.,

Biography

“To experience Seers’ work is to experience snapshots, rumours, doubtful information – fascinating fragments that refuse to add up to a neat, narratively satisfying whole. To experience one’s memory of her work is something else entirely. Recall Extramission 6 on a Monday morning, and it’s a story of childhood and exile. Recall it on a Tuesday night, and it’s a meditation on Platonic optics and 19th-century methods of indexing and surveillance. Memory does its work, generating different readings, different histories, and different shapes for the viewer’s future self to adopt.”

— Tom Morton (Frieze 2009)

 …What constitutes the artistic practice of Lindsay Seers is not mere storytelling, but a matrix where there is no formal separation between the conceptual investigation of the act of photography, the camera as apparatus, the common desire for film and photography to act as evidence of events, and the complex historical and personal synchronicities of events themselves. What we are witnessing is not so much a detached systematic outline of these relationships, but the actual unfolding of a creative process, where the act of observation and understanding influences the outcome of events themselves.

Through Seers’ photographic explorations the past is constantly reconfigured, as if it contains an infinite virtual potential for different outcomes, which are all already embedded in one another. Instead of providing a neutral platform for the viewer in the gallery her installations place the film imagery within structures most appropriate to the narrative constructs. These structures are both factual (referring to specific architectures) and theatrical, thereby embodying the dual aspect of evidence and artefact. It is impossible for the viewer to enter this emotional landscape without making their own identifications and associations, without being an implicated participant within the unfolding of history, its apparatuses and institutions as well as its human narratives. The personal and the collective are all but different features of the monstrous unfolding of the virtual event, a spectacle with no singular platform of observation. Her persistent themes of hallucination, schizophrenia, biological chimerism, gender politics and the legacy of colonialism are formed through biography as a framework for larger social, political narratives and in which human consciousness seems to be the fundamental sticking point for humankind to effectively evolve.

– Ole Hagen Alter Modern (Tate Publication)

Short Biography

Lindsay Seers lives on the Isle of Sheppey with Keith Sargent and Milo.

Our works seek out complexity and innovations both in their forms and methods and are shaped by fragmented and layered narratives interweaving staged and natural speech. Diagnosed with autism (Seers) the works reflect a possible neurodivergent aesthetic related to excess.

Our principle concern is the nature of conciousness itself and how it shapes human life. The stories we tell ourselves are not truths as such but frameworks to justify our actions. Those actions (if Libet is correct) come before thought.

Our works are energetic in and of themselves and not proxies. Shaped by social, political imperatives in content, they often take the form of mulitfacted installations which play off the actual against the virtual.

We have shown large scale works internationally in museums and art centres including SMK (National Gallery of Denmark); Venice Biennale 2015; Hayward Gallery, UK; MONA, Tasmania; Bonniers Konsthall, Sweden; Smart Project Space, Amsterdam; Kiasma, Finland; Turner Contemporary, UK; Tate Triennial, UK; TPW, Canada; Sami Centre for Art, Norway; Centre for Contemporary Art Poland; Baltic Centre for Contemporary Art, UK; Sharjah Art Foundation (The Flying Saucer), UAE; Museum of Contemporary Art, Taipei, Taiwan; E-Werk, Luckenwalde/Berlin, Germany.

Our works are in a number of collections including Tate collection, Arts Council collection, Artangel collection, collection of MONA, Tasmania, The Government Art collection, MTA Collection, Lebanon and a number of private collections in Amsterdam, Norway, UK, Ireland, USA, Canada, Paraguay, and Mauritius.

We have won several prestigious grants and awards such as the Sharjah Art Foundation Production Award, UAE; Le Jeu de Paume production award, France; the Paul Hamlyn Award; the Derek Jarman Award; AHRC Award; a number of Wellcome Trust Awards and Arts Council and British Council Awards in support of the works and Seers also received the Wingate Scholarship from The British School at Rome 2007/8.

 

Selected Exhibitions:

Cold Light, Matt’s Gallery, UK 2022, (solo); Every Thought There Ever Was, UK 2018, (solo); MAC Belfast, UK 2018 (solo), Focal Point Gallery, 2019, (solo); Hospitalfield House, UK 2019 (solo); A Woman’s Place, Knole, UK 2018 Suffering, MONA, Tasmania 2017 (solo); Seeing Round Corners, Turner Contemporary, UK, 2016; Objects Do Things, (Centre of Contemporary Art, Poland 2016);Stories in the Dark (Whitstable Biennale, UK , 2016); Doug Fishbone’s Leisure Land Golf, (Venice Biennale 2015); Reads Like a Book The Book Lovers (Cricoteka, Poland, 2015 solo); Mirrorcity (Hayward Gallery, London, 2014); The Red Queen (MONA, Tasmania, Australia 2013); Toulouse International Art Festival (Hotel-Dieu,Toulouse, France, 2013); Entangled² Theatre II (Matt’s Gallery London 2013 solo); Monocular⁴ (Quad, Derby, UK 2013 solo); Nowhere Less Now (Artangel commission, Tin Tabernacle, Kilburn, London, 2012); Entangled² (Turner Contemporary, Margate, UK 2012); Extramission 6 (Gallery TPW, Toronto, 2011); Einladung zur Ausstellung (Kunstverein Freiburg, Germany 2012); A Trip to the Moon, (Bonniers Konsthall, Sweden 2012); Monodrome, Athens Biennale, (Greece 2011); Lofoten International Art Festival, (Norway, 2011); Dis-covery (Salamanca Art Centre, Tasmania, 2011); The Collection (Rugby Art Gallery, 2011); Steps into the Arcane (Kunstmuseum Thurgau, Switzerland 2011); It has to be this way² (National Gallery of Denmark, 2010, solo (SMK), Mead Gallery, Warwick, 2010 and BALTIC, Gateshead, 2011); Broadcast commission 3 minute wonder series, Channel 4 (27,28,29,30 Sept 2010 and October 2010); It has to be this way ^1.5 (Aspex gallery Portsmouth, 2010 solo); Persistence of Vision (FACT, Liverpool, 2010 and Nikolaj Art Centre Copenhagen 2010-2011 solo); It has to be this way, (Matts Gallery, 2009 solo); Altermodern, 4th Tate Triennial, (Tate Britain, 2009); Event Horizon, (Royal Academy of Art, 2008); Swallowing Black Maria, (Smart Project Space, Amsterdam 2007 solo); CinemArt, (The Auditorium, Rome, 2007); Foreign Bodies, (White Box, New York, 2007); The Believers, (touring show in Norway with performances, Stavanger, Førde and Bergen, 2007).The truth was always there, (The Collection, Lincoln, 2006 solo); I can’t tell you, (Grundy Gallery, Blackpool, 2006 solo); Don’t look through me, (City Gallery, Leicester, 2006 solo); Eyes of Others, (Gallery of Photography, Dublin, 2005); I saw the light, (Gasworks Gallery, London, 2005).

CV

1999-2001  MA Fine Art, Goldsmiths College, University of London
1991-1995  BA Hons Fine Art, The Slade School of Fine Art, University College London

 

 

10.o5.22 FRAC & LAAC, Dunkerque Triennale, France
22.05.22 Double Knowledge, Alice Black Gallery, UK
22.10.22 Cold Light³ Turner Contemporary, UK
05-11-22 Entangled³, Theatre IV, MOCA Taipei, Taiwan
17.09.22 Cold Light² E-Werk, Luckenwald, Germany
29.04.22 Cold Light, Matt’s Gallery, UK (solo show with Keith Sargent)
08.02.2020 Every thought there ever was²  John Hansard Gallery, Southampton, UK (solo show with Keith Sargent)
15.01.2020 Care(less) Ikon Gallery, Birmingham, UK (solo show)
24.10.2019 Care(less) Cobb Hall Lincoln Castle, Frequency Festival, Lincoln [Wellcome commission]
l05.10.2019 Care(less), Fabrica, Brighton, UK [Wellcome commission] (solo show)
13.10.2019 Every thought there ever was, Court House Arbroath (with Hospialfield House) [Wellcome commission] (solo show)
23.01.2019 Vanishing Twin (Tetragametic Chimerism), Fotogalleriet,Oslo, Norway [commissioned solo show]
08.09. 2018 Every thought there ever was, Focal Point Gallery, Southend, UK [Wellcome commissioned solo show]
13.07.2018 Fleeting Exits, Sursock Museum, Beirut, Lebanon
07.06.2018 In my shoes (Arts Council Touring Exhibition) Attenborough Art Centre, Leicester, UK
17.05.2018 A Woman’s Place, Knole, Seven Oaks, UK [commission]
04.05.2018 Every thought there ever was, MAC, Belfast, UK [Wellcome commission]
15.05.2018 Film London Jarman Award, A Journey Through the First Decade, Whitechapel Gallery, London
06.2017 Suffering², MONA, Tasmania (solo show)
04.2017 The World Made New, PiArts, London [commissioned]
03.2017 Casebooks, Ambika P3, London [commission]
10.2016 Suffering, Queenstown, Tasmania [commission]
10.2016 Nowhere Less Now, Glynn Vivian Gallery, Swansea, Wales, UK [commissioned solo show]
07.2016 Leisure Land Golf, Quad, Derby, UK
06.2016 Seeing Round Corners, Turner Contemporary UK
04.2016 Leisure Land Golf, New Art Exchange, Nottingham, UK
02.2016  Objects Do Things, Ujazdowsky Castle, Centre for Contemporary Art, Poland
03.2016  Stories in the Dark, The Beaney, Whitstable Biennale, UK
05.2015  Leisure Land Golf, Venice Biennale (EM15 commission)
01.2015  Reads Like a Book, Cricoteka, Kraków, Poland (solo show)
09.2014  Mirrorcity, Hayward Gallery, Southbank Centre, London [new work]
10.2014  Top of the World, Sami Centre for Contemporary Art, Karasjok, Norway
01.2014  For The Record, Birmingham Museum and Art Gallery, UK
09.2013  Entangled², (Theatre II), Matt’s Gallery, London (solo show)
09.2013  Monocular⁴, Quad, Derby [commission]
08.2013  Narrative Structures, Stryx, Birmingham, UK
06.2013  Nowhere Less Now², (Red Queen) MONA, Tasmania, Australia [commission]
05.2013  A’ Comes First, Toulouse International Art Festival, France [commission]
01.2013  The Book Lovers, EFA Project Space, New York, USA
11.2012  The Book Lovers, MHKA, Antwerp, Begium
11.2012  Reality Bites, Kiasma, Helsinki, Finland
09.2012  Nowhere Less Now, Tin Tabernacle, Kilburn, London [Artangel commission solo show]
07.2012  Entangled², Turner Contemporary, Margate [commission]
06.2012  Focal Points: Art and Photography, Manchester Art Gallery, UK
05.2012  Møte (Meeting), Galleri Festiviteten, Norway
03.2012  Ich is ein Anderer, Kunstverein Freiburg, Germany
02.2012  A Trip to the Moon, Bonniers Konsthall, Stockholm, Sweden
11.2011  Monodrome, Athens Biennale, Greece
11.2011  Beyond Deception, Erik Steen Gallery, Oslo, Norway
08.2011  Something In The Way, Lofoten International Art Festival, Norway
07.2011  Outrageous Fortunes, Focal Point Gallery, Southend, UK
03.2011  Extramission 6, TPW Gallery, Toronto [as part of Images Festival solo show]
03.2011  Dis-covery, Salamanca Art Centre, Tasmania
03.2011 The Collection, Rugby Art Gallery, inaugural exhibition of CAS and V&A purchase for the collection
03.2011  Just Photography, Ancient and Modern at Martos Gallery, New York, USA
02.2011  It has to be this way², BALTIC, Gateshead (solo show)
11.2010  Persistence of Vision, Kunsthallen Nikolaj, Copenhagen, Denmark
10.2010  It has to be this way², Mead Gallery, Warwick (solo show)
10.2010 It has to be this way1.5, Aspex Gallery, Porstmouth (solo show)
09. 2010  3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct)
06.2010  Persistence of Vision, FACT, Liverpool, UK
05.2010  Steps into the arcane, Kunstmuseum Thurgau, Switzerland
05.2010  It has to be this way², National Gallery of Denmark, Copenhagen [commissioned solo show]
03.2010  Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria
02.2010  Depatterrn, Galleri Erik Steen, Oslo, Norway
10.2009  Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland
09.2009  Performance, Whitechapel Gallery, London, UK06.2009  Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil
02.2009  Altermodern, Fourth Tate Triennial, Tate Britain, UK
01.2009  It has to be this way, Matt’s Gallery, London [commissiond solo show]
12.2008  Performance, Event Horizon, Royal Academy of Art [commissioned solo show]
06.2008  Performance, Happy Hand, British Film Institute, London, UK
10.2007  Cinemart, The Auditorium, Rome, Italy
09.2007  Foreign Bodies, White Box, New York, USA
07.2007  Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show]
02.2007  The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen
09.2006  The truth was always there, The Collection, Lincoln [commissioned solo show]
07.2006  UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK
05.2006  Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show)
05.2006  I can’t tell you, Grundy Gallery, Blackpool [commissioned solo show]
04.2006  Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @798 Space, Beijing, China
04.2006  Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK (with Tai Shani and Aura Satz)
03.2006  Performance, Don’t Look Through Me, Y Theatre, Leicester, UK
03.2006  Don’t look through me, City Gallery Leicester [commissioned solo show]
03.2006  Performance, Screening at Witte de With/Tent, Rotterdam, Holland
03.2006  John Skies or Sally Swims, UKS Gallery, Oslo, Norway
02.2006  Wandering Rocks, Gimpel Fils Gallery, London
11.2005  Image in Me, Market Gallery, Glasgow (solo show)
10.2005  Eyes of Others, Gallery of Photography, Dublin [commissioned solo show]
10.2005  Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK
09.2005  I saw the light, Gasworks Gallery, London [commissioned solo show]
09.2004  Adam, Smart Projects, Amsterdam, Holland
11.2004  Mind the Gap, La Friche, Triangle, Marseille, France
08.2004  Shattered Love, Keith Talent Gallery, London
04.2004  Eating at Another’s Table, Metropole Galleries, Folkestone (performance/exhibition)
04.2004  Tonight, Studio Voltaire, London (curated by Paul O’Neill)
03.2004  Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard)
03.2004  Mesmer, Temporarycontemporary, London
02.2004  Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson/Craighead, S Mark Gubb)
09.2003  The Physical World, APT, London, (with Ian Dawson, Katie Pratt)
09.2003  Sphere, Presentation House Gallery, Vancouver, Canada (Paul McCarthy, Bruce Nauman, Laurie Simmons and AllanMcCollum)
09.2003  You said that without moving your lips, Limerick City Gallery, Ireland (solo show)
08.2003  Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show)
04.2003  A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass)
01.2003  The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths)
09.2002  History Revision, Plymouth Arts Centre (including Terry Atkinson)
06.2002  Nausea: encounters with ugliness, London Print Studio
04.2002  Dramatic Events, Kent Institute of Art and Design
03.2002  Photoscoptocus, Camden Lock/ Henley-on-Thames (Public commission)
03.2002  Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson)
08.2001  Trinity College, Zwemmer Gallery, London
05.2001  Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, ‘Lindsay Seers, Artist’s Eye’, Rory Logsdail)
03.2001  For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show]
02.2001  Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith)
09.2000  Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown)
10.2000  Assembly, Stepney City, London
07.2000  A Shot In The Head, Lisson Gallery, London
07.2000  Unfound, Chisenhale Gallery, London
06.2000  City Projects, Artomatic, London (with Jemima Brown, Marcel Price)
05.2000  The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher)
05.2000  On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson)
09.1999  Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall)
07.1999  Quotidian, Paper Bag Factory (curated by Julia Lancaster)
06.1999 Autocannibal, Laure Genillard Gallery, London (solo show)
04.1999  Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean)
10.1998  Multiples, Temple Bar Gallery, Dublin
09.1998  Cannibal, Old Museum Art Centre, Belfast (solo show)
08.1997  Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin
11.1996  Stick Your Hands Up, Acorn Storage, Hammersmith, London
10.1996  Ghost, ACAVA Open Studios, Denmark St, London
09.1996  Ad Hoc, London Artforms. Curated by Phyllida Barlow. (with Eric Bainbridge, Leila Galloway, Stephen Johnson)

Residencies, Awards, Commissions

2016 A major award from Wellcome Trust for a new work in 2018
2013 Le Jeu de Paume production award for the Toulouse Festival, France
2012 Sharjah Artist’s Production Award
2010 Paul Hamlyn Awards for Artists
2010 Arts Council England, Grants for the Arts for a residency in Tasmania
2009 Winner of Film London & Channel 4’s Jarman Award (+ broadcast commission for Channel 4’s, 3 Minute Wonder strand)
2009 Arts Council Individual Artist Award
2007 Wingate Scholarship at British Academy /British School at Rome
2007 British Council Award for new work
2006 AHRC Research Leave Award
2006 Arts Council National Touring Award
2005 British Council Award
2005 Arts Council Individual Artist Award
2004 Triangle International Artists Workshop, Mauritius
2003 Arts Council and Triangle Trust funded residency in Paraguay
1999 Arte Viva, residency and exhibition, Senigallia, Italy
1998 Beach Life, Public Art Project, supported by Islington Council
1997-2001 Residency with Acme Studios, The Old Fire Station, London
1997 Residency at The Irish Museum of Modern Art
1995 First Base Studio Award (One year studio residency at ACAVA)
1995 Ray Finnis Award (Slade)
1993 Slade Prize (Pankerd Jones Memorial Prize)

Selected Bibliography

It leaves you shaken, Care(less), Norman Miller, Guardian, 14 January 2020
Seeing Double, Nordic Art Review, Zofia Cielatkowska, 14 February 2019
Productive Confusion, Kjetil Røed Vartland, 26 January 2019
Every Thought There Ever Was, Elizabeth Fullerton, Art in America, November 2018
Every thought There Ever Was, Jamie Sutcliff, Art Monthly October 2018
A Woman’s Place, Gilda Williams, Art Monthly, September 2018
Its all in the stars, Helen and Bill Bynum, The Lancet, April 2017
Making an art out of medical record-keeping, Mary Halton, New Scientist, April 2017
The Exform, Nicholas Bourriaud, Verso Futures, 2016
The Unconformity, Andrew Harper, Artlink, October 2016
Memories are made of this, Charlie Fox, Sight and Sound, April 2015
Lindsay Seers, Two Different Coloured Eyes, Alison Green, Source, The Photographic Review, Summer 2014 Issue 79 (pg 34-43)
Digital Realities: MIRRORCITY, Chris Hodge, Aesthetica, October – November 2014
The Fantastical World of Lindsay Seers, Elizabeth Fullerton, Art News, October 2014
Take a look in the mirror, Freire Barnes, Time Out, October 2014
MIRRORCITY: London artists on fiction and reality, Phil Harris, Artvehicle, October 2014
Lindsay Seers, Nowhere Less Now, Abraxas 4, (pg 144–157) Autumn 2013
Lindsay Seers, Charmian Griffin, Time Out, 29 October 2013
The Red Queen Catalogue, MONA. David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888
Lindsay Seers, George Barber, Frieze, January 2013
One of Many, Adrian Dannatt, Artist Comes First, Jean-Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013
All  the World’s a Camera: Notes on non-human photography, Joanna Zylinska, Drone  ISBN 978-2-9808020-5-8 (pg 168-172) 2013
Lindsay Seers, Artangel at the Tin Tabernacle – Jo Applin, ArtForum, December 2012
Lindsay Seers, Martin Herbert, Art Monthly, October 2012
Exhibition, Ben Luke, Evening Standard, (pg 60-61) 20 September 2012
Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012
Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012
Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012
Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012
Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6-12 September 2012
Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012
Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012
Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012
Das Identitätsvakuum – Dietrich Roeschmann, Badische Zeitung, 27 March 2012
Ich ist ein anderer-Kunstverein Freiburg – Badische Zeitung, 21 March 2012
Action Painting – Jacob Lundström, FLM NR.16, March 2012
Dröm-fabriken – Peter Cornell, Kultur, 21 February 2012
Vita duken lockar Konstnärer – Fredrik Söderling, Dagens Nyheter (pg 4-5) 15 February 2012
Personligen Präglad –  Clemens Poellinger, SvD söndag, (pg 4-5) 12 February 2012
Uppshippna hyllningar till – Helena Lindblad, Dagens Nyheter (pg 8-9) 9 February 2012
Bonniers Konsthall – Sara Schedin, Scan Magazine, (pg 48-9) Febuary 2012
Ausstellungen – Monopol, (pg 120) February 2012
Modeprovokatörer plockas up par museerna – Susanna Strömquist, Dagens Nyheter (pg 8-9) January 2012
Promosing in Kabelvåg – Seers’ ‘Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011
Reconstructing the Past – Lindsay Seers’ Photographic Narrative, Lee Halpin, Novel², May/June 2011
Lindsay Seers, Oliver Basciano, Art Review, May 2011
Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011
Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011
The Projectionist, David Balzer, Eye Weekly, 6 April 2011
dis-covery, exhibition catalogue, 2011
Lindsay Seers: It has to be this way², Paul Usherwood, Art Monthly, April 2011
Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011
It has to be this way², 2011, novella published by Matt’s Gallery, London
Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010
Steps into the Arcane, ISBN 978-3-869841-105-2, published 2010
It has to be this way^1.5, novella 2010, published by Matt’s Gallery, London
Jarman Award, Laura McLean-Ferris, The Guardian, September 2009
Top Ten, ArtForum, Summer 2009
Reel to Real – On the material pleasure of film, Colin Perry, Art Monthly, July/August 2009
Remember Me, Tom Morton, Frieze, June/July/August 2009
It has to be this way, 2009, published by Matt’s Gallery, London
Lindsay Seers at Matt’s Gallery, Gilda Williams, ArtForum, May 2009
Lindsay Seers: It has to be this way – Matt’s Gallery, Chris Fite-Wassilak, Frieze, April 2009
Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009
Review of Altermodern – Tate Triennial 2009, Jorg Heiser, Frieze, April 2009
Tate Triennial: ‘Altermodern’ – Tate Britain Feb 3 – April 26, 2009, Colin Perry, Art Monthly, March 2009
Lindsay Seers: It has to be this way (Matt’s Gallery, London), Jennifer Thatcher, Art Monthly, March 2009
No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009
Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009
‘Altermodern’ review: ‘The richest and most generous Tate Triennial yet’, Adrian Searle, The Guardian, Feb 2009
Critics’ Choice for exhibition at Matt’s Gallery, Time Out London, January 29 – February 4 2009
In the studio, Time Out London, January 22-28 January 2008
Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007
Human Camera, June 2007, Monograph book Published by Article Press
Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006
Review of Wandering Rocks, Time Out London, February 1 –8, 2006
Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS
Artistic sleight of hand – ‘Eyes of Others’ at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005
There is Always an Alternative, Catalogue (Dave Beech /Mark Hutchinson) 2005
Wunderkammer, Catalogue, The Collection, October 2005
Lindsay Seers’ ‘We Saw You Coming’; ’20,000 Leagues Under the Sea’; ‘Apollo 13’; ‘2001’, Lisa Panting, Sphere Catalogue (pg 46-50), Presentation House Gallery, 2004
Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004
Miser and Now, essays in issues 1, 2 + 3
Expressive Recal l-‘You said that without moving you lips’, Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003
Braziers International Artists Workshop Catalogue, 2002
Review of Lost Collection of an Invisible Man, Art Monthly, April 2003
Slade – Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002
Radical Philosophy, 113, Cover and pages 26/30, June 2002
Elle magazine, June 2002, page 92-93
Review, Dave Beech, Art Monthly, June 2002
Nausea: encounters with ugliness, Catalogue
Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail
The Fire Station, a film by William Raban and a catalogue by Acme
The Double, Catalogue from the Lowry, Lowry Press, July 2000
Contemporary Visual Arts, Roy Exley, June 1999
Hot Shoe, Chris Townsend. July/ August, 1999
Evening Standard, page 54, 13 May 1999
Occupational Hazard, critical writing on recent British art, edited by Duncan McCorquedale,
Naomi Siderfin and Julian Stallabras (essay by Mark Hutchinson -Pages 160-164)
AWP, published by the Irish Museum of Modern Art. Front cover, pages 7 /44
Review, Sunday Times (Irish) supplement, page 25, Sept. 20th, 1998

Collections

Tate Collection; UK Arts Council Collection; Rugby Art Gallery Collection (CAS); Artangel Collection; MONA collection; Marwan. T. Assaf Collection; Museo del Barro Collection, Asuncion, Paraguay.

Employment

External Examiner to Brighton University Fine Art, BA level (January 2012 – 2015)
External Examiner to Slade School of Fine Art, Postgraduate level (January 2010– July 2012)
External Examiner to Plymouth University MA (January 2009 – December 2012)
External Examiner to Piet Zwart Institute (January 2009 – December 2010)

 

April 2022 PhD supervisor Glasgow School of Art Sarah Forest
October 2013 – 2017 Main Supervisor on Norwegian Artist Research Programme
October 2002 –2022 0.2 lecturer Goldsmith’s University Postgraduate Fine Art
October 2011 – November 2012 Guest Postgraduate (MA/PhD) Professor, Angewandte Kunst, Vienna, Austria
September 2005 – July 2006 0.5 lecturer Slade School of Fine Art Postgraduate (MA) Sculpture
September 2004- July 2005 0.2 visiting lecturer Fine Art Derby University BA/MA
September 2002 – 2006 Visiting lecturer Royal Academy Schools Postgraduate Fine Art
September 1999 – July 2005 Visiting lecturer in BA Fine Art, Nottingham Trent
September 1998 – July 2006 0.5 Senior lecturer in BA/MA Fine Art, De Montfort University
September 1996– April 1997 0.5 lecturer Slade School of BA Fine Art

Selected Lectures

Camden Arts Centre, London

Kunstakademiet, Denmark

Bergen National Academy of Arts, Norway

The Royal Institute of Art KKH, Sweden

Royal College of Art, London

Art Forum, Hobart, Tasmania,

Camberwell School of Art, London

Gallery TPW, Toronto, Canada

BCU, Birmingham

Nottingham Trent University

Quad, Derby

White Box, New York

Glasgow School of Art, Scotland

Wimbledon School of Art, London

Baltic Centre for Contemporary Art, Gateshead

ICA, London

Grundy Gallery, Blackpool,

London College of Communication, University of the Arts

Kingston University

Slade School of Fine Art

Mead Gallery, Coventry

Goldsmith’s University, University of London

Royal Academy of Arts, London

Sheffield University

Nottingham Trent University

Museo del Barro, Asuncion, Paraguay

Sursock Museum, Beirut

University of Tasmania

Toulouse International Festival, France

Leicester City Gallery, UK

The Grundy, Blackpool