Journals & Magazines

“Wang Bing’s 15 Hours and the Chimera of Endlessness”

Afterimage 48, no.2

2021; 34–48

“The Crowd is Dead, Long Live the Crowd!”

Cinema Scope 85

2021; Link

“Shoreline Movements”

e-flux journal 114

December 2020; Link

“Moving Bodies: Captured Life in the Late Works of Harun Farocki”

Journal of Visual Culture, 18.3

2019; 358–377

“The Critic Lady”

Koschke 2

2019; 8–15

Revised and reprinted in:

Film Quarterly “Quorum”

10 June 2019; Link

“Historical Projections: The Art of Rosa Barba”

Artforum

September 2017; 268–275; Link

“The Reality-Based Community”

e-flux journal 83

June 2017; Link

Reprinted in:

The Thickness of Cinema

Edited by Mark Williams

Wellington, New Zealand: Circuit

2017; 59–74; Link

Doc’s Kingdom 2018: Máquina do Mundo / World Machine

Arcos de Valdevez: Doc’s Kingdom

2018; 19–33

Swedish translation in:

Walden 11/12

Winter 2018; 2–15

Reprinted and German translation in:

Refracted Realities: Videonale.17 – Festival für Video und Zeitbasierte Kunstformen

2019; 83–96

Reprinted and Spanish translation in:

Ahogarse en un Mar de Datos / Drowning in a Sea of Data

Edited by João Laia

Madrid: La Casa Encendida

2019; 64–84

Korean translation in:

Docking 15

2019; Link

“Instant Failure: Polaroid’s Polavision, 1977–80”

Grey Room 66

Winter 2017; 6–31; Link

Winner of the 2018 Katherine Singer Kovács Essay Award from the Society for Cinema and Media Studies

Reprinted in:

Format Matters: Standards, Practices, and Politics in Media Cultures

Edited by Marek Jancovic, Axel Volmar, and Alexandra Schneider

Lüneberg: Meson Press

2020; 167–191

“Freedom of Association: The Cinema of Pere Portabella”

Artforum

September 2016; Link

“John Smith, The Girl Chewing Gum, 1976”

Tate In Focus

2015; Link

“Parallax Plurality: 3D Beyond the Feature Film”

Artforum

September 2015; pages 354-361; Link

“Copyright and the Commons: Eileen Simpson and Ben White’s Struggle in Jerash

Discourse 36.3

Fall 2014; 364–382; Link

“Live and Direct: Cinema as a Performing Art”

Artforum

September 2014; 328–333; Link

“Around The Clock: Museum and Market”

Framework 54.2

Fall 2013; 177–191; Link

“Original Copies: How Film and Video Became Art Objects”

Cinema Journal 53, no.1

Fall 2013; 97–118; Link

Excerpt reprinted in:

Moving Image

Edited by Omar Kholeif

London/Cambridge: Whitechapel Gallery/MIT Press Documents of Contemporary Art

2015; 203–205

I have a friend who knows someone who bought a video once

Barcelona/Milan: Loop/Mousse Publishing

2016; 90–103

“David Claerbout’s Indecisive Moments”

Afterall 32

Spring 2013; 82–93; Link

“Brakhage’s Sour Grapes, or Experimental Film in the Art World”

Moving Image Review and Art Journal 1.1

2012; 13–26; Link

“Dial ‘M’ for Museum: The Hitchcock of Contemporary Art”

Hitchcock Annual 17

2011; 129–167

“Screening Rooms: The Movie Theatre in/and the Gallery”

Public: Art/Culture/Ideas 40

2010; 24–39; Link

“A Cinema in the Gallery, A Cinema in Ruins”

Screen 50.4

December 2009; 411–427; Link

Korean translation in:

Tigersprung

2019; Link

Edited Collections

“Compression ou contrainte: Définition et mobilité des images dans le cinéma d’artiste”

La Haute et la basse définition des images: Photographie, cinéma, art contemporain, culture visuelle

Edited by Francesco Casetti and Antonioni Somaini

Milan: Éditions Mimésis

2021; 285–298

“To Narrate or Describe? Experimental Documentary Beyond Docufiction”

Deep Mediations: Thinking Space in Cinema and Digital Cultures

Edited by Jeff Scheible and Karen Redrobe

Minneapolis: University of Minnesota Press

2020; 180–196

“Look at Mother Nature on the Run in the 1970s: Penelope Spheeris’s I Don’t Know

Women Artists, Feminism, and the Moving Image: Contexts and Practices

Edited by Lucy Reynolds

London: Bloomsbury

2019; 138–150

“Introduction”

Artists’ Moving Image in Britain Since 1989

Edited by Erika Balsom, Lucy Reynolds, and Sarah Perks

London and New Haven: Paul Mellon Centre for Studies in British Art / Yale University Press

2019; 1–20

Co-authored with Lucy Reynolds and Sarah Perks

“On A Leaf is the Sea is a Theater”

Jonathan Schwartz: To Light, To Love, To Time

Edited by Garbiñe Ortega

Pamplona: Punto de Vista – Festival Internacional de Cine Documental de Navarra

2019; 61–67, 137–38

“Terra Cognita: Babette Mangolte’s The Sky on Location

America: Films from Elsewhere

Edited by Shanay Jhaveri

Mumbai: The Shoestring Publisher

2019; 316–335

Danish translation in:

Balthazar 2

2018; 45–62

“The Ambivalence of Authenticity”

Film in the Present Tense: Why Can’t We Stop Talking About Analogue Film?

Edited by L. Greenfield, D.S. Phillips, K. Schroedinger, B. Speidel, and P. Widman

Berlin: Archive Books

2018; 75–78

“Watching Paint Dry”

Unwatchable

Edited by Nicholas Baer, Maggie Hennefeld, Laura Horak, and Gunnar Iversen

New Brunswick: Rutgers University Press

2019; 194–199

"Re-entering the Theatergarden Bestiarium"

Prototype d'une exposition: Variations sur Jardin-Théâtre Bestiarium

Edited by Bénédicte Godin

Paris: Cnap

2018; 112–119

“Markopoulos und die Komödie der Verteilung”

Film als Film: Theorie und Praxis im Werk von Gregory J. Markopoulos

Edited by Maja Naef and Markus Klammer

Basel: eikones

2017; 73–83

“100 Years of Low Definition”

Indefinite Visions

Edited by Martine Beugnet, Arild Fetveit, and Richard Misek

Edinburgh: Edinburgh University Press

2017; 73–89

“The Documentary Attitude”

Documentary Across Disciplines

Berlin/Cambridge: Haus der Kulturen der Welt/MIT Press

2016; 10–19

Co-authored with Hila Peleg

“Distributing Artists’ Film and Video After Digitization”

The State of Post-Cinema: Tracing the Moving Image in the Age of Digital Dissemination and Networks

Edited by Malte Hagener, Vinzenz Hediger, and Alena Strohmaier

London: Palgrave

2016; 165–180

“Cheiropoeisis: Film and Obsolescence After Indexicality”

Cinema and Contemporary Art

Edited by Francesco Federici, Vincenzo Estremo, and Alessandro Bordina

Milan: Mimesis Edizioni

2016; 87–106

“Irreprodutível: Cinema como Evento”

Cinema Apesar da Imagem

Edited by Marcus Bastos, Gabriel Menotti, and Patricia Moran

Sao Paulo: Editoria Intermeios

2016; 35–58

“The City Beautiful, The City Filmed”

Chandigarh is in India

Edited by Shanay Jhaveri

Mumbai: The Shoestring Press

2016; 200–231

“Before Virtuality: Video Projection in the 1970s”

Exhibiting the Moving Image: History Revisited

Edited by François Bovier and Adeena Mey

Zurich: JRP Ringier

2015; 78–93

“Against the Novelty of New Media: The Resuscitation of the Authentic”

You Are Here: Art After the Internet

Edited by Omar Kholeif

Manchester: Cornerhouse and SPACE

2014; 64–75

“A Cinephilic Avant-Garde: The Films of Martin Arnold, Peter Tscherkassky and Gustav Deutsch”

New Austrian Film

Edited by Robert van Dassanowsky and Oliver Speck

New York: Berghahn Press

2011; 263–275

“Haunted by Impossibility: Louis Malle’s Phantom India,”

Outsider Films: On India 1950–2005

Edited by Shanay Jhaveri

London and Mumbai: I.B. Tauris and The Shoestring Press

2010; 124–134

Exhibition Catalogues

“Girlish Pursuits”

Peggy Ahwesh: Vision Machines

Edited by Erika Balsom and Robert Leckie

Bristol/Milan: Spike Island and Mousse Publishing

2021; 14–33

“A Bouquet of Blue Flowers for Ed Atkins”

Ed Atkins: Get Life/Love’s Work

New York: New Museum

2021; 42–54

“Why Don't You Smile?”

Julie Curtiss: Monads and Dyads

London: White Cube

2021; 6–16

Reprinted in:

White Cube Companion

Edited by Honey Luard and Elaine Tam

London: White Cube

2021; 101–109

“Edgelessness”

Beatrice Gibson: Deux Soeurs

Edited by Axel Wieder

Berlin: Sternberg Press

2020; 11–18

“The Torn First Pages”

Amar Kanwar: The Torn First Pages

Carquefou: FRAC Pays de la Loire

2019; 1–49 (French) and 121–169 (English)

Reprinted and revised as:

“Ethical Constellations: On Amar Kanwar’s The Torn First Pages”

Thyssen-Bornemisza Art Contemporary: The Commissions Book

Edited by Daniela Zyman and Eva Ebersberger

Berlin: Sternberg Press

2020; 232–235

“Pay Some Attention to the Man Behind the Curtain”

Christian Marclay: Compositions

Barcelona: MACBA

2019; 219–222

“In the Company of Images: Untitled Film Stills”

Cindy Sherman

Edited by Paul Moorhouse

London: National Portrait Gallery

2019; 60–61

Artists’ entries for

Colectivo Los Ingrávidos

Ellie Ga

Adam Khalil, Zach Khalil, and Jackson Polys

Carissa Rodriguez

Whitney Biennial 2019

New York: Whitney Museum of American Art

2019; 271, 275–76, 282, 295–96

“Enclosures and Escapes”

Rachel Rose: Wil-o-Wisp

New Haven and Philadelphia: Yale University Press and Philadelphia Museum of Art

2018; 10–18

“Materializing Nationhood: Jasmina Cibic’s Nada: Acts I and II

Commissions: European Capital of Culture Aarhus 2017

Aarhus: Aarhus European Capital of Culture

2017; 87–92

Reprinted and expanded as:

“Materializing Nationhood: The Play of Soft Power in Jasmina Cibic’s Nada Trilogy”

Jasmina Cibic: NADA

Bielefeld/Berlin: Kerber Verlag

2018; 87–95

“The New Constructivism: Harun Farocki and Erika Balsom in Conversation on Parallel I–IV”

Harun Farocki: Programming the Visible

Edited by Jane de Almeida

Sao Paulo: CINUSP and Paco das Artes

2017; 101–144

“Enjoy Weakness!: Yael Bartana and Erika Balsom in Conversation”

Yael Bartana

Lausanne: Musée Cantonale des Beaux-Arts

2017; 137–146

Reprinted in:

Yael Bartara: pre-enactments

Mumbai: Gallery MMB

2017; np

“Beyond Measure: Sarah Sze’s Timekeeper

Sarah Sze

Copenhagen: Copenhagen Contemporary

2017; 34–38

Artists’ entries for

Basma Alsharif

Robert Beavers

Kevin Jerome Everson

James N. Kienitz Wilkins

Dani Leventhal

Beatriz Santiago Muñoz

Whitney Biennial 2017

New York/New Haven: Whitney Museum of American Art and Yale University Press

2017; 76, 82, 98, 126, 136, 174

“The Ends of Cinema”

Cinema Mon Amour: Film in Art

Aarau: Aargauer Kunsthaus

2017; 155–158

“Casters”

Lucy Raven: Edge of Tomorrow

London: Serpentine Gallery and Koenig Books

2016; 16–17

“Who Counts/What is Counted”

Aura Satz: Between the Bullet and the Hole

New York: Fridman Gallery

2016; 7–10

“Face to Face: Louidgi Beltrame’s El Brujo

Louidgi Beltrame

Paris: SAM Art Prize

2016; np

“After Mass Culture”

Candice Breitz: Ponderosa

Stuttgart: Kunstmuseum Stuttgart

2016; 86–91

“On the Grid”

Electronic Superhighway: From Experiments in Art and Technology to Art After the Internet

London: Whitechapel Gallery

2016; 44–51

“Story/Discourse (A Note on Two Kinds of Narrativity)”

The Reluctant Narrator: Narrative Practices Across Media

Edited by Ana Teixeira Pinto

Lisbon: Museu Berardo

2014; 115–118

“Repeat Performance: The Kidnappers Foil (1936–1952/2014)”

Gareth Long: The Kidnappers Foil

Vienna: Kunsthalle Wien

2014; 7–11

Reprinted in:

Gareth Long: Kidnappers Foil

Edited by Max Fields and Andrew Hibbard

Milan: Mousse Publishing

2020; 27–41

“Chronicle of Zuidplein Summer”

Erik van Lieshout: Rotterdam Zuid/South – Home

Rotterdam: Witte de With

2014; 246–252

“Can the Image Speak?”

Horizon 3, India: Visions From the Outside

Edited by Shanay Jhaveri

Brugge: Culturcentrum Brugge

2012; 14–19

“Gareth Long: Who Invented the Desk?”

Gareth Long: Never Odd or Even

Lethbridge: Southern Alberta Art Gallery

2012; 51–62

“Ben Russell, Alchemist”

El Espacio de las Affeciones: Simposio Injerto

Edited by Eduardo Thomas

Mexico City: Ambulante Film Festival

2012; 19–25

“Cinema, Shattered”

Being Singular Plural: Moving Images from India

Edited by Sandhini Poddar

New York: Solomon R. Guggenheim Museum Publications

2010; 115–120