Journals & Magazines
“Title TK: Shot Analysis, Contempt”
Mubi Notebook 3
2023; 92–99
“Reflections on an Exhibition: The Many Worlds of ‘No Master Territories’”
New Left Review 139
January / February 2023; 105–128
Abbreviated French translation in:
La Revue documentaires 33
2023, 37–50
“Between Art and Film: Revisiting the Exhibition Passages de l’image”
STILL: Studies on Moving Images 4
2022; Link
“Wang Bing’s 15 Hours and the Chimera of Endlessness”
Afterimage 48, no.2
2021; 34–48
Reprinted in:
Taking Measures: Usages of Formats in Film and Video Art
Edited by Fabienne Liptay
Zurich: Migros Museum für Gegenwartskunst/Scheidegger & Speiss
2023, 201–217
“Shoreline Movements”
e-flux journal 114
December 2020; Link
Excerpted and reprinted in:
What Happens Between the Knots?
Edited by Jeanne Gerrity and Anthony Huberman
San Francisco/London: CCA Wattis Institute for Contemporary Arts and Sternberg Press
2022; 295–298
“Moving Bodies: Captured Life in the Late Works of Harun Farocki”
Journal of Visual Culture, 18.3
2019; 358–377
“The Critic Lady”
Koschke 2
2019; 8–15
Revised and reprinted in:
Film Quarterly “Quorum”
10 June 2019; Link
Reprinted and French translation in:
Panorama Cinema
“The Reality-Based Community”
e-flux journal 83
June 2017; Link
Reprinted in:
Doc’s Kingdom 2018: Máquina do Mundo / World Machine
Arcos de Valdevez: Doc’s Kingdom
2018; 19–33
Swedish translation in:
Walden 11/12
Winter 2018; 2–15
Reprinted and German translation in:
Refracted Realities: Videonale.17 – Festival für Video und Zeitbasierte Kunstformen
2019; 83–96
Reprinted and Spanish translation in:
Ahogarse en un Mar de Datos / Drowning in a Sea of Data
Edited by João Laia
Madrid: La Casa Encendida
2019; 64–84
Korean translation in:
Docking 15
2019; Link
Russian translation in:
Aroundart
2022; Link
Reprinted and French translation in:
Éric Baudelaire: Make Do With, Films and Exhibitions, 2011–2022 / Éric Baudelaire: Faire avec, Films et expositions, 2011–2022
Paris: Paraguay Press
2022, 7–28
“Instant Failure: Polaroid’s Polavision, 1977–80”
Grey Room 66
Winter 2017; 6–31; Link
Winner of the 2018 Katherine Singer Kovács Essay Award from the Society for Cinema and Media Studies
Reprinted in:
Format Matters: Standards, Practices, and Politics in Media Cultures
Edited by Marek Jancovic, Axel Volmar, and Alexandra Schneider
Lüneberg: Meson Press
2020; 167–191
“Copyright and the Commons: Eileen Simpson and Ben White’s Struggle in Jerash”
Discourse 36.3
Fall 2014; 364–382; Link
Reprinted in:
The Lives of Images, Vol. 1: Repetition, Reproduction, and Circulation
Edited by Stanley Wolukau-Wanambwa
New York: Aperture
2021; 81–108
“Original Copies: How Film and Video Became Art Objects”
Cinema Journal 53, no.1
Fall 2013; 97–118; Link
Reprinted in:
Recollecting Collecting: A Film and Media Perspective
Edited Lucy Fischer
Detroit: Wayne State University Press
2023, 215–247
Excerpt reprinted in:
Moving Image
Edited by Omar Kholeif
London/Cambridge: Whitechapel Gallery/MIT Press Documents of Contemporary Art
2015; 203–205
I have a friend who knows someone who bought a video once
Barcelona/Milan: Loop/Mousse Publishing
2016; 90–103
“Brakhage’s Sour Grapes, or Experimental Film in the Art World”
Moving Image Review and Art Journal 1.1
2012; 13–26; Link
“Dial ‘M’ for Museum: The Hitchcock of Contemporary Art”
Hitchcock Annual 17
2011; 129–167
“Screening Rooms: The Movie Theatre in/and the Gallery”
Public: Art/Culture/Ideas 40
2010; 24–39; Link
“A Cinema in the Gallery, A Cinema in Ruins”
Screen 50.4
December 2009; 411–427; Link
Korean translation in:
Tigersprung
2019; Link
Edited Collections
“EXT. CINEMA – NIGHT: On Variety and Simone Barbès or Virtue”
Night Fever: Film and Photography After Dark
Edited by Shanay Jhaveri
Köln: Verlag der Buchhandlung Walther und Franz König
2024; 291–296
“Le cinéma au seuil du musée: malaise dans l’institutionnalisation”
L’Histoire d’une Histoire du cinéma
Edited by Enrico Camporesi and Jonathan Pouthier
Paris: Paris Expérimental/Centre Pompidou
2023; 42–49
“Introduction: No Master Territories”
Feminist Worldmaking and the Moving Image
Edited by Erika Balsom and Hila Peleg
Berlin and Cambridge: HKW and MIT Press
2022; 16–34
“Compression ou contrainte: Définition et mobilité des images dans le cinéma d’artiste”
La Haute et la basse définition des images: Photographie, cinéma, art contemporain, culture visuelle
Edited by Francesco Casetti and Antonioni Somaini
Milan: Éditions Mimésis
2021; 285–298
“To Narrate or Describe? Experimental Documentary Beyond Docufiction”
Deep Mediations: Thinking Space in Cinema and Digital Cultures
Edited by Jeff Scheible and Karen Redrobe
Minneapolis: University of Minnesota Press
2020; 180–196
Reprinted in:
Setzung – Wendung – Mitschrift: Dokumentation einer Arbeitsform
Edited by Moritz Klenk and Yulia Lokshina
Bonn: Universität Bonn
2021; 5–14
“Look at Mother Nature on the Run in the 1970s: Penelope Spheeris’s I Don’t Know”
Women Artists, Feminism, and the Moving Image: Contexts and Practices
Edited by Lucy Reynolds
London: Bloomsbury
2019; 138–150
“Introduction”
Artists’ Moving Image in Britain Since 1989
Edited by Erika Balsom, Lucy Reynolds, and Sarah Perks
London and New Haven: Paul Mellon Centre for Studies in British Art / Yale University Press
2019; 1–20
Co-authored with Lucy Reynolds and Sarah Perks
“On A Leaf is the Sea is a Theater”
Jonathan Schwartz: To Light, To Love, To Time
Edited by Garbiñe Ortega
Pamplona: Punto de Vista – Festival Internacional de Cine Documental de Navarra
2019; 61–67, 137–38
“Terra Cognita: Babette Mangolte’s The Sky on Location”
America: Films from Elsewhere
Edited by Shanay Jhaveri
Mumbai: The Shoestring Publisher
2019; 316–335
Danish translation in:
Balthazar 2
2018; 45–62
“The Ambivalence of Authenticity”
Film in the Present Tense: Why Can’t We Stop Talking About Analogue Film?
Edited by L. Greenfield, D.S. Phillips, K. Schroedinger, B. Speidel, and P. Widman
Berlin: Archive Books
2018; 75–78
“Watching Paint Dry”
Unwatchable
Edited by Nicholas Baer, Maggie Hennefeld, Laura Horak, and Gunnar Iversen
New Brunswick: Rutgers University Press
2019; 194–199
"Re-entering the Theatergarden Bestiarium"
Prototype d'une exposition: Variations sur Jardin-Théâtre Bestiarium
Edited by Bénédicte Godin
Paris: Cnap
2018; 112–119
“Markopoulos und die Komödie der Verteilung”
Film als Film: Theorie und Praxis im Werk von Gregory J. Markopoulos
Edited by Maja Naef and Markus Klammer
Basel: eikones
2017; 73–83
“100 Years of Low Definition”
Indefinite Visions
Edited by Martine Beugnet, Arild Fetveit, and Richard Misek
Edinburgh: Edinburgh University Press
2017; 73–89
“The Documentary Attitude”
Documentary Across Disciplines
Berlin/Cambridge: Haus der Kulturen der Welt/MIT Press
2016; 10–19
Co-authored with Hila Peleg
“Distributing Artists’ Film and Video After Digitization”
The State of Post-Cinema: Tracing the Moving Image in the Age of Digital Dissemination and Networks
Edited by Malte Hagener, Vinzenz Hediger, and Alena Strohmaier
London: Palgrave
2016; 165–180
“Cheiropoeisis: Film and Obsolescence After Indexicality”
Cinema and Contemporary Art
Edited by Francesco Federici, Vincenzo Estremo, and Alessandro Bordina
Milan: Mimesis Edizioni
2016; 87–106
“Irreprodutível: Cinema como Evento”
Cinema Apesar da Imagem
Edited by Marcus Bastos, Gabriel Menotti, and Patricia Moran
Sao Paulo: Editoria Intermeios
2016; 35–58
“The City Beautiful, The City Filmed”
Chandigarh is in India
Edited by Shanay Jhaveri
Mumbai: The Shoestring Press
2016; 200–231
“Before Virtuality: Video Projection in the 1970s”
Exhibiting the Moving Image: History Revisited
Edited by François Bovier and Adeena Mey
Zurich: JRP Ringier
2015; 78–93
Reprinted in:
Video Theories: A Transdisciplinary Reader
Edited by Dieter Daniels and Jan Thoben
New York and London: Bloomsbury
2022; 513–519
“Against the Novelty of New Media: The Resuscitation of the Authentic”
You Are Here: Art After the Internet
Edited by Omar Kholeif
Manchester: Cornerhouse and SPACE
2014; 64–75
“A Cinephilic Avant-Garde: The Films of Martin Arnold, Peter Tscherkassky and Gustav Deutsch”
New Austrian Film
Edited by Robert van Dassanowsky and Oliver Speck
New York: Berghahn Press
2011; 263–275
“Haunted by Impossibility: Louis Malle’s Phantom India,”
Outsider Films: On India 1950–2005
Edited by Shanay Jhaveri
London and Mumbai: I.B. Tauris and The Shoestring Press
2010; 124–134
Exhibition Catalogues
“Surviving Ruins”
Ali Cherri, Dreams of a Dreamless Night
Edited by Leonardo Bigazzi, Alessandro Rabottini, and Biance Stoppani
Milan: Lenz
2023, 145–160
“The Game is Up!”
Worlds: Selected Works by Ben Rivers
London: Second Run
2023, 3–17
“The Wayward Ones”
Bruce Baillie: Somewhere from Here to Heaven
Edited by Garbiñe Ortega
Bilbao: La Fabrica/Azkuna Zentroa – Alhóndinga Bilbao
2023, 69–78
“Television at the End of History”
Signals: How Video Transformed the World
Edited by Michelle Kuo and Stuart Comer
New York: Museum of Modern Art
2023, 23–29
“Some Wolves Still Survive / Il y a toujours des loups”
Éric Baudelaire: Make Do With, Films and Exhibitions, 2011–2022 / Éric Baudelaire: Faire avec, Films et expositions, 2011–2022
Paris: Paraguay Press
2022, 31–84
“The Instrument Could Be Dimmed”
Dara Birnbaum: Reaction
Edited by Lauren Cornell
Brooklyn/Annandale-on-Hudson: Dancing Foxes Press and Hessel Museum of Art
2022; 42–49
“On Christian Marclay, Chewing Gum (2016)”
The Human Condition: Media Art from the Kramlich Collection, I
Edited by Shannon Jackson
London/New York: Thames and Hudson
2022; 152–153
“The Deaths of Man”
Leslie Thornton
Edited by Natalie Bell, Dan Kidner, and Milan Ther
London/Cambridge: Sternberg Press and MIT List Visual Arts Center
2022; 38–47
“Another Year in the Life of the Crowd”
Stan Douglas: 2011 ≠ 1848
Edited by Reid Shier
Ottawa and Köln: National Gallery of Canada and Verlag der Buchhandlung Walter und Franz König
2022; 117–124
“The Chronicles of John Smith”
John Smith: Waldeinsamkeit: Films from the 21st Century
Vienna/Magdeburg: Verlag für moderne Kunst / Kunstmuseum Kloster Unser Lieben Frauen Magdeburg
2022; 12–42
“Double Vision: Joshua Bonnetta's The Two Sights”
Joshua Bonnetta: Innse Gall
Shelter Press
2021
“Girlish Pursuits”
Peggy Ahwesh: Vision Machines
Edited by Erika Balsom and Robert Leckie
Bristol/Milan: Spike Island and Mousse Publishing
2021; 14–33
“A Bouquet of Blue Flowers for Ed Atkins”
Ed Atkins: Get Life/Love’s Work
New York: New Museum
2021; 42–54
“Why Don't You Smile?”
Julie Curtiss: Monads and Dyads
London: White Cube
2021; 6–16
Reprinted in:
White Cube Companion
Edited by Honey Luard and Elaine Tam
London: White Cube
2021; 101–109
“Edgelessness”
Beatrice Gibson: Deux Soeurs
Edited by Axel Wieder
Berlin: Sternberg Press
2020; 11–18
“The Torn First Pages”
Amar Kanwar: The Torn First Pages
Carquefou: FRAC Pays de la Loire
2019; 1–49 (French) and 121–169 (English)
Reprinted and revised as:
“Ethical Constellations: On Amar Kanwar’s The Torn First Pages”
Thyssen-Bornemisza Art Contemporary: The Commissions Book
Edited by Daniela Zyman and Eva Ebersberger
Berlin: Sternberg Press
2020; 232–235
“Pay Some Attention to the Man Behind the Curtain”
Christian Marclay: Compositions
Barcelona: MACBA
2019; 219–222
“In the Company of Images: Untitled Film Stills”
Cindy Sherman
Edited by Paul Moorhouse
London: National Portrait Gallery
2019; 60–61
Artists’ entries for
Colectivo Los Ingrávidos
Ellie Ga
Adam Khalil, Zach Khalil, and Jackson Polys
Carissa Rodriguez
Whitney Biennial 2019
New York: Whitney Museum of American Art
2019; 271, 275–76, 282, 295–96
“Enclosures and Escapes”
Rachel Rose: Wil-o-Wisp
New Haven and Philadelphia: Yale University Press and Philadelphia Museum of Art
2018; 10–18
“Materializing Nationhood: Jasmina Cibic’s Nada: Acts I and II”
Commissions: European Capital of Culture Aarhus 2017
Aarhus: Aarhus European Capital of Culture
2017; 87–92
Reprinted and expanded as:
“Materializing Nationhood: The Play of Soft Power in Jasmina Cibic’s Nada Trilogy”
Jasmina Cibic: NADA
Bielefeld/Berlin: Kerber Verlag
2018; 87–95
“The New Constructivism: Harun Farocki and Erika Balsom in Conversation on Parallel I–IV”
Harun Farocki: Programming the Visible
Edited by Jane de Almeida
Sao Paulo: CINUSP and Paco das Artes
2017; 101–144
“Enjoy Weakness!: Yael Bartana and Erika Balsom in Conversation”
Yael Bartana
Lausanne: Musée Cantonale des Beaux-Arts
2017; 137–146
Reprinted in:
Yael Bartara: pre-enactments
Mumbai: Gallery MMB
2017; np
“Beyond Measure: Sarah Sze’s Timekeeper”
Sarah Sze
Copenhagen: Copenhagen Contemporary
2017; 34–38
Artists’ entries for
Basma Alsharif
Robert Beavers
Kevin Jerome Everson
James N. Kienitz Wilkins
Dani Leventhal
Beatriz Santiago Muñoz
Whitney Biennial 2017
New York/New Haven: Whitney Museum of American Art and Yale University Press
2017; 76, 82, 98, 126, 136, 174
“The Ends of Cinema”
Cinema Mon Amour: Film in Art
Aarau: Aargauer Kunsthaus
2017; 155–158
“Casters”
Lucy Raven: Edge of Tomorrow
London: Serpentine Gallery and Koenig Books
2016; 16–17
“Who Counts/What is Counted”
Aura Satz: Between the Bullet and the Hole
New York: Fridman Gallery
2016; 7–10
“Face to Face: Louidgi Beltrame’s El Brujo”
Louidgi Beltrame
Paris: SAM Art Prize
2016; np
“After Mass Culture”
Candice Breitz: Ponderosa
Stuttgart: Kunstmuseum Stuttgart
2016; 86–91
“On the Grid”
Electronic Superhighway: From Experiments in Art and Technology to Art After the Internet
London: Whitechapel Gallery
2016; 44–51
“Story/Discourse (A Note on Two Kinds of Narrativity)”
The Reluctant Narrator: Narrative Practices Across Media
Edited by Ana Teixeira Pinto
Lisbon: Museu Berardo
2014; 115–118
“Repeat Performance: The Kidnappers Foil (1936–1952/2014)”
Gareth Long: The Kidnappers Foil
Vienna: Kunsthalle Wien
2014; 7–11
Reprinted in:
Gareth Long: Kidnappers Foil
Edited by Max Fields and Andrew Hibbard
Milan: Mousse Publishing
2020; 27–41
“Chronicle of Zuidplein Summer”
Erik van Lieshout: Rotterdam Zuid/South – Home
Rotterdam: Witte de With
2014; 246–252
“Can the Image Speak?”
Horizon 3, India: Visions From the Outside
Edited by Shanay Jhaveri
Brugge: Culturcentrum Brugge
2012; 14–19
“Gareth Long: Who Invented the Desk?”
Gareth Long: Never Odd or Even
Lethbridge: Southern Alberta Art Gallery
2012; 51–62
“Ben Russell, Alchemist”
El Espacio de las Affeciones: Simposio Injerto
Edited by Eduardo Thomas
Mexico City: Ambulante Film Festival
2012; 19–25
“Cinema, Shattered”
Being Singular Plural: Moving Images from India
Edited by Sandhini Poddar
New York: Solomon R. Guggenheim Museum Publications
2010; 115–120