Maria Marshall

2018, 1968: Sparta Dreaming Athens, curator Philippe Méaille, Château de Monsoreau-Museum of Contemporary Art, Château de Montsoreau, Montsoreau, Loire Valley. Two sides of Pankow, Berlin ( June- September) Art loft ‘Reloaded’ (October).

2017, Grace, site specific, curator Nadja Romain, Werkhalle Wiesenburg, Berlin. Freight and Volume, New York.

2017, Frankfurt Biennial. Revival, National Museum of Women in the Arts. Bright Childhood, curator Marco Hompes, Museum Villa Rot', Germany. Mixed Pickles, curator Nils Muller, Kunstraum der Michael Horbach Stiftung. 118 th edition of Verona Fieracavalli, curator Rebecca Russo (collection director of Videoinsight).

2017, Pratt film students for inclusion in Bam cinema

2016, So many steps so little time. Bruges, Belgium.

2015, Playback, Pierre Hubert collection. Shanghai, Moscow Biennial.

Marshall has recently created an Alter Ego superhero character "Thought" she uses to investigate. Her emotionally charged films eradicate war, by erasing thought, silencing "Thought", investigating meditative spaces, such as the Everest series. "Thought" dances at a Mount Everest base camp—a freedom dance, Sufi whirling all around the world and painting the noise around the mind as in Stille and Flak shown at Art Loft Berlin, Werkhalle Wiesenburg, Berlin. In Hair Sweet Hair, a site specific exhibition on the implication of hair on "Thought" includes paintings, sculptures and photography.

The roles in her films are mostly played by her own children, which adds an emotional density and intensity to the work. There is precision in the execution of the work—the mediums, light source and framing. Marshall uses techniques such as loops, zooms and slow motion, to amplify the anxiety and the obsessive side of her films.

2014, Mac's Museum Grand-Hornu, Belgium, curator Laurent Busine

2014, Manifesta 10, Hermitage Museum USSR, Alanica National Russian collection, University of Toronto gallery, Dazibao Centre, Montreal.

2013-14, Centre Pompidou festival. Ikono festival. Pinault Collection at the Conciergerie, Paris]. Triple tour, curator Anne Pierre d'Albis, LVMH Red square, Moscow, . Faking it, Metropolitan Museum of Art, New York. .

2012, In my End is my beginning, site specific installation

2012, Kunsthalle Krems, Austria, Sheffield Docfest.

2010, Apexart Gallery, New York. Centre photographique d'ile-de-France, Paris. Closed Circuit: Video and New Media, Metropolitan Museum of Art, New York. Shenzhen Biennale, Shenzhen, China.

2009, Artist spotlight.New Frontiers, Sundance Film Festival

2009, Centre D'art de Neuchatel, France. Museo de Arte Contemporaneo, Barcelona, Spain. Musee national de Céramique, Aix en Provence, France. Azerbaijan Biennale.

2006, Playground, Musée Dauphinois, Grenoble - Three Works, Herzliya Museum, Israel

2006, RUNDLEDERWELTEN, Martin-Gropius-Bau, Berlin.

2005, Fade To Black, Umea Kulturförvaltning, Umeå, Sweden.

2004, Cry Pig, Team Gallery, New York - Centre pour l'image Contemporaine, Genève.

2004, Showcase, South London Gallery, London. Dimension Folly, Galleria Civica di Arte Contemporanea, Trento, Italy. Présences et Apparitions/une visite particulière, Fonds Régional d'Art Contemporain, Marseille, France. Borusan Centre for Culture and Arts, Istanbul, Turkey. Hochschule fur Bildende Kunste, Zwischenwelten, Dresden, Germany.

2003, Salon 94, New York, Jeannie Greenberg Vandoren-Rohatn - Ruth and Bill True collection, Western Bridge, Seattle

2003, The American Effect, curator Larry Rinder, The Whitney Museum of American Art, New York. ThrowBack, Team Gallery, New York. Ninos, curator Cristina Zelich, Centro de Arte de Salamanca, Spain. Child In Time, curator Frank Hoenjet, Gemeentemuseum Helmond, Germany. Clash of Cultures, curator Kathrin Becker, Neuer Berliner Kunstverein, Berlin.

2002, Fonds Régional d'Art Contemporain, Provence-Alpes-Côte d'Azur - Palais de Tokyo, Paris - screening/talk, Centre Pompidou, Christine Macel - Team Gallery, New York - Project Space, The Swiss Institute, New York - Site Gallery, Sheffield - Göteborgs Konsthall, Göteborg

When are we there?, (2001). The viewer walks up a marble staircase, along a paneled corridor and into a room where a woman stands unflinching. The viewer examines the woman and with the gaze appears indentations on the skin, movements, as if it was invisibly touched by the viewer's gaze.{

2001, Freiburger Kunstverein, Freiburg - Team Gallery, New York

I Should Be Older Than All Of You, (2000). Using a motion control camera filming the rib cage of a child breathing, it pulls out in slow motion to reveal a child lying still in a box of red and orange silks. With the precision of a Donald Judd structure and Rothko tones. As the camera shows the whole image, slithering in the gold silk edge are snakes, reminiscent of a baroque frame. The snakes slither towards the child who is unperturbed.

2000, Galerie Vaclava Spaly, Prague - Yves St Laurent, Paris - Oliver Art Center, CCAC Institute, Oakland; San Francisco, Larry Rinder - Gallery 400, University of Illinois, Chicago

1999, Team Gallery, New York - Real Art Ways, Harford, Connecticut

When I Grow Up I Want To Be A Cooker, (1998). A two-year-old child is seen inhaling a cigarette, and blowing out perfect smoke rings.

Maria Marshall is an English/ Swiss artist (born 1966, India). In the late 1990s, she became known for her video work, working mostly with children. Her recent works include "Thought" an alter ego character who can infiltrate the mind and replace thoughts. Based on meditation, this is a multimedia work which includes video, photography painting and sculpture.