Renée Green: Pacing


  • Renée Green. Secret (Black and White Photographs), 1993. Photograph, 6.5 x 9.5 in. Courtesy of artist and Free Agent Media.

  • Renée Green. Begin Again, Begin Again, 2015. Installation view. MAK Center for Art and Architecture at the Schindler House, Los Angeles. Image: Joshua White. Courtesy of the artist and Free Agent Media

  • Renée Green. Spacing, 2016. Installation view, Lumiar Cité, Lisbon. Image: Daniel Malhão. Courtesy of the artist and Free Agent Media.

  • Renée Green. Placing, 2016. Installation view. Galerie Nagel Draller, Berlin. Image: Simon Vogel.

  • Renée Green. Tracing, 2016. Installation view. Ex-Chiesa de San Francesco, Fondazione Ratti, Como, Italy. Image: Agostino Osio.


Residency + Exhibition

Oct 1, 2016 – Apr 30, 2018

As the 2016–18 Institution (Building) artist, Renée Green has conceived the project entitled Pacing. Over the course of two years, Green will engage with and return to an ongoing series of questions and forms of relation.

Perceptions of time, space, place, what can and cannot be traced through our bodies and actions, have been aspects of Green's work through time; these have included her engagement with humans' spatial relations and imaginings, poetry, language, cinema, sound, color, forms, senses, movement, matter, material conditions, dreams, and memory: what remains and is affected by humans, made things and places, as well as what can be found as forms on earth, despite or in relation to what can be ascribed to human actions.

In Pacing, Green will consider relations sparked by conjunction with this particular location, as she encounters it, allowing during the invited period of engagement a variety of trajectories to emerge from myriad points of material, imaginings, and speculation.


Renée Green

Renée Green is an artist, writer, and filmmaker known for her highly layered and formally complex multimedia installations in which ideas, perception, and experience are examined from myriad perspectives. Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events her work engages with investigations into circuits of relation and exchange over time, the gaps and shifts in what survives in public and private memories as well as what has been imagined and invented.

Green's exhibitions, videos and films have been seen throughout the world in museums and art institutions, among them the MAK Center for Art + Architecture at the Schindler House, West Hollywood; the Museum of Modern Art, the Whitney Museum of American Art and the New Museum, all in New York; Musée cantonal des Beaux Arts, Lausanne; Yerba Buena Center for the Arts, San Francisco; the National Maritime Museum, Greenwich; Jeu de Paume, Paris; Portikus, Frankfurt; Centro Cultural de Bélem, and Lumiar Cité, Lisbon; Fundació Antoni Tàpies, Barcelona; Contemporary Arts Center, Cincinnati; Vienna Secession; Stichting de Appel, Amsterdam; Museum of Contemporary Art, Los Angeles, Museum Ludwig, Cologne; MACBA, Barcelona; Centre Georges Pompidou, Paris; Institute of Contemporary Art, London; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; International Center of Photography, New York & Louisiana Museum of Art, Copenhagen. Her work has also been present at the Whitney, Venice, Johannesburg, Kwangju, Berlin, Sevilla & Istanbul Biennials, as well as in Documenta 11 and Manifesta 7.

Her most recent books include Other Planes of There: Selected Writings (2014, Duke University Press, Durham), Endless Dreams and Time-Based Streams (2010, Yerba Buena Center for the Arts, San Francisco), and Ongoing Becomings (2009, Musée cantonal des Beaux-Arts, Lausanne). She is also the editor of the collection of essays Negotiations in the Contact Zone (2003, Assírio & Alvim, Lisbon) and a Professor at the MIT Program in Art, Culture and Technology, School of Architecture & Planning.

Institution (Building)

Pacing by Renée Green is part the CCVA initiative Institution (Building), a biennial invitation to artists to consider the institutional behaviors and practices of the Carpenter Center and Harvard University. In repeated visits over the course of two years to the university, artists engage through an expanded form of exhibition with various facets related to the archive, architecture and history of the Carpenter Center. Their work manifests in anything from exhibitions, events, and installations to interventions, tours, and publications, taking shape and changing during the residency.