Artist Curriculum Vitae Contact: Jeniusham77@gmail.com
EDUCATION & TRAINING
10/2010 – 03/2012
Ludwig Maximilian University of Munich Munich, D
Doctoral studies in theater and performance theory
09/2006 – 06/2008
Central European University (CEU) Budapest, H
Master of Arts in Gender Studies
08/1997 – 05/2000
The School of the Art Institute of Chicago (SAIC) Chicago, USA
Studies in painting, photography and performance art,
Bachelor of Fine Arts degree
EXHIBITIONS & SHOWS (SELECTED)
TWO FIGURES, solo exhibition of new 2-D work & accompanying opening night performance, Galerie j3fm, Hanover
A CLOSER LOOK, Gruppenausstellung, Braunschweiger Künstlerhaus, Braunschweig
DEATH & LOSS, gekürzte Version von der Performance von 2016, im Rahmen des Festival der Philosophie, Neues Rathaus, Hanover
DEATH & LOSS, a three-phase performance featuring (1) the schism of one figure into two, a parent-child, (2) attempted communication with the dead and exorcism of feeling through screaming and a dance party, and (3) loosely choreographed mirroring between performers and audience in the effort to continue the exorcism-communication through a type of semaphore. Featuring TheModernDoor. Faust Ateliergemeinschaft, Hanover
TheModernDoor Group, multi-media music performance and interactive album recording with the public, HotSpot Kunstausstellungsreihe, Faust Gelände, Hanover
TheModernDoor Group, Steine, multi-station performance collaboration between scriptwriter, F. Seyed-Saidi. Performance der TheModernDoor-Group des Drehbuchs “Steine” von F. Seyed-Saidi und A. Cyrenius, http://www.medienhaus-hannover.de/archiv.htm
GOD BLESS YOU, GEBÄRMUTTERHALS,
Lecture-performance on biological disintegration, sex, the body, its functions and operating on the body. Queeristan Autonomous Festival, Amsterdam
TheModernDoor Group (with Nick Meeter and Josh Merlis)
Debut (music) performance, multi-instrumental, multi-genre, Künstlerladen, Hanover
PRIMVS, Collaboration with Mihai Lukács
Performance based on texts by Riefenstahl and Rosenberg, “Unter der Oberfläche”, exhibiton for International Women’s Day, Stadtteilzentrum Nordstadt, Hanover
GOD BLESS YOU, GEBÄRMUTTERHALS, Lecture-performance on biological disintegration, sex, the body, its functions and operating on the body. Künstlerladen, Hanover
TheModernDoor Performance Group, Kalle von Karl, Chr. Hölzel, Tomaz Kümmel, Joshy
Group Street “Business” Performance, see: themoderndoor.tumblr.com, Muskauerstrasse 15, Berlin
NOW/MAD project performances
“Public Humiliation 3” and “Like a bit of luggage”. Collaboration with Mihai Lukács, sponsored by ERSTE Foundation/Tranzit, MuseumsQuartier Wien, Vienna, A
Jehanne Unscharf III, Performance and artist talk with Monika Bayer-Wermuth (Munich), film scholar, exhibiton “Let me play among the stars”, curated by S.M.I. Kaufmann, Projektraum LOTTE, Stuttgart, D
2012 Ana Unscharf II, the psychic split experienced by a queer subject suffering from depression and loss within the pharmo-porno-capitalism of the late 20th c. United States of Amnesia.
Solo performance, funded by Queeristan Festival for Queer Politics, Occi Club, Amsterdam, NL
Jehanne Unscharf, solo performance, combining elements of Jehanne Complex & Ana Unscharf
Collaboration with Mihai Lukács, supported by Bucharest Pride Festival
Green Hours, Bucharest, RO
Jehanne Unscharf I, solo performance as part of exhibition “Fly me to the Moon”. Artist talk with Julie Born Schwarz, Kunstarkaden Laboratorium zeitgenössischer Kunst, Munich
2011 Ana Unscharf I
Solo performance for Zinnober Kunstvolkslauf, founded by GEDOK (German and Austrian Women Artist Societies Collective) Gendered critique of USA-founded personality test for mental illness MMPI
SofaLoft artspace, Hanover
2010 Auseinandersetzung: mis-en-abîme and Performance, solo exhibition of paintings and collages, solo performance addressing violence, memory and the body
Kargah, e.V., Society, Faust Cultural Center, Hanover, D
Hier in Linden: Aktionen und Visionen
Sculpture installation for Intercultural Week in Linden-Nord City
lindenvision Projektbüro, Hanover
2008 Jehanne Complex
Performing role of Jeanne d’Arc as contemporary soldier fighting gender normativity,
Collaboration with Mihai Lukács, grant support Central European University, Budapest
Bayer-Wermuth, Dr. Monika, “The artist is present? Fragen nach einer Inszenierung der Künstlerperson in der Performance von Jeanne Hamilton”, Fly me to the Moon. Inszenierungsstrategien des Theatralen in den Künsten. Ed. Susanne M.I. Kaufmann. Exhibition catalogue, 2013.
Hannoversche Allgemeine Zeitung “Eine phantastische Konstruktion” (A grotesque construction) von Alexandra Glanz, 3 Sept. 2012, page 6.
2013 NOW/MAD project, residency with Mihai Lukacs, ERSTE Foundation/Tranzit, Quartier21, MuseumsQuartier, Wein
2008 Student Activity Grant, funding for performance Jehanne Complex, CEU, Budapest
2007-2008 Scholarship, Gender Studies Dept., CEU, Budapest
1997-2000 Presidential Fine Arts Scholarship, School of the Art Institute, Chicago
1996-1997 Fine Arts Scholarship, Rhodes College, Memphis
Publications & Reviews (written by the artist)
Hamilton, Jeanne (2009) “Joseph-Beuys-Tournee” (in German) in kestnerchronik – Buch 2. (pp. 222-224) Druckhaus Göttingen: Göttingen, Germany. Dr. Veit Görner, ed., kestnergesellschaft (Kestner Art Society and Gallery), Hanover.
“Odyssey(s) 2004,“ exhibition of young Chinese artists at Shanghai Gallery of Art, 8Days weekly magazine, Shanghai, China, 2-9 Dec., 2004
“Anita Huffington“, exhibition review, ArtNews, New York, NY, June 2003.
“Out of Our Minds“ and „Mark Hosford: Preliminaries,“ group exhibition at Zeitgeit Gallery and Fugitive Art Center respectively, Nashville, TN. Number: An Independent Journal for the Arts, Memphis, Spring 2003.
“Exhibition showcasing Impressionist artwork a lesson in innovation,“ The Commerical Appeal, Memphis, TN, USA, April 19, 2002.
“What Lies Beneath: Titillating ‘638’ peeps into chaotic realm of vulnerability,“ review of fine arts graduates from Memphis College of Art. The Commerical Appeal, Memphis, July 28, 2002.
“Multi-Culti Masquerade,“ review of Korean artist Nikki S. Lee’s work. The Commercial Appeal, Oct. 4, 2002.