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Sebastian Acker
b. 1981 in Lichtenstein, Germany
lives and works in Berlin
Education
| 2010-12 | MFA Sculpture, Slade School of Fine Art, London |
| 2004-07 | BA (Hons) Spatial Design, Chelsea College of Arts, London |
| 2002-03 | Foundation, Chelsea College of Arts, London |
Solo Exhibitions
| 2018 | Ennis House, Black Flamingo Projects @ Fahrbereitschaft / Haubrok Foundation, Berlin |
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| 2017 | Mountain Village (with Phil Thompson), Neuer Ravensburger Kunstverein, Germany |
Selected Group Exhibitions and Screenings
| 2019 | Transpresence (screening), Studio 4413, Saint Petersburg, Russia |
| Kontext Festival, curated by Mariya Dmitrieva, Bolshoe Goloustnoe, Russia | |
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| 2018 | May the Bridges I Burn Light the Way, Exile Gallery at MANIFESTA 12, Palermo |
| Diving Into a Teacup (screening), ICA, London | |
| Mountain Village (screening), Strelka Institute/The New Normal, Moscow | |
| The Starting Point that will Also Be the Exit (screening), The Souvenir Museum, Paris | |
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| 2015 | Chelsea 10, Cookhouse Gallery/Triangle Space, London |
| Stones in a Field – Sorbus Video Week, Sorbus Galleria, Helsinki | |
| Magnolia Cube, 114 Middleton Road, London | |
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| 2014 | Sanssouci Realty Issue #1: The Latte Vision (screening), curated by Attilia Fattori Franchini and Paul Flannery, tank.tv |
| Flow, Store, London | |
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| 2013 | Nova Art Prize, Phillips Auction House, London |
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| 2012 | Ersatzmonument, C. Rockefeller Center for the Contemporary Arts, Dresden, Germany |
| The Function of the Oblique – Action, curated by Attilia Frattori Franchini, Son Gallery, London | |
| The Function of the Oblique – Resistance, curated by Attilia Frattori Franchini, No Format Gallery, London | |
| Come to Disruption, Arcadia Missa, London | |
| Come to Disruption, Tove’s Galleri – Vesterbro ConTemporary Workout Space, Copenhagen | |
| Slade Postgraduate Show, Slade School of Fine Art, London | |
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| 2011 | We Worked in Squares and Loved in Triangles, with Phil Thompson, SSE Space, London |
| Slade Interim Show, with Phil Thompson, Slade Research Centre, London | |
| Bloomsbury Festival, with Phil Thompson, Gordon Square, London | |
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| 2009 | The Ceiling Show, Supine Studios, London |
| 2007 | CAMPing Dresden, 7. Stock, Dresden, Germany |
Awards and Honours
| 2020 | Stiftung Kunstfonds, Katalogförderung for Traces of Other Places, Germany |
| 2019 | ‘Residenzpflicht’ Stipend, msk7 (supported by Senatsverwaltung Berlin), Germany |
| Kontext Residency, Dekabristen/Ministry of Foreign Affairs, Germany | |
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| 2017 | Arts Council England, project grant, UK |
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| 2013 | Nova Art Prize, UK |
| Legion TV Residency, shortlisted, UK | |
| Ideas Tap Film Fund (with Phil Thompson), UK | |
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| 2012 | Duveen Travel Scholarship (with Phil Thompson), UK |
| Land Securities Studio Award, UK | |
| Danish Arts Council, Exhibition Grant with Come to Disruption, DK | |
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| 2011 | Littoral Arts Trust, Merz Barn Residency, Cumbria, UK. |
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| 2010 | AHRC Scholarship, UK |
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| 2009 | CeRCCa Residency, Llorenc del Penedes, Spain |
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| 2008 | Jatka Project Residency, Cesky Krumlov, CZ. |
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| 2007 | 7.Stock Residency, Dresden, Germany |
Bibliography/Publications
| 2021 | Sebastian Acker, Traces of Other Places (Berlin: Kerber, 2021, ISBN 978-3-7356-0761-4 |
| 2018 | Barbara Engel (ed.), Historical versus Modern: Identity through Imitation? (Berlin: Jovis, 2018, ISBN 978-3-86859-498-0) |
| “EXILE X Summer Camp: ‘May the Bridges I burn light the way'”, O Fluxo, October 18, 2018 | |
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| 2015 | U. Ströbele, A. Greiner and J.P. Sexauer, 24h Skulptur – Notes on Time Sculptures (Berlin: Distanz, 2015, ISBN 978-3-95476-125-8) 94 |
| Martina Dlugaiczyk, “Aura für Alle”. In Die Ausstellungskopie, edited by Anette Tietenberg (Cologne: Böhlau, 2015, ISBN 978-3-412-22120-1) 99, 108 | |
| Martina Dlugaiczyk, “Surrogate Cities in China und Europa”. In Muster im Transfer, edited by Anette Tietenberg (Cologne: Böhlau, 2015, ISBN 978-3-412-22475-2) 247 | |
| Fernholme Road Living Project, Kitson Road No. 6, (London: Camberwell Press, 2015, ISBN 978-1-908971-40-1) 46 | |
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| 2014 | Pau Cata, CeRCCa 2009-2014, (Barcelona: Centre de Recerca i Creacio Casamarles, 2014, ISBN: 978-84-617-1778-1) 28-29 |
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| 2013 | Allison C. Meier, “Capturing the Chinese Copy Town Trend”, Hyperallergic, May 14, 2013 |
| Samuel Medina, “A Pair Of Artists Reveal China’s Counterfeit Cities”, FastCoDesign, May 20, 2013 | |
| Ryan O’Hanlon, “Why Is China Stealing Cities, Towns, and Buildings?”, Pacific Standard, May 16, 2013 | |
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| 2012 | Rozsa Farkas and Tom Clark, “How to Sleep Faster e2”, e-journal by Arcadia_Missa, December 2012 |
| “Slade Sculpture 2012”, print collection, published by Slade School of Fine Art, June 2012 | |
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| 2011 | “XY/Z – Sculpture 2011”, print collection, published by Slade School of Fine Art, June 2011 |
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| 2009 | Alistair Wildblood and Eugenia Ivanassevic,”Supine Studios Autumn/Winter 2009″, catalogue, November 2009 |
Talks and Lectures
| 2021 | Sebastian Acker in conversation with Duncan Ballantyne-Way, Black Flamingo Projects, Berlin |
| 2019 | Artist talk, Transpresence at Studio 4413, Saint Petersburg, Russia |
| Artist talk with msk7 / Residenzpflicht Residency, Modulare Unterkunft für Flüchtlinge, Berlin | |
| Artist talk, Kontext Festival, Bolshoe Goloustnoe, Russia | |
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| 2018 | Remote artist talk, Strelka Institute / The New Normal, Moscow |
| Fake news workshop, Institute for Strategic Dialogue, Facebook HQ, Berlin | |
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| 2014 | Visiting Artist Lecture, Contextual Practice Series, Chelsea College of Arts, London |
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| 2013 | Duveen Talk, Slade School of Fine Art, London |
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| 2012 | Artist Talk, Arcadia_Missa, London |
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| 2010 | Guest Lecture, Spaces & Narrations Lecture Series, Chelsea College of Arts, London |