Born 1965, Vienna, Austria
Lives and works in Los Angeles, California


Substance, Galerie Buchholz, New York

Estate, Daniel Buchholz, Cologne

Imitation of Life, Art Institute of Chicago, Chicago
Renaissance Society, Chicago

Imitation of Life, Austrian Pavillion, 55th Venice Biennale, Venice, Italy
Secession, Vienna

A Village by the Sea, Galerie Daniel Buchholz, Berlin
A Village by the Sea, Delphi Filmplast, Berlin

Mathias Poledna / Florian Pumhoesl, Raven Row, London

Mathias Poledna, Portikus, Frankfurt
Marike: 1991, curated by Karthik Pandian and Mathias Poledna, curated by_Vienna 2010, Galerie Meyer Kainer, Vienna

Bonner Kunstverein, Bonn (with Christopher Williams)

Crystal Palace, New Museum of Contemporary Art, New York (cat.)

Crystal Palace, Galerie Daniel Buchholz, Cologne, Germany
Songs to Remember, Getty Research Institute, Los Angeles
Crystal Palace, Hammer Museum, Los Angeles (cat.)

Witte de Witte Center for Contemporary Art, Rotterdam, The Netherlands
Galerie Daniel Buchholz, Cologne, Germany

Richard Telles Fine Art, Los Angeles

Version, Galerie Meyer Kainer, Vienna, Austria

Museum of Modern Art Foundation Ludwig Vienna, Vienna, Austria

We’re probably just posers, it’s just that this is our pose, Richard Telles Fine Art, Los Angeles

Grazer Kunstverein, Graz, Austria


Putting Rehearsals to the Test, Vox, Montreal, Canada, curated by Sara Buchmann, Ilse Lafer, and Constanze Ruhm
Dreamlands: Immersive Cinema and Art, 1905 – 2016, Whitney Museum of American Art, New York

19th Biennale of Sydney, Sydney, Australia
What is to Come has Already Arrived, Centro Andaluz de Arte Contemporaneo, Sevilla, Spain
Proudly Presents, Museum der Moderne Salzburg, Salzburg, Austria

Figures and Prefigurations, City Gallery Prague, Prague
art is: new art, Arnold Schönberg Center, Vienna

Busan Biennale 2012, Garden of Learning, Busan, South Korea

The Activity of Sound, curated by Florian Christopher Seedorf, Grieder Contemporary Projects, Berlin
unExhibit, (with Karthik Pandian), Generali Foundation, Vienna, curated by Sabine Folie and Ilse Lafer
La Chanson, Centro Andaluz de Arte Contemporáneo, Sevilla, Spain

Modernoligies, Museu d’Art Contemporani de Barcelona, Barcelona
Round Up, Richard Telles Fine Art, Los Angeles
Quodilibet II, Galerie Daniel Buchholz, Cologne
Memories of the Future, Galerie Vaclava Spaly, Narodni, Czech Republic

Yokohama Triennial, Japan
transes, Musee departement d’art contemporain, Rochechouart
Index: Conceptualism in California from the permanent Collection, organized by Philipp Kaiser und Corrina Peipon, The Geffen Contemporary, MOCA, Los Angeles
Planetary Consciousness, curated by Christian Kravagna, Kunstraum der Universität Lüneburg, Lüneburg

L.A. Desire (Part 2), Curated by Wilhelm Schurmann, Galerie Dennis Kimmerich, Dusseldorf
How Soon is Now, curated by Pablo Fernandez Fanego, Fundacio Luis Seoane, La Coruna, Spain
For a Special Place: Documents and Works form the Generali Foundation Collection,
Austrian Cultural Forum, New York
Archaeologies of the Future, organized by Peio Aguirre, Sala Rekalde, Bilbao, Basque Country, Spain
Perspektive 07: Neuerwerbungen, Schenkungen und Wünsche der Sammlung für Gegenwartskunst im Lenbachhaus, organized by Susanne Gaensheimer, Städtische Galerie im Lenbachhaus und Kunstbau München, Munich
Projecting Time, curated by Anja Casser, Badischer Kunstverein, Karlsruhe, Germany
Collection, organized by Sabine Breitwieser, Generali Foundation, Vienna

Open Space, Art Cologne, Cologne, Germany
… und so hat Konzept noch nie Pferd bedeutet, Generali Foundation, Vienna, Austria
The Swan is Very Peacfeul..., Richard Telles Fine Art, Los Angeles
Galerie Daniel Buchholz, Koln, organized by Daniel Buchholz and Christopher Muller, Metro Pictures, New York
Why Images Now, Museum of Modern Art Foundation Ludwig Vienna, Austria
Day for Night: Whitney Biennial 2006, curated by Chrissie Iles and Philippe Vergne,
Whitney Biennial, Whitney Museum of American Art, New York (cat.)
Poor Mans’ Expression, organized by Martin Ebner und Florian Zeyfang, Arsenal, Berlin Why Images Now, organized by Matthias Michalka,
MUMOK, Vienna

No competitive offers, organized by David Lieske, artis, Den Bosch, The Netherlands
I Really Should …, curated by Stefan Kalmar, Lisson Gallery, London, England
Occupying Space: Generali Foundation Collection, organized by Sabine Breitwieser,
Witte de With, Rotterdam, The Netherlands
Das Neue II, Atelier Augarten, Vienna, Austria
Occupying Space. Generali Foundation Collection, organized by Sabine Breitwieser,
Haus der Kunst, Munich, Germany (cat.)

Double No-Feature, film screening, Austrian Film Museum, Vienna, Austria
Liverpool Biennial 2004, Tate Liverpool, Liverpool, England (cat.)
Black Friday. Exercises in Hermetics, curated by Christoph Keller; Galerie Kamm, Berlin, Germany
Quodlibet, Galerie Daniel Buchholz, Cologne, Germany
20/20 Vision, curated by Leontine Coelewij, Stedelijk Museum, Amsterdam, The Netherlands
Generative Music, curated by Johannes Fricke-Waldthausen, Kunstlerhaus Bethanien, Berlin, Germany
3rd Berlin Biennial for Contemporary Art, curated by Ute Meta Bauer, Kunstwerke Berlin, Berlin, Germany (cat.)

Mixtapes, curated by Matthew Higgis, CCAC Wattis Institute for Contemporary Art, San Francisco
History Lesson Part II, Film program organized by Mathias Poledna, Museum of Modern Art, New York
Foundation Ludwig Vienna, Vienna, Austria
Adorno: The Possibility of the Impossible, curated by Vanessa Joan Muller, Nicolaus Schafhausen; Frankfurter Kunstverein, Frankfurt, Germany (cat.)
Streik, curated by Carina Plath; Westfalischer Kunstverein, Munster, Germany

Tu m’, Galerie Meyer Kainer, Vienna, Austria

Pop Unlimited?, organized by Christian Holler, Oberhausen Film Festival, Oberhausen, Germany

Some things to be seen or taking place not necessarily related to each other, MAK Center for Art and Architecture Los Angeles, Los Angeles
Einblicke in die Sammlung, Generali Foundation, Vienna, Austria
Moving Images. Film – Reflexion der Kunst, curated by Jan Winckelmann, Dirk Luckow;
Galerie fur Zeitgenossische Kunst Leipzig, Leipzig, Germany

The century of artistic freedom, curated by Robert Fleck, Secession, Vienna, Austria (cat.)
The making of, organized by Mathias Poledna, Generali Foundation, Vienna, Austria (cat.)

Zones of disturbance, curated by Silvia Eiblmayr, Steirischer Herbst, Marieninstitut, Graz, Austria
Postproduktion, Generali Foundation, Vienna, Austria
Scan, Video screening, Galerie Daniel Buchholz, Cologne, Germany
Film Titel Video, organized by Matthias Michalka and Hemma Schmutz, Depot, Vienna, Austria

Complexul Muzeal, curated by Judith Angel, Art Museum Arad, Arad, Romania
Manifesta 1, curated by Rosa Martinez, Viktor Misiano, Andrew Renton, Hans-Ulrich Obrist; Rotterdam, The Netherlands
White Cube/Black Box, Generali Foundation, Vienna, Austria (cat.)

Fast Forward Rewind – 15 Jahre 1980, Kunstverein Munchen, Munich, Germany

Services: Conditions and Relations of Project Oriented Artistic Practice, organized by Andrea Fraser, Helmut Draxler; Depot, Vienna, Austria
Aperto, Forum Stadtpark Prag, Prague, Czech Republic

Backstage, curated by Stephan Schmidt-Wulffen, Kunstverein in Hamburg, Hamburg, Germany (cat.)
On taking a normal situation and retranslating it into overlapping and multiple readings of conditions past and present, curated by Yves Aupetitallot, Iwona Blazwick, Carolyn Christov-Bakargiev, Museum van Hedendaagse Kunst Antwerpen (MUHKA), Antwerp, Belgium (cat.)

Kontext Kunst, curated by Peter Weibel, Steirischer Herbst, Neue Galerie, Graz, Austria (cat.)
Unite, (project coordination), curated by Yves Aupetitallot, Unite d’Habitation, Firminy, France (cat.)
Reform, book presentation, organized by Ute Meta Bauer, Kunstlerhaus Stuttgart, Stuttgart, Germany
Ballgasseland, Galerie Ballgasse, Vienna, Austria; Unfair, Cologne, Germany
Amerikaner (w/ Heimo Zobernig), Forum Stadtpark Graz, Graz, Austria (cat.)

Material, Texte, Interviews, Janner Galerie, Vienna, Austria


Pinkerton, Nick, “Dreamlands: Immersive Cinema and Art, 1905 – 2016) ”, Frieze, p162-3, March
Schwendender, Martha, “What to See in New York Galleries This Week”, The New York Times,
June 1

Karpova Tinari, Anastasia, “Review: Mathias Poledna / Renaissance Society”,, Jan 8
Yama, Aren K., “Oyster Perpetual”, The Brooklyn Rail, March 5
“Mathias Poledna at The Renaissance Society, Chicago”, Mousse, January 9
Morris, Mark, “Mathias Poledna Renaissance Society / Chicago”, Flash Art online, March 23

Bracewell, Michael, “Into the Void”, Frieze, September, No. 165, pp114 – 119

Forbes, Alexander, “Venice Report: Mathias Poledna’s Ode to Animation for Austria“,, May 30, 2013
Little Star Weekly, (cover image), week of July 12
Vetrocq, E. Martha, “55th Venice Biennale“, Art in America, September 4
Balsom, Erika, “Best of 2013: Film“, Artforum, December, p62
“Venice: Mathias Poledna at The Austrian Pavillion“, Contemporary Art Daily, (web), June 16th, 2013

Ferguson, Russell, “Best of 2012: 3: Mathias Poledna, “A Village by The Sea””, Artforum, December, p218
De Rooij, Willem, “Best of 2012: 6: Mathias Poledna/Florian Pumhoesl“, Artforum, December, p245

Winklbauer, Andrea, “Das Nichtausstellen ausstellen“, Zuercher Zeitung, July 2011, p.42

Geymuller, Maximilian, “The Murky Flow of History”, Spike Quarterly, Spike #26 2010, p. 42-51
Pearce, Daniel, “Active Desire: all we ever wanted at EFA”,, November 17, 2010

Lutticken, Sven, “Against the Wall: On Mathias Poledna and Christopher Williams at the Bonner Kunstverien”, Texte zur Kunst, p. 121-123 & 162-166.
“A Concerted Overview”, Kaleidoscope, Issue 01, March – April 2009, p. 46 – 51

Poledna, Mathias, “Best of 2008” Artforum, December, p. 99.
“Three M Project: Mathias Poledna,” New Museum Paper, Fall/Winter 2008, New York, p. 9

de Ruyter, Thibaut, “Mathias Poledna Actualite, 2001,” Art Press Magazine, Paris, France, May, June, July 2007, pps. 86-90.
“Mathias Poledna. Version,” essay by Juliane Rebentisch; Galerie Daniel Buchholz: Cologne 2007 (cat.)
Vergne, Phillippe, Ice Cream: Contemporary Art in Culture, Phaidon Press: London
“Mathias Poledna. Crystal Palace,” essays by Russell Ferguson, Christian Kravagna; Hammer Museum, Museum of Contemporary (cat.)
Art Chicago, New Museum of Contemporary Art: Los Angeles/Chicago/New York 2007 (cat.)

Sabeth Buchmann, “Im Zeichen der Arbeit,” in: Alexander Alberro, Sabeth Buchmann (eds.), Art After Conceptual Art, Generali Foundation, MIT Press: Cambridge, Mass. 2006
Mathias Poledna. Western Recording,” essays by Alexander Alberro/Nora M. Alter, Tom Holert, Museum of Modern Art Foundation
Ludwig Vienna, Witte de With Publishers, Rotterdam: Vienna/Rotterdam 2006 (cat.)
Janneke Wesseling, “Poledna test de grenzen tussen echt en kopie,” NRC Handelsblad, May 27
“Whitney Biennial 2006: Day for Night,” edited by Chrissie Iles and Philippe Vergne, Whitney Museum of American Art: New York 2006 (cat.)

Aram Lintzel, “Spiralen der Erinnerung,” Texte zur Kunst, December 2005
Pamela M. Lee, “History Channel: The Art of Mathias Poledna,” Artforum, November 2005
Diedrich Diederichsen, “Modules of the Eternal Song,” The Colonial, Fall/Winter 2005
Daniele Perra, “Interview with Mathias Poledna,” Tema Celeste, November/December 2005
Jan Tumlir, “Mathias Poledna: Richard Telles Fine Art,” Artforum, May 2005
Christian Kravagna, “Eintanzen. Mathias Poledna in der Galerie Meyer Kainer, Wien, Texte zur Kunst, March 2005

Tom Morton, “Liverpool Biennial,” Frieze, Issue 87, November December 2004
Georg Schollhammer, “Interview with Mathias Poledna,” Metropolis M, Issue 4, 2004
Leontine Coelewij, “20/20 Vision,” Stedelijk Museum Bulletin 2/3, 2004
Martin Germann, “Mathias Poledna,” Stedelijk Museum Bulletin 2/3, 2004
Carles Guera, “Berlin cero cuatro,” Culturas (La Vanguardia), Issue 95, 14/04/04
Sonia Campagnola, “1989: Berlino anno zero,” Flash Art, April/May 2004
Ben Borthwick, “3rd Berlin Biennial,” The Wire, Issue 242, April 2004
Thomas Wulffen, “3. Berlin-Biennale fur Zeitgenossische Kunst,” Artforum, Issue 169, March/April 2004
Lars Bang Larsen, “Imod tidsanden,” Sogeemne, 03/03/04
Angela Vettese, “Una Biennale quasi illeggibile,” Il Sole 24 Ore, 22/02/04
Domeniek Ruyters, “Zelfgenoegzaam en sadistisch Berlijn,” De Volkskrant, 18/02/04
“3rd Berlin Biennial for Contemporary Art,” edited by Ute Meta Bauer; Cologne: Verlag der Buchhandlung Walther Konig Koln, 2004 (cat.)
Brigitte Werneburg, “Das grobe Topical,” die tageszeitung, 16/02/04
Martin Busser, “Badly organized,” konkret, Heft 1, January 2004

Helmut Draxler, “Working On What Has Been Missed,” Springerin, Band VI, Heft 4/03
Silke Hohmann, “Nah am Nichts,” Frankfurter Rundschau, 30. 11. 03
Vanessa Joan Muller, Nicolaus Schafhausen (eds.); “Adorno. The Possibility of the Impossible,” texts by Isabelle Graw, Georg Schollhammer;
New York: Lukas & Sternberg, 2003 (cat.)
Sabine Breitwieser (ed.), “Occupying Space. Generali Foundation Collection,” Vienna/Cologne/New York: Generali Foundation, Verlag der Buchhandlung Walther Konig Koln, D.A.P New York 2003 (cat.)
Jan Tumlir, “Mathias Poledna,” Frieze, Issue 71, April 2003
Philip Sherburne, “Mixtapes,” The Wire, Issue 230, April 2003

“Mathias Poledna. Actualite,” texts by Pamela M. Lee, Diedrich Diederichsen; Frankfurt: Revolver-Archiv fur aktuelle Kunst, 2002 (cat.)

Franz Nieglhell, “Ethno Studien uber Pop und Medien,” Der Standard, 14./15. August 2001
Reinhard Braun, “Ein Modell das unaufhorlich einsturzt,” Camera Austria International, 75, 2001
Matthias Dusini, “Mathias Poledna,” Artforum, November 2001
Sabeth Buchmann, “Varispeed,” Texte zur Kunst, December 2001, 11. Jahrgang, Heft 44
Christian Holler, “How to Start a Beat. Zu Mathias Polednas Ausstellung Actualite,” Jahreskatalog Grazer Kunstverein, 2001

Christian Kravagna, “The making of,” Springerin, Band V, Heft, 1/99
Christian Meyer, Mathias Poledna (eds.); “Sharawadgi,” texts by George Baker, Diedrich Diederichsen,Holler, Christian
Krawagna, Miwon Kwon, Mark Rakatansky, Vienna/Cologne: Felsenvilla, Verlag der Buchhandlung Walther Konig Koln 1999 (cat.)

Vitus H. Weh, “The making of,” Artforum, Bd. 140, April-June 1998
Yvonne Volkart, “Die andere Seite (der Kritik),” Texte zur Kunst, June 1998
Andrea Fraser, “The writing of,” Texte zur Kunst, June 1998
Mathias Poledna (ed.), “The making of,” text by Christian Holler, interviews by Sabeth Buchmann,
Nicolas Tobier, Vienna/Cologne: Generali Foundation, Verlag der Buchhandlung Walther Konig, Koln, 1998 (cat.)
Robert Fleck, “Positionen der neuziger Jahre,” in: Das Jahrhundert der kunstlerischen Freiheit, Munchen: Prestel Verlag 1998

Helmut Draxler, “Geschichte hoch 2,” in: Scan, Folder, 1997
Christian Holler, “Pop-Synthetik und Crossover-Analytik,” in: Scan, Folder, 1997
Christian Holler, “Hinter den Disziplinen,” Springer, Band 3, Heft, 1/97
Anne Philippi, “Punkrock aus der Kiste,” taz Hamburg, October 2, 1997

Yvonne Volkert, “Complexul Muzeal,” Springer, Band 2, Heft, 4/96

Martin Posset, “Subkulturelle Praxis revisited,” Munchner Stadtanzeiger, October 1995

Jochen Becker, “L’art pour l’institution,” Artforum, Bd. 125, January/February 1994
Christian Kravagna, “Kontext Kunst,” Artforum, Bd. 125, January/February 1994
Peter Weibel (ed.), “Kontext Kunst,” Cologne: DuMont-Verlag, 1994 (cat.)
Michael Hubl, “On taking a normal situation,” Artforum, Bd. 125, January/February 1994
Markus Bruderlin, Catalog “Aura,” Secession, 1994

Jan Fonce (ed.), “On taking a normal situation and retranslating it into overlapping and multiple  readings of conditions past and present,” Antwerp: Eric Antonis, 1993 (cat.)
“Mathias Poledna. Cut,” Antwerp: Museum Van Hedendaagse Kunst Antwerp, 1993 (cat.)
Stephan Schmidt-Wulffen (ed.)
“Backstage,” Kunstverein in Hamburg, Kunsthalle Luzern, 1993 (cat.)

Mathias Poledna, Heimo Zobernig (eds.), “Amerikaner,” Graz: Forum Stadtpark, 1992 (cat.)
“Mathias Poledna. Reform,” Stuttgart/Vienna: Kunstlerhaus Stuttgart, Janner Galerie, 1992 (cat.)

“Material, Texte, Interviews,” Vienna: Janner Galerie, 1991 (cat.)


Substance, essays by Bennett Simpson, Amy Knight Powell, Andrew Stefan Weiner, Solveig Øvstebø, The Renaissance Society, at The University of Chicago, Chicago.

Imitation of Life, essays by Esther Leslie, Jesper Sharp, and Dietrich Diederichsen, published by Distanz for the 55th Venice Biennale, Venice, Italy.

Mathias Poledna: Version, essay by Juliane Rebentisch; Galerie Daniel Buchholz: Cologne.

Mathias Poledna: Western Recording, essays by Alexander Alberro/Nora M. Alter,
Tom Holert, Museum of Modern Art Foundation, New York.

Mathias Poledna. Actualite, texts by Pamela M. Lee, Diedrich Diederichsen; Frankfurt: Revolver – Archiv fur aktuelle Kunst.