time to engage in the same subject: The Pursuit of Happiness, and why their belief system is the best way to achieve it. To the non- art world speakers, this is framed as an opportunity to reach an audience they normally don't have easy access to (the contemporary art-going public). Some people who were in the audience told me later that this was their first encounter with speakers of a belief system they had always been critical of, but at the moment of the performance when they were able to address the speakers, they couldn’t remember what they had been planning to ask, or why they had been critical of the belief system in the first place.

Liaison, 2013
Video installation with two synchronised hard drives
HD video, stereo sound
9:37 min
English audio

In a domestic setting of affluence, sophistication and love of the arts, couples who look like they could live there play around and engage in a silent, seduction-fantasy game with a range of guns. Though playful, stereotypical action-movie gestures of domination, submission, temptation and aggression with the weapons heighten the strange attraction and thrill: an aphrodisiac of eerie intensity. The reality of the couples is that of taste and privilege – in an orderly and civilized environment. The luxurious interiors shift to exteriors of lush landscapes, bringing to mind the power of irrational “natural” instincts.

And I For No Woman, 2013
HD Video, stereo sound
09:38 min
English audio

The departure point of this work which was made in 2013 was the realization, that the favored androgynous beauty standard of the art world was all about class. One had to have the money and time to maintain the effortless natural slender look. But at the same time, lot of people from the art world were fascinated with people like the Kardashians and make-up tutorials on the internet, and loved to go to drag parties or gawk at sex clubs, but how many of the people they would like to surround themselves with in their nightlife would they invite for brunch at their loft? I was, and still am, fascinated by the democratic nature of a beauty that can be created instantaneously – with a lot of training of course – if it looks as good as with the participants in the video, but the possibility of being beautiful in this way has a much lower financial threshold; it’s truly accessible. In And I For No Woman, I invited the most physically beautiful and interesting people I knew from clubs and dating sites to have a jaded brunch at a collectors’ loft in NYC before they went to a rehearsal of As you like it, a comedy where gender is played with and constantly switched around – not only by the characters within the script, but also by the original all-male cast when it was played in Shakespeare's time. From the constant gender swapping, a new, “free-floating” gender and beauty emerges.

Flock, 2013
HD video
01:12 min
Cantonese audio, English Subtitles

In a fabric warehouse in Guangzhou, a young worker separates himself from the crowd by participating in a film shoot. One sees him giving into the idea of temporary fame, realising the implications of this new attention.

Rituals, 2012
Video Installation with two synchronized hard drives
HD video, stereo sound
11:53 min
Cantonese and English audio

While in China, I searched for a common ground between the Western culture I am familiar with and Chinese culture, which I found in the form of actions and gestures derived from the overarching global phenomenon of capitalism. Advertising imagery is seductive, dominating attitudes, style, and body language in China just as it does elsewhere. It forms a common language between two seemingly different cultures. The viewer first encounters young, androgynous men posing seductively amid traffic. The discrepancy between the poses and the surrounding scenery reveals the artificiality of the gesture itself and the commercialized eroticism therein, while simultaneously bringing the role of the young boys into question. As the boys eagerly embrace these global gestures, a magician turns one RMB into a hundred RMB (a tiny fortune in 2012), while poor men shower small bills and coins on working class women, recreating the eternal dance of marking their territory with power and disposable wealth.

Teens selling furs, 2012
C-Print
Diptych
39.5" x 26.5" each

In a capitalist system, very cheap labor and inexpensive goods are constantly rebranded and sold for much more than their production value. The price of the goods is not determined by the quality but rather by their label and the value perception this label could obtain. The ready-mades, Skins, are low-brow attempts at this mechanism of capitalism: cheap furs, mostly sourced from wild dogs, are printed to resemble tiger or leopard furs, but – much like their big-brand counterparts – still clearly look like imitations, only they sell for less. These real furs that imitate more exotic real furs are then sold by young men wearing cheap imitations of expensive branded clothing – successfully harnessing this aspect of capitalism.

Translations in Shanghai, 2010
Performance
1 speaker, 4 English-Mandarin government interpreters, 5 noise canceling headphones, 5 speakers, 5 microphones, 5 wooden stands, video projection of Rites of passages, re-edited for the performance..

For a performance in Shanghai, during Expo 10, I wrote a speech about words and power about rites of passages and political debauchery. The speech is translated four times, with each interpreter only hearing the wording from the interpreter before her in her soundproof headphones. Meanwhile, the audience, who can hear all the versions, listens to the story changing while being translated. The speech is followed by a re-edit of Rites of passages, a work I shot during the US election campaign in 2008, about power, obedience and charismatic leadership, being live translated four times over as well.

One of Us, 2010
Video installation with two synchronized hard drives
HD Video, stereo sound
28:44 min
English audio

One of Us, 2010: By staging romantic scenes between real-life lovers, One of Us conjures up the ideal of the happy couple like a hologram that the artist herself steps through, interrupting the illusion of intimacy by inserting herself in the image. The pairs clearly draw their sense of self from their relationship, practicing a form of “individualism for two”. The words exchanged between the lover’s echo phrases from pop culture’s ubiquitous representations of love and happiness. And yet these are their own genuine feelings, which are unexpectedly distilled by the maker’s many interventions. She watches and touches the lovers in their most tender moments and is met with complete indifference as they remain totally absorbed in each other.

Dressage, 2009
Video installation
HD video, stereo sound
8:59 min
English audio

Dressage features wealthy 10-12-year-old girls – Upper Eastside Manhattan, 21st-century socialites of the future – dressed in child-size designer clothes, immaculately groomed. The film begins with the girls picking out chic outfits and chatting among themselves, latest model cell phones in hand. A concentrated hush falls over the room as they set about expertly applying their make-up. But the mood shifts as the girls, with an attitude of blasé entitlement, begin systematically and violently tearing apart their surroundings. As their wordless, perhaps mindless destruction goes on – during which they never really completely lose their demeanor – it becomes clear that there is no outside, no real breaking “free”, or that breaking free has become one of the many fashion affectations: punk, hipster, revolution?

Cleave, 2009
Immersive installation in former Goldman Sachs building, Downtown, NYC
Rotating fans, mirror blades, neon lights, electrical wiring, drop ceiling, original shelf system on rails

Cleave was inspired by the downtown heliport where the rich fly in. From a distance, the helicopters look like toys or insects with unpredictable movements. At closer range they become noisy and powerful. This installation reconceptualizes this sensation in the storage space of the abandoned Goldman Sachs building (their former data hub). It utilizes the preexisting metal shelves and a drop ceiling along with ceiling fans, mirrors and fluorescent lighting. The fan blades act like projector shutters, chopping up the light. The interplay of sound, light, wind and motion come together to create an ambient chamber that suggests a sense of imminent danger juxtaposed with the repetitive hum of office tedium.

Rites of Passage, 2008
Video installation with two synchronized hard drives
HD video, stereo sound
14:00 min
English audio

Set in traditional office and lounge settings found in Washington D.C., the film explores the game of power and dependence, domination and obedience played between influential political figures and interns at the beginning of their professional career in government. The ambivalent relationship between politician and intern, master and pupil, is observed as an almost erotic game where the sex appeal of power is a prevalent ingredient of “charismatic leadership”. Screened as a synchronized double projection, documentary footage is interwoven with staged sequences based on real interviews and observed gestures.

Clementia Pia, 2008
Video installation with two synchronized upright monitors
HD video, stereo sound
12:12 min
Dutch audio

SKOR and the Protestant Diaconate Amsterdam invited me to make a piece for their art manifestation: the Samaritan. All participants were asked to appear in the work because they could be considered contemporary Samaritans. The composition of the video images were inspired by portraits of rich donors and supporters of the church in paintings from the Dutch Golden Age. In fact, the participants had their portraits painted while being filmed in conversation. The content of the videos isn't a report of their good deeds but focuses on the question which personal satisfaction or gain they derive from helping others.

Adrift, 2007
HD Video projection, stereo sound
4:50 min

The twenty people assembled are seated inside an anonymous waiting room, drifting between the waking world of bureaucracy and administration and a childlike state of dream and vulnerability. The room bobs and sways, knocking the sleepers’ heads from side to side. Amidst the tumult of the room, the unconscious sleepers shift about, trying to remain comfortable despite the unusual movement.

Rocker, 2007
Installation at DAC, Brooklyn, NYC
Wooden structure on car springs, aluminum drywall framing, wallpaper, floor tiles, chairs, water cooler, fluorescent lights, drop ceiling
3,70 m length x 5 m width x 2,50 height

A full-size generic waiting room is built on car springs, allowing the entire room to be shaken by the slightest movement of a person inside the room. It can even be rocked with one hand from the outside. The room can hold up to 20 people at a time. The reference to endless waiting in repressive bureaucratic environments is subverted as the room acts like an oversized toy.

Forever, 2006
Video installation with two synchronized projections
SD video, stereo sound
16:40 min
English audio

I cast five US women of a certain age for their beauty. They pose by upscale private swimming pools and contemplate their ideas of beauty, ways to obtain it and its relationship with privilege. The women are shown responding to questions about intangible ideas, such as what it means to be happy and/or beautiful, but the audience does not hear these questions. The video is punctuated by the women taking self-portraits with a Polaroid camera.

Where do we migrate to, 2005
SD Video projection with stereo sound
7:10 min

A collection of behaviors that I filmed while on a return visit to Germany, some observed in the wild, some staged. The video looks at Germany and its inhabitants through the eyes of an imagined person arriving to the country. The video was made for the exhibition “Migration” in Cologne, Germany.

Economic Primacy, 2005
SD video installation with two synchronized projections, stereo sound
17:56 min,
Dutch audio with English subtitles

I selected five men for the video: a lawyer, a spin doctor, a media advisor, a millionaire and a senior executive. They are filmed pacing around in a generic office space that was specially constructed for the video. While they appear talking to themselves, they are in fact responding to questions I am asking them over a hands-free phone. In their “monologues”, they talk about the importance and omnipotence of money.

Your blood is as red as mine, 2004
SD video projection, stereo sound
15:56 min
Dutch audio with English subtitles

A series of staged interviews and situations dealing with skin color and engrained prejudices towards people who look different than ourselves. This is explored by looking at everyday situations, like, on a technical level, how to expose darker or lighter skin when shooting analog film, and, on a thematic level, how to avoid interpretation or judgment of situations through the way one films. In this video, I experiment with prefixed set-ups or parameters determined by the camera automatically (gain, focus) and elimination of suggestive point of views or camera movement. While recording, I simultaneously took large-format photographs from the same viewpoint as the video camera. Some of the photographs are shown along with the video.

Family Times, 2004
SD video projection, stereo sound
6 min

A montage of found family footage from a public archive in Hungary that depicts day-to-day scenes from an average family’s life, providing insight to their relationships, revealing dependency, abuse of power and voyeurism.

Tagged, 2003
SD video installation with three synchronized projections, stereo sound
13:24 min
Dutch audio with English subtitles

I invited young men who spend a lot of money on clothes to bring their wardrobes to a generic hotel room that was specially constructed for the video. While changing into different outfits, they talk about their backgrounds, their addiction to clothes, why they think that clothes are important for their social standing, and the way they’re stigmatized for it by parts of society. The talks lay bare the vicious circle of mutual prejudice that emerges.

The highest point, 2002
SD video projection, stereo sound
12:40 min
Dutch audio with English subtitles

I placed newspaper ads inviting women to speak openly about their sexuality. Over 30 women responded. Many of them expressed a desire to create a different image of sexuality than the one that’s found in the current media. The women were interviewed in a place that evokes both a private house and a consulting room. They describe their sex lives using dry technical language while demonstrating the positions they would generally use.

Looking at the other/ desire, 2003
SD video, stereo sound
2:50 min

Two young lovers kiss continuously throughout the scene. They seem alternately oblivious to and engaging with the presence of their friend. At first their friend is more absorbed in smoking and carrying his own private conversation, but slowly he begins to orbit the couple, finally coming to observe their amorous spectacle from a very close proximity. Shooting through an upper-story window, literally peeking through the trees, the camera increases the layers of voyeurism, observing the gestures of the “third wheel” as intently as he observes the lovers.

Train, 2001
SD video projection, stereo sound
6:20 min
Dutch audio with English subtitles

I invited a group of young men on the street to participate in a video where they would talk about women and love. In the film, I guide the conversation by asking questions (not shown in the video), but without a script. The roles they played are close to their own roles in the group, but I asked them to exaggerate certain on parts of their opinions on women.

Plush, 2001
SD video installation with three synchronised monitors, stereo sound
3:10 min
Dutch audio with English subtitles

Identical triplets talking about their ideas about romance and love with their parental home as a backdrop. One triplet has left for the city, and her changed, differing ideas provoke an uneasy feeling of a schizophrenic approach to life, as the identical looking other triplets seem to change feelings and ideas within seconds.

Queue, 2001
Four monitor, U-matic, split screen installation
SD video, stereo sound
04:50 min
Dutch audio with English subtitles

An actor I placed in a crowd in front of a night clubs talks about intimate details of his private life when interviewed by a TV crew I placed there as well. The video installation shows the reaction of other people waiting in line to his confessions as well as to the seductive presence of a TV camera.

Untitled, 2000
SD video, stereo sound
1:31 min

Losing it in a car

Interview 01, 2000
SD video projection, stereo sound
4:31 min
Dutch audio with English subtitles

Four actors, meeting for the first time, have been given personalities and relationships to base their dialogue on. During the subsequent interview they are asked to maintain the idea and appearance of their “friendships” while criticizing the other actors as much as possible in front of the camera.

Reconstruction 01, 2000
4/c print, diasec
120 x 117 cm

In order to question the politics and prejudice embedded in visual clichés surrounding migrants and people taken for a migrant based on their appearance, I made a series of photographs where I mixed these "migrant signifiers" to the point of absurdity.

Untitled ‘99, 1999
Nr. 7
4/c print, diasec
72 x 75 cm

Untitled ‘98, 1998
Nr. 3 and Nr. 10
4/c print, diasec
75 x 75 cm

Curriculum Vitae

Solo exhibitions (a selection)

  • 2021

    • Ich fühle es, also ist es wahr
      Galerie Reinhard Hauff, Stuttgart, D
  • 2019

    • Solo 20 Julika Rudelius
      Club Solo, Breda, NL
    • Changeroom, TAAK
      Public project Video installation, Performance, Amsterdam, NL
    • Hail Marry Pass
      Galerie Reinhard Hauff, Stuttgart, D
  • 2014

    • Believe
      Performance at MAD Museum, NYC, USA
  • 2013

    • Love is Colder than Capital
      Bregenz: Kunsthaus Bregenz
    • Julika Rudelius
      Nieuwe Vide, Haarlem, NL
    • Total Access
      Galerie Reinhard Hauff, Stuttgart, D
  • 2012

    • Rituals of Capitalism
      Leo Koenig Inc., New York City, USA
    • Julika Rudelius
      Institute of Modern Art, Brisbane, AU
    • What is on the Outside
      Museum for Arts and Design, New York City, USA
  • 2011

    • Rites of Passage: A Work of Julika Rudelius
      Borges Liberia, Guangzhou, CN
  • 2010

    • One of Us
      Galerie Reinhard Hauff, Stuttgart, D
    • One of Us
      Galerie Michael Janssen, Berlin, D
    • Julika Rudelius: Soft Intrusion
      Ursula Blickle Stiftung, Kraichtal, D (monographie)
    • Julika Rudelius: Projections
      Center for the Arts at Wesleyan University, Middletown, USA
  • 2009

    • Study in Obedience
      Galerie Diana Stigter, Amsterdam, NL
    • Ecstatic Truth
      Dumbo Arts Center, Brooklyn, USA
  • 2008

    • Rites of Passage
      Galerie Reinhard Hauff, Stuttgart, D
    • Impakt Event: Julika Rudelius
      Theater ‘t Hoogt, Utrecht, NL
  • 2007

    • Forever
      Swiss Institute of Contemporary Art, New York City, USA
  • 2006

    • Geld! Julika Rudelius
      Grazer Kunstverein, Graz, AT
  • 2005

    • Julika Rudelius. Vijf videowerken 2001–2005
      Frans Hals Museum/ De Hallen, Haarlem, NL (monographie)
    • Ansichten der Ökonomie/ Economic Primacy
      Kunstraum Lakeside/ Die Springerin, Klagenfurt, AT
  • 2004

    • Julika Rudelius
      Galerie Reinhard Hauff, Stuttgart, D
    • Plus ou moins jeunes
      Centre Culturel Suisse, Paris, F
    • Feuilleton, deel vijf
      Marres, centrum voor actuele kunst, Maastricht, NL (cat)
    • BijlmAir: Your Blood is as Red as Mine
      Stedelijk Museum Bureau Amsterdam/Artotheek Zuidoost, Amsterdam, NL
  • 2003

    • You can‘t stay in the 80s wearing cowboy boots while the whole world progresses
      Kunsthaus Glarus, CH *(cat)
  • 2001

    • Julika Rudelius
      Galerie Diana Stigter, Amsterdam, NL
    • Talkshow
      Stedelijk Museum Bureau Amsterdam, NL (cat)

Group exhibitions (a selection)

  • 2020

    -On Speaking
    Kienzle Art Foundation, Berlin, D
    -Swimming Pool – Troubled Waters
    Künstlerhaus Bethanien, Berlin, D (cat)

  • 2019

    • speak, memory
      W139, Amsterdam, NL
    • Communities, oder das Versprechen von Glück, Good Space
      Villa Merkel, Esslingen, D (cat)
    • Lichte Momente
      exhibition project by the European Media Art Festivals, Osnabrück, D
  • 2018

    • In the cut - Sexualität in der Feministischen Kunst
      Stadtgalerie Saarbrücken, D (cat)
    • Video Club
      Stedelijk Museum, Base, Amsterdam, NL
    • Der süße Brei
      Eberswalde, DE
    • The Channel of Democracy: Womanhood, Power & Freedom in Video art
      San Francisco, USA
    • And I for no woman
      BAK, Utrecht, NL
  • 2017

    • Body
      Gallerie Reinhard Hauff, Stuttgart, D
    • Classic Video Art
      Museum Hilversum, NL
    • The legendary spaces of Encounter
      A series of rituals, enforced conditions and performances, at Bei Cosy, Wrongrong, Amsterdam, NL
    • Work in motion
      MAST Foundation. Bologna, I (cat)
    • Capri by Night
      Schauspiel Köln – Britney - Außenspielstätte am Offenbachplatz, D
  • 2016

    • Law of form
      Schweriner Kunstverein, Schwerin, D
    • Transactions
      Parallel Events der Manifesta 11, Universität Zürich, CH
    • Perth International Arts Festival
      Perth, AU
  • 2015

    • Pavillion de L'esprit Nouveau: A 21st Century Show Home
      Swiss Institute, New York City, USA
    • (7)Places (7)Precarious Fields
      Fotobiennale Mannheim Ludwigshafen und Heidelberg Kunstverein Ludwigshafen, D
    • I don't care
      Galerie Reinhard Hauff, Stuttgart, D Transmediale, Berlin, D
  • 2014

    • Prospectif Cinema
      Centre Pompidou, Paris, F
    • Fette Beute/ Rich pickings
      Museum für Kunst und Gewerbe, Hamburg, D
    • Re-Discovery II
      Autocenter Berlin, D
    • Julika Rudelius
      Mohsen Art Gallery Darbast, Tehran, IR
    • The video community
      Museum of Contemporary Art, Krakow + 20 andere Orte in PL
  • 2013

    • Love Is Colder Than Capital
      Kunsthaus Bregenz, AT (cat.)
    • Ghost In The System - Scenarios For Resistance
      National Centre for Contemporary Arts Moscow, RU
    • Verguenza
      La Casa Encendida, Madrid, ES
    • Tell Me Her Story
      Seoul, Korea (cat)
    • Gatsby Revisited in the Age of the 1%
      University of Connecticut, Storrs, USA
    • The Tolerant Home
      Manifesta Bureau, Amsterdam, NL
    • Doing and Undergoing
      Columbia University, New York City, USA
    • From Holland With Love
      Netherlands Fotomuseum, Rotterdam, NL
    • Drive-In
      Blum and Poe, Los Angeles, USA
    • Hey Alter…!
      Lehmbruck Museum, Duisburg, D
  • 2012

    • Discreet Charm of the Bourgeoisie – Contemporary Visions of China
      Y & C Contemporary Art, Taipei, TW
    • Catch Phrases and the Powers of Language
      Kunsthaus Baselland, Basel, CH
    • Beyond Imagination
      Stedelijk Museum, Amsterdam, NL
    • Remote Viewing
      Kulturhuset Museum, Stockholm, SE
    • Survival Techniques: Narratives of Resistance
      Museum of Contemporary Photography, USA
    • Schlagwörter und Sprachgewalten
      Kunsthaus Baselland, Basel, CH
    • 8th International Biennial of Photography and Visual Arts
      Liege, BE
    • Where Do We Migrate To?
      Contemporary Art Center, New Orleans, USA (cat)
  • 2011

    • Role Images - Role Playing
      Museum der Moderne, Salzburg, AT (cat)
    • Hors Pistes Festival
      Centre Pompidou, Paris, FR
    • She Devil 5
      MACRO Museo d**arte Contemporanea di Roma, Rome, IT
    • From Interaction to Micro-Sociology
      Art Issue Projects, Beijing, CN
    • On the Metaphor of Growth
      (Traveling Exhibition) Kunstverein Hannover, D; Frankfurter Kunstverein, D; Kunsthaus Baselland, Basel, CH (cat)
    • Into the Eye of the Storm
      The Israeli Center for Digital Art, Holon, IL
    • Precarious Status
      University Gallery at the University of Florida, Gainesville, USA
  • 2010

    • The Morality Project Act VI: Remember Humanity
      Witte de With, Rotterdam, NL
    • Double Infinity: Last Two Decades Revisited
      Van Abbemuseum and Arthub Asia, Shanghai, CN
    • Saturday Sessions
      PS1 Contemporary Art Center, New York, NY
    • HBOX: Traveling Exhibit
      New Museum, New York, USA; Laboratorio Arte Alameda, Mexico City, MX; Fondation Beyeler, Basel, CH
    • Inversiones
      Museo de Antioquiq, Medellin, CO
    • Media City Seoul 2010 Biennial
      Seoul Museum of Art, Seoul, KR
    • California Dreamin
      Portugal Arte 10, Lisbon, PT
    • Das ist die Lebenswelt
      Neuer Aachener Kunstverein, Aachen, D
  • 2009

    • ICP Triennial 2009
      International Center of Photography, New York, USA (cat)
    • 21st Century Exhibition. Incheon Women Artist Biennial
      Incheon, KR (cat)
    • Heiss Oder Kalt
      Haus der Kulturen der Welt, Berlin, D
    • Heartland
      Smart Museum, Chicago, USA (cat)
    • Actors and Extras
      Argos Centre for Art and Media, Brussels, BE (cat)
    • Golden Agers and Silver Surfers
      Kunsthaus Baselland, Basel, CH
    • Extended
      Museum für Neue Kunst (ZKM), Karlsruhe, D
    • Rietveld Arsenale
      Venice Arsenale, Venice, IT
    • Rebelle
      Museum voor Moderne Kunst, Arnhem, NL (cat)
    • Looking at Others
      Umjetnički paviljon, Zagreb, HR (cat)
  • 2008

    • The Possibility of an Island
      MOCA North Miami, USA
    • Heartland
      Van Abbemuseum, Eindhoven, NL
    • Bare Market
      Thierry Goldberg Projects, New York, USA
    • Hollywould
      10th Biennale Film, Video & New Media Arts Festival, Hollywood, USA
    • Vertrautes Terrain
      Museum für Neue Kunst (ZKM), Karlsruhe, D
    • Dutch Dare
      Fondazione Studio Marangoni, Florence, I
    • Courtesy Hans Kemmna
      De Hallen Museum, Haarlem, NL
  • 2007

    • Art Summer University
      Tate Modern, London, UK
    • Global Feminisms
      Brooklyn Museum, Brooklyn, USA (cat)
    • MachineRAUM – a biennale for video art and digital culture
      Vejle Art Museum, Vejle, DK (cat)
    • Elegance
      Kölnischer Kunstverein, Cologne, D
    • Ready Media
      Montevideo/Time based arts, Amsterdam, NL
    • Nothing Else Matters
      De Hallen/Frans Hals Museum, Haarlem, NL
    • Role Model
      Freymond-Guth & Co., Fine Arts/ The John Institute, Zürich, CH
    • Temporarily Disconnected
      Bard Museum, Annandale-on-Hudson, USA
  • 2006

    • Gwangju Biennale
      Gwangju, KR (cat)
    • Monitoring
      Kulturbahnhof Kassel, Kassel, D
    • The youth of today
      Schirn Kunsthalle Frankfurt, Frankfurt, D (cat)
    • Eastern Neighbours
      Cultural Center Babel, Utrecht, NL
    • World Unlimited
      Museum voor Moderne Kunst Arnhem, Arnhem, NL
    • Momentum 2006
      4th Nordic Festival of Contemporary Art, Moss, NO
    • 30th annual, 6th Biennial exhibition of Visual + Art: Give (a)way
      Limerick, IR (cat)
  • 2005

    • Respect! Formes de cohabitation/Vormen van samenleven
      Musée Dar Si Saïd, Marrakech, M (cat)
    • A Second Sight
      International Biennale of Contemporary Art 2005, National Gallery, Prague, CZ (cat)
    • Migration
      Kölnischer Kunstverein, Cologne, D (cat)
    • Populism
      Traveling Exhibit. Stedelijk Museum Amsterdam, NL; Frankfurter Kunstverein, Frankfurt, DE; The Contemporary Art Center, Vilnius, LIT
    • Documentary Strategie
      TENT. Centre for Visual Arts, Rotterdam, NL (cat)
    • moving on, Handlungen an Grenzen
      Neue Gesellschaft für Bildende Kunst, Berlin, D (cat)
  • 2004

    • Untitled
      Tate Modern, London, UK
    • Histoire(s) Parallèle(s) création - confrontation France Pays-Bas
      Institut Néerlandais, Paris, FR (cat) - **RevisiCentraal Museum, Utrecht, NL
    • Antonietta Peeters, Julika Rudelius en Lily van der Stokker
      Stedelijk Museum, Schiedam, NL
    • Verworpenen en zondagskinderen: Aanwinsten 2003
      Frans Hals Museum, Haarlem, NL
    • Teenage Kicks. Adolescence as subject
      The Gallery, Royal Hibernian Academy, Dublin, IR (cat)
    • Wirklich wahr! Realitätsversprechen von Fotografien
      Ruhrlandmuseum, Essen, D (cat)
    • Das zweite Bild
      dreizehnzwei, Wien, AT; Galerie Olaf Stüber, Berlin, D (cat)
  • 2003

    • Link
      Stedelijk Museum Amsterdam, NL (cat)
    • Contemporary Dutch Art
      National Museum of Contemporary Art, Seoul, KR (cat)
    • Strangers. The First ICP Triennial of Photography and Video
      International Center of Photography,
      New York, USA (cat)
    • Utopie van de
      Stedelijk Museum Aalst, B
    • Turbulence
      Centre for Contemporary Art, Kiev, UKR and Museum voor Moderne Kunst, Arnhem, NL (cat)
    • Beyond beauty
      Galerie Diana Stigter, Amsterdam, NL
  • 2002

    • Rendez-vous
      Musée d**Art Contemporaine de Lyon, F
    • There's no accounting for other peoples relationships**
      Ormeau Baths Gallery, Belfast, IR
    • Sold
      Christie**s, Amsterdam, NL (cat)
    • Dark Spring
      Ursula Blickle Stiftung, Kraichtal, D (cat)
    • Non Places
      Frankfurter Kunstverein, Frankfurt a.M., D (cat)
    • Adam & Eve
      De Appel, Amsterdam, NL
    • The People's Art
      Witte de With, Rotterdam, NL (cat)
  • 2001

    • You never walk alone
      Stroom, Haags centrum voor beeldende kunst, The Hague, NL
    • Commitment. Een keuze uit drie jaar Fonds BKVB
      Las Palmas, Rotterdam, NL (cat)
    • From Here to Reality – a dutch show
      Index The Swedish Contemporary Art Foundation, Stockholm, S (cat)
    • A Arte do Povo
      Central Eléctrica do Freixo, Porto, P
  • 2000

    • For Real
      Stedelijk Museum, Amsterdam, NL (cat)
    • Hellenistic
      W139, Amsterdam, NL
    • Scripted Spaces
      Witte de With, Rotterdam, NL
    • Man muss ganz schön viel lernen um hier zu funktionieren
      Frankfurter Kunstverein, Frankfurt a. M., D

Exhibition catalogues (a selection)

  • 2019

    • Julika Rudelius
      Club Solo Breda, (Monografie)
    • In the cut
      Kerber Art Verlag, p 189-196
    • Good Space
      Villa Merel Esslingen
  • 2017

    • Work in motion
      MAST Foundation. Bologna, p 32-35
  • 2015

    • (7)Places (7)Precarious Fields
      Fotobiennale Mannheim Ludwigshafen und Heidelberg, Kehrer Verlag, chapter 16
  • 2014

    • Fette Beute, Reichtum zeigen/ Rich pickings
      Museum für Kunst und Gewerbe, Kreber Verlag, p. 140-141
    • Fotografie in het Stedelijk
      Stedelijk Museum Amsterdam, NAI Uigevers, p. 201/2013
  • 2013

    • Liebe ist kälter als das Kapital
      Kunsthaus Bregenz Editor: Yilmaz Dziewior, p 188-201
    • Tell Me Her Story
      Coreana Museum of Art, p. 76-79
    • Vergüenza - Shame
      Fundacion Especial Caja Madrid, Editor Ama Ara, p. 42-47
  • 2012

    • Beyond Imagination
      Amsterdam: Stedelijk Museum
  • 2011

    • Role Images - Role Playing
      Museum der Moderne, Salzburg, Hirmer Verlag, p.268-269
    • From Interaction to Micro-Sociology
      Beijing: Art Issue Projects, Art Lab
    • On the Metaphor of Growth
      Kunstverein Hannover, Frankfurter Kunstverein, Kunsthaus Baselland, Christoph Merian Verlag, p. 104-105
    • Where Do We Migrate To?
      Center for Art, Design and Visual Culture, University of Maryland Baltimore County
  • 2010

    • Media City Seoul
      Seoul: Museum of Art, p198
    • Julika Rudelius: Soft Intrusion
      Kraichtal: Ursula Blickle Stiftung, Sternberg Press (Monografie)
    • Toegepaste Werkelijkheid: Applied Reality
      Heden, p.7
    • Global Contemporary Artists for Artist
      Sotheby’s, p.18
  • 2009

    • Dress Codes: The Third ICP Triennial of Photography and Video
      New York: Steidl, p. 152-155
    • Extended
      Karlsruhe: Zentrum für Neue Kunst und Medientechnologie Karlsruhe, p. 232-241
    • Heartland
      Smart Museum of Art, Van Abbemuseum, p. 142-143
    • Das Bielefelder Gefühl
      Bielefeld: Autoren, Herausgeber und Künstler, p. 72-75
    • Actors and Extras
      Argos Centre for Art and Media, Siemens Art Program, p. 142-145
    • Rietveld Arsenale
      Amsterdam: Gerrit Rietveld Academie
    • Looking at Others
      Radovan Vukovic, Umjetnički paviljon, p. 54-57
  • 2008

    • The Possibility of an Island
      Miami: Museum of Contemporary Art, p. 46-47, 76
    • Terrain
      Karlsruhe: Zentrum für Kunst und Medientechnologie Karlsruhe, p. 61
  • 2007

    • Global Feminisms
      London/New York: Merrell Publishers, Brooklyn Museum, p. 240, 283
    • Machine-RAUM
      a Biennale for Video Art and Digital Culture, Vejle: Vejle Museum of Art, p. 52-53, 63
  • 2006

    • Momentum 2006
      4th Nordic Festival of Contemporary Art, Moss: Momentum, p. 38
    • Gwangju Biennale 2006
      Seoul: Designhouse Co. Ltd, volume I: p. 258-259, volume II: p. 148-149
    • EV+A, 2006 - give (a)way
      Oysterhaven: Kinsale: Gandon Editions, p. 18-19, 192-195
    • The Youth of Today
      Köln: Verlag der Buchhandlung Walter König, p. 48, 199
  • 2005

    • Julika Rudelius: Looking at the other. Five video works, Amsterdam: Valiz publisher (Monografie)
    • Respect! Formes de cohabitation/Vormen van samenleven
      Amsterdam: Mondriaan Foundation
    • International Biennale of Contemporary Art
      Prague: National Gallery, p. 572-573
    • Projekt Migration
      Cologne: Kölner Kunstverein, p. 196-197
    • The Populism Catalogue
      Berlin/New York: Lukas & Sternberg
  • 2004

    • Histoire(s) Parallèle(s) création - confrontation France Pays-Bas
      Erik Kessels/Gabriel Bauret (Hgg.), Paris: Filigranes Éditions
    • Teenage Kicks, adolescence as subject
      Dublin: Royal Hibernian Academy
    • Wirklich wahr! Realitätsversprechen von Fotografien
      Sigrid Schneider, Stefanie Grebe (Hgg.), Ostfildern (Ruit): Hatje Cantz
    • Das zweite Bild
      Text von Melanie Ohnemus, Wien: dreizehnzwei
  • 2003

    • You can’t stay in the 80s wearing cowboy boots while the whole world progresses
      Interview von Jan van Adrichem, Glarus: Kunsthaus Glarus
    • Link
      Amsterdam: Stedelijk Museum Amsterdam/Rotterdam: NAi Publishers
    • XL Photography 2
      Art Collection Deutsche Börse, Ostfildern (Ruit): Hatje Cantz, S. 62-63
    • In or Out. Contemporary Dutch Art
      Amsterdam: Canvas Foundation/Seoul: Yellow Sea Cultural Network,
    • Strangers, The First ICP Triennial of Photography and Video
      New York: International Center of Photography, Göttingen: Steidl, S. 92-95
    • Prix de Rome 2003
      Art and Public Space, Rotterdam: 010 Publishers, p. 52-53
  • 2002

    • There’s No Accounting for Other People’s Relationships
      Belfast, Ormeau Baths Gallery
    • Regionalisten
      Siebren de Haan, “Cosmo Pubers”, Nijmegen: Paraplufabriek/Amsterdam: VRIZA, p. 28-31
    • Commitment, een keuze uit drie jaar Fonds BKVB
      Amsterdam: Fonds voor beeldende kunsten vormgeving en bouwkunst
    • Nabeelden. Album van niet gemaakte foto’s
      Amsterdam: De Balie, S. 78-81
    • Dark Spring
      Kraichtal: Ursula Blickle Stiftung
    • Non places
      New York: Lukas & Sternberg, p. 46-47
  • 2001

    • From Here to Reality
      Stockholm: Index The Swedish Contemporary Art Foundation
    • The People’s Art/A Arte do Povo
      Rotterdam: Witte de With/Porto: Central Eléctrica do Freixo, S. 51
    • This is for real
      Amsterdam: Stedelijk Museum Amsterdam/NAi Publishers, Rotterdam, S. 67-69
    • Nieuwsbrief Stedelijk Museum Bureau Amsterdam no.64
      Charles Escher, Talkshow

Articles (a selection)

  • 2019

    • Edo Dijksterhuis, Geheime bende met bejaarden
      Het Parool, zaterdag 25 juni
    • Charlie Vielvoye, Met kunst gentrificatie te lijf in Amsterdam-West
      Amsterdam Alternative, 16 juli 2019
    • Hoe de kunstenaar zichzelf de stad uitjaagt
      Metropolis M, 26 juni 2019
  • 2013

    • Gatsby Revisited At UConn Contemporary Galleries
      Hartford Courant March 25, 2013
    • Nieuwe Vide, Haarlem
      Trendbeheer 21. Januar 2013
  • 2012

    • David Markus, JULIKA RUDELIUS
      Art In America 10. November 2012
    • Niels van Maanen, Julika Rudelius Over Rituals
      Metropolis M, Oktober 2012
    • Allison Meier, 17 Questions for Artist Julika Rudelius
      ARTINFO 28. August 2012
    • Yaelle Amir, Julika Rudelius: Rituals of Capitalism
      Pastelgram Issue #2 28. August 2012
    • Goings on About Town: Art: Julika Rudelius
      The New Yorker 27. August 2012 P. 12
    • Amanda Parmer, Critics Picks: Julika Rudelius
      ARTFORUM 24. August 2012
    • Corinna Kirsch, Sexy Boys and a Scandal at Leo Koenig
      Art Fag City 24. August 2012
    • Michael Wilson, Julika Rudelius: Rituals of Capitalism
      Time Out New York Issue 872 22. August 2012 P. 36
    • Karen Rosenberg, Julika Rudelius: Rituals of Capitalism
      The New York Times 9. August 2012
    • Shane Ferro, One-Line Reviews: Our Staff’s Pithy Takes on Shows
      ARTINFO 20. Juli 2012
    • Michael Miller, 8 Things to Do in New York’s Art World Before July 15
      Gallerist NY 9. Juli 2012
    • Antonia Rahofer, Unter mehr als vier Augen. Zum Glück: Eine Gesprächsanordnung
      KunstTexte.de März 2012
  • 2010

    • Neils Van Tomme, Dependency, Power, and Intimacy, or, The Realm of Universal Prejudice: Julika Rudelius
      Art Papers. Januar/Februar 2010 P. 27-31
    • Gislind Nabakowski, Julika Rudelius: Soft Intrusion
      Springerin Februar 2010 P. 63
    • Michael Hubl, Jeder Sein Eigenes Gefängnis
      Badische Neueste Nachrichten 4. August 2010
    • Marko Schacher, Rebellion Gegen Eine Verlorene Kindheit
      Stuttgarter Nachrichten 4. September 2010
  • 2009

    • Dan Gunn, Reassessing Middle Coast Art
      Art Slant 27. Oktober 2009
    • Kees Keijer, Ingestudeerde Taal Van De Macht
      Parool 23. Juni 2009
  • 2008

    • The Big Easy + Rundgang Definitionsversuch Westen
      Prinz Januar 2008 P.115
    • Tim Ackermann, Wenn der Osten den Mythos des Westens dekonstruiert: ‚The Big Easy’ in Leipzig
      Monopol Januar 2008 P. 124
    • Claire Ruud, Interview: Christopher Eamon
      Fluent~Collaborative Issue #93 Februar 2008
    • Aimee Walleston, Body Map
      TOKION Spring 2008 P. 64-71
    • Angela Van Der Elst, Kunst is rijst met groente
      De Groene Amsterdammer August 2008 P. 26-29
    • Fabiola Santiago, ‚Island’ forecasts a bleak future
      Miami Herald 11. Januar 2009
    • Mark Moorman, Culturele voorhoedeaan zet
      Het PAROOL 29. August 2008 P.16-17
  • 2007

    • Roberta Smith, They are artists who are women; Hear them roar
      New York Times 23. März 2007, P. 3
    • Miguel Amado, Julika Rudelius
      Artforum.com Critic’s pick New York, Juli 2007
    • Adriano Sack, Das Beste der Welt
      Vanity Fair Nr. 12 März 2007 P.186
    • Lauren Cornell, Julika Rudelius
      Time Out New York Nr. 614 Juli 2007 P.77
    • Peter Schjeldahl, Women’s Work
      The New Yorker April 2007 P.73-74
    • Leslie Camhi, Breast Intentions
      Village Voice April 11-17, 2007 P.52
    • Niels Van Tomme Forever
      hART Magazine 21. Juni 2007 P.15
    • Hinako Kasagi My Life is Beautiful!?
      Art Paper Nagoya City Art Museum Nr. 74, Februar 2007 P.1
    • HTV: Your Bimonthly Arts Paper, Nr. 68, März-April 2007 P. 5
    • Pamela Auchincloss, APTInsight Vol. I Fall 2007 P. 43
  • 2006

    • Sven Lütticken, People’s Party
      Artforum Januar 2006 P. 61-62
    • Emerging Artists
      Frieze Nr. 96 Januar - Februar 2006 P. 123
  • 2005

    • Future greats 2005
      Art Review Dezember 2005 P. 78
    • Sven Lütticken, Postpolitiek, pop en populisme
      De Witte Raaf 116 Juli /August 2005 P. 30-31
    • Saskia Monshouwer, Vol van plaatsvervangende schaamte
      denieuwe Jaargang 8 Nr. 7 P. 21-22
    • Im Kaffeefleck die Welt sehen
      Tages Anzeiger, Zürich 23. September 2005 P. 63
    • Eine andere Sicht
      Neue Züricher Zeitung 5.11.2005 P. 48
  • 2004

    • Kees Keijer, Schildenpadden en speldenprikjes
      Het Parool (PS van de week) 25. Oktober 2004
    • Saskia Monshouwer De ambivalentie van goede bedoelingen
      Kunstbeeld 10 Oktober 2004 p. XII-XIII
    • Barbara van Erp, Ik kijk door de ogen van een witte trut
      Vrij Nederland 1. Mai 2004
    • Douglas Heingartner, Julika Rudelius
      Flash Art Januar 2004
  • 2003

    • Maria Barnas, En ik dan
      De Groene Amsterdammer 2. August 2003, P. 34-36
    • Martine van Kampen, Jaap Vinken, Reality-art
      Tubelight nr. 29, November 2003
    • Jacquine van Elsberg, Ik ga er niet bij lopen als een crimineeltje
      Skrien November 2003 P. 55
  • 2002

    • Vanessa Joan Müller, Focus auf Julika Rudelius
      Frankfurter Rundschau Magazin 13. April 2002
  • 2001

    • Sjoukje Posthuma, De raadselachtige video’s van Julika Rudelius
      BLVD Dezember 2001
    • Maartje Somers, Tussen echt en nep, gedragsexperimenten van Julika Rudelius
      NRC Handelsblad (CS), 14. Dezember
  • 2000

    • Jacquine van Elsberg, Art house, Julika Rudelius
      Skrien no. 240, Februar 2000, P. 59

Screenings (a selection)

Drive-In, Blum and Poe, Los Angeles, USA; Gogbot Festival 2013, Enschede, NL; Modern Times - Episode 4:
Skindeep
, Cinema Zuid, Amsterdam, NL; This I Promise You, Toronto, CN; Shanghai Contemporary Art Fair 2011, CN;
28th Kassel Documentary Film and Video Festival, D; Antimatter Festival 2011, Victoria BC, CA;
Shift: Electronic Arts Festival, Basel, CH; La Rochelle Film Festival, F; European Media Art Festival, Osnabrück, D;
Ann Arbor Film Festival, USA; Impakt Festival, Utrecht, NL; 9th Rio de Janeiro International Short Film Festival, BR;
International Film Festival, MEDIAWAVE, HU; Festival International du Film d’Amiens, F; Bandits Images, Bourges, F;
Lux, Nijmegen, NL; Maison Européenne de la Photographie, Paris, Images 22nd Festival, Toronto, CA;
2nd Annual Detroit International Video Festival, Museum of New Art, Detroit, USA; Nederlands Film Festival, Utrecht, NL;
International Festival of New Film, Split, HR; Video festival, National Cinema Museum, Turin,I.;
8ème, Un festival c’est trop court, Nice, F; Contemporary Image Collective, Below Sealevel, Cairo, EG;
Grenzeloos Kijken, Film by the Sea Festival, Scheveningen, NL, Interviews als künstlerische Praxis, Blickle-Kino des Belvedere21, Vienna, AT

Residencies

  • 2008/2009

    • Lower Manhattan Cultural Council Residency
      New York, USA
  • 2006

    • ISCP Residency
      New York, USA
  • 2003

    • BijlmAir residency
      from Stedelijk Museum Bureau Amsterdam/Artotheek Zuidoost, NL
  • 1999/2000

    • Rijksakademie van beeldende kunsten
      Amsterdam, NL

Lectures

  • 2018

    • Base for Experiment Art & Research
      BA Fine Art ArtEZ Arnhem, NL
  • 2017

    • Lange Nacht der Sozialforschung
      Institut für Sozialforschung & MMK Frankfurt, D
  • 2015

    • Institut Kunst HGK FHNW
      Basel, CH
    • Künstlerpräsentation zur Eröffnung von Fotobiennale ‚(7)Places (7)Precarious Fields
      Kunstverein Ludwigshafen, D
  • 2013

    • Hochschule für Gestaltung Offenbach, D
    • Städelschule
      Frankfurt, D
  • 2012

    • Yale University
      New Haven, USA
    • Rockbund Art Museum, A Study in Obedience
      Shanghai, CN
    • Museum of Contemporary Photography, Survival Techniques
      Chicago, USA
    • Fudan University
      Shanghai, CN
  • 2011

    • Cooper Union
      New York, USA
  • 2010

    • Camera Club of New York, Video Subtexts
      New York, USA
    • AVRO Radio Program, Interview with Julika Rudelius
      Hilversum, NL
  • 2007

    • Tate Modern
      London, UK
    • Swiss Institute
      New York, USA
  • 2006

    • Brooklyn Museum, Global Feminisms
      New York, USA
    • International Studio and Curatorial Program
      New York, USA
  • 2005

    • Stedelijk Museum
      Amsterdam, NL

Teaching

  • 2019–ongoing

    • Temporary Professor for Moving Image
      Hochschule der Künste, Bremen, D
  • 2013–16

    • Professor for Electronic and Media Arts
      Hochschule für Gestaltung Offenbach, D
  • 2011–ongoing

    • Critic, Yale School of Art
      New Haven, USA (annual course on propaganda in film and media)
  • 2007–ongoing

    • Tutor, De Ateliers
      Amsterdam, NL

Workshops

  • 2017

    • Hochschule für bildende Künste
      Dresden, D
  • 2003

    • Gerrit Rietveld Academie
      Amsterdam, NL
  • 2013

    • Städelschule
      Frankfurt, D
    • Bern University of the Arts
      Bern, CH
  • 2010

    • Virginia Commonwealth University
      Richmond, USA
  • 2007

    • Tulane University
      New Orleans, USA
  • 2001

    • Trondheim Academy of Fine Art
    • Rietveld Akademie
      Amsterdam
News

19 April – 30 Mai 2021
The highest Point im Schaufenster des Kunstverein München am Hofgarten & online: https://www.kunstverein-muenchen.de/de/programm/schaufenster/2021/julika-rudelius

The only reason... at speak, memory, 40 years W 139, Amsterdam, with Marie Aly, Gijs Frieling, Meschac Gaba, Eulàlia Garcia Valls, Charles & Ray Eames, Thomas Hirschhorn, Ad de Jong, Job Koelewijn, Marijn van Kreij, Aernout Mik, Julika Rudelius and Gayatri Subramanian / curated by Melchior Jaspers & Anami Schrijvers.

Solo exhibition Hail Mary Pass at Galerie Reinhard Hauff, Stuttgart, with Ridders, 2019, Matters Recorded, 2019, Liaison 2013, among other video works. ©Bernhard Kahrmann

TAAK and their partner organisation LIMA developed a program for Amsterdam-West as part of Social Capital, where artists react to the consequences of the building boom in Amsterdam. The city rides the waves of the international economy; the throngs of tourists, expats, many Airbnbs, and large-scale construction and renovation projects are changing the city completely. What do these changes mean for the city’s social fabric? How do we maintain the cultural diversity and strong-mindedness that Amsterdam has been famous for since the 60s? The title Social Capital refers to the networks of relations between people as a precondition for social interaction. These networks are essential for the functioning and quality of life of a society and form the basis for social change.
The work Changeroom, which I made for this project, is about the fact that when we refer to social interaction as “social capital”, there is an implicit assumption that these social interactions are and will be commodified and monetized, as has already happened to the former clusters of cultural diversity as along with affordable housing in the cities and neighbourhoods.

Solo (20) exhibition at Club Solo, Breda. Three video installations and for the first time a series of drawings with a voiceover (matters recorded) which were produced for this exhibition.
Club Solo organises four solo exhibitions per year, with a museum from the region reacting to each show by displaying a work from their collection. For Solo 20, M HKA, Antwerp chose two works from Koka Ramishvili: War From My Window, 1991-1992 and Change, 2005.

In the cut, der männliche Körper in der feministischen Kunst, Stadtgalerie Saarbrücken

Roots on wheels with Benedikte Bjerre, Buck Ellison, Chris Evans, Olga Pedan, Julika Rudelius, Angharad Williams and Betty Sachsis an independent group show curated by Root Canal using available city parking space during Amsterdam Art Week.

julika rudelius
Club Solo presents solo exhibitions of Dutch and Belgian artists. A catalogue is published to accompany each exhibition, containing one article written at the artist’s request, and another written by the curator of the participating museum.
A Club Solo publication, Nr 20
ISBN/EAN 978-94-93119-02-4

Soft Intrusion
This catalogue was published on the occasion of the exhibition Soft Intrusion at the Ursula Blickle Stiftung, Kraichtal, DE. Curator and Editor: Katja Schroeder, Graphic Design: Mevis&van Deursen, Amsterdam, NL
Sternberg Press
Ursula Blickle Stiftung
ISBN 978-1-933128-97-9

Looking at the other Five Video Works
Coinciding with the exhibition Julika Rudelius. Vijf videowerken 2001–2005 at De Hallen, Haarlem (NL). Essay by Sven Lütticken, Graphic Design by Thomas Buxo.
Valiz Publishers, Amsterdam
ISBN 90-78088-05-2