Jeremy Shaw (1976 North Vancouver, Canada) works in a variety of media to explore altered states and the cultural and scientific practices that aspire to map transcendental experience. 

Often combining and amplifying strategies of verité filmmaking, conceptual art, music video and scientific research, he creates a post-documentary space in which disparate belief-systems and histories are thrown into an interpretive limbo that complicates the moving image as a form of testimony.

Shaw has had solo exhibitions at Centre Pompidou, Paris, MoMA PS1, New York, Schinkel Pavillon, Berlin, and MOCA, Toronto, and been featured in international surveys such as the 57th Venice Biennale and Manifesta 11, Zurich. In 2016, Shaw won the Sobey Art Award and in 2018, he was artist-in-residence at the Hammer Museum, Los Angeles. Works by Jeremy Shaw are held in public collections worldwide including the Museum of Modern Art, New York, Centre Pompidou, Paris, Tate Modern, London, and the National Gallery of Canada.

Jeremy Shaw

Phase Shifting Index,

2020,

Centre Pompidou, Paris ,

7 channel-video-installation

Image courtesy of Jeremy Shaw and König Galerie, Berlin

Cathartic Illustration (New Covenant A, L/4),

2021,

64 x 44 x 3 cm,

screen print, silver-gilded frame

Cathartic Illustration (Impassioned Sermon R D3),

2021,

79.5 x 54.5 x 3 cm,

screen print, silver-gilded frame

Cathartic Illustration (Emotional Audience, L2),

2021,

79.5 x 54.5 x 3,

screen print, silver-gilded frame

Towards Universal Pattern Recognition (NOV 1988. PICTURE LIBRARY NA149.677),

2021,

38,1 x 46,8 x 16 cm,

Archival photo, Acrylic, Chrome

Towards Universal Pattern Recognition (Greenbelt Festival, “Faith and Feelings”. 29/8/94),

2021,

47,6 x 37,4 x 16 cm,

Archival photo, Acrylic, Chrome

Towards Universal Pattern Recognition (Brain Club. Wardour St. 17/2/92),

2021,

46,8 x 38,1 x 16 cm,

Archival black and white photo, acrylic, chrome

Unseen Potential (Psilocybe Utopia, a.2),

2021,

67,7 x 52,7 x 5 cm,

Kirlian photograph

Unseen Potential (Psilocybe Tampanesis, a.1),

2021,

67,7 x 52,7 x 5 cm,

Kirlian photograph

Phase Shifting Index,

2020,

Centre Pompidou, Paris ,

7 channel-video-installation

Image courtesy of Jeremy Shaw and König Galerie, Berlin

Installation view,Towards Universal Pattern Recognition, KÖNIG GALERIE, 2016. Image courtesy of KÖNIG GALERIE, Berlin.,

Towards Universal Pattern Recognition (Copy 9.3.91. Computers. Sep 23 1991), kaleidoscopic acrylic, chrome, archival black/white photograph, 2016, 37.5 x 42.5 x 16 cm, unique. Image courtesy of KÖNIG GALERIE, Berlin.,

Towards Universal Pattern Recognition (9.20.00 Z.N. Prayer. 2-35 Olsen), kaleidoscopic acrylic, chrome, archival colour photograph, 2016, 42.5 x 37.5 x 16 cm, unique. Image courtesy of KÖNIG GALERIE, Berlin.,

Jeremy Shaw

Degenerative Imaging (4 Years Alcohol), 2015, UV print on glow-in-the-dark vinyl on Dibond, 2015, 32" x 25",

Variation FQ (#05118) ,

2011-13/15,

25.5 x 20.4 cm,

silver gelatin print

Variation FQ,

2013,

exhibition view Schinkel Pavillion, Berlin,

Transcendental Capacity (Billboard Hot 100 - 1969),

2014,

75cm x 305.2cm x 6cm,

101 Kirlian Polaroids in frame

Unseen Potential (Yopo - Anadenanthera Peregrina),

2013,

119.5 x 91.7 cm, unique,

Kirlian Polaroid enlargement, framed

Introduction to The Memory Personality,

Single channel video installation with original soundtrack,

2012

Transcendental Capacity (Madonna - Justify My Love, 1990),

2011,

3.25” x 4.25” (8.3 cm x 10.8 cm),

Kirlian polaroid

Best Minds Part One, 2008, two channel video installation with original soundtrack, 40’00” loop, dimensions variable - Installation at Stedelijk Museum Offsite (Troeuv), Amsterdam, NL.,

DMT, 2004, 8 channel-video-installation, dimensions variable3/3 + 2AP.,