Ceysson & Bénétière

Lives and works in Bovingdon, Hertshire, United Kingdom. 

The art of David Tremlett defies easy categorization. At times his work is associative, alluding to places, structures and processes; and even semi-narrative, telling of things seen and done. At other times it is essentially formal, arranging point and line, colour and shape to purely visual effect without reference to origin and connotations.

Sometimes it is expressive, celebrating delight in the pure experience of hue and texture; but on other occasions the emotional aspect recedes leaving geometrical studies in which design is explored and honoured on its own account, without specific regard to affective quality.

If the mode of Tremlett’s work resists simple classification so do does its type. By reason of generation, of past elements of performance, and of continuing site-specificity he can be connected to arte povera and to ‘sculptural conceptualism’. On account of the role of travel and documentation he can be related to certain strands of land and ‘journey’ art. The favouring of wall and book as primary locations, together with the use of text within the image field suggests an association with Le Witt and Lawrence Weiner. The dominance of dynamically arranged planes of single colours recalls both Russian constructivism and mid-War English abstraction.

Tremlett also defeats attempts at simple placement when it comes to cultural identification. An Englishman of West Country origins, his father and paternal grandmother were romantic adventurers drawn to Africa and Australia, and he is similarly a citizen of more than country or continent: traveling, finding inspiration, creating work and making friendships across nations, frontiers and oceans.

At ease in Africa, Asia, Australia and America he has a marked liking for Continental Europe, an affection that is enthusiastically reciprocated especially in France and Italy. At the same time he has a pragmatic common sense approach to art-making and a feeling for craftsmanship, that are both recognizably British.

At various times radical in setting aside conventional distinctions between performance and product, between drawing, painting and sculpture, and between image and text, David Tremlett is also conservative in recognising the objectivity of value and in celebrating excellence in the achievement of it. 

So what is to be made of this collection of seemingly diverse and contrasting attributes?  In his classic work Orthodoxy (1908) the English writer G.K. Chesterton introduces the allegory of the mariner who set sail in search of uncharted lands, but ends up unknowingly landing on his own shores. “he proudly planted the flag, claiming his very own homeland on behalf of the same. Ironically, he was quite pleased when he discovered his mistake, for he had experienced all the thrill of discovery without sacrificing the familiarity. This is what we seek: a life which is both secure and poetically picturesque ~ one part fairy tale and one part fireside.” 

Fireside is not an expression or an image easily attached to David Tremlett, yet in his art there is a rare and unsentimental conjoining of the abstract and the concrete, the strange and the familiar, the foreign and the domestic. And these conjunctions tend in the direction of the second members of each pair: the concrete, the familiar, and the domestic. 

This judgement will strike some readers as bizarre, for they will think back perhaps to a spare, gallery display of rectangles and arcs, trapeziums and chevrons, floating circles and waving lines. Alternatively they may recall the thick stone walls of an old church, or castle or fort, once dark or whitewashed and dimly lit by high window or low candle, but now radiant with an abstract composition ground into the surface by the hands of the artist and his assistants. In these images it is easy enough to locate the avant-garde but hard to see the familiar and the domestic. If so, however, I suggest that it is only because we have lost sight of what the ‘domestic’ really means, and of what its value consists in.

In his Sonnets to Orpheus (1917), the poet Rilke honours the demigod of music whose playing and singing were so beautiful that animals and even trees and stones were drawn to listen to him.  In Sonnet 10 (of Part 2) he writes as follows:

But for us, existence is still enchanted; 

still in a hundred places the source. A play of pure powers,

touched only by those who kneel and wonder. 

Words still go softly forth in the unsayable . . . 

And music, ever new, from trembling stones,

builds her divine home in useless space.

First, then, it is easy enough to transpose from sound to image and from space to place. Hence, we might speak, in emulation of Rilke’s powerful incantation, of Tremlett’s play of pure colours and shapes; of images that go softly forth; and of drawing, which ever new, from massaged pigment builds its joyful home in useless space. 

The point of speaking of ‘uselessness’ is not to denigrate a place as unused let alone as unusable, but to elevate art as having a value other than utility. In this sense the most revered human spaces, including the sanctuary and the cemetery, are ‘useless’, being set apart from productive labour for something else. Quite what that something else is, is hard to say but it is helpful, I think, to recall the theological definition of a sacrament as an outward sign of inward grace. To speak paradoxically, a place without utilitarian function may yet be eminently practical insofar as it provides an occasion and a focus for elevated thoughts and feelings; and the forms that define and inhabit such a place may serve as signs of inner assurance.

Tremlett’s art is self-assured but not overly assertive. It has a strength of design that flows from a confidence in his ability to take on a space and transform it into something living. That capacity cannot be conjured into being by will-power, or acquired in a year or two. It is the product of experience and continuous creative effort. The best artists, like the best musicians, dancers and writers, work all the time. No day is without preparation, performance or criticism. Put another way, the works they make are distillations in a continuous process of creation; or again they are the visible flowers on the furthermost points of deep-rooted plantings.

These last thoughts were directed towards the idea that the ordinary can be made extra-ordinary by the exercise of artistic imagination, and that this is a form of skilled practice. Admirers of David Tremlett’s work will hardly disagree that it conforms to this description, but what of the claim that it also tends to the domestic? The Latin domesticus from which the English ‘domestic’, the Italian ‘domestico’ and the French ‘domestique’ all derive, comes from the root domus meaning house. It is true that over the years he has produced a number of wall-drawings in private houses, and true also that he has put a good deal of time and effort into the recreation to his own design of ‘Broadlawns’ his home in Hertfordshire. But in speaking of his art as ‘domestic’ I have something more fundamental in mind.

In the year 2000, archaeologists working on the southern Cape coast of Africa found thousands of small pieces of ochre many of which were rubbed smooth, probably from having been being ground to make pigment. Among these were two pieces of red ochre along whose length parallel lines had been inscribed, with further cross-hatching creating a pattern of diamonds and triangles. These shapes, and their appearance on separate stones, provide evidence of a process of intended abstraction: extracting patterns from the detail of perception, retaining a sense of these and repeating them carefully.  The approximate date of these productions was seventy thousand years ago and their location was a cave, which is to say a home. The earliest known European paintings are half as old, but again they are found in caves, this time in modern day France and Spain. Because of the absence of signs of habitation some of these sites are taken to have been non-domestic, but if so that is a later development and the inescapable fact is that art began, and for most of its history has remained ‘at home’, not merely ornamenting but defining the spaces within which human beings have lived. 

It is in this ‘ur’ sense that Tremlett’s art is domestic. It is drawing inscribed on the skin of social life. To be in the space enclosed by a set of Tremlett wall drawings is to live, however briefly, in a new domestic space. Some fortunate few can retain this indefinitely within their own homes; but whether in a public or private place Tremlett is engaged in a rather special form of ‘home-making’.  In saying this it is once again necessary to caution against superficial understandings of the domestic. There is nothing dainty or decorous, petite or precious about Tremlett’s art. It is full-bloodedly and unapologetically modernist in its aesthetic, taking hold of a surface and enlivening it with line and colour. Even so there is no attack upon, or subversion of the viewer’s sensibility. On the contrary the surfaces are like jazz renditions of familiar melodies, inviting the audience to identify a theme and follow through with the artist’s improvisation upon it. As I said, Tremlett’s art may be highly imaginative and even exotic but it tends towards the concrete, the familiar, and the domestic, and that is its strength, for it appeals to the desire for lively delight.

Turning from the most general characterisation and placement of David Tremlett’s art to the full catalogue of his works, from massaged graphite drawings in a Camberwell studio in London in 1972 to the current set of massaged pastel drawings in Forte di Bard in 2010, it is possible to discern certain trends. 

In early days he combined image- and sculpture-making with elements of performance and documentation that were in tune with the international ‘conceptual’ art of the time. But even then he could not resist putting pencil to paper, and crayon to wall. I recall while at art school in London in the 1970s seeing some graphite drawings at the Sloane Gardens gallery of the late, and much missed, Nigel Greenwood with whom Tremlett published his first artists book Some Places to Visit (1974). Looking at that publication now the most conspicuous feature of what was a sort of process-cum-performance project is that it resulted in a set of pencil drawings of undulating lines representing the landscapes of various locations.

Moving forward to 1997 and the wall drawings in the Castle Falletti (formerly of the Marquis di Barolo) we see again an abstracted engagement with real landscapes this time ones visible through the windows of the rooms in which the drawings are made. 

Tremlett has been a remarkably prolific artist working at a pace and to an extent that reminds me of Tony Cragg, with whom he collaborated on work for the British Embassy in Berlin in 2000. Both, I think, knew early on that the point of being an artist is not to speculate about the historical origins, social purposes, economic role, or political potential of art, but to engage directly in making it. Although I suppose he must sometimes rest I cannot imagine many days in which Tremlett is not conjuring imagery, at least in his imagination if not on paper or wall.

Beyond pieces made temporarily or permanently in galleries or homes he has also made work in public buildings such as hotels, offices and churches. Then there are the many artist’s books transposing and transforming images for the printed page. The task of keeping track of this extensive body of work is made somewhat easier by the production of a set of major catalogues originating with Wall Drawings (1995), continuing with Se I Muri Potessero Parlare - If Walls Could talk (2001) and coming up to date with the present catalogue Walls (2010). The common theme is in the title, and wall drawing has certainly become the principal form of Tremlett’s art making, for even when he is working on paper he is generally creating images for future possible wall-works.

Looking through the pages of this publication one cannot fail to be struck by the diversity of styles of setting for which work has been made – from gothic church to domestic palace, to community prison, to clinically minimalist gallery, to inhabited home. Some of these, most especially the contemporary gallery spaces, impose little in the way of aesthetic or physical constraints. In others, however, a major part of the task was devising a mode of ‘conversation’ between existing, often ancient, forms and the elements of Tremlett’s settled style of composition. One of the most effective and consummate completions of this task is in the combination of pastel and wood floor, plus glass mosaic, produced as a private commission in Italy in 2001. In this Tremlett achieves an ideal of visual rhythm with a series of arches arcing over a set of circles themselves divided geometrically, and the whole scheme being carried out in a palette that recalls the colours the early renaissance. I cannot think of any British artist of Tremlett’s generation who has produced an interior to rival it.    

Similar confidence in dealing with scale in a large continuous project is evident in some gallery works such as those included in the 2006 Musee Grenoble retrospective; and in the more intimate and delicate set of sixteen drawings for sixteen niches produced for a garden setting in Miggiano, Puglia in 2004. The latter, incidentally illustrates the pull of the domestic for Tremlett and his pleasure in accommodating his designs to a more homely environment.

The setting of the 2010 Forte di Bard exhibition is far from domestic in the usual meaning, or even in my more extended sense. Now two centuries old it remains, as it was intended to be, a formidable fortress structure. Set atop a rocky promontory it overlooks the ancient village of Bard, and it guards the road that leads north to the Alps and south to Milan. Having stressed Tremlett’s disposition to work with the grain of ordinary human feeling, as it itself inclines to the interior of the home or courtyard, it is necessary now to observe a different tendency in his work which is towards the overtly physical as represented by the tangible strength of immovable stone.

This is not the first high-sited fortification in which he has worked, though it may be the most designedly militaristic, with deep artillery-proof walls and correspondingly small window apertures. Added to this, the arch-vaulted ceilings create interiors that are more like tunnels and bunkers than castle eyries. Tremlett’s response is characteristically inventive. In one room the walls are ‘panelled’ with overlapping rectangular plates of colour suggesting the construction of the hull of a ship, a pattern that reflects the patchwork of flagstones that compose the floor. In another room the existing space and construction is not so much co-operated with as challenged by an abstract design that uses line and colour to lift and place large geometrical forms across the walls. In a third, a trio of bright green parallel horizontal bands race around the room partly overlaying a crowd of letters extracted from a text, with the lowest band ‘touching’ a series of black circles. The effect is in part an impression of motion, or at least a vague suggestion of carriage and wheels. Elsewhere shapes lift and swoop, dividing walls and hugging arches in a display of colour and form that calls for completion with bright costumes, music and dance.

It is now forty years since David Tremlett had his first solo exhibition at the Grabowski Gallery in London. On that occasion he exhibited four constructivist sculptures built from industrial materials. Looking at images of these and comparing them with the work of the last three decades it is easy to say that there has been a significant change, both in the respect of departing from mechanical construction and in that of adopting colour in increasingly wide range.   

So much is true, but there is also continuity. For while he may no longer be physically constructing physical forms he is still deploying shape across three dimensions with the intended effect of transforming one’s experience of space. To that extent he remains a sculptor. There is, however, a further point of continuity worth emphasizing, though it is everywhere to be seen, which is the element of strength. It is highly appropriate that he should now be showing work in a place that is ‘forte’, for as well as translating as ‘fort(ress)’ this renders the English word ‘strong’.  

Tremlett is an artist whose work is strong: strong in conception, strong in design and in implementation, strong in appearance, and strong in evoking responses to it. Likewise there is strength in the artist himself: resolution, determination and stamina. Of themselves these personal qualities are not sufficient for the practice of art-making, but without them it tends to regress to dilettantism. In combination with visual imagination, intellectual curiosity, and self-discipline, however, such character traits make it possible to live and work as a creative artist: ever-looking to make visual forms, ever-seeing sources of imagery, ever-wondering how to engage a space or surface, ever-seeking new challenges.

Yet with this ideal of the artist there also often goes the idea of the rebel, or the misfit, or the misanthrope. As the example of David Tremlett shows, however, it is entirely possible to be radical while yet cleaving to tradition; and thereby (to adapt Chesterton) experiencing all the thrill of discovery without sacrificing the familiarity of home, and communicating the power of both to attentive and appreciative viewers. 

Arte Forte: the strong art of David Tremlett, John Haldane

Solo shows at Ceysson Gallery
David Tremlett, Wandhaff
June 10 - July 15, 2023

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Solo shows

2020
13 diptychs / Room 5 / Wall drawing, galleria Afonso Artiaco, Naples, Italy
Brian Eno – David Tremlett, galleria Michela Rizzo, Venice, Italy
Drawings volumes sculptures, Mediolanum fbos, Venice, Italy

2019

David Tremlett, Noire Gallery, Turin, Italy

2018

4X4, Galeria Miguel Marcos, Barcelona, Spain

2017

Form and Rhythm, Noire Gallery, Turin, Italy

Roll On and Other Work, Jean Brolly Gallery, Paris, France

Somebody Has Done Something On The Wall, Studio Luca Cipelletti, Milano, Italy

2016

David Tremlett:Textile Projects, Galleria Antonio Verolino, Rome, Italy

New Work on Paper and a Wall Drawing, Holger Priess Galerie, Hamburg, Germany

2015

Form & Rhythm, Galleria Alfonso Artiaco, Naples, Italy

2014

New Wall Drawings, Basel, Switzerland

Pat Steir - David Tremlett, Galleria Alessandra Bonomo, Rome, Italy

2013

Light from Matter/Matter from Light: Tremlett/Verjux, Galerie Jean Brolly, Paris, France
Overbeck-Gesselschaft, Lubeck, Germany
Work on the Wall - Work on Paper, Studio Dabbeni, Lugano, Switzerland
Un Duo (Michel Verjux/David Tremlett), A arte Studio Invernizzi, Milan, Italy
Due Pareti, BASE/PROGETTI PER L’ARTE, Florence, Italy

3 Drawing Rooms, Ikon Gallery, Birmingham, United-Kingdom

2012

David Tremlett, Gering & Lopez Gallery, New York, NY, USA

2011

Works on Paper and New Pastel/Graphite Drawing to the Wall, Alfonso Artiaco, Naples, Italy
Place on Paper, Jean Brolly Gallery, Paris, France

David Tremlett Drawing for Free Thinking, Tate Britain, London, United-Kingdom

2010

Drawing Rooms, Hamburg Kunsthalle, Hamburg, Germany

Place and Material, MAMAC, Nice, France

Space Change, Forte di Bard, Aosta, Italy

John Nixon and David Tremlett: Selected Works, GODDARD de FIDDES, Perth, Australia
Drawing Ideas, Gallerie Dorrie Priess, Hamburg, Germany

2009

Drawn, Rubbed, Smeared, A arte Studio Invernizzi, Milan, Italy
Across the Walls, Blancpain Art Contemporain, Geneva, Switzerland
Marilena Bonomo Gallery, Bari, Italy

Works on Paper and the Wall, Studio Dabbeni, Lugano, Switzerland

2008

In Space, Gering & López Gallery, New York, NY, USA

D.T., Gallery G7, Bologna, Italy

Blancpain Contemporary Art at the ZOO Art Fair, London, United-Kingdom
Galleria Invernizzi, Milan, Italy

2007

Alessandra Bonomo Gallery, Rome, Italy

Back to the Drawing Board, Galerie Jean Brolly, Paris, France

2006

Drawings, Alfonso Artiaco Gallery, Naples, Italy
Retrospective, Musée de Grenoble, Grenoble, France
Retrospettiva, Pecci Museum, Prato, Italy

New Wall Drawing, Studio Dabbeni, Lugano, Switzerland

2005

Pastel Drawings, Visconti Fine Art Kolizej, Ljubljana, Slovenia

Místnosti a Jejich Zdi - Rooms and their Walls, House of Art, Budejovice, Czech Republic
Alan Charlton, David Tremlett: Equal Opposites, A arte studio Invernizzi, Milan, Italy
Drawing, Mamac, Nice, France

2004

Drawing, Gallery Blancpain Stepczynski, Geneva, Switzerland

Alan Charlton, David Tremlett: Equal Opposites, Marcus Richter Gallery, Berlin, Germany

Sandra Gering Gallery, New York, NY, USA

Printed Matter, New York, NY, USA

My Books - Your Books, Cappella di Santa Maria di Carcerati, Bologna, Italy

2003

Drawings in Lugano, Studio Dabbeni, Lugano, Switzerland

Work on Paper & Wall Drawings, Art C.A.A.C., Issoire, France
Opere a Parette su Carta, Gallery Valentina Bonomo, Rome, Italy

2002

Crawford Art Centre, St. Andrews, Scotland
A New Wall Drawing, Massimo Valsecchi, Milan, Italy

New Work for New Spaces, Modulo Gallery, Lisbon, Portugal
But Where is Bari?, Marilena Bonomo Gallery, Bari, Italy

2001

Paper and Walls, Alfonso Artiaco Gallery, Naples, Italy

Vert Comme Les Epinards Sur Ton Plat, Chateau De Fraisse, Nouic, France

David Tremlett: If Walls Could Talk, Galleria Civica di Arte Contemporanea Trento, Trento, Italy
Drawings Concerning the Church in Crosne, Paris, France
Galerie St. Séverin, Paris, France

Gallery Marcus Richter, Berlin, Germany

Gallery Alfonso Artiaco, Pozzuoli, Naples, Italy

2000

Selection, Gallery G7, Bologna, Italy

Gallery Blancpain Stepczynski, Geneva, Switzerland

David Tremlett and Alan Charlton: Fusion, Gallery Durand-Dessert, Paris, France
New Art Centre, Roche Court, Salisbury, United-Kingdom

Passa Dentro, Tor Bella Monaca, Rome, Italy

1999

Solo Show, Dorrie Priess, Germany

1998

Massimo Valsecchi Gallery, Milan, Italy

CSU Gallery, Channel Islands, Camarillo, CA, USA
Goddard de Fiddes Gallery, West Perth, Australia

1997

Rooms of Drawings, Castello Falletti (Barolo Castle), Italy
Solo Show, Southampton City Art Gallery, United-Kingdom

Wall Drawings and Work on Paper, Bank Brussels Lambert, Belgium
Solo Show, La Chaufferie, France

Solo Show, Gallery Blancpain/Stepczynski, Switzerland

1996

Solo Show, Alfonso Artiaco Gallery, Italy
Solo Show, Gallery S65, Belgium

Solo Show, Marillena Bonomo Gallery, Italy

1995

Juan Miro Foundation, Mallorca, Spain
Gemeentmuseum, The Hague, The Netherlands
Mizuma Art Gallery, Tokyo, Japan

S.C.A.I. The Bathhouse, Tokyo, Japan

Carre D’Art Gallery, Nimes, France

Dorrie Priess, Hamburg, Germany

Galerie Durand-Dessert, Paris, France

1994

Opere Su Carta/Walldrawing, Alessandra Bonomo Gallery, Rome, Italy

Murs, Palais Jacques Coeur, Bourges, France

Galerie de L’ancien College, Châtellerault, France

Stadtpark Gallery, Vienna, Austria

The British School in Rome, Rome, Italy

Somebody Did Something All Over the Wall, Art and Project, Amsterdam, The Netherlands

1993

Wall Drawings, Galerie Lubie, Amiens, France

Wall Drawing and Drawings on Paper, Fonds Regional d’Art Contemporain (FRAC), Orleans, France
Rainy Day Gallery, Cornwall, United-Kingdom

Padiglione d’Arte Contemporanea (P.A.C.), Milan, Italy

1992

Modulo Gallery, Lisbon, Portugal

Sue Crockford Gallery, Auckland, New Zealand

Gerald Peters Gallery, New York, NY, USA

Artspace, Auckland, New Zealand

A Quiet Madness, Kestner Gesellshcaft, Hanover, Germany
Books, Posters, Prints, The Archives, Rotterdam, The Netherlands
Dorrie*Priess, Hamburg, Germany

1991
Alfonso Artiaco Gallery, Pozzuoli, Italy

The Spirit of St. Savin, Abbey Saint Savin, Saint Savin, France
Lipworth Fine Art Inc., Ft. Lauderdale, FL, USA

Gallery S65, Aalst, Belgium

Massimo Valsecchi Gallery, Milan, Italy

Marilena Bonomo Gallery, Bari, Italy

1990

Les Maitres de Formes Contemporains, Brussels, Belgium
Musee Saint Priest, Lyon, France

Palais des Beaux-Arts, Brussels, Belgium

Modulo Gallery, Oporto, Portugal

Against the Wall, Modulo Gallery, Lisbon, Portugal
Dorrie*Priess, Hamburg, Germany

5 Works from 1976, Galerie Durand-Dessert, Paris, France

1989

7 Wall Drawings, Galerie Durand-Dessert, Paris, France

Up Stairs, Arnolfini Gallery, Bristol, United-Kingdom

Working Inside, Eglise de Val de Vesle, Val de Vesle, France
Serpentine Gallery, London, United-Kingdom

1988

Roslyn Oxley9 Gallery, Sydney, Australia

Dorrie*Priess, Hamburg, Germany

Les Maitres de Formes Contemporains, Brussels, Belgium
Galerie L’A, Liege, Belgium

Walls (bulletin 152), Art and Project, Amsterdam, The Netherlands

1987

Dates Different, Musee de Rochechouart, Rochechouart, France
Rikkonaisia Paikkoja, Artek Gallery, Helsinki, Finland

Barabara Ya Watakatifu Wote, 22 All Saints Rd., London, United-Kingdom
Gallery S65, Aalst, Belgium

Massimo Valsecchi Gallery, Milan, Italy

Galerie Durand-Dessert, Paris, France

Wall Drawing Show, Alessandra Bonomo Gallery, Rome, Italy

1986

Orchard Gallery, Derry, Ireland

Waddington Galleries, London, United-Kingdom

Musem Van Hedendaagse Kunst, Gent, Belgium

Wall Drawing, Institute for Contemporary Art, London, United-Kingdom

1985
La Rue Fragile, Le Crystal Bar, Paris, France
Gallery S65, Aalst, Belgium

9 Works, Kimberlin Hall, Leicester Polytechnic, Leicester, United-Kingdom
Centre Georges Pompidou, Paris, France

Marilena Bonomo Gallery, Bari, Italy

1984

Waddington Galleries, London, United-Kingdom

No Fear of things that Change (bulletin 138), Art and Project, Amsterdam, The Netherlands

1983

No Title (Slide/Tape Show), Raum fur Kunst, Hamburg, Germany
No Title (Slide/Tape Show), Waddington Galleries, London, United-Kingdom
Older than Fire, Massimo Valsecchi Gallery, Milan, Italy
Sans Titre (Slide/Tape Show), Galerie Durand-Dessert, Paris, France
Senza Titolo (Slide/Tape Show), Marilena Bonomo Gallery, Bari, Italy

1982

Walls and Words, Riverside Gallery, London, United-Kingdom
Galerie Durand-Dessert, Paris, France

1981

White Light, Waddington Galleries, London, United-Kingdom

Drawings, John Hansard Gallery, University of Southampton, Southampton, United-Kingdom

Highpoints (bulletin 125), Art and Project, Amsterdam, The Netherlands
La Forma delle Cose, Marilena Bonomo Gallery, Bari, Italy

A Drawing on a Wall at 11 via S.Marta, Massimo Valsecchi Gallery, Milan, Italy

1980

Drawings on Jetty Posts, Gordon Jetty, Gordon, Tasmania, Australia
Galerie Durand-Dessert, Paris, France

1979

Stedelijk Museum, Amsterdam, The Netherlands

One Work - One Book, Librarie Post Scriptum, Brussels, Belgium
Massimo Valsecchi Gallery, Milan, Italy

Zomba Road, Marilena Bonomo Gallery, Bari, Italy

1978

2 Wall Drawings (building exterior), Zomba Road, Zomba, Malawi, Africa
Malawi-With men and boys (bulletin 108), Art and Project, Amsterdam, The Netherlands

On Gilbert, Massimo Valsecchi Gallery, Milan, Italy

Recent Pieces, Plymouth Arts Centre, Plymouth, United-Kingdom

1977

Galerie Durand-Dessert, Paris, France

1976

Milwaukee and Afteraffects (bulletin 96), Art and Project, Amsterdam, The Netherlands

Galerie Durand-Dessert, Paris, France

Institute of Contemporary Art, London, United-Kingdom

Poems and Wall Work, Robert Self Gallery, Newcastle, United-Kingdom
Nigel Greenwood Gallery, London, United-Kingdom

Work on Paper, Rolf Preisig Gallery, Basel, Switzerland
Marilena Bonomo Gallery, Bari, Italy

1975

Marilena Bonomo Gallery, Bari, Italy

1974

Cool Clear Water, Nigel Greenwood Gallery, London, United-Kingdom
Museum of Modern Art, Oxford, United-Kingdom

1973
Green is the Colour, Harold Rivkin Gallery, Washington, DC, USA
Project, Museum of Modern Art, New York, NY, USA
Tre-Pol-Pen, Nigel Greenwood Gallery, London, United-Kingdom

1972

Corner, Nigel Greenwood Gallery, London, United-Kingdom

The Spring Recordings, Galerie Konrad Fischer, Dusseldorf, Germany
Towards a Tap, Tate Gallery, London, United-Kingdom

1971

Galerie Folker Skulima, Berlin, Germany

Work for Tap Dance, Galerie Ernst, Hannover, Germany

One Week Installation, Nigel Greenwood Gallery, London, United-Kingdom

1970

Installation, Nigel Greenwood Gallery, London, United-Kingdom

1969

4 Sculptures, Grabowski Gallery, London, United-Kingdom

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Group shows

2021
Sul margine, A Arte Invernizzi, Milan, Italy

2020
La linea analatica, Compleso Monumentale di Santa Caterina, Finale Ligure, Italy

2019
Histoires de dessins – Collections des mondes dessinés, Frac Picardie, Amiens, France

2018

Summer Selection from the Elgiz Collection, Elgiz Museum, Istanbul

2015

Mur/Murs Peinture, Dessin, Architechture, Domaine de Kerguehennec, France

2014

L’Occhio Musicale, A arte Studio Invernizzi, Milan, Italy

Le Pas et Le Page, Musee Gassendi, Digne-les-Bains, France

L’Inventaire, Vol 4 Acquisitions de 1988-1991, FRAC Haute-Normandie, Sotteville-les-Ruoen, France
Mont Blanc, Val Ferret, Courmayeur, Italy

2013

Lines a Brief History, Centre Pompidou-Metz, Metz, France

De Belles Sculptures Contemporaines, Hab Gallery, Nantes, France

Drop me a line, Laure Genillard Gallery, United-Kingdom

Parole, Parole, Parole, Museo Pecci Milan, Milan, Italy

La Ville Dessine, Beauvais Galerie Nationale de Tapisserie, Oise, France

Collection Permanente/1, curated by Bruno Cora, CAMUSAC, Cassino, Italy

La Main Invente le Dessin, Abbaye de Saint-Riquier, Saint-Riquier, France
Vielleicht sehe ich auch zu tief in die Dinge hinein, Overbeck-Gesellschaft, Lubeck, Germany

Uncommon Ground: Land Art in Britain 1966-1979, Southampton City Art Gallery, National Museum of Wales, Cardiff, Mead Gallery, University of Warwick,
Longside Gallery, Yorkshire Sculpture Park, United-Kingdom

2012
Oeuvres sur Papier, Jean Brolly Gallery, Paris, France
Immagine della Luce,Villa Clerici, Milan, Italy

Drop me a line, Laure Genillard Gallery, United-Kingdom

2011

Incontri (with Mary Obering, David Simpson), Galleria Studio G7, Bologna, Italy
Constellations, F.R.A.C. Picardie, Amiens, France

Pour une Républiques des Rêves, CRAC ALSACE, Altkirch, France

Aftermath - curated by Laure Genillard, Chelsea Space, London, United-Kingdom
ac4ca-konkrete, Goddard de Fiddes Gallery, Perth, Australia

Dessin Contemporain, Musées Ville de Toulon, Toulo, France

Modern British Sculpture, Royal Academy, London, United-Kingdom

2010

30 Years Studio Dabbeni (1979-2009), Studio Dabbeni, Lugano, Switzerland
L’envers du Motif, FRAC Picardie, Amiens, France

Entre Glace et Neige, Centre Saint Bénin, Aosta, Italy

Western China International Art Biennial, Yinchuan, China

2009

Temps du Passage, Lycée Pierre Mendès France, Péronne, France
L’Art Dans les Chapelles, Chapelle Notre Dames des Fleurs, Moric, Moustoir-Remungol, Brittany, France
SUMMER, Goddard Fiddes Gallery, Perth, Australia
SOT-LÃY-LAISSE, BacC, Geneva, Switzerland

2008

Rome - London, Laure Genillard Gallery, London, United-Kingdom

2007

Au Pied du Mur, Arsenal de St.Jean-des-Vignes, Soissons, France
Presentation, Galerie Stadtpark, Krems, Austria

Group Exhibition, Goddard de Fiddes Gallery, Perth, Australia

2006

Ceci n’est pas une fenetre, Centre Culturel de la Sarthe-Prieure de Vivoin, Vivoin, France

Creme anglaise, FRAC, Dunkerque, France

Important Mischief, Leeds City Art Gallery, Leeds, United-Kingdom

2005

Landscape/Matter/Enviroment and Still Life, Tate Modern, London, United-Kingdom
Entriacte, Casa Gallizio, Alba, Italy

Effervescence, Musee des Beaux-Arts, Angers, France

Lumieres Contemporaines, Centre Internatioal du Vitrail, Chartres, France

Le Paysage comme Atelier, Galeries des Lycees, Fontaine les Vervins, France
Visioni, Sant’Agostino, Bergamo, Italy

2004

Work from the Lewitt Collection, Real Art Ways, Hartford, CT, USA
Return to Sender, Waygood Gallery, Newcastle Upon Tyne, United-Kingdom
Intra-Muros, MAMAC, Nice, France

L’Art au Futur Anterieur, Musee de Grenoble, Grenoble, France
Across the Border, Museum Dhondt Dhaenens, Deurle, Belgium

2003

Un Cabinet de Dessins et d’Oevres sur Papier, Galerie Jean Brolly, Paris, France
Cabinet d’Ann Philbin, Frac Picardie, Amiens, France

Nomadas Y Bibliofilos, Koldo Mitxelena Kulturunea, San Sebastian, Spain
Incontri.....all a Collezione di Graziella Lonardi Buontempo, Villa Medici, Rome, Italy
Group Exhibition, Alfonso Artiaco Gallery, Pozzuoli, Naples, Italy

Livres des artistes, Mediateque Municipale Louis Aragon, Fontany-sous-bois, France

2002

ArteCinema- 7th International Film Festival of Contemporary, Naples, Italy
Art Sweet Home, Gallery G7, Bologna, Italy

Paysages, Maison des Arts et Loisirs, Laon, France

Corps Sublimes, Galerie Durand-Dessert, Paris, France
Extra Art, Institute of Contemporary Art, London, United-Kingdom

On General Release, Norwich Gallery, Norwich, United-Kingdom

Les Années 70 : L’art en cause, Capc, Bordeaux, France

De Singuliers Debordements, La Maisons de la Culture d’Amiens & Galerie du Wazoo, Amiens, France
Ruines et Monuments, Galeries des Lycees, Chantilly, France

2001

Extra Art, CCAC, San Francisco, CA, USA

Group Exhibition, Galerie Blancpain Stepczynski, Geneva, Switzerland

Dix Annees de Tissages, Galerie Nationale de la Tapisserie, Beauvais, France
Shoes or No Shoes?, Cultural Centre of Gent, Gent, Belgium

Dialogue Ininterrompu, Musee des Beaux Arts, Nantes, France

Traits ou Lumieres? Euh je peux prendre les deux?, Enfance de l’Art; Bagnols-Les-Bains, France

Paysages, Espace Henri Matisse, Creil, France

La Sculpture au Pied du Mur, Salle de la SCOMAM, Laval, France

La Geografia degli artisti, La Galleria Milano, Milan, Italy
Conception (Conceptual Documents 1968-72), Norwich Gallery, Leeds, United-Kingdom
UK in the 70’s, Gallery Durand-Dessert, Paris, France

2000

Abstracions Terrestres, Galerie du Faou dic, Lorient, France
1/2000, Collège Jacques-Cartier, Chauny, France

1999

Grands papiers - oeuvres du FRAC Picardie, FRAC Picardie, Amiens, France
Visible - In Visible, Centre d’Art Sacré Contemporain, Pontmain, France

Uit depot, Art and Project at Rijksmuseum, Twenthe, The Netherlands

De Corazón, Centre Cultural Tecla Sala, Barcelona, Spain

1998

Group Exhibition, Galerie Durand-Dessert, Paris, France

Au Fil du Trait, Carré d’Art, Nimes, France

Viaggiatori sulla Flaminia Galleria Comunale De Arte Moderna di Spoleto, Italy
Un certain classicisme, Frac Franche-Comté, France

Voies et Vertus du Dessin-oeuvres du FRAC Picardie, France
Taipei Fine Arts Museum, Taipei, Taiwan

Thème Ecriture, Blancpain/Stepczynski, Geneva, Switzerland

1997

The Pleasure of Reading, John Gibson Gallery, New York, NY, USA
Blick zurück nach vorn, Gallery Dorrie*Priess, Hamburg, Germany
Drawing Distinctions, University Art Museum, Berkeley, CA, USA
Drawing Distinctions, Arizona University Museum, Tucson, AZ, USA
Hommages, Ancien Entrepôt Uniroyal, Brussels, Belgium
Mage art contemporain, Musée des Beaux-Arts et d’Archéologie de Troyes, Troyes, France

Livres d’artistes: L’invention d’un genre, Bibliothèque nationale, Paris, France
Au Pied du Mur, FRAC Picardie, Amiens, France
Parabase, Galerie Stadtpark, Krems, Austria

Dessins de Sculpteurs, Espace Jean Legendre, Compiègne, France

1996

Les (dé)finitions de l’art, Chateau de Villeneuve - Fondation Emile, Vence, France
Zeitgenössische Kunst, Gallery Dorrie*Priess, Hamburg, Germany

Dessins en Series, Maison de la Culture d’Amiens, Amiens, France

L’Inquieto Geometrico (Uneasy Geometry), Studio Carlo Grossetti, Milan, Italy
Traits Sensibles, Musée des Ursulines, Macon, France

Recent Tapistries from Aubusson, Musée de la Tapisserie, Aubusson, France
The World Over/De Wereld Bollen, Wellington City Art Gallery N.Z & Stedelijk Museum,
Amsterdam, The Netherlands

Petit Impertinence, Georges Perec, Paris, France

1995

1:1 (wall drawings), Kunstlerwerkstatt, Munich, Germany
Mélange d’Aout, Laure Genillard Gallery, London, United-Kingdom
Desenho Contemporâneo, Modulo Gallery, Oporto, Portugal
Natures Contemporaines, FRAC de Picardie, Amiens, France
Accidents de terrain, FRAC Bretagne, Lannion, France

1994

Group Exhibition, L.A.C. (Lieu d’Art Contemporain), Sigean, France

Comme dans une Image, Gilbert Brownstone & Cie Gallery, Paris, France
DESSINER une collection d’art contemporain, Musee du Luxembourg, Paris, France
Looking at Words: Reading Pictures, Elms Lester Painting Rooms, London, United-Kingdom

Wall to Wall, Leeds City Art Gallery, Leeds, United-Kingdom

1993

Videos by Artists, Gallery Marilena Bonomo, Bari, Italy

Valises, Museum of Modern Art, Liege, Belgium

Interieurs, Centre d’art Contemporain, Castres, France

Siege, Solar do Largo de Sta. Maria, Obidus, Portugal

Un Sogno per i Campi Flegrei, Alfonso Artiaco Gallery, Pozzuoli, Italy
Domaine de Kerguehenner, Brittany, France

Differentes Natures, La Defense, Paris, France

Moving into View, South Bank Centre, London, United-Kingdom
Out of Sight Out of Mind, Lisson Gallery, London, United-Kingdom

Werk op Papier, van krimpen/art & project, Rotterdam, The Netherlands

1992

Turner Prize, Tate Gallery, London, United-Kingdom

Where? L’identite ailleurs que dans l’identification, Museum of Modern Art, St. Etienne, France

Dessins de Sculpteurs, F.R.A.C., Bretagne, France

Tierra de Nadie, Hospital Real, Granada, Spain

Gestaltete Raume, Siemens, Munich, Germany

Group Exhibition, FRAC Picardie, Amiens, France

Wall Drawing, Yokohama Art Fair, Yokohama, Japan

7 Artists, Galerie de Expeditie, Amsterdam, The Netherlands

1991

Original Copies, The Lazelle Gallery, Auckland, New Zealand
Group Exhibition, Museum of Modern Art, Dublin, Ireland

1990

British Art Now: A Subjective View, Setagaya Museum, Fukuoka Museum, Nagoya Museum, Tochigi Museum, Hyogo Museum, Hiroshima Museum, Japan

A New Necessity, Banks of the River Tyne, Gateshead, United-Kingdom

Kulturen-Verwandtschaften in Geist und Form, Galerie Nachst St. Stephan, Vienna, Austria

Mentalitaten und Konstruktionen in Arbeiten auf Papier, Galerie Nachst St.Stephan, Vienna, Austria

1989

Hamburg Projekt, Hamburg, Germany

Espace, Galerie La Defense, Paris, France

Directly on a Surface, Laure Genillard Gallery, London, United-Kingdom
Europese Raaklijnen, Museum Dhondt-Dhaenens, Belgium
Fenetres en Vue (Noise), Museum of Modern Art, Liege, Belgium
Territoires, Musee Saint-Denis, Rheims, France

1988

Britannica - 30 Years of Sculpture, Musée d’Evreux, Evreux, France

British Now, Musée d’Art Contemporain, Montreal, Canada

Unknown Work, Dorrie*Priess, Hamburg, Germany

Collection Agnes and Frits Becht, Musée d’Art Moderne du Nord, Villeneuve d’Ascq, France

Viewpoint, Musée d’Art Moderne, Brussels, Belgium

Dessin: Naissance d’une collection, Chapelle des Visitandes, Amiens, France

1987

Vessel, Serpentine Gallery, London, United-Kingdom
Collection Agnes and Frits Becht, Centre d’Art Contemporain Midi-Pyrenees, Toulouse, France

Century 87, Restaurant Pier 10, Amsterdam, Holland
Group Exhibition, Galerie Durand-Dessert, Paris, France

Traversees, Musee de St-Michel en Thierache, France

L’Art La Ferme, Chapelle De L’Hopital St.Julien, Chateau-Gontier, France
Unpainted Landscapes, Victoria Miro Gallery, London, United-Kingdom

L’Exotisme au Quotidien, Palais des Beaux Arts, Charleroi, Belgium

1986

Focus on British Art, I.C.C., Antwerp, Belgium

Accidents de Terrain, Quimper, France
Konfrontatie, Acadamie Voor Schone Kunsten, Aalst, Belgium

Landspace, Kettles Yard, Cambridge, United-Kingdom

Collection of the FRAC Bretagne, Rennes, France

Sculture Da Camera, Castello Svero, Bari, Italy

Intuition and Memory, Museum d’Art Moderne, Brussels, Belgium

Homage to the Paper, Gallery S65, Aalst, Belgium

The Inspiration Comes from Nature - Part 2, Jack Tilton Gallery, New York, NY, USA
The Unpainted Landscape, Smith Art Gallery and Museum, Stirling, Scotland

1985

Second Ateliers Internationaux, F.R.A.C., Fontevrand, France

Museum ? Museum ! Museum, Museum Fur 40 Tage, Hamburg, Germany
Kunstwerk, Peter Stuyvestant Collection, The Netherlands

Groups VII, Waddington Galleries, London, United-Kingdom

Carta, F.R.A.C. Cellier Carnot - Champagne Pommery, Reims, France
Group Exhibition, Dracos Art Centre, Athens, Greece
When Attitudes Became Form, Le Nouveau Museum, Villeurbanne, France

1984

Collectie Becht, Stedelijk Museum, Amsterdam, The Netherlands
When Attitudes Became Form, Kettles Yard, Cambridge, United-Kingdom

The Critical Eye/1, Yale Center for British Art, New Haven, CT, USA
Groups VI, Waddington Galleries, London, United-Kingdom

1983

Groups V, Waddington Galleries, London, United-Kingdom

The Granada Collection, Recent British Paintings and Drawings, Whitworth Art Gallery, University of Manchester, Manchester, United-Kingdom
Douceur de l’Avant Garde, A.P.P. Gallery, Rennes, France

1982

6 Artists, Penwith Galleries, St. Ives, Cornwall, United-Kingdom

Exhibition of individual works throughout the city, Centre d’Art Contemporain, Chambery, France
Hayward Annual 1982, Hayward Gallery, London, United-Kingdom

1981

British Sculpture in the Twentieth Century, Whitechapel Art Gallery, London, United-Kingdom

Murs, Centre George Pompidou, Paris, France

New Works of Contemporary Art and Music, Fruit Market Gallery, Edinburgh, Scotland

Groups IV, Waddington Galleries, London, United-Kingdom

Aljofre Barocco, Salone di Palazza Ducezio, Syracuse, Italy

1980

First Day Covers, Newlyn Art Gallery, Newlyn ,Cornwall, United-Kingdom

Das Bild einer Gerchichte 1956-1976: Die Sammlung Panza di Biumo, Kunstsammlung Nordrhein-Westfalen, Germany

Non- Realized Projects, International Center of Culture, Cuajimalpa, Mexico
Europe ‘80, Espace Lyonnaias de l’Art Contemporain (E.L.A.C.), Lyon, France

1979

The Native Land, Mostyn Art Gallery, Llandudno, United-Kingdom

On Walk and Travels, Bonnefantenmuseum, Maastricht, The Netherlands

Un Certain Art Anglais, ARC, Musee d’Art Moderne de la Ville de Paris, Paris, France

1978

L’Estampe Aujourd’hui, Bibliotheque National, Paris, France

Focus ‘78, Centre de Recherches pour les Expositions et le Spectacle (CRES), Paris, France

In Newlyn, Newlyn Art Gallery, Newlyn, Cornwall, United-Kingdom

1977

Le Sentiment du Paysage, Musee d’Art de l’Industrie, St. Etienne, France
On Site, Arnolfini Gallery, Bristol, United-Kingdom
Cinq Jeunes Artistes, Galerie Divergence, Metz, France

03-23-03, Institute of Contemporary Art, Montreal, Canada

1976

8 Artists, Robert Self Gallery, London, United-Kingdom

York Festival, Chapel Gallery, York, United-Kingdom

A Summer Show, Amsterdam, The Netherlands
18 Artists, Carlisle Museum, Carlisle, United-Kingdom

1975

New Media I, Malmo Konsthalle, Malmo, Sweden

1974
An Element of Landscape, Mappin Art Gallery, Sheffield, United-Kingdom

1973

Aspects d’Art Actual (Festival d’Automne), Musee Galerie, Paris, France
Group Exhibition, Sonnabend Gallery, New York, NY, USA

Story, John Gibson Gallery, New York, NY, USA

11 Englische Zeichner, Kunsthalle, Baden-Baden, Germany

1972

Documenta 5, Museum Fredericainum, Kassel, Germany
The New Art, Hayward Gallery, London, United-Kingdom

1971

Film Show, Situation Gallery, London, United-Kingdom

Multiples, Philadelphia Museum of Art, Philadelphia, PA, USA

Wall Show, Lisson Gallery, London, United-Kingdom

The British Avant Garde, The New York Cultural Center, New York, NY, USA
Prospect 71, Kunsthalle, Dusseldorf, Germany

1970

Edinburgh Festival, Goldbergs Department Store Roof, Edinburgh, Scotland
British Sculpture of the Sixties, Institute for Contemporary Art, London, United-Kingdom

1969

Young Cotemporaries, Picadilly Galleries, London, United-Kingdom

Artists’ Books

2016
Tools of the trade (outils du metier), Voix editions , France.

2007
Texas, collectif generation, edited by Switchback books, France.
Between you and me, Visconti fine art, Slovenia.

2003
Black as midnight with the eyes shut, Voix editions, France.

2002
if things could talk, modulo gallery, Portugal.

1999
clear & fuzzy, scai the bathhouse, Japan.

1998
Pages(+le tremlett) by Jaques Demarcq, La Chaufferie, France.

1996
How far in that direction, Dorrie * Priess gallery, Germany.

1995
Columns, Galerie Stadtpark, Austria.

1994
Plans we walk on, Galerie Stadtpark, Austria.
Nouveau plans, galerie de L’Ancien College, France.
Rooms in Vienne, galerie de L’Ancien College, France.
Murs, Palais Jacques Coeur, France.

1993
Abandoned drawings, Frac Picardie, France.
Casa de dibujos, Gerald Peters gallery, Dallas and Massimo Valsecchi gallery, Milan, Italy & USA

1991
Internal, Massimo Valsecchi gallery, Italy.
Wall to wall, Allesandra Bonomo gallery, Italy.
The mjimwema drawings, Imschoot, Uitgevers, Belgium.
David Tremlett : Wall drawings at Abbey St.Sivan, Eglise de St. Savin, France.

1990
David Tremlett : Walls in Modulo gallery, Modulo, Lisbon, Portugal.
1, 9, 8, 7. front side, Hester van Royen, United-Kingdom.
5 postcards from Palais des Beaux Arts Brussels, gallery S65, Belgium.
Wall drawing, museum Dhondt-Dhaenens, Belgium.

1989
Working inside, Eglise Val de Vesle, France.
Tremlett west bengal, galerie Durand-Dessert, France.

1988
Sometimes we all do, Marilena Bonomo gallery, Italy.

1987
Ruin, Art & Project, Netherlands.

1985
Rough Ride, editions du Centre Georges Pompidou, France.

1984
Old Tom & Hotel room, Centre for British Art, USA

1983
Restless, Waddington galleries, United-Kingdom.

1979
On the border, Stedelijk Museum, Netherlands.

1978
On the Waterfront, Newlyn Orion gallery, United-Kingdom.
Scrub, galleria Marilena Bonomo, Bari and galerie Durand Dessert, Paris, Italy/France.

1974
Some Places to Visit, Nigel Greenwood inc., books, United-Kingdom.

Catalogs & Monographs

2017
Horizon David Tremlett / Michel Verjux, galerie Jean Brolly, Maastricht/Paris, The Netherlands/France.

2016
Textile projects by David Tremlett. galleria Antonio Verolino, Italy.

2014
Works on paper, galleria Comunale d’Arte Contemporanea di Monfalcone : texts by Silvia Altran, Paola Benes and Vania Gransinign (main introduction), Italy.

2013
3 drawing rooms. Ikon gallery. Designed by Matt Appleton at Modern Activity, United-Kingdom.

2011
David Tremlett – Architecte de lumière. éd. Lieux Dits. France.

2010
Place and material. éd. Mamac. France.
Walls 2001-2010. éd. Forte di Bard. Italy.
David Tremlett / Drawing rooms. éd. Hamburg Kunsthalle. Germany.
David Tremlett. éd. Arte Contemporanea a Villa Pisani. Italy.

2009
David Tremlett (drawn rubbed smeared). éd. A Arte Studio Invernizzi. Italy.

2008
David Tremlett. éd. Damiani. Italy.
David Tremlett. a dialogue between past and present. éd. Silvana editorial. Italy.
L’art dans les chapelles. éd. L’art dans les chapelles. France.

2006
David Tremlett. Retrospective 1969-2006. éd. Musée Grenoble (France) /Pecci Museum Prato. Italy.

2005
David Tremlett – British Council Nairobi. éd. British Council. United-Kingdom/Kenya.
Alan Charlton – David Tremlett (Equal opposites). éd. Studio Invernizzi. Italy.

2003
37 wall drawings in Issoire. éd. Art.c, France.
A new light. ed. Cappella di Santa Maria dei Carcerati, Italy.
Nomadas y bibliofilos. ed. Koldo Mitxelena Kulturunea, Spain.

2001
Se i muri potessero parlare (if walls could talk). ed. Mazzotta, Italy.
Extra art. ed. CCAC, USA.
Conception : conceptual documents 1968-72. Norwich gallery, United-Kingdom.

2000
Passa dentro. ed. Spazio per l’Arte Contemporanea tor Bella Monaca, Italy.

1998
Walls in bologna 1998. ed. galleria G7, Italy.

1997
Drawing distinctions. ed. University Art Museum, Berkeley, USA / Arizona University Museum, USA.
Livres d’artistes l’invention d’un genre. ed. Bibliothèque Nationale, France.

1996
Walls and their drawings. ed. Fondazione Bonomo, Castel del Monte Andria, Italy.
Recent tapistries from aubusson. ed. Musée de la Tapisserie, France.
The world over/de wereld bollen. ed. Wellington City Art gallery, New Zealand / Stedelijk Museum, Amsterdam, The Netherlands.

1995
Wall drawings. ed. Carré d’Art / Juan Miro Foundation, Barcelone, France/Spain.
New schemes for walls. ed. Haags Gemeentemuseum, Holland.
1:1 (wall drawings). ed. Kunstlerwerkstatt, Germany.

1994
Dessiner une collection d’art contemporain. ed. Musée du Luxembourg, France.
Wall to wall. ed. Leeds City Art gallery, United-Kingdom.

1993
David Tremlett. ed. Padiglione d’Arte Contemporanea, Italy.
Siege. ed. Solar do largo de sta. Maria, Portugal.
Differentes natures. ed. La défense, France.
Work & turn. ed. Travelling show Iceland, Japan.
Moving into view. ed. South Bank Centre, United-Kingdom.

1992
David Tremlett. ed. Kestner Gesellschaft, Germany.
The artspace drawings. ed. Artspace, New Zealand.
Turner prize. ed. Tate gallery, United-Kingdom.
Where? l’identite ailleurs que dans l’identification. ed. Museum of Modern Art, France.

1991
Original copies. ed. The Lazelle gallery, New Zealand.

1990
Written forme. ed. Palais des Beaux Arts, Belgium.
Selected walls. ed. Musée Saint Priest, France.
British art now – a subjective view. ed. Setagaya museum, Fukuoka museum, Nagoya museum, Tochigi museum, Hyogo museum, Hiroshima museum, Japan.

1989
David Tremlett at the Serpentine gallery. ed. Serpentine gallery, United-Kingdom.
Hamburg projekt works in the city of Hamburg, Germany.
Europese raaklijnen. ed. Museum Dhondt-dhaenens, Belgium.
Fenêtres en vue (noise). ed. Museum of Modern Art, Belgium.

1988
British now. ed. Musée d’Art Contemporain, Canada.
Viewpoint. ed. Musée d’Art Moderne, Belgium.

1987
Dates different. ed. Musée Château Rochechouart, France.
Collection Agnes and Frits Becht. ed. Centre d’art contemporain Midi-Pyrenees, France.
L’exotisme au quotidien. ed. Palais des Beaux Arts, Belgium.

1986
Focus on british art. ed. I.C.C., Belgium.
Sculture da camera. ed. Castello Svero, Italy.

1985
Museum? Museum! Museum. ed. Museum fur 40 tage, Germany.
Groups VII. ed. Waddington galleries, United-Kingdom.

1984
The critical eye/1. ed. Yale centre for British Art, USA.
Groups VI. ed. Waddington galleries, United-Kingdom.

1983
Groups V. ed. Waddington galleries, United-Kingdom.

1982
6 artists, Penwith galleries, United-Kingdom.

1981
Groups IV. ed. Waddington galleries, United-Kingdom

1980
Europe ’80. ed. Espace Lyonnaias de l’Art Contemporain (E.L.A.C.), France.

1978
L’estampe aujourd’hui. ed. Bibliotheque National, France.