Ina Blom

Wigeland Visiting Professor
CWAC 255

My fields of research are modernism/avant-garde studies and contemporary art with a particular focus on media aesthetics and the relationship between art, technology, media and politics. I have recently directed the interdisciplinary research project The Archive in Motion (2011-2015) in collaboration with media- and film scholars, and am a member of the international editorial boards of Art History. Journals of the Association of Art Historians (Wiley) and Konsthistorisk Tidsskrift (Routledge). I also work as an art critic and contribute to Artforum, Afterall, Parkett, and Texte zur Kunst.



The Autobiography of Video. The Life and Times of a Memory Technology. New York: Sternberg Press, 2016

Raoul Hausmann et Les Avant-Gardes (eds. Ina Blom, Timothy Benson, Hanne Bergius). Paris: Les Presses du réel, 2014

On the Style Site. Art, Sociality and Media Culture. New York: Sternberg Press, 2007 (2nd edition 2009)

The Name of the Game. Ray Johnson's Postal Performance, Kunsthalle Fridericianum Kassel, Stedelijk Museum Sittard, 2003

Joseph Beuys. Oslo: Gyldendal, 2001



Memory in Motion. Archives, Technology and the Social (eds. Ina Blom, Trond Lundemo, Eivind Røssaak), Amsterdam University Press (forthcoming, Oct. 2016)


Selected Articles

Passive Viewing (Thinking Television). I: Tele-Gen: Art and Television. München: Hirmer Verlag 2015, 71-86

Dream Work. Artforum International Vol. 54.(1)  September 2015, 338-349 (cover story)

The Autobiography of Video. Towards a Revisionist History of Video Art, In Critical Inquiry, Winter 2013

Inhabiting the Technosphere. Art and Technology beyond Technical Invention. In Contemporary Art. Themes and Histories, 1989 to the Present (eds. A. Dumbadze and S. Hudson), New York: Wiley-Blackwell, 2013

The Logic of the Trailer. Abstraction, Style and Sociality in Contemporary Art. In Lind (ed.) Abstraction. (Documents of Contemporary Art). MIT Press, 2013

Moving Images and the New Collectivity, in Between Stillness and Motion. Film, Photography, Algorithms, Amsterdam University Press, 2011

Media Animism. In Art and Subjecthood. The Return of the Human Figure in Semiocapitalism (eds. Birnbaum, Graw, Hirsch), New York: Sternberg Press, 2011

Spectacle versus Cinematographic Subject, in Cognitive Architecture. From Biopolitics to Noopolitics. (ed. D. Hauptmann), Rotterdam: 010 Publishers, 2010

Stil als Ort. Eine Neudefinition der Frage nach Kunst und Sozialität. In Kunsthandeln (ed. von Hantelmann et. al.) Zürich: Diaphanes Verlag, 2010

Two Chairs in the Museum. In The Quick and the Dead (ed. P. Eleey). Minneapolis: Walker Art Center Publications, 2009

Liam Gillick's Sociality. In The Anyspace Whatever. New York: Guggenheim Museum Publications, 2008

Working Class Abstractions, in Afterall. Art, Context, Enquiry #17, 2008.

How to (Not) Answer A Letter: Ray Johnson's Postal Performance, in PAJ - Journal of Performance and Art  #29 (2), MIT Press

Visual/Televisual. Ein einführender Kommentar zu einer anderen Geschichte der Videokunst. In The Expanded Eye. Sehen - entgrenzt und verflüssigt (ed. B. Curiger). Ostfildern: Hatje Cantz Verlag, 2006

Ben Vautier's Signature Acts and the Historiography of the Avant-garde. In Visible Language Journal #39 (3), 2005

"Until the Principles of Form are Applied to Democracy ..." Avant-garde Art and Populist Imagination, in The Populism Reader (ed. Ricupero et. al), New York: Sternberg Press, 2005

Too Close to the Real, in Surroundings Surrounded. Essays on Space and Science (ed P. Weibel), MIT Press, 2002

The Touch Through Time: Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-garde. In Leonardo Journal of Art, Science and Technology, #3, 2001, MIT Press

Boredom, Oblivion and The Event, in A Fluxus Reader (ed. K. Friedman) London: Adademy Editions, 1998