J. C. FONTANIVE
1999 BA, Syracuse University, New York.
2019 The Ones After The Physical Ones, Conduit Gallery, Dallas, TX.
2017 Movement 4, Museum of Contemporary Art, Jacksonville, FL.
2017 Machine Language, Guest Spot @ The Reinstitute, Baltimore.
2016 Films Without Light, Riflemaker Gallery, London.
2016 Reflected Yeses, Conduit Gallery, Dallas.
2016 Films Without Light, Danese/Corey Gallery, New York, NY.
2015 Together Principle, Y Gallery, New York, NY.
2014 Myxathesys, Carbono Galeria, São Paulo.
2014 Ornithology, Savernack Street Gallery, San Francisco, CA.
2012 See-Sounds, Riflemaker Gallery, London.
2010 Liveliness, Volta 6, Basel, Switzerland
2009 Zoo Solo Works, Zoo Art Enterprises, London.
2008 Tin Tan, Riflemaker Gallery, London.
2006 Paper Films, Riflemaker Gallery, London.
In The Summertime, Danese/Corey Gallery, New York, NY.
Parallels and Peripheries, Museum of Contemporary Art Detroit, Detroit, MI.
It Passes Like A Thought, Beall Center for Art + Technology, Irvine, CA.
Scape, Danese/Corey Gallery, New York, NY.
Fool The Eye, Nassau Museum of Art, New York
The House of the Book | Museum Meermanno, The Hague, Netherlands.
The Internal Machine, New York Center for Book Arts, New York, NY
Radical Kingdoms, Mandeville Gallery, Union College, Schenectady, NY.
Historie Naturelle, La Frontiera, Paris, France.
Brooklyn Comes to Westport, Dedee Shattuck Gallery, Westport, MA.
Conference of the Birds, Shirley Fiterman Art Center, New York, NY.
BRIC Contemporary Artist Registry Short List.
The Rabbit Hole, Sharon Art Center, Peterborough, NH.
New Artists Feature 120, Culturehall.
Cross Pollinated, Center For the Arts Gallery, Towson University, Baltimore.
Se Liga!, The Centro Cultural Banco do Brasil, Rio de Janeiro.
Habitats outdoor sculpture show, Market Art & Design, Bridgehampton, NY.
Dutton Gallery at Gansevoort St, New York, NY.
Home Improvement, Rock Street outdoor sculpture show, Bushwick, NY.
The Experiences Of Beauty, Biennale Internationale Design Saint-Etienne, France.
Flock, Ganna Walska Lotusland, Santa Barbara, CA.
Nothin' On, Noire Gallery, Turin, Italy.
The Scars Are Not Just Skin Deep, Cob Gallery, London, UK.
Dear Paul, Fridge Gallery, Prague, Czech Republic
Mating Season, The Lodge Gallery, New York, NY
Iridescent Behavior, The True Wheel, Brooklyn, NY.
Unsteady Ground, City Without Walls, Newark, NJ.
The Window 235 Bowery, New Museum, New York, NY.
A Riflemaker Exhibition, Riflemaker Gallery, London.
Voyage Autour De Ma Chambre, Noire Gallery, Switzerland.
Thelma Hulbert Gallery, Honiton, Devon, UK.
LEAP!, Contemporary Art Society, London.
A Gush of Water Cleared the Land, The Running Horse, Beirut.
Precarious Interchange, Waxy Pith, Brussels, Belgium.
7+1 Group Show, Brooklyn, New York.
3rd Ward Group Show, Brooklyn, New York.
Trompe Le Monde, Occupy Space, Limerick City Gallery of Art, Ireland.
Intimate Spaces, Galerie8, London.
Riflemaker becomes Indica, Riflemaker Gallery, London.
Sensory Material, Bonhams, London.
photoLondon, The Royal Academy of Art, London.
The Show, Royal College of Art, London.
Under Five's, 39 Space, London.
60 Seconds, The Gallery Southwark Park, Bermondsey, London.
Typography and Gridlock, Hockney Gallery, Royal College of Art, London.
MAN Group Drawing Prize Exhibition, Royal College of Art, London.
2016 Marble House Project Residency, Dorset, VT.
2010 Jerwood Painting Prize, shortlist, Jerwood Space, London.
2004 Desmond Preston Drawing Prize, The Royal College of Art.
1999 Louise Wetherbee Phelps Award for Writing.
2010 Together We Are Stronger, The Art Newspaper, March.
2009 Obsession: Contemporary Art From The Lodeveans Collection, catalog.
2008 Ingenuity, The Gulbenkian Foundation, Lisbon, Portugal, catalog.
2008 Juan Fontanive: Tin-Tan, Flavorpill London.
2007 Andrew Wilson, "Yesterday, Today, Tomorrow," Art Monthly, March 2007.
2006 Ian White, "Frames Per Second," Art Review, March 2006.
2006 Gemma De Cruz, "Paper Films," BBC Collective, 12 January 2006.
Juan Fontanive makes films without using light. Often recycling the mechanical parts of found clocks and pushbikes as the portable containers of his 'animations', his interest lies in the beauty of sequential and repetitive movement. Hand drawn characters, human and typographical, occur in a cranky flip-book module powered by oxide. Pages fall in neat layers in the manner of a paper fountain, somewhere between film and sculpture - there is no 'screen' as such. His filmstock is often pulped card or metal leaves. -Tot Taylor, Riflemaker Gallery