Christine Rebet
b. Lyon, France Lives and works in New York, NY & Paris, France
EDUCATION
| 2011 | MFA, Columbia University, New York, NY |
| 1996 | BFA, Central St. Martins, School of Art and Design, London, UK |
| 1991 | Art Academy, Venice, Italy |
SELECTED SOLO & TWO PERSON EXHIBITIONS
| 2023 | Reliquias, op.cit., Mexico City, Mexico |
| 2021 | Nirvana’s Chronicles, Figura Avulsa, Lisbon, Portugal |
| Escapologie, Musée d'art contemporain de Lyon, Lyon, France | |
| 2020 | Time Levitation, Parasol Unit, London, United Kingdom |
| 2018 | Thunderbird, Bureau, New York, NY |
| 2015 | Paysage Fautif, Bureau, New York, NY |
| 2014 | Melli Ink / Christine Rebet, Grieder Contemporary, Zurich, Switzerland |
| Meltingsun, AlbumArte, Rome, Italy | |
| 2011 | The Square, Marvelli Gallery Project Room, New York, NY |
| 2009 | The Black Cabinet, Le Magasin, Grenoble, France |
| 2008 | Chasers, Château des Adhémars, Montélimar, France |
| 2007 | Tiger Escape, Galerie Kamel Mennour, Paris, France |
| 2005 | Brand Band News, Art Basel, Statements Section, Basel, Swtizerland |
| The Industry is Finished, Galerie Kamel Mennour, Paris, France | |
| When Pigs Fly, Taka Ishii Gallery, Tokyo, Japan | |
| 2004 | Waitress Announcement, Galerija Gregor Podnar, Kranj, Slovenia |
| Robin Hood, Mr. Cannon Projects, Berlin, Germany | |
| See You Later, Kuttner Siebert Gallery, Berlin, Germany |
SELECTED GROUP EXHIBITIONS
| 2024 | Don’t ask where we're going, curated by Gabriela Gantenbein,Gregor Podnar, Vienna, Austria |
| 2024 | Connecter les mondes, Musée des Beaux-Arts de Lyon, Lyon, France |
| Manif d’art – The Quebec City Biennial, The Manif d’art organization, Québec, Canada | |
| 2023 | Songs from the Shore, Galerie Imane Farès, Paris, France |
| 2022 | Fantasmagoriana, Lofoten International Art Festival, Lofoten, Norway |
| Female Voices, Grieder Contemporary, Küsnacht, Switzerland | |
| 2021 | Map ≠ Territory, Green Art Gallery, Dubai, United Arab Emirates |
| DRAWING OUT, Bridget de León, Bath, United Kingdom | |
| Tropical Lab, Institute of Contemporary Arts, Singapore | |
| untitled Arrangement, Bureau, New York, NY | |
| The Drawer, Librairie Yvon Lambert, Paris, France | |
| 51e édition du Théâtre du Fort Antoine, Monaco, France | |
| Yateem Center, Manama, Bahrain | |
| 2020 | 5 Artists 5 Walls, Grieder Contemporary, Zurich, Switzerland |
| Moving Pictures, Christine Rebet: Shadows of Family Trees, Gregor Podnar, Berlin, Germany | |
| Until tomorrow: Ten Years of Bureau, Bureau, New York, NY | |
| 2019 | Animated Perspectives, French Institute Alliance Française, New York, NY |
| 2016 | The First Horizons of Juno, MASS Gallery, Austin, TX |
| DISSENT: what they fear is the light, LACE, Los Angeles, CA | |
| 2015 | The Closer I Get To The End The More I Rewrite The Beginning, Human Resources, Los Angeles, |
| Move On...! 100 Years of Animation Art, Kunsthal KAdE, Amersfoort, Netherlands | |
| It Rained Again, Bureau, New York, NY | |
| 2014 | Anniversary, Invaliden Eins Galerie, Berlin |
| 2013 | The Hollow Center, Smack Mellon, Brooklyn, NY |
| 2012 | Nothing is Forgotten, Some Things Considered, UKS, Oslo, Norway |
| Mannered Attitude, Soloway Gallery, New York, NY | |
| You never look at me from the place from which I see you, Sculpture Center, Long Island City, NY | |
| Brucennial 2012, New York, NY | |
| Tender is the Night, Marine Contemporary, New York, NY | |
| 2011 | MFA Thesis Exhibition, Fisher Landau Center for Art, Long Island City, NY |
| Tropical Lab, Institute of Contemporary Art, Singapore | |
| 2010 | The Dissolve, SITE, Santa Fe, NM |
| Brucennial 2010: Miseducation, New York, NY | |
| Habitat, 21st twenty first Gallery, New York, NY | |
| 2009 | Berlin-Paris, Wentrup, Berlin, Germany |
| Nouveau Parcours du Musée, M.A.C./V.A.L., Vitry-sur-Seine, France | |
| On From Here, Guild and Greyshkul Gallery, New York, NY | |
| Comic Strip, Musée de Sérignan, France | |
| 2008 | 8 1/2 x 11 / A4, James Fuentes, New York, NY |
| Rendezvous 08, Shanghai Art Museum, China | |
| Momentary Momentum, Kettle Yard, Cambridge, UK | |
| 2007 | Momentary Momentum, Parasol Unit, London, UK |
| Bitte Zeichen mir ein Shaft, Ittinger Kunst Museum, Switzerland | |
| Dessins en mouvement, Musée Contemporain du Val de Marne, Vitry-sur-Seine, France | |
| Rendez-vous 07, Musée d'Art Contemporain, Lyon, France | |
| In Wonderlands, Scottsdale Museum of Contemporary Art, Scottsdale, AZ | |
| French Kissin' in the USA, Moore Space, Miami, FL |
SELECTED PERFORMANCES
| 2014 | Appendix One: Methods of Nonviolent Action, Smack Mellon, Brooklyn, NY |
| Poison Lecture, International Spy Museum, Washington DC | |
| Appendix One: Methods of Nonviolent Action, UKS, Oslo, Norway | |
| 2011 | Appendix One: Methods of Nonviolent Action, Fisher Landau Center for Art, Long Island City, NY |
| Poison Lecture, Cartier Foundation, Paris, France | |
| 2010 | Poison Lecture, Edifying, X-Initiative, New York, NY |
| 2009 | Poison Lecture, Future Art Research, ASU Fringe Festival, Phoenix, AZ |
SELECTED SCREENINGS
| 2024 | Otolithe, Muharraq Nights, Alliance Française Bahrain, Muharraq, Bahrain |
| 2022 | Otolithe, Muharraq Nights, Alliance Française Bahrain, Muharraq, Bahrain |
| Lick, Stick, Leak, screening program organized by JOAN, 2220 Arts + Archives, Los Angeles, CA | |
| Metamorphoses, Anthology Film Archives, New York, NY | |
| Otolithe, Lofoten International Art Festival, Lofoten, Norway | |
| The Square, Fata Morgana Festival, curated by Béatrice Gross, Jeu de Paume, Paris, France | |
| 2020 | In the Soldier’s Head, Paréidolie, Marseille, France |
| Thunderbird, Southeastern Center for Contemporary Art, Winston-Salem, NC | |
| 2019 | Breathe in Breathe out, with Emanuele Coccia, Fondation Cartier pour l’art contemporain, Paris, France |
| Collective Mythologies, Art Basel, Basel, Switzerland | |
| UbuWeb cinema program in HILLARY: The Hillary Clinton Emails, an exhibition by Kenneth Goldsmith, organized by Francesco Urbano Ragazzi, Despar Teatro Italia, Venice, Italy | |
| Series of film screenings, Nanterre-Amandiers, Centre Dramatique National, Nanterre, France | |
| 2018 | Series of film screenings, Nanterre-Amandiers, Centre Dramatique National, Nanterre, France |
| I can call this progress to halt, Sursock Museum, Beirut, Lebanon | |
| Cinematheque Robert-Lynen, Paris, France | |
| Silencio, Paris, France | |
| 2017 | Kochi-Muziris Biennale, Kerala, India |
| 2016 | Kassel Documentary Film and Video Festival, Kassel, Germany |
| Tofifest International Film Festival, Toruń, Poland | |
| Hong Kong Film Festival, Hong Kong | |
| International Filmfestspiele, Berlin, Germany | |
| 2014 | Lullaby, Hollywood Hookah, Los Angeles, CA |
| Sound Design for Future Film, Treize, Paris, France | |
| 2011 | Animation Screening, Fruehsorge Contemporary Drawing, Berlin, Germany |
| 2010 | Animated Screen, Husets Biograf, Copenhagen, Denmark |
| For Real - 28 Utopian Projections in Public Space, Maastricht, Netherlands | |
| Decalogue: Films you can count on two hand, Winkleman Gallery, New York, NY | |
| 2008 | Berlinale Shorts Competition, Berlinale Film Festival, Berlin, Germany |
| Sound Design for Future Film, Moderna Museet, Stockholm, Sweden | |
| 2004-2007 | Trip to the world of Drawing Animation, Tokyo/Yokohama/Kyoto/Nigata/Nagoya/ Fukuoka, Japan; |
| Version Animee, BAC/Centre de l’Image Contemporaine, Switzerland 2009; Zurich Film Festival, | |
| Zurich, Switzerland; Berlinale Film Festival, Berlin, Germany; Anima’t, International Fantastic Film | |
| Festival of Catalonia, Spain; Oberhausen Film Festival, Germany; Jakarta International Film Festival, Indonesia; London Film festival, London, UK |
SELECTED BIBLIOGRAPHY & PUBLICATIONS
| 2023 | Alison Moss, ‘Rebet et Benchamma lauréats des résidences Miyu Frac Picardie,’ Le Quotidien de l’Art, September 28 |
| Christine Rebet, Escapologie, Musée d’Art Contemporain de Lyon, Silvana Editoriale, Milan | |
| 2020 | Lillian Davies, ‘Christine Rebet,’ Artforum, July/August, Vol. 58, No. 10 |
| Béatrice Gross, ‘Métamporphoses de l’animation,’ The Art Newspaper Édition Française, March, number 17, p.29 | |
| Rosemary Waugh, ’Christine Rebet: Time Levitation,’ Time Out London, p.64, February 4 | |
| Veronica Simpson, ’Christine Rebet – interview: Animation is perfect for critique: it is a minor | |
| medium, it’s not film; like drawing is not painting,’ StudioInternational.com, February 2 | |
| Sammi Gale, ‘Breathe in. Breathe out. – Christine Rebet at Parasol Unit,’ WhyNow, January 31 | |
| Jonathan McAloon, ‘Hand-Drawn Animation Is Pure Suffering, So Why Still Do It?,’ Elephant Magazine, January 28 | |
| Jackie Wullschläger, ‘Christine Rebet,’ Financial Times – FT Weekend, p.16, 18/19, January 18 | |
| 2019 | Cécile Daumas, Il y a du végétal dans l’humain, Libération, October 29 |
| Béatrice Gross, 'Les Artistes face à l'archéologie en péril,' The Art Newspaper Édition Française, April, number 7, p.43 | |
| Fold Image. apricota journal, Issue 2, Secretary Press | |
| B. Wurtz, 'Degrees of Mystery: B. Wurtz on Exhibitions Around New York,' ARTnews, February | |
| 2018 | Will Heinrich, ‘Christine Rebet,’ The New York Times, December 5 |
| Andrea K. Scott, ‘Christine Rebet,’ The New Yorker, November 30 | |
| 2017 | In "The Awakening of the Sumerian Tempestbird," in For the Gods of Girsu, Archaeopress |
| ‘Drawing Connections: Basma Alsharif in conversation with Christine Rebet,’ Objektiv Magazine, May 20 | |
| 2016 | Christine Rebet, 'Postcards to Jean-Jacques Lévêque,' Peeping Tom's Digest No. 4: Paris (Le Grand and beyond) |
| James Tarmy, ‘Eight Artworks You Should Buy at New York’s Armory Arts Week,' Bloomberg Business, March 4 | |
| 2015 | ‘The Closer I Get to the End the More I Rewrite the Beginning,’ Terremoto, December 20 |
| ‘The Closer I Get to the End the More I Rewrite the Beginning at Human Resources,’ by Simone Krug, Carla, December 2 2015 | |
| Christine Rebet as told to Joanna Fiduccia, '500 Words,' Artforum.com, June 8 | |
| Taylor Le Melle, 'Christine Rebet: Paysage Fautif,' thisistomorrow.com, June 5 | |
| ‘Christine Rebet,’ The Drawer, vol. 8, Spring, pp. 114-117 | |
| 2014 | 'Christine Rebet "Meltingsun" at AlbumArte, Rome,' Moussemagazine.com |
| 2010 | Peter Frank, ‘Blague d’Art: Moving Pictures, Frozen Music,’ The Huffington Post, October 18 |
| Robert Storr, ‘Moving Images,’ Frieze, September | |
| Phong Bui, ‘Site Santa Fe Eighth International Biennial: The Dissolve,’ The Brooklyn Rail, September 3 | |
| ‘The Dissolve,’ SITE Santa Fe’s Eighth International Biennial Exh. Catalogue | |
| 2007 | Georgina Adam, ‘France: the new wave reaches Miami Beach,’ The Art Newspaper, Dec. 6 |
| ‘Les Français séduisent Miami,’ Le Figaro, December | |
| Valérie Duponchelle, ‘Miami: l’heure de la jeune garde français,’ Le Figaro, December 8 | |
| Lillian Davies, ‘Christine Rebet: Galerie Kamel Mennour,’ Artforum, pp. 285-86, April | |
| Paul Ardenne, ‘Christine Rebet / Peter Grasner,’ Art Press, February | |
| Erin Wylie, ‘Slanted and Enchanted,’ Nylon Magazine, January | |
| 2006 | ‘Star’s Life,’ CREAM, Hong Kong |
| Midori Matsui, 'Invitation,' Japan | |
| 2005 | Midori Matsui, BT(Bijutsu-techo), Japan |
| Anaid Demir, ‘Cruelles aquarelles,’ Le Journal des Arts, June 23 | |
| Studio Voice, Japan | |
| 2004 | Eva Scharrer, “Critics’ Picks: Christine Rebet,” Artforum.com, January |
| 2003 | Jens Hoffmann, ‘Guided dreams on the Drawings of Christine Rebet,’ Catalogue, Ed. A Huge Book |
COLLECTIONS Centre Georges Pompidou, Paris, France KADIST, Paris, France; San Francisco, CA Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France