Simon Starling
Born 1967, Epsom; Lives in Copenhagen.
Education
| 1992 | MFA, Glasgow School of Art |
| 1990 | BA (Hons) Photography, Nottingham Polytechnic |
Solo Exhibitions
| 2026 | ‘The Artist, Wearing a Mask of Adolph Menzel, Holds Plaster Casts of the Ambidextrous German Painter’s Left and Right Hands (& Other Interventions)’, Kunst Museum Winterthur, Winterthur |
| 2025 | ‘Boat Works’, Lakeland Arts, Kendal |
| 2024 | ‘Project for an Exhibition, Part 1: Time Takes (Scenario for a Conversation)’, neugerriemschneider, Berlin |
| ‘Houseboat for Ho (Presented by The Strawman)’, The Modern Institute, Aird's Lane Bricks Space | |
| 2023 | ‘Where traces fade away’, Teatro Regio, Turin |
| Galleria Franco Noero, Turin | |
| ‘Two Birds, No Birds’, Casey Kaplan, New York | |
| 2022 | ‘Beyond the Collection, Tiepolo x Starling.’, Pinacoteca Agnelli , Turin |
| ‘Simon Starling. Metamorfuoco. Sotto la luce del Tintoretto’, Modena-Galleria Estense, Modena | |
| 2021 | ‘The Pencil of Menzel & The Path on the Wolf’, neugerriemschneider, Berlin |
| Galerie neugerriemschneider, Berlin | |
| 2019 | ‘A-A’, B-B’’, Galleria Franco Noero, Turin |
| ‘A-A’, B-B’’, The Modern Institute, 14–20 Osborne Street, Glasgow | |
| ‘Catherine, Masahiko, Rex and the Others’, Le Plateau, Paris | |
| 2018 | ‘Manifesta 12 '5x5x5 Programme'’, Palermo, Italy |
| ‘Parcours’, Museum der Kulturen, Basel, (As part of Art Basel 2018) | |
| 2017 | ‘A l'ombre du pin tordu’, Musée Régional d'Art Contemporain |
| ‘Stitched, Stretched, Cut, Carved, etc.’, neugerriemschneider, Berlin | |
| ‘The Liminal Trio plays the Golden Door’, Casey Kaplan, New York | |
| 2016 | ‘Simon Starling: Collected Works’, Rennie Collection, Vancouver |
| ‘Simon Starling: At Twilight’, Japan Society, New York | |
| ‘At Twilight: A play for 2 actors, 1 dancer, 8 masks and a donkey costume’, Common Guild, Glasgow | |
| ‘Simon Starling’, Nottingham Contemporary, Nottingham | |
| ‘Simon Starling’, Backlit, Nottingham | |
| ‘Zum Brunnen’, Kunstmuseum St.Gallen, St Gallen | |
| ‘Red, Green, Blue, Loom Music’, Franco Noero, Turin | |
| 2015 | ‘Nine Feet Later’, The Modern Institute, 3 Aird's Lane, Glasgow |
| ‘Metamorphology’, Musée d'art contemporain, Montréal | |
| ‘Bowls, Plates’, Casa Estudio Luis Barragán/Luis Barragán House and Studio, Mexico City | |
| ‘Simon Starling in collaboration with Pilar Pellicer and Yasuo Miichi’, Museo Experimental El Eco, Mexico City | |
| 2014 | ‘Simon Starling: Metamorphology’, Museum of Contemporary Art, Chicago |
| ‘Pictures for an Exhibition’, The Arts Club of Chicago, Chicago | |
| ‘Project Gallery: Simon Starling’, Pèrez Art Museum Miami, Miami | |
| ‘Simon Starling: In Speculum’, City Gallery, Wellington | |
| ‘The Expedition’, Statens Museum for Kunst, Copenhagen | |
| 2013 | ‘Loft Lift Presentation’, Moderna Museet, Stockholm |
| ‘Open Stores #03’, Staatsgalerie Stuttgart, Stuttgart | |
| ‘Simon Starling: In Speculum’, Institute of Modern Art, Brisbane | |
| ‘Simon Starling: In Speculum’, Monash University Museum of Art – MUMA, Caulfield East | |
| ‘Black Drop’, Modern Art, Oxford | |
| ‘Phantom Ride’, Duveen Galleries, Tate Britain, London, (Tate Britain Commission 2013) | |
| 2012 | ‘Triangulation Station B (52°31’39.61”³ N 13°23’38.64”³ E)’, neugerriemschneider, Berlin |
| ‘Triangulation Station A (40°44’49.17”³N 74° 0’22.45”³W)’, Casey Kaplan, New York | |
| ‘Transit of Venus’, Radcliff Observatory, Oxford, (One day event) | |
| ‘Reprototypes, Triangulations and Road Tests’, Thyssen-Bornemisza Art Contemporary, Vienna, (In collaboration with SUPERFLEX) | |
| ‘Trois cent cinquante kilogrammes par mètre carrè’, La Kunsthalle Mulhouse, Mulhouse | |
| 2011 | Kunsthal Charlottenborg, Copenhagen |
| ‘F as in Foglia’, Franco Noero, Turin | |
| ‘Recent History’, Tate St Ives, Cornwall | |
| ‘Project for a Masquerade (Hiroshima)’, Museum of Contemporary Art, Hiroshima, Japan, (Curated by Yukie Kamiya) | |
| 2010 | ‘Recent History’, Contemporary Art Centre, Malaga |
| ‘Project for a Masquerade (Hiroshima): The Mirror Room’, The Modern Institute, 14–20 Osborne Street, Glasgow | |
| ‘Red Rivers’, Kamel Mennour, Paris | |
| 2009 | ‘THEREHERETHENTHERE (Works 1997-2009)’, MAC/VAL, Musée d'Art Contemporain du Val-de-Marne, Two part exhibition. Extending to Parc Saint Léger — Centre d’art contemporain de Pougues-les-Eaux |
| ‘Inverted Retrograde Theme, USA (House for a Songbird)’, Bass Museum of Art, Miami Beach | |
| ‘Red White Blue’, Casey Kaplan, New York | |
| ‘Paul Henningsen - BLACK OUT’, Kunsthallen Brandts, Odense, Denmark, (with Superflex) | |
| ‘The Long Ton’, neugerriemschneider, Berlin | |
| ‘Under Lime’, Temporäre Kunsthalle, Berlin | |
| 2008 | ‘Three Birds, Seven Stories, Interpolations and Bifurcations’, Galleria Franco Noero, Turin |
| ‘Plant Room’, Kunstraum Dornbirn, Dornbirn | |
| ‘CONCRETE LIGHT’, Limerick City Gallery of Art, Limerick | |
| ‘Three Birds, Seven Stories, Interpolations and Bifurcations’, Ludwig Museum - Museum of Contemporary Art, Budapest | |
| ‘The Nanjing Particles’, MASS MoCA, North Adams, Massachusetts | |
| ‘Richard Long and Simon Starling’, Spike Island, Bristol | |
| ‘Project for a Public Sculpture (After Thomas Annan)’, The Modern Institute/Toby Webster Ltd (offsite), Glasgow | |
| ‘Cuttings (Supplement)’, The Power Plant, Toronto | |
| 2007 | ‘Kintsugi, Simon Starling’, Aktuelle Kunst im Schaukasten, Herisau, Switzerland, (Appenzell Biennale) |
| ‘Simon Starling’, Casey Kaplan, New York | |
| ‘Nachbau/Reconstruction’, Museum Folkwang, Essen | |
| ‘Particle Projection (Loop)’, Wiels Centre for Contemporary Art, Brussels | |
| 2006 | ‘Autoxylopyrocycloboros’, Cove Park, Scotland, (touring to Heidelburger Kunstverein, Heidelberg) |
| ‘Wilhelm Noack OHG’, Galerie neugerriemschneider, Berlin | |
| ‘[24 hr. Tangenziale]’, Galleria Franco Noero, Turin | |
| 2005 | ‘Cuttings’, Museum fur Gegenwartskunst, Basel |
| ‘C.A.M. Crassulacaen Acid Metabolism’, Void, Derry | |
| 2004 | ‘Tabernas Desert Run’, The Modern Institute/Toby Webster Ltd, Glasgow |
| Casey Kaplan, New York | |
| ‘Exposition’, Fundacio Juan Miro, Barcelona | |
| ‘One Ton’, neugerriemschneider, Berlin | |
| 2003 | ‘Carbon’, Städtische Ausstellungshalle am Hawerkamp, Münster |
| Villa Arson, Nice | |
| ‘Work, Made-Ready, In Light of Nature’, Museo d’Arte Contemporanea, Rome | |
| 2002 | ‘Inverted Retrograde Theme, USA’, Casey Kaplan, New York |
| ‘Djungel’, DCA, Dundee | |
| ‘FLAGA, (1972-2002)’, Franco Noero, Turin | |
| ‘Matthew Jones / Simon Starling’, Museum of Contemporary Art, Sydney | |
| ‘Kakteenhaus’, Portikus, Frankfurt | |
| ‘Hammer Projects - Simon Starling’, UCLA Hammer Museum, Los Angeles | |
| 2001 | ‘Poul Henningsen Simon Starling’, Cooper Gallery, Dundee |
| ‘CMYK / RGB’, FRAC Languedoc-Roussillon, Montpellier | |
| ‘Burn-Time/ Reading Room’, Galerie für Gegenwartskunst, Barbara ClaassenSchmal, Bremen | |
| ‘Simon Starling’, John Hansard Gallery, Southhampton | |
| ‘Work, Made-Ready’, Les Baux-de-Provence, Kunstverein in Hamburg, Hamburg | |
| ‘Burn-Time’, Lichthaus Plus Neue Kunst, Bremen | |
| neugerriemschneider, Berlin | |
| ‘Inverted Retrograde Theme, Rescued Rhododendrons’, Secession, Vienna | |
| 2000 | ‘Open Studio’, Camden Arts Centre, London |
| Museu Serralves - Museu de Arte Contemporãnea, Porto | |
| Preston Museum and Art Gallery, Preston, England | |
| Studio 2000, Cologne | |
| ‘Method 1’, Signal, Malmö | |
| 1999 | ‘Blinky Palermo Prize’, Galerie fur Zeitgenössische Kunst, Leipzig |
| 1998 | ‘Project for a Modern Museum’, Moderna Museet Project Room, Stockholm |
| ‘Le Jardin Suspendu’, The Modern Institute/Toby Webster Ltd, Glasgow | |
| 1997 | ‘Blue Boat Black’, Transmission, Glasgow |
| 1995 | ‘An Eichbaum Pils beer can’, The Showroom, London |
Group Exhibitions
| 2025 | ‘D1-D5 Giorgio Griffa and Simon Starling’, Giorgio Griffa Foundation, Turin |
| ‘Panorama’, Pozzuoli , Campania | |
| ‘Prism of the Real: Making Art in Japan 1989-2010’, The National Art Center, Tokyo | |
| ‘Major Works’, Den Frie Udstillingsbygning, Copenhagen | |
| ‘The horizon is always receding’, Museo Tamayo, Mexico City | |
| 2024 | ‘Carl Nielsen Og Anne Marie Carl-Nielsens Legat 2024’, Den Frie Udstillingsbygning, Copenhagen |
| 2023 | ‘The Recent’, Talbot Rice Gallery, University of Edinburgh |
| ‘Blank, Raw, Illegible. Artists' Books as Statement (1960-2022)’, Leopold-Hoesch-Museum, Düren | |
| ‘Beyond the Darkness’, Ala Scaligera at the Rocca di Angera, Varese | |
| 2022 | ‘Backwards Ahead’, Fondazione Sandretto Re Rebaudengo, Guarene |
| ‘A big announcement: Bernd Kuchenbeiser zeigt Bücher und Schallplatten’, Villa Stuck, Munich | |
| ‘Mining Photography’, Museum Für Kunst und Gewerbe, Hamburg | |
| ‘Summer Exhibition 2022’, Royal Academy of Arts, London | |
| ‘Folkwang and The City. Around the City of Essen’, Museum Folkwang, Essen | |
| ‘‘Abundant Futures in Troubled Times. Works from the TBA21 Collection’’, C3A , Córdoba | |
| ‘Visual Natures: The Politics and Culture of Environmentalism of the 20th and 21st Centuries’, Museum of Art, Architecture and Technology, Lisboa, ( (29 March 2022 ”“ 12 September 2022) ) | |
| ‘Less Human’, PinchukArtCentre, Kiev | |
| 2021 | ‘What Lies Behind’, Newlyn Art Gallery, Penzance |
| Oku-Noto Triennale, Suzu | |
| ‘Shhh Film Festival’, Oostende, Belgium, (organised by Monokino, CINEA and KAAP) | |
| ‘Global Groove’, Museum Folkwang, Essen | |
| ‘Moment.Monument. Aspects of contemporary sculpture’, Kunst Museum Winterthur, Winterthur | |
| ‘Den Frie 21 (Exhibitions)’, Den Frie Centre of Contemporary Art, Copenhagen | |
| 2020 | ‘Shipwrecks and Visions’, Cima Norma Art Festival, Torre-Blenio |
| 2019 | ‘out of order part 1’, Sammlung Haubrok, Berlin |
| ‘The TURNER’, The Royal Glasgow Institute of Fine Arts, Glasgow | |
| ‘The Seventh Continent’, 16th Istanbul Biennial, Istanbul | |
| ‘MASK In Present-Day Art’, Aargauer Kunsthaus, Aarau | |
| ‘Dig Drill Dump Fill Push Pull Empty Full’, Kunsthaus Langenthal, Switzerland | |
| ‘Viagem ao PrincÃpio: Ida e Volta. 30 anos da Coleção de Serralves’, Museo Serralves, Porto | |
| ‘Voyage to the Beginning and Back’, Museo Serralves, Porto | |
| ‘Video of the Month’, Hessisches Landesmuseum , Darmstadt | |
| ‘In the Hotseat’, KMAC Museum, Kentucky | |
| 2018 | ‘Proregress. Art in an Age of Historical Ambivalence’, 12th Shanghai Biennale, Shanghai |
| ‘Ecologies of Landscape’, Barbara Edwards Contemporary, Toronto | |
| ‘Double Take’, Last Tango, Zurich | |
| ‘From After’, Malta Contemporary Art, Malta | |
| ‘Thrill of Heights’, OK Offenes Kulturhaus, Linz | |
| ‘Den Frie Udstilling 2018’, Den Frie Centre of Contemporary Art, Copenhagen | |
| ‘Groundwork’, Goonhilly Earth Station, Cornwall | |
| Kanal-Centre Pompidou, Brussels | |
| ‘General Rehearsal’, Moscow Museum of Modern Art, Moscow | |
| ‘Chair, Chair, Chair, Lamp, Table, Bed, Sofa - Furniture by Artists’, David Risley Gallery, Copenhagen | |
| ‘Chair, Chair, Chair, Lamp, Table, Bed, Sofa - Furniture by Artists’, David Risley Gallery, Copenhagen | |
| ‘n.c.n.d.n.t.’, neugerriemschneider, Berlin | |
| ‘Artists who make music Musicians who make art’, Queen’s Park Railway Club, Glasgow | |
| ‘Darbyshire, Gander, Pica, Starling’, Hayward Gallery, London | |
| ‘Moenlight Sonata’, Kunsthal 44Moen, Askeby | |
| 2017 | ‘While I was also listening to David, Eleanor, Mariana, Genk, Jean, Mark, David, Daphne, Pierre, Shima, Simon, Zin, Christian and Virginie’, La Criée centre d’art contemporain, Renne |
| ‘Like a Moth to a Flame’, Fondazione Sandretto Re Rebaudengo per l'Arte, Torino | |
| ‘A Synchronology: the contemporary and other times’, Hunterian Art Gallery, Glasgow, (Curated by Dr Dominic Paterson) | |
| ‘Contemporary Art in Hospitals’, KØS, Køge, Denmark | |
| ‘little lower layer’, MCA, Chicago | |
| ‘The Garden - End of Times, Beginning of Times. The Present and The Future’, Aaros Triennial, Aarhus, Denmark | |
| ‘TransARTation’, The Shoe Factory Social Club, Norwich | |
| ‘Cosmic Spring’, Centre Pompidou Metz | |
| ‘Infinite Garden’, Centre Pompidou Metz | |
| ‘COLORI: L’emozione dei COLORI nell’arte’, GAM – Galleria Civica D'Arte Moderna E Contemporanea, Turin | |
| ‘Les objets domestiquent’, FRAC Nord-Pas-de-Calais | |
| 2016 | ‘The Liquid Mountain’, Museum Valkhof, Nijmegen, The Netherlands |
| ‘Slow Works: Elif Erkan, Bianca Baldi, Marina Pinsky, Inga Danysz, Lennart Lahuis, Simon Starling’, Sydney, Sydney | |
| ‘L’esprit du Bauhaus, l’objet en question’, Musée des Arts décoratifs, Paris | |
| ‘The Sun Placed in the Abyss’, Columbus Museum of Art, Columbus | |
| ‘Das Loch’, Künstlerhaus Bremen | |
| ‘As With All Bright Constellations’, Lothringer13 Halle, Munich | |
| ‘Plant Culture’, Attenborough Arts Centre, Leicester | |
| ‘The Scottish Endarkenment’, Dovecot Studios, Edinburgh | |
| ‘Radical Seafaring’, Parrish Art Museum, NY | |
| ‘Presently’, neugerriemschneider, Berlin, (curated by Tobais Rehberger) | |
| ‘Reset Modernity!’, ZKM Museum for Contemporary Art, Karlsruhe | |
| ‘Surrogates’, Griffin Art Projects, North Vancouver | |
| ‘Légende’, FRAC Franche-Comté, Besançon | |
| ‘La Camera. Sulla Materialità della fotografia’, Palazzo de'Toschi, Bologna | |
| 2015 | ‘Collected by Thea Westreich Wagner and Ethan Wagner’, Whitney Museum of American Art, New York |
| ‘Devils in the Making’, GOMA, Glasgow | |
| ‘A story within a story”¦’, Göteborg International Biennial for Contemporary Art, Göteborg, (curated by Elvira Dyangani Ose) | |
| ‘Making It’, The Space, Sevenoaks School | |
| ‘die erde, zur gleichen zeit halb so klein und doppelt so gross’, Sammlung Haubrok, Berlin | |
| ‘EPPUR SI MUOVE ART AND TECHNOLOGY, A SHARED SPHERE’, MUDAM, Luxembourg | |
| ‘IMAGINE REALITY RAY 2015 Fotografieprojekte Frankfurt / RheinMain’, MMK, Frankfurt | |
| ‘Tesla Revisited’, Vitraria Glass +A Museum, Venice | |
| ‘Re-Corbusier’, Maison La Roche - Fondation Le Corbusier, Paris | |
| ‘MetaModern’, Krannert Art Museum, University of Illinois, Urbana-Champaign | |
| ‘Traces and Remains: Inquiries into the Present’, The Coppel Collection, Mexico City | |
| 2014 | ‘I'm Yours’, Standard (OSLO), Oslo |
| ‘They Used to Call it the Moon’, Baltic Centre for Contemporary Art, Gateshead | |
| ‘One Million Years - System und Symptom’, Museum fur Gegenwartskunst, Basel | |
| ‘ART Fahrenheit 451: Sailing into the sea of oblivion’, Yokohama Triennale, Yokohama | |
| ‘GENERATION: 25 Years of Contemporary Art in Scotland’, Scottish National Gallery of Modern Art, Edinburgh | |
| ‘Body Void: Echoes of Moore in Contemporary Art’, The Henry Moore Foundation, Perry Green | |
| ‘Extraction’, AV Festival, Newcastle/Gateshead, Sunderland and Middlesbrough | |
| ‘Since 1843: in the Making’, College of Art & Design and Built Environment, Nottingham Trent University, Nottingham | |
| ‘Lens based sculpture - The change of the sculpture through photography’, Akademie der Künste, Berlin | |
| ‘Private Utopia: Contemporary Works from the British Council Collection’, British Council touring show, British Council touring exhibition. Touring to Tokyo Station Gallery, Tokyo (2014); Itami City Museum Of Art, Itami (2014); The Museum Of Art, Kochi (2014); Okayama Prefectural Museum of Art, Okayama (2015) | |
| 2013 | ‘A Whole Range of Furtively Titillating Stereotypes’, Galerie Micheline Szwajcer, Antwerp |
| ‘The Way of the Shovel’, Museum of Contemporary Art, Chicago | |
| ‘Aquatopia - The Imaginary of the Deep’, Tate St Ives, Cornwall | |
| ‘Cross Over - Photography of Science-Science of Photography’, Fotomuseum, Winterthur | |
| ‘Aquatopia - The Imaginary of the Deep’, Nottingham Contemporary, Nottingham | |
| ‘Tipping Point’, Wolverhampton Art Gallery, Wolverhampton | |
| ‘DLA Piper Series: Constellations’, Tate Liverpool, Liverpool | |
| ‘Puppet Show’, Eastside Projects, Birmingham | |
| ‘La Fabrique des Possibles’, Frac Provence-Alpes-Cote d'Azur, Marseille | |
| ‘Ja Natuurlijk’, Gemeentemuseum, Den Haag | |
| ‘Festival Island #2’, Cneai, Chatou | |
| ‘Group Show’, Jean-Gabriel Mitterrand Gallery, Paris | |
| ‘Le Pont’, Marseilles Contemporary Art Museum, Marseilles | |
| ‘Revealed’, Stonescape, Napa, CA | |
| ‘art is: new art. Reflections on Schönberg’, Arnold Schönberg Center, Vienna | |
| 2012 | ‘When Attitudes Became Form Become Attitudes’, CCA Wattis Institute, San Francisco |
| H+ projektet, Helsingborg | |
| ‘Tomorrow Was Already Here’, Museo Tamayo, Mexico City | |
| ‘Tales of the City: Art Fund International and the GoMA collection’, GOMA, Glasgow | |
| ‘On the Edge of the World: Selected works from the British Council Collection’, Oriel Myrddin Gallery, Camarthen | |
| ‘Plus de croissance : un capitalisme ideÌal”¦’, Centre d’art contemporain de la Ferme du Buisson, Marne-la-Vallée | |
| ‘Camera Work’, The Adam Art Gallery, Victoria University of Wellington, Wellington | |
| 2011 | ‘e.g.’, Kunsthaus Graz, Universalmuseum Joanneum, Graz, (with Superflex) |
| ‘Found in Translation’, Casino, Luxemburg, (Curated by Emmanuel Lambion) | |
| ‘Carlo Mollino. Maniera Moderna’, Haus der Kunst, Munich, (Curated by Chris Dercon) | |
| ‘Mystics or Rationalists?’, Ingleby Gallery, Edinburgh, (Edinburgh Art Festival) | |
| ‘Ostalgia’, New Museum, New York | |
| ‘MOMENTUM 2011’, Nordic Biennial for Nordic Contemporary Art, Moss, (6th Nordic Biennial) | |
| ‘Measuring the World. Heterotopias and Knowledge Spaces in Art’, Kunsthaus Graz, Universalmuseum Joanneum, Graz, (with Superflex) | |
| ‘Staging the Archive’, MACE Museu de Arte Contemporanea de Elvas, Portugal, Elvas, Portugal | |
| 2010 | ‘A Place Out of History’, Museo Tamayo, Mexico City |
| ‘México esperado/inesperado’, Espace de Creation Contemporaine de la Province de Hainaut, Charleroi | |
| ‘Les Lendemains d'Hier’, MACM, Montreal | |
| ‘Languages and Experimentations. Young Artists in a Contemporary Collection’, MART museum, Rovereto | |
| ‘Fall Out’, Malmö | |
| ‘BOOK SHOW’, Eastside Projects, Birmingham | |
| ‘Unsichtbare Schatten — Bilder der Verunsicherung’, MARTA Museum of Art & Design, Herford, (With Superflex) | |
| ‘Tracks, Traces and Transformations’, Nest, Den Haag | |
| 2009 | ‘Fare Mondi/Making Worlds’, 53rd Venice Biennale, Venice |
| ‘Radical Nature’, Barbican Art Gallery, London | |
| ‘Capturing Time’, Kadist Art Foundation, Paris | |
| ‘The Space of the Work and the Place of the Object’, Sculpture Center, New York | |
| ‘Altermodern’, Tate Triennalle, London | |
| ‘Free as Air and Water’, The Cooper Union, New York | |
| ‘The Quick and the Dead’, Walker Arts Centre, Minneapolis | |
| ‘Space as Medium’, Pérez Art Museum Miami, Miami, (curated by René Morales) | |
| 2008 | ‘History in the Making: A Retrospective of the Turner Prize’, Mori Art Museum, Tokyo, (Touring to Moscow Museum of Modern Art, Moscow) |
| ‘ITALIA ITALIE ITALIEN ITALY WŁOCHY’, ARCOS Museo d'Arte Contemporanea del Sannio, Benevento, Italy | |
| ‘GREENWASHING Environment: Perils, Promises and Perplexities’, Fondazione Sandretto Re Rebaudengo per l'Arte, Torino, (and Palazzo Ducale di Laurino, Parco Nazionale del Cilento, Salerno) | |
| ‘Close Up’, Fruitmarket Gallery, Edinburgh | |
| ‘Ephemera’, Green on Red Gallery, Dublin | |
| ‘What is Life — Christine Borland, Graham Fagen and Simon Starling’, The Plant Exhibition Hall, Royal Botanic Garden Edinburgh, Edinburgh | |
| ‘Objects of Value’, Pèrez Art Museum Miami, Miami | |
| ‘Amateurs’, CCA Wattis Institute, San Francisco | |
| ‘Reality Check’, Statens Museum for Kunst, Copenhagen | |
| 2007 | ‘Turner Prize: A Retrospective 1984—2006’, Tate Britain, London |
| 2nd Moscow Biennale of Contemporary Art, Moscow | |
| ‘Held Together With Water - Art from the Verbund Collection’, Austrian Museum of Applied Arts/ Contemporary Art, Vienna | |
| ‘Des mondes perdus’, CAPC, Bordeaux | |
| ‘Immagini, Forme e Natura delle Alpi’, Fondazione Gruppo Credito Valtellinese, Palazzo Pretorio, Sondrio, (curated by Danilo Eccher) | |
| ‘Still Life: Art, Ecology and the Politics of Change’, Sharjah Biennale 8, Sharjah | |
| ‘Made in Germany’, Sprengel Museum, Hannover, (Kunstverein Hannover, Hannover; kestnergesellschaft, Hannover) | |
| ‘ZPC Volet #3 entreprises singulières’, Musée d’art Contemporain du Val-de-Marne, Paris | |
| ‘The history of a decade that has not yet been named’, Biennale de Lyon, Lyon | |
| 2006 | ‘Busan Biennial’, Busan, South Korea |
| ‘Periferic 7: Focussing Iasi/Strategies of Learning’, International Biennial for Contemporary Art, Iasi | |
| ‘Ectopia: The Second ICP Triennial of Photography and Video’, International Center for Photography, New York | |
| ‘Strange I've Seen That Face Before’, Museum Abteiberg, Moenchengladbach | |
| ‘If it didn’t exist you’d have to invent it: a partial Showroom history’, The Showroom, London | |
| 2005 | ‘The Turner Prize’, Tate Britain, London, (nominee) |
| ‘Omaggio al Quadrato’, Franco Noero, Turin | |
| ‘Parallel Life’, Frankfurter Kunstverein, Frankfurt | |
| ‘Goodbye Fourteenth Street’, Gallery Casey Caplan, New York | |
| ‘Universal Experience: Art, Life, and the Tourist's Eye’, MCA, Chicago | |
| 2004 | ‘In the beginning there was the journey’, 28th Biennale de Arte de Pontevedra, Pontevedra |
| ‘Schöner Wohnen, kunst van heden voor alle dagen’, BE-PART, Platform voor actuele kunst | |
| Sao Paolo Biennale, Sao Paolo | |
| ‘LAB’, Kröller-Müller Museum, Otterlo | |
| 2003 | ‘The Moderns’, Castello di Rivoli, Rivoli |
| Franco Noero, Turin | |
| ‘Moving Pictures’, Guggenheim Museum Bilbao, Bilbao | |
| ‘OUTLOOK’, International Art Exhibition, Athens | |
| ‘Faking Real’, Neiman Gallery, Columbia University School of the Arts | |
| ‘GNS (Global Navigation System)’, Palais de Tokyo, Paris | |
| ‘Independence’, South London Gallery, London | |
| ‘Interplay’, The Moore building, Miami | |
| ‘Individual Systems’, Venice Biennale, Venice | |
| Sculpture Biennale, Münsterland | |
| Special Dédicace, Rochechouart Museum of Contemporary Art, Rochechouart | |
| ‘ZENOMAP - New Works from Scotland for the Venice Biennale’, 50th Venice Biennale, Venice | |
| ‘Hands Up, Baby, Hands Up!’, Oldenburger Kunstverein, Oldenburg | |
| 2002 | ‘Lap Dissolve’, Casey Kaplan, New York |
| ‘Summer Cinema’, Casey Kaplan, New York | |
| ‘Der Globale Complex - continental drift’, Grazer Kunstverein, Graz | |
| ‘Wrong Time, Wrong Place’, Kunsthalle Basel, Basel | |
| ‘Exchange and Transform’, Kunstverein, Munich | |
| ‘Zusammenhange herstellen’, Kunstverein Hamburg, Hamburg | |
| ‘No return, Positionen aus der Sammlung Haubrock’, Museum Abteiberg, Moenchengladbach | |
| ‘Sphere’, Sir John Soane's Museum, London | |
| ‘Barby Asante, Journey into the East’, The Showroom, London | |
| ‘Still Life’, Museo Nacional De Bellas Artes, Santiago, (British Council touring show. Touring to Museo Alejandro Otero, Caracas; Malba, Buenos Aires; Centro Cultural Parque Espana, Rosario; Museo de Arte Contemporaneo, Panama City; Museo de Arte Moderna, Ciudad de Guatemala; Museum of Contemporary Art Niteroi, Rio de Janerio; SESI, Sao Paulo) | |
| ‘My Head is on Fire but my Heart is Full of Love’, Charlottenborg Museum, Copenhagen | |
| Roma Roma Roma, Rome | |
| ‘'Happy Outsiders from London and Scotland’, Zacheta Gallery, Warsaw | |
| ‘Manifesta 4’, European Biennale of Contemporary Art, Frankfurt | |
| 2001 | ‘Experiment the Real’, Albi, France |
| ‘Silk Purse’, Arnolfini, Bristol | |
| ‘G3’, Casey Kaplan, New York | |
| ‘Words and Things’, CCA, Glasgow | |
| ‘Der Larsen Effekt’, Centre für Gegenwartskunst Linz/ Casino Luxembourg, Luxembourg | |
| ‘1998 - 2001’, DESTE Foundation, Athens | |
| ‘East Doors (North)’, Harris Museum and Art Gallery, Preston, (project) | |
| ‘Circles’, Karlsruhe, Germany | |
| ‘Let's Get to Work’, Susquehanna Art Museum, Harrisburg | |
| ‘Total Object Complete With Missing Parts’, Tramway, Glasgow | |
| ‘Squatters 2’, Witte de With, Rotterdam | |
| ‘Dévoler vivent les Frac’, Institute d'Art contemporain, Villeurbanne | |
| ‘Strategies Against Architecture II’, Laboratorio per l’Arte Contemporanea, Pisa | |
| ‘Open Country’, Musee Cantonal des Beaux-Arts, Lausanne | |
| ‘Squatters’, Serralves Foundation, Porto | |
| ‘Here and Now: Scottish Art 1990-2001’, Dundee Contemporary Arts, Dundee; Aberdeen Art Gallery, Aberdeen | |
| 2000 | ‘Spaceship’, Bluecoat Gallery, LIverpool |
| ‘If I Ruled the World’, CCA, Glasgow | |
| ‘Futureperfect’, CVA, Cardiff | |
| ‘Artifice’, DESTE Foundation, Athens | |
| Grant Selwyn Fine Art, Beverly Hills | |
| ‘Micropolitiques’, Le Magasin, Grenoble | |
| ‘Robières/ Roberies’, Marres Centre for Contemporary Art, Maastricht | |
| ‘The work in this space is a response to the existing conditions and/or work previously shown within the space’, neugerriemschneider, Berlin | |
| ‘Play-Use’, Witte de With, Rotterdam | |
| ‘The British Art Show 5’, Edinburgh; Cardiff | |
| ‘Manifesta 3’, European Biennial of Contemporary Art, Ljubljana | |
| ‘What If...’, Moderna Museet, Stockholm | |
| 1999 | ‘The Office of Misplaced Events’, 51 Cleveland St, London |
| ‘Tyrebagger Sculpture Project’, Aberdeenshire, Scotland | |
| ‘Un Certain’, ATA Centre d'Art Contemporain, Sofia | |
| ‘Thinking Aloud’, Camden Arts Centre, London | |
| ‘Dummy’, Catalyst Arts, Belfast | |
| ‘Fireworks’, De Appel, Amsterdam | |
| ‘Artist's Project’, Dundee Contemporary Arts, Dundee | |
| ‘Fang den Hut’, Galerie Eigen | |
| ‘If I Ruled the World’, Living Art Museum, Reykjavik | |
| 1998 | ‘Bad Faith’, 3 month Gallery, Liverpool |
| ‘Lost and Found’, Decima Gallery, London | |
| ‘Family’, Inverleith House, Edinburgh | |
| ‘Moderna Museet Project’, Moderna Museet, Stockholm | |
| ‘Strolling’, Museum of Modern Art at Heide, Melbourne | |
| ‘Reconstructions’, Smart Project Space, Amsterdam | |
| The Modern Institute, Glasgow at Sadie Coles HQ | |
| 1997 | ‘B.c.c.’, Cleveland and The Tannery, London |
| ‘Glasgow’, Kunsthalle Bern, Bern | |
| ‘Fishing For Shapes’, Kunstlerhaus Bethanien, Berlin | |
| ‘L'Automne dans toutes ses collections’, MAC, Marseille | |
| ‘Wish You Were Here Too’, 83 Hill Street, Glasgow | |
| ‘Nerve: Glasgow projects’, ArtSpace, Sydney | |
| 1996 | ‘After You Made Me Soft Again’, Galerie Barz, Hanover |
| ‘Once Removed’, Laure Genillard, London | |
| ‘Fishing for Shapes’, Projektraum Voltmerstrasse, Hanover | |
| ‘Kilt ou Double’, La Vigie Gallery, Nómes | |
| ‘City Limits’, Staffordshire University, Stoke on Trent | |
| ‘Sick Building’, Transmission Gallery at Globe Space, Copenhagen | |
| 1995 | ‘Maikafer Flieg’, Bunker Köln-Ehrenfeld, Köln |
| ‘Kabinett fur Zeichnung’, Kampnagel, Hamburg | |
| ‘About Place’, Collective Gallery, Edinburgh | |
| 1994 | ‘Institute of Cultural Anxiety’, ICA, London |
| ‘Oriel Mostyn Open’, Oriel Mostyn, Llandudno | |
| ‘Miniatures’, The Agency, London | |
| ‘Modern Art’, Transmission, Glasgow | |
| ‘Die Zweite Wirklichkeit Aktuelle Aspekte des Mediums Kunst’, Wilhelmspalais, Stuttgart | |
| 1993 | ‘Matter and Fact’, Collection Gallery, London |
| ‘BT New Contemporaries’, Travelling Exhibition | |
| ‘Left Luggage’, Travelling Exhibition | |
| 1992 | ‘Invisible Cities’, Fruitmarket Gallery, Edinburgh |
| ‘Gesture No. 5’, Post West Gallery, Adelaide | |
| ‘Three New Works’, Transmission, Glasgow | |
| 1991 | ‘Museum Piece’, Mackintosh Museum, Glasgow School of Art |
| ‘Hugo Boss Prize 2004’, Solomon R. Guggenheim Museum, New York | |
| ‘Camera Work’, The Adam Art Gallery, Victoria University of Wellington, Wellington |
Group Screenings
| 2024 | ‘Re-playing It Again Symposium’, CCA, Glasgow |
| 2017 | ‘Now it is Light’, Cinema São Jorge, Lisbon |
| 2016 | ‘Screening 'Project for a Masquerade (Hiroshima)'’, Noh Theatre Festival, London |
| 2013 | ‘Seven films about space and time’, neugerriemschneider, Berlin, (Screening of In Speculum) |
| Lo schermo dell'arte Film Festival, Florence, (Screening of Black Drop) | |
| Radcliff Observatory, Oxford, (Screening of Black Drop) | |
| Rotterdam International Film Festival, Rotterdam, (Screening of Black Drop) |
Talks
| 2025 | ‘Mario Merz Symposium: Freedom to have three contrasting ideas’, Merz Foundation, Turin |
Bibliography
Press
| 2025 | ‘Thatch—The Past and Future of Green Building?’, Metropolis, 01/07/2025 |
| 2024 | ‘Extreme spec: How to build a houseboat ofreeds and thatch’, Riba Journal, 17/07/2024 |
| Roddy Clarke: ‘Houseboat for Ho, Simon Starling’s modern ark’, Financial Times, 13/04/2024 | |
| 2020 | Denise Mina: ‘My Favourite Scottish Work of Art’, Fleming Collection: Scottish Art News, 12/11/2020 |
| 2019 | Zonca, Giulia: ‘L’Avvocato ricomposto. Il mondo di Gianni Agnelli riprodotto e ricucito tra Torino e Glasgow dall’artista Simon Starling’, La Stampa, 14/10/2019 |
| Liabeuf, Lucie: ‘Double Eexposition, Formes Et Fonctions Du Reenactment’, Inframince, 09/2019 | |
| ‘Conversation: Simon Starling’, Tank, 27/08/2019 | |
| Fox, Killian: ‘Simon Starling: ‘It seemed like an irresistible moment to make a show about a divided painting’’, The Observer, 24/08/2019 | |
| Gonzalez Martin, Natalia: Floorr Magazine, 19/08/2019 | |
| Liabeuf, Lucie: ‘Double exposition, formes et fonctions du reenactment’, Inframince, 2019 | |
| 2018 | Miller, Phil: Common Guild art gallery leaves its home in Douglas Gordon‘s house in Glasgow for fresh premises, The Herald, 30/11/2018 |
| ‘The LISTE Interviews: Toby Webster’, Art Review, 06/2018 | |
| Tools; The artist Simon Starling photographs Giorgio Griffa‘s studio in Turin, Frieze, 03/2018 | |
| 2016 | Sansom, Anna: ‘Journeys of a Time Traveller’, DAMN, 05/2016 |
| 2015 | Fabbris, Eva: ‘Simon Starling: Nine Feet Later’, Mousse, 12/2015 |
| 2013 | Rappolt, Mark: ‘Profile: Simon Starling’, Art Review, Issue 66 03/2013 |
| Burnside, Anna: ‘Starling Work’, Home and Interiors Scotland, 03/2013 | |
| Bembekoff, Mark: ‘Curatorial/Postcuratorial’, Palais de Tokyo, No.18 2013 | |
| 2012 | Bishop, Claire: ‘Digital Divide’, Artforum International, 09/2012 |
| Starling, Simon: The story behind an artwork, in the artist‘s own words, Modern Painters, 09/2012 | |
| 2011 | Starling, Simon: ‘Artistic Research: Project for a Masquerade (Hiroshima) - From Hard Graft to Happy Accident’, Texte zur Kunst, 06/2011 |
| Degen, Natasha: ‘Simon Starling’, Frieze, Issue 137 04/2011 | |
| Starling, Simon: ‘A Nuclear Masquerade’, Tate etc., Issue 21 03/2011 | |
| Gronlund, Melissa: ‘Simon Starling’, Catalogue Contemporary Art Magazine, Issue 6 03/2011 | |
| Jones, Jonathon: ‘Simon Starling - review’, The Guardian Online, 23/02/2011 | |
| Lowndes, Sarah: ‘Slow Dazzle’, Spike Art Quarterly, 02/2011 | |
| 2010 | Starling, Simon: ‘Micheal Stevenson, On How Things Behave’, Artforum International, 12/2010 |
| ‘Art for the World (the Expo) - The City of Forking Paths’, Shanghai World Expo, 05/2010 | |
| Johnstone, Lesley: Utopianism, Les Lendemains d‘heir (exhibition catalogue), MACM Montrèal, 05/2010 | |
| Starling, Simon: Electroretroprotomodern, Les Lendemains d‘heir, MACM Montréal, 30/04/2010 | |
| Wade Saunders & Annet Rochette: ‘Simon Starling Making Connections’, Art in America, 02/2010 | |
| 2009 | Gopnik, Blake: ‘Head north and follow the signs of contemporary times’, The Washington Post, 22/11/2009 |
| Jackson, Matthew Jesse: ‘The Quick and the Dead’, Artforum, 11/2009 | |
| Beasley, Stephen: ‘Radical Nature’, Frieze, Issue 126 10/2009 | |
| Egan, Maura: ‘Art Awards, and the Nominees Are...’, New York Time blogs, 23/09/2009 | |
| Stern, Steven: ‘The Quick and the Dead’, frieze online, 09/2009 | |
| Townshend, Emma: ‘Barbican shows how to save the planet with Radical Nature exhibition’, Times Online, 13/06/2009 | |
| Andrea Yablonsky, Linda: ‘You Had to Be There’, ArtNews, 06/2009 | |
| Gabler, Jay: ‘The Quick and the Dead’ at the Walker: A Beautiful Madhouse, Twin Cities Daily Planet, 25/04/2009 | |
| Kerr, Euan: ‘‘The Quick and the Dead’ Brings concepts to the Walker, Minnesota’, Public Radio, 24/04/2009 | |
| ‘Walker Art Center Announces Exhibition that Examines the Magic and Mysteries of Conceptual Art’, Artdaily.org, 02/04/2009 | |
| West, Richard: ‘Autoxylopyrocycloboros’, Source, Issue 58 2009 | |
| Jacobson, Alex: ‘Boston: Simon Starling’, Map, Issue 19 2009 | |
| Cotton, Michelle: ‘Close-Up’, Frieze, Issue 120 2009 | |
| Viliani (curs.): ‘The Exotic’, Kaleidoscope, Issue 01 2009 | |
| 2008 | Mahoney, Elisabeth: ‘Richard Long/Simon Starling’, Art Monthly, 11/2008 |
| Drake, Cathyrn: ‘Simon Starling: Galleria Franco Noero’, Artforum, 10/2008 | |
| Myres, Julian: ‘Amateurs’, Frieze, Issue 117 09/2008 | |
| ‘Making-of: Simon Starling Shedboatshed (Moblie Architecture No 2), 2005’, Monopol, 06/2008 | |
| McLaughlin, Bryne: ‘Simon Starling in Review: 21st-century Colonialism’, Canadian Art, 27/03/2008 | |
| Sandals, Leah: ‘Avenue Questions & Artists: Henry Moore and more’, National Post, Toronto, 06/03/2008 | |
| Enright, Robert: ‘Artist a master of ‘now you see it, now you don’t’’, The Globe and Mail, 03/2008 | |
| Wainwright, Jean: ‘Richard Long and Simon Starling’, Art World, Issue 7 2008 | |
| Vegh, Stephanie: ‘Toronto: Simon Starling’, Map, Issue 114 2008 | |
| 2007 | Downey, Anthony: ‘Simon Starling: Sustainable Photography’, Next Level, 2007 |
| 2006 | Duffy, Damien: ‘C.A.M’, Circa, Issue 115 2006 |
| Stange, Raimar: ‘The Dialectician’, Spike Magazine, Issue 07 2006 | |
| 2005 | Sharp, Jasper: ‘Man vs Nature’, Art Review, 12/2005 |
| Godfrey, Mark: ‘Simon Starling’, Frieze, Issue 94 10/2005 | |
| Reust, Hans Rudolf: ‘Simon Starling’, Artforum, 10/2005 | |
| Schwabsky, Barry: ‘Simon Starling’, Map, Issue 3 10/2005 | |
| Godfrey, Mark: ‘Image Structures: Photography and Sculpture’, Artforum, 02/2005 | |
| 2004 | Stange, Raimar: ‘Mehr oder Weniger’, Spike Magazine, 10/2004 |
| Kimmelmann, Michael: ‘Simon Starling’, The New York Times, 12/03/2004 | |
| Vogel, Carol: ‘Boss Prize Finalists’, The New York Times, 06/02/2004 | |
| Birnbaum, Daniel: ‘Transporting Visions’, Artforum, 02/2004 | |
| Jeffrey, Moira: ‘I want to ride my bicycle’, The Herald, 09/01/2004 | |
| Gioni, Massimiliano: ‘Simon Starling, The Bricoleur’, Carnet, 2004 | |
| 2003 | Ehlers, Fiona: ‘Sieben Rhododendren reisen nach Hause’, Kulturspiegel, 10/2003 |
| Fox, Dan: ‘50th Venice Bienniale’, Frieze, Issue 77 09/2003 | |
| Vetrocq, Marcia E.: ‘Venice Bienniale: Every Idea But One’, Art in America, 09/2003 | |
| Brevi, Manuela: ‘Arte eventi’, Arte, 06/2003 | |
| Vanderbilt, Tom: ‘A Thousand Words’, Artforum, 05/2003 | |
| Lorch, Catrin: ‘La Biennale di Venezia’, Kunstbulletin, 2003 | |
| Milner, Jacqueline: ‘Matthew Jones and Simon Starling’, Broadsheet, 2003 | |
| Menin, Samuele, Valentina Sansone: ‘Sculpture Forever, Contemporary Sculpture (Part I)’, Flash Art, 2003 | |
| Selvaratnam, Troy: ‘The Starling Variations’, Parkett, 2003 | |
| Dunn, Melissa: ‘The Venice Biennale: Slouching Toward Utopia’, Flash Art, 2003 | |
| 2002 | Römer, Stefan: ‘Zusammenbiegen, was das Zeug halt’, Texte zur Kunst, 12/2002 |
| Hill, Peter: ‘Double Vision’, The Sydney Morning Herald, 25/10/2002 | |
| Low, Lenny Ann: ‘Matthew Jones/ Simon Starling’, The Sydney Morning Herald, 17/10/2002 | |
| Danicke, Sandra: ‘Cereus, Kaktus aus Spanien’, Neue Zurcher Zeitung, 04/10/2002 | |
| Hohmann, Silke: ‘Die Ãœberlegenheit des Unwegs’, Frankfurter Rundschau, 14/09/2002 | |
| ‘Katkeenhaus von Simon Starling im Portikus’, Frankfurter Allgemeine Zeitung, 14/09/2002 | |
| Keil, Frank: ‘Schwimmtofu an Schweineporträt’, Frankfurter Rundschau, 07/08/2002 | |
| Mahoney, Elisabeth: ‘Into Dundee’s arty jungle, The Guardian, 11/07/2002 | |
| Klaas, Nicole and Heiko Klaas: ‘West-östliche Vereinigung’, Kieler Nachrichten, 06/07/2002 | |
| Gardner, Belinda Grace: ‘Die Tiere beten jeden Tag zum lieben Tofu’, Die Welt, 07/2002 | |
| Leffingwell, Edward: ‘Simon Starling’, Art in America, 07/2002 | |
| Gale, Iain: ‘The resurrection man’, Sunday Herald, 30/06/2002 | |
| Mansfield, Susan: ‘A Wing and a Prayer’, The Scotsman, 22/06/2002 | |
| Burton, Joanna: ‘Simon Starling’, Time Out NY, 21/03/2002 | |
| Levin, Kim: ‘Simon Starling’, The Village Voice, 13/03/2002 | |
| Gebbers, Anna-Catharina: ‘Zusammenhänge herstallen’, Artist Kunstmagazin, 03/2002 | |
| 2001 | Asthoff, Jens: ‘Simon Starling im Kunstverein’, Kunstbulletin, 10/2001 |
| ‘This Is Your Life’, Scotland on Sunday, 16/09/2001 | |
| ‘Briten landen in Berlin’, Frankfurter Allgemeine Zeitung, 05/05/2001 | |
| Weinrautner, Ina: ‘Werke mit doppeltem Boden’, Handelsblatt, 03/05/2001 | |
| Stange, Raimer: ‘Public Relations’, Kunstbulletin, 05/2001 | |
| Jeffrey, Moira: ‘CUSTOMS AND EXERCISE’, Sunday Herald, 21/01/2001 | |
| Mahoney, Elisabeth: ‘Starling/ Henningsen’, The Guardian, 18/01/2001 | |
| McKee, Francis: ‘Chicken or Egg?’, Frieze, Issue 56 2001 | |
| Rosenberg, Angela: ‘Variations On A Theme’, Flash Art, 2001 | |
| 2000 | Griese, Horst: ‘Umwege machen das Leben interessanter’, Weser Kurier, 07/12/2000 |
| Esche, Charles: ‘Undomesticating Modernism’, Afterall, Issue 1 10/2000 | |
| Mullholland, Neil: ‘If I Ruled the World’, Frieze, Issue 54 09/2000 | |
| Hedberg, Hans: ‘NU’, The Nordic Art Review, 05/05/2000 | |
| Paulli, Luca: ‘A Project for a Space’, Tema Celeste, 03/2000 | |
| Hughes, Henry: ‘Meyric, Manifesta’, Tema Celeste, 03/2000 | |
| Schultz, Deborah: ‘The Office of Misplaced Events (Temporary Annex)’, Art Monthly, 2000 | |
| 1999 | Sommer: ‘Vieldeutiges Spiel um Erinnerungen’, Leipziger Volkszeitung, 08/04/1999 |
| Kowa, Günter: ‘Der wundersame Fischzug mit der Museumsvitrine’, Mitteldeutsche Zeitung, 06/04/1999 | |
| ‘Blinky Palmero-Stipendium’, Bild, 12/01/1999 | |
| ‘Leipziger Premiere furs Palmero-Stipendium’, Leipziger Volkszeitung, 11/01/1999 | |
| Shepheard, Paul: ‘Edgeless, Modeless’, Afterall, Issue 1 1999 | |
| Tazaki, Anni L.: ‘Ready-Made Made-Ready’, Flyer, 1999 | |
| Esche, Charles: ‘Undomesticating Modernism’, Afterall, Issue 1 1999 | |
| 1998 | Sinclair, Ross: ‘Blue Boat Black’, Frieze, Issue 38 1998 |
| 1997 | Sinclair, Ross: ‘Simon Starling’, Frieze, Issue 38 1997 |
| 1996 | Felmann, Melissa: ‘Matters of Fact’, New Conceptualism in Scotland, 1996 |
| 1995 | Currah, Mark: ‘Showroom’, Time Out London, 07/1995 |
| Hunt, Ian: ‘Simon Starling’, Frieze, Issue 24 1995 | |
| Jaio, Miren: ‘Simon Starling’, Lapiz, 1995 | |
| 1994 | Morgan, Stuart: ‘The future’s not what it used to be’, Frieze, Issue 21 30/11/1994 |
| 1991 | Palmer, Roger: ‘There is no museum in the exhibition at present’, Alba, 07/1991 |
Exhibition Reviews
| 2019 | Charlesworth, J.J.: ‘Simon Starling at The Modern Institute, Glasgow’, Art Review, 10/2019 |
| Harris, Gareth: ‘Simon Starling tells the tale of a Turin car tycoon and his Old Master sliced in half’, The Art Newspaper, 16/09/2019 | |
| 2016 | Sharratt, Chris: ‘Live: Simon Starling’, frieze online, 14/09/2016 |
| Steer, Emily: ‘The Journey Not the Destination’, Elephant Magazine, No. 27 Summer 2016, 05/07/2016 | |
| Borkowski, Alex: ‘Simon Starling’, this is tomorrow, 02/06/2016 | |
| Norton, Philip: ‘A world of unexpected outcomes’, Morning Star Online, 07/05/2016 | |
| Hackett, Tom: ‘Simon Starling’, a-n The Artist Information Company, 23/03/2016 | |
| Searle, Adrian: Simon Starling review – a fabulist‘s journey, from burned boats to Babbage, The Guardian, 22/03/2016 | |
| 2013 | Searle, Adrian: ‘Ghosts in the gallery‘, The Guardian G2, 12/03/2013 |
| Hudson, Mark: ‘Rollercoaster ride into painting‘s past‘, The Daily Telegraph, 12/03/2013 | |
| ‘Tate Britain Unveils New Commission by Turner-Prize Winner Simon Starling‘, ArtLyst, 12/03/2013 | |
| ‘Turner Prize Winner Simon Starling Launches ‘Phantom Ride’ At Tate Britain‘, Huffington Post, 12/03/2013 | |
| ‘Artinfo UK‘s Top 3 Exhibitions Opening This Week‘, Artinfo, 11/03/2013 | |
| Sooke, Alastair: ‘Interview: Simon Starling‘, The Telegraph, 11/03/2013 | |
| ‘The Big Picture: Simon Starling at Tate Britain‘, BBC News, 11/03/2013 | |
| Clark, Nick: ‘Turner Prize-winner Simon Starling takes a ‘ghost train’ ride around Tate Britain’, The Independent, 11/03/2013 | |
| 2012 | Ziegler, Yvonne: ‘Simon Starling, <350 kilogrammes par metre carre>’, Kunstbulletin, 07/08/2012 |
| Pioda, Stephanie: ‘Du cote des musees‘, BEAUX ARTS MAGAZINE, 07/2012 | |
| Lachman, Dorothee: ‘du lourd‘, Poly, 07/2012 | |
| ‘Trois cent cinquante kilogrammes par metre carre‘, Artinside, 07/2012 | |
| ‘Passe et present‘, Les Dernieres Nouvelles d'Alsace, 26/06/2012 | |
| Rybalov, Daria: ‘Trois cent cinquante kilogrammes par metre carre‘, Badische Zeitung, 05/06/2012 | |
| Burri, Peter: ‘Die Alchimie des Wissens‘, programm zeitung, 06/2012 | |
| Meichler, Frederique: ‘Simon Starling tranche dans le moteur’, L'Alsace, 27/05/2012 | |
| 2011 | Doubal, Rosalie: ‘Visual Art Reviews‘, The List, 25/08/2011 |
| 2009 | Campbell-Johnston, Rachel: ‘Radical Nature at the Barbican‘, The Times, 16/06/2009 |
| Townshend, Emma: ‘Barbican shows how to save the planet with Radical Nature exhibition‘, Times Online, 13/06/2009 |
Publications
| 2024 | A Houseboat for Ho, Verlag Der Buchhandlung Walther König, Cologne |
| 2022 | A'–A', B'–B', Archivorum×M, Berlin |
| 2016 | A - Z, Mousse Publishing, Milan |
| At Twilight, The Common Guild, Japan Society, New York and Dent-de-Leone | |
| 2014 | Metamorphology, Museum of Contemporary Art Chicago |
| Pictures for an Exhibition: Titles and Notes, The Arts Club of Chicago | |
| 2013 | Black Drop: Ciné-Roman, Humboldt Books; Modern Art Oxford |
| Simon Starling: In Speculum, Monash University Museum of Art and City Gallery Wellington | |
| 2012 | Roelstraete, Dieter; Manacorda, Francesco; Harbord, Janet: Simon Starling, Phaidon Press, London/ New York |
| 2007 | THEREHERETHENTHERE (works 1997 - 2009), Musée d'Art Contemporain du Val-de-Marne (MAC/VAL) |
| 2005 | Art Now 2, Taschen, Cologne |
| Island for Weeds (Prototype), Thames & Hudson, London | |
| 2004 | Turbulenz: Portikus Projekte 2001-2004, Portikus, Frankfurt am Main |
| 2001 | Poul Henningsen, Cooper Gallery, University of Dundee, Dundee |
| Price, Elizabeth: Small Gold Medal, Book Works, London | |
| 1999 | Seven Wonders of the World, Book Works, London |
Exhibition Publications
| 2012 | Reprototypes, Triangulations and Road Tests, Thyssen-Bornemisza Art Contemporary, Vienna (with essays by Esther da Costa Meyer, Robin Mackay, Venugopal Maddipati, Mirjam Schaub and Birgit Schneider) |
| 2011 | Project for a Masquerade (Hiroshima), The Hiroshima City Museum of Contemporary Art, Hiroshima |
| Simon Starling: Recent History, Tate St. Ives & Centro de Arte Contemporáneo, St. Ives | |
| Simon Starling: Recent History, Tate St. Ives & Centro de Arte Contemporáneo, St. Ives | |
| 2010 | Les Lendemains d'Hier, Museum of Contemporary Arts, Montreal |
| Simon Starling: Project for a Masquerade (Hiroshima): The Mirror Room, The Modern Institute/Toby Webster Ltd, Glasgow | |
| 2009 | Radical Nature, Barbican Art Gallery, London |
| Reality Check, Statens Museum for Kunst, Copenhagen | |
| Simon Starling: Plant Room, Verlag fur moderne Kunst, Nurnberg | |
| Simon Starling: Under Lime, Temporäre Kunsthalle,, Berlin | |
| The Quick and the Dead, Walker Art Centre, Minneapolis | |
| 2008 | Concrete Light, Limerick City Gallery of Art, Limerick |
| Cuttings (Supplement), The Power Plant, Toronto | |
| Italia Italie Italien Italy Wlochy, Museo d'Arte Contemporanea Sannio, Benevento | |
| Richard Long and Simon Starling, Spike Island, Bristol (exhibition document) | |
| Scotland & Venice 2003 2005 2007, Scottish Arts Council/ British Council/ National Galleries of Scotland/ The Scottish Government, Edinburgh | |
| Three Birds, Seven Stories, Interpolations and Bifurcations, Galleria Franco Noero, Turin | |
| 2007 | Made in Germany, Sprengel Museum Hannover, Hannover (Short guide and catalogue) |
| Simon Starling: Nachbau, Museum Folkwang, Essen, Steidl, Goettingen (box set) | |
| The Turner Prize, Tate Publishing, London | |
| 2006 | Strange I’ve Seen That Face Before, Städtisches Museum Abteiberg, Moenchengladbach |
| [24 hr. Tangenziale], Galleria Franco Noero, Turin | |
| 2005 | Cuttings, Hatje Cantz Verlag, Ostfildern |
| Turner Prize 2005, Tate Publishing, London | |
| Universal Experience: Art, Life and the Tourists’s Eye, Museum of Contemporary Art Chicago (MCA), Chicago | |
| 2004 | Hugo Boss Prize 2004, The Solomon R. Guggenheim Foundation, New York |
| Schöner Wohnen, kunst van heden voor alle dagen, BE-PART Platform voor actuele kunst, Waregem | |
| 2003 | OUTLOOK, Cultural Olympiad, Athens |
| Simon Starling, Museo d’Arte Contemporanea Roma, Roma | |
| Simon Starling, Villa Arson and Städtische Ausstellungshalle am Hawerkamp, (eds.), Nice and Münster (Box set includes publication and visual essay "Notes on the buildings of Mr. Naujok and Mr. Jeannert") | |
| 2002 | Djungel, Dundee Contemporary Arts, Dundee |
| FLAGA 1972 - 2000, Galleria Franco Noero, Turin | |
| Happy Outsiders from London and Scotland, Zachęta Państowowa Galeria Sztuki, Warzsawa | |
| Jones/ Starling, Museum of Contemporary Art, Sydney | |
| Kakteenhaus, Portikus, Frankfurt am Main | |
| My Head is on Fire but my Heart is Full of Love, Charlottenborg Exhibition Hall, Copenhagen | |
| Still Life, British Council, London | |
| 2001 | Circles – Individuelle Sozialisation und Netzwerkarbeit in der zeitenossischen Kunst, ZKM, Karlsruhe |
| Here and Now: Scottish Art 1990-2000, Dundee Contemporary Arts, Dundee | |
| Simon Starling CMYK / RGB, FRAC Languedoc Roussillon, Montpellier | |
| Simon Starling: Inverted Retrograde Theme, Secession, Vienna | |
| [squatters], Fundação de Serralves, Porto | |
| 2000 | Front to Back, Camden Arts Centre and John Hansard Gallery, London and Southampton |
| 1999 | Simon Starling, Galerie Für Zeitgenüssische Kunst, Leipzig |
| 1998 | Double Narrative (after Robert Smithson), The Modern Institute/Toby Webster Ltd, Glasgow |
| morning star evening star, 200 Gertrude Street & Museum of Modern Art at Heide, Melbourne | |
| Project for a Modern Museum, Moderna Museet Project Room, Stockholm | |
| Reconstructions, SMART Project Space, Amsterdam | |
| 1997 | Blue Boat Black, Transmission Gallery, Glasgow |
| Transference, Kunsthalle Bern, Bern | |
| 1995 | Simon Starling, The Showroom, London |
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