Born 1966 in Rainy River, Ontario, Canada.
Lives and works in Berlin.
Education |
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| 1985–1988 | Bachelor of Arts (Hons.) Fine Art, Goldsmiths College, University of London |
Awards |
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| 2011 | Canada Council, Visual Artists’ Grant, Canada |
| Kunstpreis der Stadt Wolfsburg – Junge Stadt sieht Junge Kunst, Germany | |
| Vattenfall Contemporary Art Price, Germany | |
| 2005 | Preis der Freunde der Nationalgalerie Nomination, Germany |
| Museum für Gegenwartskunst, Germany | |
| 2002 | Cultural Grant of the Asia-Europe Foundation (ASEF), Singapore |
| 1997 | Turner Prize Nomination, Tate Britain, United Kingdom |
| 1994 | Artist Residency (two months), ARCUS-project, Japan |
| 1989 | Whitechapel Artists’ Award, United Kingdom |
Solo Exhibitions |
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| 2019 | Anima Vectorias, MAAT, Lisbon |
| Heavy Metal Stack of Six, Serralves Museum of Contemporary Art, Porto | |
| 2017 | Angela Bulloch, Omi International Arts Center, The Fields Sculpture Park, Ghent, NY |
| Large Blue Music Listening Station, artgenève Salon d'Art, Geneva | |
| 2016 | Considering Dynamics & The Forms of Chaos, Sharjah Art Museum, Sharjah |
| 2012 | Short Big Drama, Witte De With, Rotterdam |
| 2011 | Time & Line, Städtische Galerie, Wolfsburg |
| Information, Manifesto, Rules And Other Leaks…, Vattenfall Contemporary Art Prize, Berlinische Galerie, Berlin | |
| 2008 | The Space that Time Forgot, Städtische Galerie im Lenbachhaus, Munich |
| 2006 | Angela Bulloch, The Power Plant, Toronto |
| 2005 | Vehicles, Le Consortium, Dijon |
| Angela Bulloch, Modern Art Oxford, Oxford | |
| To the Power of 4., Secession, Vienna | |
| 2002 | Angela Bulloch, Z-Point, Kunsthaus Glarus |
Group Exhibitions |
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| 2019 | |
| 2018 | A Time Capsule. Works Made by Women for Parkett, 1984 – 2017, Parkett Exhibition Space, Zurich |
| Double Lives. Visual Artists Making Music, mumok Museum Moderner Kunst Stiftung Ludwig Wien, Vienna | |
| Always Different. Always the Same, Bündner Kunstmuseum, Chur | |
| 2017 | Mentally Yellow (High Noon), Kunstmuseum Bonn and Städtische Galerie im Lenbachhaus, Munich |
| Ugo Rondinone: I <3 John Giorno, Howl!, New York | |
| RULES, Migros Museum für Gegenwartskunst, Zurich | |
| 2016 | Development, Okayama Art Summit, Okayama |
| Night in the Museum, Wakefield, Birmingham, Leicester (touring) | |
| L’Almanach 16, Le Consortium, Dijon | |
| The Natural Order of Things, Fundacíon Jumex, Mexico City | |
| 2015 | Walk the Line, Kunstmuseum Wolfsburg |
| I Love John Giorno, Palais de Tokyo, Paris | |
| 1984–1999 The Decade, Centre Pompidou-Metz | |
| 2014 | Datascape. What You See is Not What You Get, LABoral, Centro de Arte y Creación Industrial, Gijón |
| 8th Berlin Biennale, Berlin | |
| 2013 | The Whole Earth, Haus der Kulturen der Welt, Berlin |
| Das Neue Lenbachhaus, Lenbachhaus Kunstbau, Munich | |
| 2012 | Turbulences, L’espace culturel, Louis Vuitton, Paris |
| Un Nouveau Festival, 3e Edition, Centre Pompidou, Paris | |
| 2008 | theanyspacewhatever, Solomon R. Guggenheim Museum, New York, NY |
Commissions |
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| 2016 | Radiance, Guy’s Hospital, London |
| 2014 | Cipher of L, Rolls-Royce Motor Cars, London |
| 2013 | Blowing in the wind…, FRAC Nord-Pas de Calais / AP2, Dunkirk |
Solo Exhibitions |
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| 0 | Animal Vegetable Mineral |
Angela Bulloch’s work spans many media, manifesting her interest in systems, patterns and rules, as well as her preoccupation with the history of shapes and human interaction. The Pixel Boxes have become her most familiar work: Initially fabricated in beech wood with a glass front screen, their softly changing and pulsing colors distill and abstract complex visual patterns into simple shifting monochromes. Her series of Night Sky works, begun in 2008 on occasion of theanyspacewhatever at the Solomon R. Guggenheim Museum, New York, depicts existing constellations from a perspective other than Earth, simulated with a 3D stellar cartography program.
The recent series of sculptures, known as Stacks, combines her interest in the logic of geometry and seriality with a graphic quality. The appearance of the sculpture shifts according to one’s point of view: from one side the irregular aspect dominates, while from another the impression of a certain totemic regularity prevails.
