Born 1967 in Freiburg, Germany.

Lives and works in Berlin.

Education

1996–99 Postgraduate Study Program for Film and Art at the Academy of Media Arts, Cologne
1993–96 Liberal Arts, Universität der Künste, Berlin
1987–95 Mathematics, Physics and Hydrology in Freiburg, Berlin and Santiago de Chile

Awards

2012 Capacete Residency, Brazil
2009 Goethe Institute project residency, Mexico
2008 Istanbul-Residency by Berlin Senat, Germany
2006 Bremen Award for Video Art, Germany
2002 PS1 Residency Program, United States
2000 Ars Viva Art Award, Germany

Solo Exhibitions (selection)

2014 Small Survey on Nothingness, Schering Stiftung, Berlin
2011 Aether – from cosmology to consciousness, Nouveau Festival du Centre Pompidou, Paris
2010 Voyages Extraordinaires, CRAC Alsace Lorraine, Altkirch
2008 Observatorium, Kunstverein Braunschweig
2003 Christoph Keller / Alexander Krause, Kunststiftung Baden-Württemberg, Stuttgart
2001 Encyclopaedia Cinematographica, KW Berlin

Group Exhibitions (selection)

2018 EKSTASE in Kunst, Musik und Tanz, Kunstmuseum Stuttgart, Stuttgart
2017 Sharjah Biennial 13: Tamawuj, Sharjah Art Foundation, Sharjah
Conversation Piece, Part IV, Fondazione Memmo, Rome
Anarchéologie, Centre Pompidou, Paris
2015 The Reluctant Narrator, Museu Coleção Berardo, Lisbon
Zehn Räume, drei Loggien und ein Saal, Sprengel Museum, Hannover
The Translator’s Voice, FRAC Lorraine, Metz
2013 Magic Hours, The Ridder – A House for Contemporary Art, Maastricht
Now Here is also Nowhere: Part II, The Henry Art Gallery, University of Washington, Seattle
2012 L’Institut des archives sauvages, Villa Arson, Nice
2011 Lyon Biennale – A Terrible Beauty Is Born, Lyon
Lofoten International Art Festival LIAF, Lofoten

Christoph Keller’s work constitutes an examination of the history of science and of the way in which knowledge is gathered and organized. Long-term projects concern, for instance, anthropology (in particular the history of Western European engagement with the Amazon region), fringe science and parapsychology.


Keller continuously addresses how the organization of knowledge influences our thinking, which results in the sometimes arbitrary distinctions between what is and what is not considered science. His practice includes large-scale sculptural interventions, photography, film, exhibition-making, and psychological experiments, which he documents in various media.

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