About Me

Welsby began making landscape films and installations in the early 70s, and although he has worked across a range of media he has always concentrated on one particular theme: how do we see ourselves in relation to the natural world and how should we position our selves and our technologies within it? His art practice was heavily influenced by Structural Materialist film theory at the London Film Makers Co-operative and by cybernetic and systems theory at the Slade School of Fine Art, where as a student and later as a faculty member, he came into contact with some of the pioneers of interactive technology and computer-driven art forms.

Peter Wollen has argued that, “Welsby’s work makes it possible to envisage a relationship between science and art, in which observation is separated from surveillance and technology from domination.” According to writer, Fred Camper, Welsby’s work, “…rejects the long tradition of landscape painting (and much subsequent landscape filmmaking) in which images serve as metaphors for the artist’s emotions.” Instead of observing nature as a Romantic “other”, Welsby uses the mechanics of the moving image to interact with his environment. The resulting films, expanded cinema works and installations explore notions of interconnectedness and agency within our ever-changing environment.

Since 1972 Welsby’s films have screened consistently in Cinematheques and art galleries around the world. A pioneer of moving images in the gallery, his expanded cinema works and installations from the ‘70s and ‘80s are now gaining renewed attention by public and private galleries in Europe, North America and Asia. “Twenty-five years ago, when he made his first projections for large spaces, film and art rarely met in the gallery; now it is common and installation art is a distinct practice.” – A.L. Rees, Author of A History of Experimental Film and Video.

Between1993 and 2014, Welsby made a number of weather driven digital media installations. These were featured in his 2005 solo exhibition at the Institute of Contemporary Arts, Winnipeg Canada, and his 2007 solo exhibition at the Letharby Gallery, London UK. His recent video and new media collaborations with software programmer Brady Marks have been widely exhibited for example: Toronto, at the 2006 Images Festival, the 2006 Gwangju Biennale South Korea, the Singapore Biennale and currently online and at MIRE gallery, in the city of Nantes, France.

During 2015-16 Welsby completed three new single channel video works. The first, is called “Momentum” and was shot in a derelict hotel in Mexico. It is 36minutes long. The second, shot near his home on Gabriola Island, Canada is 17minutes long and is called Entrance Island. The third is called Desert Spring and celebrates the fragile beuty of the Sonora Desert in Mexico.

Welsby has written a number of scholarly essays over the years and has recently published two new pieces. The first was based on his presentation at the Tate Modern’s symposium on Expanded Cinema (April 2009) It can be found in Expanded Cinema Art, Performance Film Tate Gallery publishing 2011. Chapter #3 p 276 Cybernetics, Expanded Cinema and New Media: from representation to performative practice. The second essay is an extensive artist’s statement and is published in Leonardo Journal of the Arts and Sciences.Volume 44 #2 2011 Technology Nature, Software and Networks: Materializing the Post Romantic Landscape. Published by MIT Press. A recent interview with Katherine Elwes was published by Moving Image and Art Journal and Review. MIRAGE Vol 2 #2 2013. All three of these are included in the writings section of this web site. Welsby is a graduate of the Experimental Media Department at the Slade School of Fine Art, University of London UK. He holds the position of Professor Emeritus, (Fine Arts Film and Electronic Imaging) Simon Fraser University’s Faculty of Arts Science and Communication. He is a member of the Institute for Computing, Information, and Cognitive Systems at the University of British Columbia, Vancouver and lives on a small island off the Pacific coast of Western Canada.

Reviews and Commentary

“Welsby’s extraordinary originality lies in the way that he harnesses these natural effects to those of the cinema, allowing one to enhance the other.” Laura Mulvey, Essay for BFI British Artist’s film DVD 2006

“Welsby’s vision is unique in the context of the English Avant-Garde.” (The British Film Institute)

“Welsby’s work makes it possible to envisage a different kind of relationship between science and art, in which observation is separated from surveillance, and technology from domination.”
Peter Wollen, in Millennium Film Journal, New York.

“The primary achievement of the avant-garde cinema in this area has been to force a contemplation of the natural world in different mediations by the cinematic apparatus. The landscapes of the narrative cinema, as Eisenstein and Bazin suggest, are latent expressionistic theatres, confronting or echoing the minds of the human figures within them. The aleatoric magic Tarkovsky describes in Bergman’s The Virgin Spring (1960) ultimately confirms this version of the pathetic fallacy. But there is a fundamental change of aesthetic orientation when there is no actress in the scene, no body on which the snowflakes can land. Snow, Brakhage, Welsby and other landscape film-makers have used cinema to look at the natural beauty of the world, and watching their films we share their surprise and excitement at the disjunctions and the meshings of the rhythms of the world and the temporality of the medium.”
P. Adams Sitney, “Landscape in the cinema: the rhythms of the world and the camera, “ Chapter 5 in Landscape, Natural Beauty, and the Arts, edited by Salim Kemal and Ivan Gaskel. (Cambridge University Press, 1993).

“The significance of the landscape film arises from the fact that they assert the illusionism of cinema through the sensuality of landscape imagery, and simultaneously assert the material nature of the representational process which sustains the illusionism. It is the interdependence of those assertions which makes the films remarkable – the ‘shape’ and ‘content’ interact as a systematic whole.”
Deke Dusinberre, in “St. George in the Forest: The English Avant-Garde,” in Afterimage, Summer 1976.

“In Chris Welsby’s work the camera is always an obvious presence, either directly visible or lurking off-screen. These days obvious allusions to production are too often shorthand for empty irony, signaling nothing but a twitch of postmodern conceit. But like Jacobs, Welsby – whose films were shown last month at Millennium – illustrates how self-reflexivity can still create a moral, aesthetic. And/or political imperative.”
Manohla Dargis Village Voice, April 25th 1989, NYC.

“Ethics and aesthetics come together here… offering is a tour de force unlike anything cinema had yet seen…”

Fred Camper on Seven Days: Film Critic; Chicago Reader

“With Shore Line, [Welsby] took the radical step of making a work designed for showing continuously in a gallery…” David Curtis Curator Film Historian

“The potential of the installation as a sanctuary of peace binds the landscape to the mind via technology…” Chrissie Iles Curator Whitney Museum of Modern Art
“The visible is no longer a guarantee of absolute knowledge.” Manohla Dargis writing about Sky Light in the Village Voice, April, 1989

“Just as the lens provided ways of seeing the world that could not previously be comprehended, so too does the computer… networking and data acquisition of digital processes create a different context of synchronicity and a-synchronicity.” Peter Ride on the Toronto Exhibition of Trees in Winter, 2006

 

Annotated Curriculum Vitae

Born 1948—Exeter, England

Education

1973-75 Higher Diploma—Slade School of Fine Art, London
1970-73 B.A. (1st Class Honors) Fine Art—Chelsea School of Art, London
1969-70 Foundation Studies—Central School of Art, London

Teaching

2012- Professor Emeritus, SCA., Faculty of Fine Art Science and Communication, Simon Fraser University
1989-2012 Professor of Fine Art, School for the Contemporary Arts, Simon Fraser University, Vancouver, BC, Canada
1976-1989 Lecturer  and Co-Founder, the Fine Arts Media Programme, Graduate Studies at the Slade School of Art, London,UK
1975-1989 Visiting Lecturer Positions at art schools and universities throughout Europe and North America

Installations/New Media

2015 Avant Goes Natural, Karlstad Sweden At Sea 4 channel Video installation
2014 Inter Urban Gallery Vancouver, Canada
2014 Light Cone “Expanded” Paris France
2013 Time After Nantes. Version includes a continuous photograph that will take two years to form a complete image.
2013 Camden Arts Centre, London UK.  Wind Vane, Tree and Anemometer. New installation versions
2010 Stream Line gallery installation version.  St Sebastian,  France
Inter Urban Gallery  Vancouver Time After- 5 monitor installation -Web cam and digital media
2009 Touchstones Museum of Art and History Nelson BC Waterfall  DVD Installation
Centro De Arte y Naturaleza Los Tiempos De Un Lugar Huesca, Spain. (Seven Days. Installation Version)
Surrey Art Gallery  (Heaven’s Breath)
Interurban Gallery  Vancouver  (Ovoids- Moving Images Between Nature and Art)
2008 Festival of Nature and Performance Gabriola Island (Taking Time)
2007 Lethaby Gallery, London UK ( Solo Exhibition: At Sea, Lost Lake)
2006 Gwangju Biennale South Korea (Tree Studies)
Harborfront Gallery, Toronto. Timeless – Time, Landscape and NewMedia (Trees in Winter)
Galerie de Luquam, Montreal. Weathervane. ( Windmill installation)
2005 Plug In ICA, Winnipeg (solo show: Waterfall, At Sea, Changing Light)
2004 Artspace Gallery, Sydney, Australia (Changing Light)
Artspace Gallery, Sydney, Australia (Waterfall)
Evolutions – International Media Arts Festival, Leeds, UK (At Sea)
2003 Science Fictions, Earl Lu Gallery, Singapore (At Sea)
2002 Far Horizons Public Art Exhibition, Vancouver, Canada (Tide Line Contained)
Sea Seen Six Screen, Gallery 291, London, England (Shore Line II)
2001 At  Sea Exhibition, Tate Gallery Liverpool, (Drift Installation and Tide Line)
2000 Far Horizons, Tate Gallery St Ives, (Tide Line)
1999 Western Front Gallery, Vancouver, Canada (Lost Lake)
1990 Signs of the Times, Exhibition of British Media Installations, Museum of Modern Art, Oxford Centre of Contemporary Art (Rainfall Installation)
1992 Signs of the Times, Cornerhouse Gallery, Manchester, UK (Rainfall)
1993 Signs of the Times Touring Exhibition, Centre d’Art et de Culture, La Ferme du Buisson, Paris, Manifeste-30 Ans de Creation Cinématographique en Perspective, Musée d’Art Moderne, Centre Georges Pompidou, Paris (Rainfall Installation)
1986 Charting Time, Serpentine Gallery, London (Sky Light Installation)
1983 Slowdancer Film and Video Co-operative Liverpool (Rainfall Installation)
1981 Installation, Performance, Video, Film, Tate Gallery, London, England (Shore Line II)
1979 B2 Gallery, London England (Shore Line II)
1975 ACME Gallery, London England (Shore Line)

Individual Film Screenings
[In-Person Presentations of Premières & Retrospectives]

2016 Mercury Premier Seven Days Tate Gallery London
2014 It’s All About the River Plymouth UK
2013 Cinamatheque Quebecoise Double Negative Film Collecif Solo Retrospective. Montreal
Concordia University, Montreal: “Beyond the Sublime” Talk and presentation.
Hexagram, Concordia University, Montreal “New Ontologies” conference . Talk and presentation.
Camden Arts Centre, London UK Film In Space “painting with Time” Illustrated talk.
2010 Etats Generaux Du Film Documentaire , Lussas, France. Solo retrospective screening with talk
2009 Scratch Projections Paris  Illustrated Talk and film presentation “Beyond the Sublime”
DIM Projections Vancouver Cinematheque Illustrated Talk and film presentation, Vancouver Cinematheque Retrospective
MIRE Nantes France Illustrated Talk and film presentation
2007 National Film Theatre, London UK (Retrospective: screening voted #5 top ten films of 2007 in the British Film Institute’s Sight and Sound Magazine, December issue.)
2006 Rhode Island Museum of Art.  Lecture and retrospective screening
2004 Evolutions – International Media Arts Festival, Leeds, UK (Retrospective)
Institute Of Modern Art, Melbourne, Australia
2004 Artspace Gallery, Sydney, Australia
2001 Film Forum, Hammer Museum, Los Angelese,USA (Retrospective)
Doc Films, University of Chicago (Retrospective)
1999 Western Front Gallery, Vancouver (Lost Lake Video Wall Installation)
1996 Museum of Modern Art, New York (Drift  & Retrospective)
1995 National Film Theatre, London (Drift  & Retrospective)
1995 Austrian Filmmaker’s Co-op, Vienna
Light Cone Cinéma, Paris
Cinemathèque Royale, Filmmuseum, Brussels  (Drift, Retrospective)
Association Mire, Nantes (Drift  & Retrospective)
1993 Musée d’Art Moderne, Centre Georges Pompidou, Paris
Pacific Cinemathèque, Vancouver
Cinemathèque, San Francisco
Pacific Film Archives, Berkeley
Art Gallery of Ontario, Toronto (Sea Pictures  & Retrospective)
1992 Robert Flaherty International Film Seminar, Aurora, New York (Sea Pictures)
1990 Pacific Cinemathèque, Vancouver
B.C. Directors, Harbour Centre, Vancouver (Sky Light, Retrospective)
1989 Chicago Filmmakers; The Art Institute, Chicago
Millennium, New York
Innis Film Society, Toronto
Emily Carr College of Art & Design, Vancouver
Pacific Cinemathèque, Vancouver
Film Forum, Los Angeles
The Art Institute, San Francisco
Pacific Film Archives, Berkeley Cinemathèque, San Francisco
Utica College, Syracuse
Pittsburgh Filmmakers; Carnegie Institute, Pittsburgh (Sky Light  & Retrospective)
1988 National Film Theatre, London; London Film Festival (Sky Light)
1985 Darkroom Gallery, Cambridge (Sky Light Six Projector Installation Version)
1984 Darkroom Gallery, Cambridge
1983 Bridewell Studios, Liverpool
B2 Gallery, London (Shore Line Two Six Projector Installation)
Spacex Gallery, Exeter
John Hansard Gallery, Southampton
1981 Tate Gallery, London (Shore Line Two Six Projector Installation)
ACME Gallery, London (Estuary  Film and Photography Installation)
Millennium, New York
Filmmaker’s Co-op, Chicago
Canyon Cinema, San FranciscoPittsburgh Filmmakers; Carnegie Institute, Pittsburgh
Pacific Film Archives, Berkeley
Portland Art Museum, Portland, Oregon
Encounter Cinema, Los Angeles
Pacific Cinemathèque, Vancouver
1980 Kommunales Kino, Frankfurt
Das Kino, Karlsruhe
Kommunales Kino Stuttgart
Kommunales Kino, Kiel
Arsenal, Berlin
National Museum of Art, Budapest
De Appel Gallery, Amsterdam (Estuary Film and Photography Installation)
Museum of Modern Art, Oxford
1979 Film Centrum, Den Haag
Melkweg, Amsterdam
1978 L’Espace Lyonnais D’Art Contemporain, Lyons; Avignon Film Festival
1977 Gallery Cavalino, Venice, Italy
Spectro Arts Centre, Newcastle
ACME Gallery, London, (Shore Line, Six Projector Installation.)
Omnium Film Co-op, Paris
British Council, Paris
Stedlijk, Amsterdam
1976 Anthology Film Archives, Millennium, New York
Carnegie Institute, Pittsburgh
Film Group at N.A.M.E., Chicago
Pacific Film Archives, Berkeley
Canyon Cinema, San Francisco
Theatre Vanguard, Los Angeles
Institute of Contemporary Arts, London
1975 Tate Gallery, London
Midland Group Gallery, Nottingham
1974 London Filmmaker’s Co-op
1973 London Filmmaker’s Co-op

Group Screenings and Expanded Cinema and Exhibitions

2018 River Yar Anemometer Collectif Jeune Cinema Saint Owen France
River Yar Lux London
Seven Days Seville European Film Festival
Seven Days Zeitun Fils-ACoruna Festival
Drift Burst Scratch Paris France
Colour Separation Collectif Joung Cinema Paris France
2017 Anemometer Whitechapel Gallery London
Colour Separation, Dots: Forening for Audiovisuel Konst RF Vasa Finland
Windmill 2 Musee D’ Art Modern Andes, Malraux Le Harvre, France
Colour Separation  Centre De Cultura Contemporania De Barcelona, Spain
Seven Days Collectif Jeun Cinema Paris, France
Windmill 2 Collectif Jeun Cinema Paris, France
Seven Days Ath Associes-Group Zur St Bartholemy D’anjou. France
Color Separation Separation Centre De Cultura Contemporania De Barcelona, Spain
Seven Dqys Collectif Jeun Cinema Paris, France
Windmill Collectif Jeun Cinema Paris, France
2016 Seven Days Comar Tobermory Gallery
Drift Martin Art Gallery Allentown
River Yar   Lux London
River Yar Anthology Film Archives New York City
Seven Days  Visual Poetry Stockholm Sweden
Colour Separation Group 6  Paris France
2015 Seven Days,  City 46,  Bremen
Park  Pesaro Film Festival  Rome
Park Syros Internatioknal Film Festival
Seven Days Centre De Cultura Contemporania De Barcelona, Spain
Seven Days Gottland Fiim Festival Sweden
Drift  Association Muziques/instants Chavires, France
Windmill 2 Le Bal Paris, France
2014 Tree, Windmill  Korean Cutural Centre London
Wind Vane Eye Film Museum Amsterdam
2013 Colour Separation, Wind Vane  British Film Institute Southbank London
Seven Days Streamline Hayward Gallery London
Colour Separation Exploritorium USA
2012 Sky Light   South London Art Gallery
Tree  Majic Lantern  Providence, USA
Exporitorium Museum of Science, art and human perception San Francisco USA
2010 Tree,Windmill, Park, Seven Days.  Lussas Film Festival , France
Seven Days Jihlava International Documentary Film Festival, Czech Republic
Park Tree Mire Experimental cinema Nantes France
2009 Skylight transmediale-Berlin 28/1/2009
Seven Days Hebbel am Ufer-Berlin 18/5/2009
Skylight Hebbel am Ufer-Berlin 18/5/2009
Wind Vane Hebbel am Ufer-Berlin 18/5/2009
Wind Vane Pacific Cinematheque-Vancouver 16/6/2009
Windmill III Pacific Cinematheque-Vancouver 16/6/2009
Skylight Impakt-Utrecht 14/10/2009
Skylight Edith-Russ-Haus in Oldenburg 22/10/2009
Colour Separation Diversions Festival 6/11/2009
Fforest Bay II Reading Experimental Film Festival-Reading24/10/2009
Colour Separation 7 Inch Cinema-Birmingham 14/11/2009
Stream Line Arteleku-Diputacion Foral De Gipuzkoa
River Yar Courtisane VZW (Film Festival) – Gent
2008 NGBK e.V (Centre for Contemporary Art) Berlin. A Rebours: Nature On Film: “Tree” and “Sky Light”
2007 Württembergischer Kunstverein Stuttgart Landscape Distance Removal
Wind Vane shown in a new installation version.
Musee D’Art Moderne; Grand-Duc Jean Luxenbourg.  River Yar and Wind Vane
“Shoot Shoot Shoot” Touring exhibition of British experimental film.
Finish Film Archive Helsinki River Yar and Wind Vane  “Shoot Shoot Shoot” Touring exhibition of British experimental film.
The Royal Academy, London UK.  “Instructions for Films” : “World Seascape” project description and artwork exhibited in visual art exhibition of proposals for films/videos that will never be made. Also exists as a limited edition publication.
Images croisées Montpellier,France Windmill
Elements Festival of Nature and Performance Gabriola Island  Public Art Installation “Taking Time” New Media site specific installation with web based component
International documentary film festival, Jihava, Czech Republic. Forest Bay
Festival Du Film Court de Villeubanne, France Stream Line
Light Cone Scratch Cinema, Paris, France Drift
Das Arsenal – Institut für Film und Videokunst e.V. Berlin Wind Vane
2006 Expanded Cinema -Wuttembergishcher Kunstverein, Stuttgart,
Germany (River Yar and Wind Vane)
British Artists’ Film. Poland Film Tour: Oznan, Warsaw and Kracow (Windmill)
2004 Expanded Cinema-Film als Spektakel, PheonixHalle, Dortmund, Germany
Shoot Shoot Shoot, British Avant-Garde Film 1966-76 World Tour: Image Forum, Hillside Plaza, Tokyo, Japan
German Cultural Institute, Kyoto, Japan
Yokohama Museum of Art,Yokohama, Japan
Image Forum, Seoul Experimental Film Festival, Seoul, Korea.
World Wide Video Festival, Amsterdam.
Oikodrome Vienna Institute Of Urban Sustainability: first European Networks conference on sustainable practice.
Orgone Cinema, Pittsburgh, USA.
Aurora Picture Show Houston, Texas, USA
Pittsburgh Filmmakers, Pittsburgh, USA.
Nelson Atkins Museum of Art, Kansas City, USA
Documentary Film Group, Chicago, USA.
Block Museum of Art, Evanston, USA
San Francisco Cinematheque, San Francisco, USA
Pacific Film Archives, Berkeley, USA
2003 Visionary Landscapes: folk, film, landscape, Cecil Sharp House, London UK
A Century of Artist’s Film in Britain, Tate Britain, London, UK
Renier Claire Paris France (Colour Separation)
Cinema De Balie Amsterdam Seven Days
Shoot Shoot Shoot, British Avant-Garde Film 1966-76 World Tour:
Scratch Projections, Paris France
Brisbane International Film Festival, Brisbane Australia
Melbourne Film Festival, Melbourne Australia
Freunde der Deutschen Kinemathek, Berlin, Germany
Deutsches Filmuseum, Francfurt Germany
Kino 46, Bremen Germany
Kinemathek Karlsruhe e.v., Karlsruhe, Germany
Komunalis Kino Metropolis, Hamburg, Germany
Kunsthales Basel, Basel Germany
Atrium, Vitoria-Gasteiz, Spain
Fundacio Anthoni Tapiez, Barcelona,Spain
Anthology Film Archives, Nyc, USA
2002 Sea Seen Six Screen, Gallery 291 (Shoreline II)
Shoot Shoot Shoot, The First Decade of the London Film-Makers’ Co-operative & British Avant-Garde Film 1966-76 Tate Modern (River Yar, Wind Vane, Fforest Bay II  and Windmill II)
Cinema in Nature, Via Calabritto, Naples, Italy
Sciences en Fete, Toulouse France (Wind Vane, Windmill)
Videoex, Zurich Switzerland (Windmill)
Centre De Cultura Contemporania, Barcelona Spain (Colour Separation)
La Menagerie De Verre, Paris France (Drift)
Bandits-Mages, Bourges, France (Drift)
On General Release: Artists film in Britain 1968-72 Norwich Gallery,
UK (Park Film)
Institute of Visual Culture, Cambridge, UK (Park Film)
2001 Museo Do Chiado, Live in the Head touring exhibition, Lisbon Portugal
At  Sea, Tate Gallery Liverpool, (Drift  and Tide Line  Installations)
Nelson Atkins Museum of Art, Kansas City, USA, (Streamline)
Orgone Cinema, Pittsburgh PA, USA, (Seven Days)
Scratch Projections, Paris France (Drift)
Mire Nantes, France (Colour Separation)
L’Abominable,  Asnieres Sur Seine, France (Colour Separation)
2000 Society Co-operative, Arl a Lato Bologna, Italy
Association Mire, Nantes France
Festival of New Media, Rhizome,Besancon France
European Media Art Festival, Osnabruck Germany
Grains De Lumiere, Marseielle Farnce
Landscape: The Pastoral to the Urban , Bard College, Annadale New York US
Live in Your Head: Concept and Experiment in Britain 1965-75,  White Chapel Gallery, London
The Other British Cinema, National Film Theatre, London
Electromediascope, Nelson Atkins Museum of Art, Kansas City
European Media Arts Festival Osnabruk Germany (Colour Separation)
1999 The Other British Cinema, National Film Theatre, London
Electromediascope, Nelson Atkins Museum of Art, Kansas City
Society Co-operative, Arl a Lato Bologna, Italy
Associazione Culturale, Generazione Media Milano Italy
Association Mire, Nantes France
Braquage, Paris France
Universite De Paris I, Pantheon – La Sorbonne, Paris France
Sciences En Fete, Toulouse France
Orgone Cinema, Pittsburgh US
1998 Surcales – Projection en Plein Air,  Association Mire, Nantes
1997 Landscape: The Pastoral to the Urban, Centre for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Festival de Gindou: La Photographie et Le Cinéma, Gindou, France
Chicago Filmmakers, Chicago
Nelson Atkins Museum of Art, Kansas City, MO
1996 Northwest Film & Video Festival, Portland, Oregon—Winner of Kodak Production Award for ‘Drift’
Surface Tension, Foundation for Art &Cinema, San Francisco
Der Blick der Moderne, Stadtkino, Vienna, Austria
Les Projections Revolutionnaires,  Galérie Jordan-Devarrieux, Paris
Nature & Cinema, Film Forum, Los Angeles & Cinemathèque, San Francisco
Une Carte Blanche de Ça Va Pas le Caisson, Le Confort Moderne, Poitiers
Paysages Contemporains, Kino Musei, Moscow
1995 Poétique de la Couleur, Musée du Louvre, Paris
Viper International Film Festival  Luzern, Switzerland—Winner of Best Film Award for Drift.
1994 English Avant-Garde Classics, National Film Theatre, London
Les Absences de la Photographie, Cinéma Libre, Montréal, Québec
1993 Signs of the Times, Centre d’Art et de Culture, La Ferme du Buisson, Paris (Rainfall, Film Installation.)
Manifeste—30 Ans de Creation Cinématographique en Perspective, d’Art Moderne, Centre Georges Pompidou, Paris
Antwerpen ‘93, Stuc Arts Centre, Antwerp, Belgium
Academy Theatre of Honolulu, Hawaii
1992 London International Film Festival, National Film Theatre, London
Manifeste—30 ans de Création Cinématographique en Perspective, Musée d’Art Moderne, Centre Georges Pompidou, Paris
1991 Zeeland Film Festival, Netherlands
25 Years of British Avant-Garde Filmmaking, Tate Gallery, London
1990 Signs of the Times, International Touring Exhibition of British Media Installations, Museum of Modern Art, Oxford (Rainfall)
Centre of Contemporary Art, Warsaw
Stadtkino, Vienna
1989 International Experimental Film Congress, Toronto
1988 London International Film Festival, National Film Theatre
1986 Charting Time, Serpentine Gallery, London, (Sky Light, Six Projector Installation)
Art in Cinema—The International Avant-Garde Film, National Film Theatre London
Avant-Garde Landscape Film, Cambridge Darkroom Gallery
European Avant-Garde Film, Millennium, New York
1985 New Pluralism, Tate Gallery, London
1984 Artist as Filmmaker, National Film Theatre, London
1983 Landscape in Film and Video, London Filmmakers Co-op
Cubism and the Cinema, Institute of Contemporary Arts, London, and the
Tate Gallery, London
1982 Art and the Sea, Institute of Contemporary Arts, London
1981 Art and the Sea  – Touring Exhibition: Bristol, Glasgow, Southampton
European Avant-Garde Film, American Federation of the Arts (Touring Exhibition, USA)
1980 Festival of Nations, Amsterdam (Shore Line  Six Projector Installation)
1979 Film as Film, Hayward Gallery, London
1978 Perspectives on English Avant-Garde Film, Arts Council & British Council International Touring Exhibition
1977 Perspectives on British Avant-Garde Film, Hayward Gallery, London (Shore Line)
Film als Film, (Touring Exhibition, Germany)
1976 Edinburgh Film Festival
National Film Theatre, London
1975 British Avant-Garde Landscape Films, Tate Gallery, London
Oberhausen Film Festival  , Oberhausen, Germany
1974 Musée d’Art Moderne, Centre Georges Pompidou, Paris
1973 Festival of Independent/Avant-Garde Film, National Film Theatre, London
1972 National Film Theatre, London
1970 National Film Theatre, London

Film Collections

National Film Archive of Great Britain (London)

Tate Gallery (London)

National Film Archive of Australia (Canberra)

Anthology Film Archives (New York)

Light Cone – Films et Vidéos Expérimentales (Paris)

London Filmmakers Co-op

Canadian Film Distribution Centre (Toronto)

Moving Images Distribution (Vancouver)

Musée National D’Art Moderne, Centre Georges Pompidou (Paris)

Archives du Film Expérimental d’Avignon – Centre de Recherche, de 
Documentation et de Consultation Publique (Avignon)

Video Collections

Midland Group Gallery (Nottingham)

Arnolfini Gallery (Bristol)

Grey Suit International Video Archive (Cardiff)

National Museum of The Moving Image (London)

Works Released on DVD

Chris Welsby: British Artist’s Films. Includes a twenty-nine minute interview with John Wyver of Illuminations TV (with film clips and documentation of installations). Eight titles including the twin screen River Yar made with William Raban and an essay by Laura Mulvey BFI Video Publishing

Chris Welsby Selected Films 1973-93 Self-published collection of film works.

Online Published Videos

2014 – BFI Video On Demand

2011 – Vimeo documentation of installations and some recent works