-Von Pablo Picasso bis Robert Rauschenberg
 Kunstsammlungen Chemnitz, 2017
 Ingrid Mössinger (Hrsg.) und Iris Haist (Hrsg.)
 Buchhandelsausgabe: ISBN: 978-3-95498-345-2
 Museumsausgabe: ISBN: 978-3-930116-36-2

-Halfway, Christine Schulz, Reinhard Buskies (Hrsg.)
 Kunstverein Bochum, Berlin, 2016
 ISBN: 978-3-946784-01-2

- INPUT/OUTPUT, Worpsweder Museumsverband, 2014

- California Calling, Kunstverein Búchholz und Bräuning Contemporary, Hamburg 2013
- Parkhaus, Karl-Heinz Rummeny (Hrsg.), Düsseldorf 2013
- Vom Hier und Jetzt - 86. Herbstausstellung niedersächsischer Künstler, Kunstverein Hannover, Hannover 2013
- Schauplatz Stadt, Kunstmuseum Mülheim/ Ruhr, 2013
- Blowin'free, Reinhard Buskies im Rahmen der Emscherkunst.2013

- Wildes Denken, Michael Stoeber, in: Salon Salder, Salzgitter 2012
- VENTOUX, Christine Schulz, Reinhard Buskies (Hrsg.), Kunstverein Bochum, Berlin 2012
- INTERFERENCE, Schaduwspel, Stichting Idee-fixe, Paul Hagenaars (Hrsg.), Breda 2012

- auto.MOBIL, Tely Büchner und Susanne Knorr / Erfurter Kunstverein, Erfurt 2011
- Kunst baut Stadt, Christine Nippe, Berlin 2011
- Der offene Garten, Meike Behm, Bernhard Jansen, Veronika Olbrich, Gudrun Thiessen  Schneider (Hrsg.), Hannover 2011
- Kunstfrühling 2011, BBK Bremen (Hrsg.) Bremen 2011

- >> fast forward 2, The Power of Motion - Christine Schulz, UB, Media Art Sammlung Goetz, ZKM, Karlsruhe / Ingvild Goetz und Stephan Urbaschek (Hrsg.), Ostfildern 2010
- Leinen los - 85. Herbstausstellung niedersächsischer Künstler, Kunstverein Hannover, Hannover 2010

- Everything than passes between us, kuratiert von Christine Nippe, Heft zur Ausstellung, Kölnischer Kunstverein, 2009
- Zur Arbeit von Christine Schulz, Susanne Wedewer-Pampus, Leverkusen 2009
- Wandelbarkeit als Moment der Zeit festhalten. Christine Schulz' Papierarbeiten und Fotografien, Christine Nippe, Berlin 2009
- Parcours, Annett Reckert, Berlin 2009
- Imperium, Galeria Hilario Galguera, Spinnerei, Leipzig, 2009

- Nordlichter - 84. Herbstausstellung niedersächsischer Künstler, Kunstverein Hannover, Hannover 2008

- no Limits, Christine Nippe, Revolver, Archiv für aktuelle Kunst, Frankfurt am Main 2007
- Impressionen, Paris-Berlin, KunstBüroBerlin, Hachmannedition, Bremen 2007
- Placemakers, Christine Nippe, Berlin 2007
- 24. Kasseler DokFest, Beate Anspach zu ALERT, 2007

- Christine Schulz, ALERT, in: Up 2 date, IDFX, Electron, Breda 2006
- Heimspiel, 83. Herbstausstellung niedersächsischer Künstler, Casino, Harriet Häußler, Kunstverein Hannover, 2006
- Nordenfjords 2006, Berlin - Nordjylland, 2006
- Spielwelt, Spiele der Welt - Welt aus Spielen, Aeneas Bastian, 2006

- Panorama, 82. Herbstausstellung niedersächsischer Künstler, Welle, Christine Schulz, Kunstverein Hannover, 2004
- Weltrennen, Sonja Parzefall, auf: CD-Rom, 2004
- Yellow Pages, Marienkäfer, Christine Schulz, 2004

- Christine Schulz, Spielwelt, Flug, in: Die Sehnsucht des Kartografen, Kunstverein Hannover, 2003
- Carina Herring, Die Stadt: Ein Spielsalon, Essay zu Christine Schulz' Spielwelt, in: Licht an - Licht aus, Meisterschülerzeitung HBK Braunschweig, 2003

- John Armleder, Lost in the City, in: Ein Treppenhaus für die Kunst, Christine Schulz, Niedersächsisches Ministerium für Wissenschaft und Kultur, 2002
- Stephan Berg,  Einführungsrede zum 25. Juni, in:  Ein Treppenhaus für die Kunst Nr. 7, Niedersächsisches Ministerium für Wissenschaft und Kultur, 2002
- Christine Schulz, Perspektiven, 81. Herbstausstellung niedersächsischer Künstler, Kunstverein Hannover, 2002
- Daniel Spanke, Abflughalle International Airport WHV, Flug, CD-Rom, 2002, Kunsthalle Wilhelmshaven, 2002
- Christine Schulz, in: Klasse Virnich im BIS, Mönchengladbach, 2002
- Christine Schulz, in: beep - beep II, 404, 2002

- Christine Schulz, NORDWESTKUNST, Preisträgerausstellung 2001, Kunsthalle Wilhelmshaven, 2001

- Christine Schulz, in: beep - beep, 404, Uwe Schwarzer, 2000
- Christine Schulz, in: Filmklasse der HBK, Birgit Hein, 2000



- Christine Nippe, 2009
Capturing mutability as a moment in time:
Christine Schulz's photographs and paper pieces

- Annett Reckert, 2009
Courses for horses

- Christine Nippe, 2007
Fluid images, fluid spaces - the art of Christine Schulz

- Aeneas Bastian, 2007
Beauty before disappearance: Christine Schulz's images of the accelerated world

- Beate Anspach, 2006

- John Armleder, 2002
Lost in the City

Annett Reckert

Courses for horses

"Most of the pictures I had put up there, on all the walls of that hide-out of mine in the mill, were pictures of horsemen. Shortly after Doktor Busbeck's sixtieth birthday I had begun cutting pictures of horsemen out of calendars, magazines and books, and I had begun by gluing them over the cracks, and later I had gone on to do all the walls with them. There were Napoleon's cuirassiers cantering out of the wall, there was the Emperor Charles V riding over the battlefield of Muhlberg, Prince Youssupov in Tartar costume on a fiery Arab stallion, and on a small Andalusian grey there was Queen Isabella of Bourbon trotting into a sad sunset. There were dragoons, circus-riders, mounted chasseurs and knights in armour, and they all rode in different ways and eyed each other critically, and anyone with any imagination could have heard the beating of horses' hooves - and the whinnying and neighing.
"What's going on here?" my brother asked.
"An exhibition," I replied. "There's an exhibition on.""1

In Siegfried Lenz's novel German Lesson, the character of Siggi is out of breath with excitement when he shows his older brother Klaas the collection that he has assembled in secret. More than anything else, he is fascinated by the horse as a symbol of power and status. The animal's strength and beauty, speed and stamina captivate the boy - the horse is the embodiment of freedom and adventure.

The horse has, of course, delivered more than just showy performances as it accompanies mankind through our history. There have been so many other roles: the long-suffering plod of the workhorse or wartime comrade-in-arms are just as much part of this history as the nimble prancing of the trained circus pony or the thundering gallop of the racehorse. The horse is a symbol that lies deep within our collective awareness, it represents a myth unbroken even today. Christine Schulz has dedicated herself to exploring this idea in a series of installations, films, photographs and collages.

A work titled PS provides a sudden, dazzling introduction to the topic. Generally, only people in the advertising industry feel they can ambush us in this manner, but this is exactly the point that Christine Schulz chooses as the start of her game, a game which repeatedly attempts to lay bare our conditioning. After all, images of horses are repeatedly corralled into performing for us on gargantuan billboards and posters in our cities, on our televisions and in our cinemas; they advertise hip jeans, cigarette brands, filling stations, healthy breakfasts and of course for the untrammelled metal horsepower of cars. Lightboxes are just another item in the bag of tricks that advertisers use when they create their campaigns, and they are equally aware - just as artists have long been - of the visual impact of the written word. In this way, Christine Schulz can be sure that the powerful piece PS and the word "Western", which she displays in an exaggeratedly nostalgic font, will become a screen upon which each viewer projects reels of mental images of their own. In this exhibition, the artist repeatedly disturbs the flow of ideas - often all too regular and smooth elsewhere - after it has been started here. In several of her works, she uses found footage and lets it canter over the walls and ceilings of the exhibition spaces, the images growing stronger or fainter depending on the time of day. This fluctuation often echoes the temporary character of backdrops and stage sets, in particular when the viewer is caught in a beam of light and becomes, for a moment, a shadowy actor within the projections.

The work Oxer represents, in the most literal sense of the word, an impediment for the viewer. Looking at the strange steps of the gleaming chrome construction, at the size and proportions of the installation, you find yourself quite literally in the middle of an obstacle course fit for show-jumping. You need to execute a difficult zigzag move here, but this is of course only the first level of intended meaning. The metaphor of a course that requires navigation, steps and jumps was transferred from language of sport to the jargon of art criticism a long time ago. Visitors to large-scale exhibitions have to visually negotiate them as if they were in some kind of art gymkhana. We can perceive the artist's sly wink combined with a philosophical sigh. Life itself is also a series of fences to be cleared, some easier, some harder.
Anyone who spends time with horses will almost hear the whinny of a great grey when they see the work Wälzendes Pferd / Rolling Horse: it displays the moment when the powerful animal sinks happily to the ground to roll back and forth in the earth. Image by image, the coating of soil becomes thicker and thicker as the horse disguises itself against the black of the photographs until it is virtually invisible. The artist's reference to Eadweard Muybridge is obvious: in 1887, Muybridge was the first person to capture the movement of a horse in all its variety, from trot to gallop, in his sequences of time-lapse photographs. As the horse in Christine Schulz's work goes about its ablutions, it step by step becomes an unpleasant, grotesque, almost wormlike creature. Individual images remind us uncomfortably of an animal that is either suffering or dead. In the end, the horse, happily lying prone on the ground despite its natural flight instinct, presents us with an image that every viewer must latently associate with incredible vulnerability.

Hot-blooded, yet tamed - this is how Christine Schulz presents the horses bearing two familiar figures in the piece Fury and Flicka. The surprising similarity of the two stars becomes clear in the dialogue-like b/w projection. The artist intentionally deploys a visual cliché in this work, a formula as familiar to us from old paintings as much as it is from the wishes and desires manufactured by the factories of our pop culture: Joey on his black stallion Fury and Ken on Flicka are the dream team of those who were young in the Forties, Fifties, Sixties and Seventies and who dreamed of friendship and adventure. They could well be joined by Old Shatterhand on Hatatitla, his blood brother Winnetou on Iltschi, Pippi Longstocking and Little Old Man. All of them embody a harmonious, unconditional partnership with the horse, with its grace and strength.

The human soul simultaneously houses both a desire to control nature and the yearning for a prelapsarian, animal simplicity. Anyone looking at a tamed animal is fascinated by its capacity to adapt and learn, but they can also feel a sense of wistful loss, knowing that behind every practiced pose there is a tale of paradise lost. We are reminded of this by the looped, b/w hunting scene from the legendary 1961 film The Misfits. The large images from Christine Schulz's film Circus show a horse and rider as they go through their training in a cramped circle, conveying the ambivalent effect described above. As if guided by an invisible hand, the animal performs a series of movements that are contrived in the extreme, but pause to look at the work for a longer period of time and you'll be hypnotised by the duo's movements, their never-ending laps around the ring, while the unbelievable bond and communication between human and animal becomes more and more mysterious with each passing minute.

In some of her pieces, Christine Schulz slows the pace but expands the time period covered in her artistic exploration of equine myths. Her work Rubens assembles found footage from art history. The noble steed has been an aristocratic motif in painting and sculpture for centuries, functioning as a dynamic prop for a rider attempting to transfer the admirable qualities of the animal to their own person. Christine Schulz selects the 1615-1616 painting Hippopotamus and Crocodile Hunt by Peter Paul Rubens - it is a scene of a struggle that transports the viewer to an exotic fantasy setting. In contrast, Gazar, the protagonist of the eponymous "moving still", exudes an almost contemplative peace: a horse, barely moving, hanging its head, its gaze averted, asleep, suffering, sedated? The image appears on the wall like a vision from a dream that doggedly yet inexplicably replays itself over and over again.
A dream-like atmosphere, verging on the surreal, is even stronger in the photo-based work Riding Around The Carpet: a smartly clad woman performs with her horse in a strange, almost fairy-tale environment caught between an outdoor and an indoor world. She doesn't guide her horse through the motions in a show-jumping arena but instead they trek around the square of a Persian rug. The viewer could hope that the rug is actually a flying carpet that will take them to another place and set them free.

Spotless stables as a place for practicing feng shui, acupuncture and massages - this is no longer an unusual sight in our part of the world. Peter Sloterdijk describes the horses that get to live here and graze lush meadows during the daytime as "happy pensioners"  that have, compared to other animals, "lucked out" in the process of civilisation. When Christine Schulz produces works about the circus, about show-jumping, horse-racing and rodeos, it might not be quite the whole picture, but it is true - or at least we can say it's true - that the horse has given up its job as man's vital helper as civilisation has advanced. They once pulled horsecars along tracks, but soon after, steam engines came huffing and puffing onto the scene. This idea is introduced into the proceedings when Christine Schulz shows the film Iron Horse as a dialogue with her works about horses: the myth of the horse lives on as the myth of the railway. Adelbert von Chamisso's 1830 poem The Steam-Steed contains an impressively long-lived feat of associative genius "My steam-steed, nought in speed can eclipse / Time, fleet as it is, he far outstrips / At the hour starts to westward away / He comes from the east again yesterday." as he puts it in one verse. Von Chamisso's writings contemplate the related issue of how rapid technological developments, among them progress in communications, might change people's perception of objects, space and time. These musings make him a suitable witness to call when investigating Christine Schulz's current undertaking, as she exploits the accelerated flow of images in the modern world and transfers each concept to a separate, independent visual setting of its own.

1 Siegfried Lenz: German Lesson, New York, 1971
2 Peter Sloterdijk: "Stimmen für Tiere. Phantasie über animalische Repräsentation", p.133, in the catalogue accompanying the exhibition Herausforderung Tier, Städtische Galerie Karlsruhe, 2000.