utorak, 3. rujna 2013.

ikono On Air Festival of Video Art

Međunarodni festival videa/filma koji će se moći pratiti online, od 6. do 29. rujna. Više od 200 sati programa, oko 150 umjetnika.



Ikono On Air Festival Opening Event at .chb

For the first time in TV history an art festival will take place exclusively on TV: From the 6th to 29th September 2013, the ikono On Air Festival will air a daily program of international video art, featuring artworks from highly celebrated established and emerging artists. The festival will present contemporary perspectives on film, video art, and other time-based art forms from the last decades which will be supported by a program of video clips profiling art from antiquity until today.
To celebrate this, we have an amazing evening planned on September 6 at the Collegium Hungaricum Berlin. The evening takes off with the launch of the official public screening of the festival program, projected on the Panoramic windows of the .CHB.

For this event, Ikono has partnered with Connecting Cities and Public Art Lab to bring to Berlin the Binoculars interactive installation by artists Mar Canet and Varvara Guljajeva. Binoculars invites you to glance at a number of simultanieous and connected events taking place across Europe. Among them will be the Bauhaus in Dessau Festival, the Ars Electronica Festival in Linz and Riga, the European Capital of Culture 2014.

Joining us for this event will be live DJ act Miguel Toro, feat. guest Aerea Negrot!
* The ikono On Air Festival will be broadcast from 6 September to 29 September in over 30 countries and will also be available online via the ikono livestream. You can be a part of the festival from home, from one of our festival touch points, or one of our broadcasting partners.


Official Opening and Public Screening of the ikono On Air Festival
Friday 6 September:
20:00 – Public screening of the festival program on the panoramic windows of the Collegium Hungaricum Berlin, Dorotheenstraße 12 · 10117 Berlin · Free admission
21:00 – Presentation of Binoculars, an interactive installation by Mar Canet and Varvara Guljajeva, in collaboration with Public Art Lab and Connecting Cities.
22:30 – After party with live act Miguel Toro, feat. Guest Aerea Negrot
* The public screening and Binoculars will be repeated 7 September, same place, same time.

Just a few days left to ikono’s very first on air and online art festival. Get ready to celebrate this pioneering moment in TV history: from the 6th to the 29th of September you can watch more than 200 hours of video art. The daily program will feature artworks from established and emerging artists from all over the world. The festival will present contemporary perspectives on film, video art, and other time-based art forms, exclusively broadcasted on TV and on live stream. Wherever you are, you can now become part of a global community of art lovers.
Stop by the festival blog and sign up to the newsletter to receive the latest news about when the live stream will be available.

Festival program

The ikono On Air Festival presents a three weeks program with art films and videos as well as other time-based art forms thank to the participation of more than 100 artists from over 30 countries. A retrospective of ikono’s video clips will complete the festival program organized under the following themes:
Time presents a program dedicated to artists who respond to, reference and explore the complex and enigmatic element of time. -> More info and list of artists in this section
This section is exclusively dedicated to works originally created for the medium of TV. Starting in the 1960’s and marked by the artistic debate around the square format of the TV, (Un)Boxed moves to the present. -> More info and list of artists in this section

(Re)Animate focuses on artists working with existing, found and archival material as well as popular visual languages and clichés to create independent new artworks. -> More info and list of artists in this section
These works awaken a personal and emotional reaction, encouraging the viewer to read the works as sub-lime poetry and experience an aesthetic and impulsive seduction through slow, non-narrative structures. -> More info and list of artists in this section
Image: Anthony McCall
Landscape for Fire, 1972
16mm film, 6’55’’ (still)
© Anthony McCall
Courtesy of Galerie Sprüth Magers Berlin London


Time and its presence in video, media and performance work can be both literal and abstract however it will always exist as a definitive element in these unique artforms.
Alaskan born artist Reynold Reynolds use of time is direct. His work, often revolving around characters or physical matter trapped and subject to the processes of metamorphosis (Solid / Liquid, Fire / Water, Life / Death) and decay by time, expertly uses stop motion animation to create dark worlds set to a constant heartbeat rhythm.
Alexander Ponomarev’s use of illusion in Maya: A Lost Island (2000) addresses the coexistence of mythology and technology in the world around us. The work begins with the artist himself scratching out an island from a nautical map, while the 5 t fleet of the Russian navy, for a moment in time, “physically” erases an island from the world with a “smoke screen”. A video artwork as a report of an event or a moment in passing can disassociate itself with any truth and still be believed. One of the powers of the moving image is that it is romantically connected to trust, even in moments of complete disbelief.
Documentation of an event is equally the basis of a work by Austrian artist Hans Schabus. In the 78 minute video work Laßnitz (2012) a bridge is sent on a 1000 mile long journey from Austria to the village Ohne, in Germany, where Schabus declared it to be a sculpture from then on. The cathartic and beautifully shot videowork is more about the effort and struggle to place this object in a seemingly obscure field; providing a reflection on the act of art making itself.
Alexander Schellow premiering a new work for the ikono on air festival directs his interest to memory and the physical loss of environments and objects over time. In this work Schellow explores a river lost to urbanization, climate change and other situational factors through the use of animated drawings. The artist spent days walking in Athens Greece talking with residents located around the repurposed riverbed. Intentionally not recording any of these conversations he waits until night recalling from his memory and transcribing these thoughts into pictorial form. Time will move beyond the obvious connections to the ticking clock, dedicating instead a program to artworks exploring the perceptive and philosophical experience of time, place and existence”.
Selected Artists:
Alexander Schellow (Germany)Catherine Gfeller (Switzerland/France)Eija-Liisa Ahtila (Finland)Elisabetta di Sopra (Italy)Hans Schabus (Austria) – Henning Lohner (Germany) – Orit Raff (Israel) - Sæmundur fiór Helgason (Island) – Alexander Ponomarev (Russia) - Reynold Reynolds (USA) – More to be announced
Image by Orit Raff


During the (UN)Boxed programmed sections we will discover the changing aesthetics and progressive nature of video and media art, focusing on how and where it is seen, as well as what it looks like, and how this has evolved. Beginning at an important moment in video arts short history, the introduction of the Sony Portapak, we will see how technology has influenced the way artists create and exhibit their work. The introduction of the Portapak was significant as it created the opportunity for individuals, as opposed to production teams, to work with the moving image.
Through Deserts (1994) one of many works by Bill Viola screening during the ikono on air festival we get a sense for Viola’s connection to the technology he uses. The way that he masses content into selective motifs and repetition of imagery from different times and places shows a radical shift in production style from film to video. In his early videoworks this shifting nature of what the moving image can look like is perhaps characterized by the artist making the choice what not to record rather then what to record. More recently there have been numerous groundbreaking revelations in both media capture and video presentation. What media and video art can be and look like has changed radically. The screen has left the boxed television display of the 90’s and is increasingly hard to define.
The screen has become enigmatic and omnipresent, In Finnbogi Peturssons installation works he often uses light projection onto water that is being disturbed by sound waves. The resulting image is reflected and projected onto the gallery walls around it, creating a constantly evolving, all encompassing artwork. Art has also left traditional brock and mortar institutions, artist are using new social tools around them to connect with wider audiences.
Joe Hamilton’s Hyper Geography (2011) was first exhibited online and uses a style and aesthetic found on image blogs and argumentation websites. He easily creates fantastic imagined landscapes that are repeatedly opening up to expose new worlds within themselves.
(UN)Boxed will take you through the arc of historical technical developments, screening artworks that respond directly to the technology available to them at the time or using technology to speak of a specific period or place.
Selected Artists:
Bill Viola (USA) - Anthony McCall (USA)Joe Hamilton (Australia)Hans Schabus (Austria)Kite & Laslett (UK) Finbogi Peterson - More to be announced
Image by Joe Hamilton


Artists giving new life to existing, found and archival material as well as popular visual languages and clichés to create independent new artworks will be featured in this program dedicated to the reanimation of the world around us.
In Marcel Odenbachs Life as a dead rabbit on the ice sandbank (1980) the use of television sounds and visuals as well as scenes from the student opposition movement (APO) intercut with his own surroundings and images of his eyes, create a reflective construct of truth, fiction, public and private.
As well as the inclusion of artist social constructs and important events in their work (Re)Animate will explore (he productions of artists who look inwards towards the artistic materials and technologies themselves as a starting point for their artistic output.
Robert Breer’s work Blazes (1961), a representative work of the american avant-garde, is an experimental abstract film where the artist created marks and colour sequences by directly applying paint and chemicals to the surface of celluloid film. The process applied to the medium is a direct way of creating images without the use of the camera.
Emerging Italian artist Giulia Giannola will screen her visually stunning videowork Tinker tailor soldier sailor (2012) taking the name from a rhyme born between 1475 and 1695 in Great Britain before the Industrial Revolution. As children counted seeds, rocks and petals they would recite the ryhme one word at a time: the word spoken on the last object would guess their future job. In Giannolas film an assembly line of workers perform repetitive tasks extracting seeds from watermelons. Every character in the videowork has a task amounting to one single action however the factory seamingly produces nothing.
During (Re)Animate programs an important focus will be placed on artists exploring political and social responsibiltites through their visual mediums.
Selected Artists:
Pilar Mata Dupont (Australia) Larissa Sansour (France)Ma Qiusha (China) - Ori Gersht (Israel)Sæmundur fiór Helgason (Island)Tracy Valcarcel (Peru/Canada)Marcel Odenbach (Germany) - Giulia Giannola (Italy) – More to be announced
Image by Giulia Giannola


Video, media, sound and performance works that captivate audiences with aesthetic seduction will be screened during the Sublime program. Ideas behind the works in this section are portrayed through generating personal emotional responses and often appear as visceral poetic journeys.
Dutch artist Misha De Ridder creates slowly changing epic landscapes borrowing the aesthetic qualities from nature photography. Portraying simple natural phenomena curiously estranged, they appear as unreal realities.
Two 50 years old males having emotions (2013) by Ivan Argote presents a bizarre long-playing scene of two 50-year-old men hugging each other with deep passion. The work, a construction of the human condition, is simply and beautifully produced, creating a meditative response to masculinity and domination.
Iraqi born artist Jananne Al-Ani’ highly accomplished videoworks Shadow Sites I (2011) Shadow Sites II (2011) is created by capturing Middle Eastern landscape from above with 16mm film. She states ”Part of the appeal of using the dual technologies of flight and photography in this project lay in the possibility of the landscape itself exposing signs of survival and loss and becoming the bearer of particularly resilient and recurring memories.” The piece is characteristic of artworks in this section, that present important political or social issues in a slow, contemplative and most importantly in a aesthetically sublime way.
Selected Artists:
Adad Hannah (Canada) - Ange Leccia (France) – Brian Eno (UK) - Misha De Ridder (the Netherlands) – Pekka Sassi (Finland) – More to be announced
Image by Misha De Ridder

Joe Hamilton – Hyper Geography

Posted August 1st, 2013 under Festival

Australian artist Joe Hamilton uses technology, the Internet and found material to create intricate and complex compositions online, offline and somewhere inbetween. He is best known for Hyper Geography, a short film and a tumblr collage blog with 100 posts in a loop which are linked horizontally and vertically. The ikono On Air Festival will show two of his films, “Hyper Geography” and “Survey”, but the work goes beyond the screens and expands on the Internet where it can be easily shared and spread around.
Joe told Rhizome: “I started in April of this year and, in a way, finished in August. I am working on a script that will once a day take the last post in the loop and reblog it. Then I will leave it. Or not. I’m not sure. In selecting the images I was looking at our notion of environment and the changing and overlapping definitions of natural, built and networked environments. I gathered images that speak of these definitions and blended them together in to new compositions. An attempt to create a feeling of some type of hybrid environment, a hyper geography.”

Joe Hamilton describes his Tumblr with a quote: “What in the history of thought may be seen as a confusion or an overlapping is often the precise moment of the dramatic impulse.” — Raymond Williams, “Ideas of Nature,” in Problems in Materialism and Culture. (London: Verso, 1980).
In an interview with Hyperallergic, Hamilton said he “chose Tumblr primarily because it was where I discovered the online art work that initially inspired me. I stumbled across blogs like ‘Visual-Aids’ and other tumblelogs in the R-U-In?S network, and they instantly got my attention.”
“The idea that content could and should move easily from blog to blog is the most appealing part of the platform for me,” he told Complex.com.
In an interview with Creators Project Joe Hamilton said: “A primary aim when making my work is to assemble a composition that feels right visually. I look at things like value, color, texture, pattern, unity, etc. and just keep working until I’m happy with how it looks. The content is obviously very important too, but I tend to think about that less when I’m composing the work. I have a tendency to make my working process overly complex, which is often frustrating, but in the long term this has taught me to deal with complexity well.

Hyper Geography

Joe Hamilton - Hyper Geography
The film accompanying the hyper geography blog is only one minute long and it only provides a glimpse of what Hamilton is doing with his virtual environment puzzles.
Frieze Magazine described Joe Hamilton’s video Hyper Geography (2011) as “a slow-motion flight over mountains, polar seas and deserts whose contours dissolve again and again, overlaid with still images, accompanied by the sounds of wind, water and birdsong. There are surface structures and indefinable patterns or grids, superimposed on mountain ranges and ice, desert sand and canyons, merging with them to form a semi-synthetic and sublime landscape.
The landscape becomes a dense, inextricable jungle of fractal patterns, visual noise, images of hands, faces, eyeballs, robots, cameras, all manner of digital gadgets, contorted architecture and, again and again, plants, leaves, grass, sky, mountains and minerals. In terms of perspective, the whole thing is so complex, so fraught with tensions, that there is no longer any outside, no beginning or end, and no horizon. The images all stand out on the surface of the screen, their various visual axes adding up to a strange mixture of smooth, all-encompassing and ornamental depth – as if Arcimboldo’s nature compositional portraits were mixed with M.C. Escher’s tessellations and Thomas Bayrle’s infinite patterns. Central perspective is displaced by a bewildering but inclusive multi-perspectivity which favours, not overview, but immersion. The only way to ‘look behind’ is by clicking on the images, only to discover others.
Joe Hamilton – Trouble in Utopia

Go to joehamilton.info/trouble-in-utopia/ for more Trouble in Utopia.

Online Projects

An Illusion of Democratic Experience – for Lunch Bytes, Washington, USA
Laser Simulation – for Parallelograms
Urinal Screens – for Polar, Melbourne, Australia
Div/Contour – for Appendix Project Space, Portland, USA


Hyper Geography


Sales, Billing and Product Information

Joe Hamilton on the Internet

Joe Hamilton - Hyper Geography
- Joe Hamilton – Homepage
- Joe Hamilton on Tumblr
- Joe Hamilton on Facebook
- Joe Hamilton on Twitter
- How to Make It: 15 Rules for Success From Artists on Tumblr
(Image above from complex.com)

Artist of the Month: Misha De Ridder

Posted July 9th, 2013 under Featured, Festival

misha de ridder moon
As the ikono On Air Festival is moving closer it’s about time to have a closer look at some of the more than 100 artists participating and one of them is obviously Misha De Ridder, our artist of the month August. We are quite happy to be able to show you some films by this incredible Dutch photographer, who has taken pictures all across Alaska, Norway, and Switzerland, which capture the last few untouched environments left on this planet and the natural rythmn of the landscapes.
Sometimes natural phenomena can become so estranged and mysterious, that we are inclined to describe them as unreal realities. It might be the extraordinary shape of a tree, a mountain, a shadow, a cloud or the mirroring reflection of nature in a lake, but it is foremost the unfamiliarity of the natural aesthetics of reality. Misha de Ridder’s works can be seen as attempts to capture these temporary phenomena and atmospheres of nature within the still medium of photography. By seeking for the absence of human intervention, by waiting for the climax of the temporal aesthetic and by pushing the camera to its technical limits De Ridder’s photographs become both exotic reports as autonomous artificial worlds.

“To search, to disclose and to write with light is what Misha de Ridder does in his landscape photos and videos. He does not seek the comfort zone of the beautiful and picturesque, but the sublime. It is a quest for entering into a confrontation with nature as a given larger than ourselves, to re-visualize a greatness that is both realistic but also inconceivable. Landscape is a paradox: how can we hold as an image what perhaps can’t be photographed, the change of light for example, or the tactility of the landscape. The greatness lifts us beyond borders we are not always able to comprehend, not mentally, nor in feeling. Landscape is not only seen, but is a multi-sensory experience with knowledge and craft.”
- Professor Erik A. de Jong, opening speech ‘Solstice’ FOAM, 2011

“As an artist, De Ridder makes images that could easily become saccharine calendar art or empty exercises in sublime kitsch. Arctic sunsets, verdant dunes and dense forests have all been De Ridder’s subjects, but he has always succeeded in pushing them to a new level and forced us to look again – either through inventive design in the case of Wilderness or editorial restraint and focus, as in the case of Dune. In some ways, De Ridder’s works are so forcefully anachronistic that they are contemporary. It takes a brave and talented soul to tackle the sublime landscape and succeed like De Ridder.”
- Adam Bell, PhotoEye Magazine, 2011

On Air: Misha De Ridder

The ikono On Air Festival will present four films by Misha De Ridder:
Golden (10:47 min)
Misha De Ridder
During sunset the changing of the light becomes tangible.
Asgard (8:29 min.)
Misha De Ridder
Storm clouds shadow play.
White Silence (8.01 min.)
Misha De Ridder
After the snow, mountains slowly reveal.
Raftsundet (4.55 min.)
Misha De Ridder
Dissociation from the wild.
Misha De Ridder said in an interview for Dazed Digital that he “was influenced by the German Düsseldorfer school: Andreas Gurski, Bernd and Hilla Becher, Thomas Ruff, etc. Later I moved away from them because I think they have too much distance to their subject. I want people to have the feeling that they are in the landscape when they look at my work, it has to be about experience, that somehow you connect. Also American photographer William Eggleston was an early inspiration – Hiroshi Sugimoto is great, especially the seascapes from 7 days / 7 nights. Mostly I like painters, seventeenth century Jacob van Ruysdael is fantastic, but also Gerhard Richter or Soll Lewitt and lots and lots more. There is so much great painting. Part of me is also rooted in land art, take for example James Turell’s project Roden Crater, the idea of modifying a volcano only to sculpt how the light falls in the interior, the sheer scale of that. Regarding film, Werner Herzog is a favourite, not to forget David Claerbout.”
Misha de Ridder (1971, Alkmaar, The Netherlands) lives in Amsterdam, The Netherlands.
De Ridder exhibited at Juliètte Jongma Gallery, Layr Wuestenhagen Contemporary, PhotoEspaña, the Triennial of Photography Hamburg, Noorderlicht Photofestival, Stedelijk Museum Amsterdam, Foam photography museum Amsterdam, The Museum of the City of New York. -> Homepage of the artist


Photobooks by Misha de Ridder: Sightseeing (2000, De Balie), Wilderness (2003, Artimo),
Dune (2011, Lay Flat), Abendsonne (2011, Schaden.com), Solstice (2012, Native Publications).



Lay Flat partners with Paper Tactics to bring you this video interview with Misha de Ridder about his limited edition artist book entitled DUNE (Lay Flat, 2011).

Publisher Schaden.com, 2011

Design Mevis & Van Deursen
, ISBN 978-3-932187-88-9

Misha de Ridder’s photobook “A” was shown at Workflow Studio in Brighton in December 2011.
I Love Alaska – The heartbreaking search history of AOL user #711391

This is a sweet and rather unknown film Misha de Ridder worked on as a camera man.
August 4, 2006, the personal search queries of 650,000 AOL (America Online) users accidentally ended up on the Internet, for all to see. These search queries were entered in AOL’s search engine over a three-month period. After three days AOL realized their blunder and removed the data from their site, but the sensitive private data had already leaked to several other sites.
I love Alaska tells the story of one of those AOL users. We get to know a religious middle-aged woman from Houston, Texas, who spends her days at home behind her TV and computer. Her unique style of phrasing combined with her putting her ideas, convictions and obsessions into AOL’s search engine, turn her personal story into a disconcerting novel of sorts.
Over a period of three months, a portrait of a woman emerges who is diligently searching for likeminded souls. The list of her search queries read aloud by a voice-over reads like a revealing character study of a somewhat obese middle-aged lady in her menopause, who is looking for a way to rejuvenate her sex life. In the end, when she cheats on her husband with a man she met online, her life seems to crumble around her. She regrets her deceit, admits to her Internet addiction and dreams of a new life in Alaska.
Lernert Engelberts
, Sander Plug
Misha de Ridder
Second Editor:
Sander Cijsouw
Image on top of page by Misha de Ridder, Solstice, 2011
Taken from Foam Press, Courtesy Galerie Juliette Jongma Amsterdam
© Misha de Ridder

Orit Raff – Palindrome

Posted August 7th, 2013 under Festival

Orit Raff
Utilizing both photography and video, Orit Raff has investigated objects of domestic life—soap, bathroom floors, drains—in a search for traces of the bodies that come into contact with them. This highly self-reflexive practice often results in what appear to be vast, austere landscapes. In her looped video/performance Palindrome (2001), a female protagonist obsessively stacks felt within the domestic structure of an igloo in a fraught allu-sion to the attempt to keep warm. This futile gesture is made all the more absurd by its juxtaposition with foot-age of a coyote comfortably navigating a frigid landscape.


Orit Raff attended Bezalel Academy for Arts and Design in Jerusalem, graduated cum laude from the School of Visual Arts in New York, and participated in the Independent Study Program of the Whitney Museum of American Art from 1998-1999. In 2003, she completed an MFA at Bard College.
Raff’s work has been exhibited widely in Europe, Israel, and the United States. In 2011 she participated in the exhibition “Videosphere: A New Generation” at the Albright-Knox, Buffalo, NY and in 2008 participated in the ex-hibition “True North” at the Deutsche Guggenheim, Berlin
Her work is part of major collections such as: CU Art Museum, University of Colorado at Boulder, Albright-Knox, Buffalo, NY, The Museum of Fine Arts, Houston, TX, Tel-Aviv Museum of Art, Tel-Aviv, Israel In November 2014 Raff will have a solo exhibition at the Tel-Aviv Museum.

On Air: Orit Raff

Orit Raff The ikono On Air Festival will be showing:
Palindrome (2001, 16 mm color film transferred to video with sound)
The Film “Palindrome”portrays two repetitive images that in the end converge into one: the artist performing a Sisyphean task- trying to warm herself, and a coyote running in a snowy landscape. Meaning is deliberately kept ambiguous and multifaceted.


- Orit Raff at Julie Saul Gallery
- Orit Raff at Noga Gallery
- Orit Raff at Deutsche Guggeneheim


- “Insatiable” monography published in 2005
- “Shangri-La” monograph published in 2011
- Orit Raff – Photographs


Orit Raff, Sweating Sweet, 2008

Abdominal Syndrome – Thoughts on Orit Raff’s Sweating Sweet by Yair Barak
Raff’s Character in Sweating Sweet is hardly one of us. Her appeal is one of a stranger.
Barefoot she is walking, wearing a dress, (more likely an apron) with sort of a pocket – an additional abdomen.
As an unknown marsupial she delivers an endless supply of white powder. As a metabolic by-product the powder is being thrown away and constantly (so it seems) – reproduced.
Salt or Sugar? The piece does not offer a definite answer. The title though, implies for the sugar. If that is so, the contemporary sower is spreading seeds of sweetness into the ever salty water of the ever non-sweet sea. A one man desalination plant, made of cloth and sugar, no pumps, no engines, activated by an urge for compensation, for correction and contradiction.
The action/labor is a repeating ritual, a Sisyphean task, trying to transform the salty sea water to sweet water i.e. in Hebrew drinking water. This action has no purpose but the object of the act. The urge to change the destiny, to take over, to interrupt the established order is an act of rebellion and obedience at the same time. Raff’s character is obsessed with shifting the rules in order to create a balanced reality in which there is less gap and contradiction. This is of course, the beginning of the end; the unavoidable recipe of failure.
We are led to the corrective system: Be good, correct, straighten things, stay in the lines, do not freeze, and don’t let the sea be too salty.
This is a mechanism of two layers: seduction and risk, naivety and awareness, attraction and restraint, rupture and repair.
Orit Raff, Hunt-the-Slipper, 2002

Copyright Photography: Orit Raff and Ynon Goren

Catherine Gfeller – A Still Life Pulse

Posted August 7th, 2013 under Festival
Catherine Gfeller
“I feel more like a composer who likes to work in images, in associations, repetitions, superimpositions, rather than a photographer who isolates a single image. This enables me to include in the composition some suggestion of how our visual-emotional-affective perceptions work: with layers, flash-backs and disappearances.” (CATHERINE GFELLER)

On Air: Catherine Gfeller

Catherine Gfeller combines still images and moving images to capture her version of urban life, which penetrates public and intimate spaces with its incessant pulsating. Silhouettes pioneer their way through the beating, fragmented reality. The oscillating beat opens up a world of deep thought. The soundtracks are speaking, whispering, breathing, overlapping so as to create a mental state rather than delivering information.
The ikono On Air festival is showing the following three of her films.
Commotions II (2008)
Catherine Gfeller
The urban pulsations extend their impact in intimate spaces and seem to invade our protagonists. Their gestures, their body, their quest are intensified by the oscillating beat of the city. See an excerpt here.
Vas à venir (2006)
Catherine Gfeller
While some people continuously pass by, covering others’ faces, bouncing from spot to spot, others stay still to gather all theses movements on one single reflecting surface. See an excerpt here.
Listing (2007)
Catherine Gfeller
Perceptions of rishes become tactile and echoing
See an excerpt here.
Pulses (2003)
Catherine Gfeller
Colored buses run through the city from on point to the other. From one city to the other, the citiscape goes through buses and swallows passengers.
See a preview here.
Image on top of page from We find Wilderness: Les Dérangeuses #7. 70 x 94 cm


Catherine Gfeller was born in 1966 in Neuchâtel, Switzerland. She currently lives and works in Paris and Southern France after having lived in New York from 1995 to 1999. After her Master in Fine Arts in 1991 at the Universities of Neuchâtel and Lausanne, she devotes herself to photography. She travels to many different continents (Europe, Africa, Asia, South America, North America) to create large triptychs on landscape (“A Matter of Landscape”). In 1995, she receives a grant for a one-year residency in New York. There, she develops a printing technique which combines paper, monoprint and photography on the theme of urban landscape (“Urban Friezes”). 
In 1999 she is invited for a residency at the Cité Internationale des Arts in Paris and receives the Photography Award from the HSBC Foundation. Paris inspires a new work (“Multi-Compositions”), focused on metaphorical urban subjects using various media: video, sound, the written word and radio productions. Recently, intimate spaces and daily gestures create new multi-layered compositions where urban rhythms still resonate, but in a more subdued tone (“The Insiders”, “Chimeras”, “Domestic Pieces”, “Spells”). 
Catherine Gfeller has exhibited extensively in Switzerland, France, Italy, England, Holland, Germany, Belgium, Argentina, Chile, Canada and the United States. Her work has been added to private and public collections in Switzerland, France, England, Italy, Germany, Japan, Belgium and the United States. She regularly takes part in art fairs, such as ArtBasel, Kunst Zurich, Armory Show, la Fiac, Ljubjana Biennale and Art Bruxelles.


Homepage: www.catherinegfeller.com
- Catherine Gfeller at Stephen Haller Gallery
- Catherine Gfeller at Galerie Springer
- Catherine Gfeller at Wikipedia


Catherine Gfeller – Written in White

Catherine Gfeller at KunstMuseum Luzern KKL, “PULSATIONS” 2011

Catherine Gfeller at Museum Fine Arts La Chaux-de-Fonds, Switzerland, 2010

Eija-Liisa Ahtila – Fishermen (étude n.1)

Posted August 20th, 2013 under Festival
Eija-Liisa Ahtila - Fishermen
Eija-Liisa Ahtila is a video artist and photographer from Helsinki. Most of Ahtila’s works are focused on women going through a traumatic experience, and most display multiple screens and vantage points of the story, simultaneously. This mode of presentation intentionally floods or overwhelms the viewer’s senses, sometimes confusing one’s ability to follow and understand the narrative thread intellectually, in order to produce a strong emotional impact. In her recent films she focuses more deeply into individual identity and the limit of the self and body in relation to the other.

On Air: Eija-Liisa Ahtila

The ikono On Air Festival is showing Eija-Liisa Ahtila ‘s film “Fishermen (étude n.1)”, the first film from a series of studies or etudes. Shot in West Africa it observes local fishermen attempting to overcome the strong winds and big waves to launch their boats.


In 1998 Eija-Liisa Ahtila participated in the second edition of Manifesta. She was the winner of the inaugural Vincent Award in 2000. In 2002 she had a solo show at Tate Modern, and in 2006 her multi-screen video piece The Wind (2006) was exhibited at Museum of Modern Art (MoMA). In the same year she won the £40,000 Artes Mundi Prize in Cardiff, Wales.
Her work is held in the collection of the Tate. She is a former professor at the Department of Time and Space-based Art at the Finnish Academy of Fine Arts (Finland).

Image: Eija-Liisa Ahtila, Where is Where? (still), 2008, HD installation for 6 projections with sound. Photo: Marja-Leena Hukkanen. All images are courtesy of Marian Goodman Gallery, New York and Paris. © 2008 Crystal Eye – Kristallisilmä Oy.
Writing in the journal PAJ, Jane Philbrick describes Ahtila’s films as “Smart, emotionally arresting, engaging, affective.” Philbrick continues, saying, “A self-described ‘teller of human dramas’, she approaches narrative equipped with a rigorous arsenal of postmodern strategies … One of her most potent tools, however, is a two-centuries old dramatic genre of proven emotional reach and punch, melodrama.” Although done in a more sophisticated way than conventional melodramas, Ahtila’s work likewise exaggerates plots and characters to affect the viewer’s emotions, with less appeal to immediate intellectual comprehension.


- Eija-Liisa Ahtila on Wikipedia
- Eija-Liisa Ahtila at Internet Movie Database
- Eija-Liisa Ahtila at Marian Goodman Gallery
- FILM: EIJA-LIISA AHTILA. Love is a Treasure
- Artpulse: Breaking the Rules of Storytelling. A Conversation with Eija-Liisa Ahtila
- The Guardian (2002) – With no beginning or end, Eija-Liisa Ahtila’s tales of ordinary suffering are as wilfully complex as real life


Eija Liisa Ahtila – Visual Artist

Eija-Liisa Ahtila is one of the leading contemporary video artists working with video, photography, sculpture and drawing. Most important to her is story telling and the variation and combination of time, narration and space.
We met her at her great retrospective exhibition at the K21 Kunstsammlung NRW where her newest work “where is where” had been shown.
Eija-Liisa Ahtila at Moderna Museet 2012

Panel Discussion: The Work of Eija-Liisa Ahtila

Eija-Liisa Ahtila. If 6 Was 9 (1995)

Image on top of page: Still from Eija-Liisa Ahtila’s “Fishermen (étude n.1)”

Elisabetta Di Sopra

Posted August 8th, 2013 under Festival

Elisabetta Di Sopra
Elisabetta Di Sopra is an Italian video artist working and living in Venice. Her videos and installations intend to investigate the most sensitive dynamics of the daily dimensions of life, expressing the hidden narratives within everyday life. Elisabetta Di Sopra was ikono’s artist of the month in November 2012. She also curated Domestic Visions for the ikono On Air Festival.


After completing her first degree in painting she began her Masters in painting at the Academy of Fine Arts in Venice. Her videos and installations intend to investigate the most sensitive dynamics of the daily dimensions of life, expressing the hidden narratives within everyday life. Behind the clean and minimal style of Elisabetta’s videos, lays a hidden density of thought and a unique approach to research. Most of them are focused on the female body viewed as an embodiment of memory. The theme of motherhood plays a crucial role in Elisabetta’s videos. As a digression from this topic, all of her works speak to ideas of humanity, commenting on the cyclical movement of everything that exists on a scale greater than the individual, continuously renewing itself. The imagery is tied to the repeated sense of being reabsorbed into the cycle of life and death.

On Air: Elisabetta Di Sopra

The ikono On Air Festival is showing the following films by Elisabetta Di Sopra:
Temporary, 2013
In a house disappear one after the other and the furniture is emptied of everything, including the owner of the house. Home and human figure are both naked, losing all traces of the memory of himself and his own identity.
Impermanenze, 2013
The body as mimesis of space. And if the postures are precise and elegant, the place is timeless.
Reaction, 2013
Performer: Laura Vio, Stefano Rota
It comes from a reflection on the human condition: the constant search for balance. We do not just have to continually come up with new strategies for survival not to “fall.”
Aquameter, 2012
A young girl who, by pouring some water – image of life – from her mouth into her mother’s symbolically restores the life she has received. The gesture embraces the essentiality and meaningfulness of ordinary events and encapsulates a broad range of interpretationsel with each other, where the family should be a reassuring nest becomes a cage that imprisons.
Elisabetta Di Sopra
Still from Aquameter, 2012
Family, 2012
Within the family dynamics one becomes the hostage of the other. A quarr
Con Tatto, 2012
When love is complicity involvement is complete
Elisabetta Di Sopra
Still from Con Tatto, 2012
Somnium Coleopterae, 2012
It’s a kind of game. A kaleidoscope, where a small figure (Elisabetta Di Sopra) floats together with its copies. Suddenly a bug breaks this synchrony, causing a series of metamorphoses that will lead the protagonist to become herself a bug. That bug will be then ready to fly in a new kaleidoscope.

In Visibili, 2011
Essential things are often invisible. The aim is to consider the presence / absence of women in the Italian history of the 19th century.
Funny Show, 2009
The children are looking at us… and laugh.
Light Water, 2009
A little girl swimming in water as dark as it was amniotic fluid, playing with a ball of light.
Skipping, 2009
Rope jumping, a childish game that seems to have been forgotten by the body… As in old age, when a person’s body is not a tool, but an obstacle for existance.
Sugar Dead, 2009
The body nourishes itself. It nourishes offering the first breakfast of the world to the newborn child, to the loved giving himself, to the mother coming back. Sugar dead is a work born from a reflection on death, on the meaning of gift and offer. It’s a ephemeral sculpture realized completely with sugar and thought to be consumed by and in the Nature. Body that has finished to wish and to be wished and that now is contemplated on his last offer. There is no drama but kindness in this gesture: the whiteness of the sugar with its crystals suggests the idea of dissolving, making reference to the concept of Nature that by dying creates the beginning for a rebirth.
Still, 2008
Still is a pause, a suspension condition that can endure forever… Like the waves of the sea, the future and the past run after each other, wrap themselves up, recur infinitely.
Aria, 2008
A lightness deafening.
The Crossing, 2008
A crossing ship, pictures that appear from the background and that appear inanimate. Then a flash…


- Homepage of Elisabetta Di Sopra
- Elisabetta Di Sopra at Arthub Italia
- 100×100=900 (100 videoartists to tell a century)
- Arts against Violence

ikono On Air Festival presents Hans Schabus

Posted July 10th, 2013 under Festival

Hans Schabus
The ikono On Air Festival presents a choice of films by Hans Schabus, an outstanding artist from Austria, who was our artist of the month not too long ago and already represented his home country at the 2005 Venice Biennale. Schabus works with spaces and their perception, transforming them to his own liking in a very precise way: He flooded a gallery, transported a bridge from Austria to Germany, and his seemingly pointless film journeys and mind-boggling tunneling works have received praise and attention from all over the world.


Born in Watschig/Kaernten in 1970, Hans Schabus studied under sculptor Bruno Gironcoli at the Academy of Fine Arts in Vienna, where he is still living and working. His work has been exhibited in solo and group shows throughout Europe as well as in the USA, Mexiko and Sri Lanka. For his films he often works together with his brother, the filmmaker Robert Schabus.

On Air: Hans Schabus

The films of Hans Schabus selected by ikono cover the artist’s highlights from 2000 until today, representing three of his main artistic aspects:
The artist’s sedulous effort and failure is addressed in Atelier (2010) and Echo (2009). In Atelier Hans Schabus works with his own studio space, which played a role in his earlier works already, restaging the finale of Sam Peckinpah’s western classic The Wild Bunch (1969). Echo is observing a man on the run through the mucky wetlands of the Danube. The protagonist keeps falling into the mud, but continues trying to escape from something or someone the viewer never gets to see.
 Hans Schabus Phantasmagoric journeys through the secret places of everyday life are the themes of Passagier (2000), Western (2002) and Astronaut (2003). For Passagier Schabus built an elaborate railway for a toy train with a camera being led through the hidden spaces behind the walls of the studio. In Western Schabus is rowing a sailing boat through the same dirty Viennese sewer seen in the film classic The Third Man (1949), while in Astronaut he is digging a shaft in the floor of his studio, filling up the room with soil before exploring the dark world he has created with his own hands.



Laßnitz (2012), with 78 minutes the longest of Schabus’ films to be on view on ikono, deals with the aesthetic transformation of a certain object by decontextualizing and displacing it. The original proposal simply read: »The work’s title is the name of the river, which was originally crossed by the railway bridge.«This abandoned bridge is sent on a 1000 miles long journey from Austria to the village Ohne in Germany, where Schabus declared it to be a sculpture from now on. (There is a video with photos from behind the scenes over here by the way)
-> Hans Schabus at Kerstin Engholm Gallery


Hans Schabus, “Nichts geht mehr”, à l’Institut d’art contemporain (2011)

(English audio with french subs)
Institut d’art contemporain, Villeurbanne/Rhône-Alpes
Montage de l’exposition Hans Schabus,”NICHTS GEHT MEHR”

Belvedere Podcast “Hans Schabus”

(English subtitles)
Hans Schabus – Portscapes (2009)

Hans Schabus project was the next chapter in his ongoing series of arrival photographs featuring the sailing boat Forlorn. The artist produced a new photograph, titled ‘Europahaven, Rotterdam, 17 juni 2009′ which can be seen on a 5 by 9m roadside billboard on the way to Maasvlakte, and was also distributed as a postcard, which was available during a small exhibition of Schabus’ work at Futureland. In the new image the sailor navigates towards the huge container terminals of the Port of Rotterdam and a vast cargo ship. Sailing at a point which will become the new entrance to Maasvlakte 2, the simplest of water vehicles and a single man appear in stark contrast to an overwhelmingly modern manifestation of seafaring trade. Despite the speed, scale and efficiency of the port, the image seems to indicate that on a human scale the vastness of maritime space nevertheless remains a vulnerable and mythologically rich territory.
Hans Schabus, Next Time I’m Here, I’ll Be There (2008)

Hans Schabus’ installation in the curve gallery at the Barbican, up until 1 June. Schabus took chairs from various parts of the Barbican and arranged in the configuration of an aeroplane – a cuvred one, on its side…
Big Art: Hans Schabus – Flight of Stairs (2012)

An ‘Art for Buildings’ project by Hans Schabus on the Korneuburg Centre of Justice, Landesgerichtsplatz 1, 2100 Korneuburg, commissioned by BIG Bundesimmobiliengesellschaft (the Austrian Federal Real Estate Company).

Sæmundur Þór Helgason – Iceland Hard-Core

Posted August 6th, 2013 under Festival
Sæmundur Þór Helgason
Sæmundur Þór Helgason is an Icelandic artist based in Reykjavik, Amsterdam and London. Within his practice, Helgason investigates the spatial and sculptural qualities of recording and presentation. His work consists of place-dependent video installations where the architectural- and the momentary context is depicted independently from, yet in relation to what takes place. He designs and builds his own recording devices in order to free the camera from the operator, giving the camera its own path of depiction with its independent gaze and interest.
He is a member of ‘hard-core‘, an Amsterdam and London based artist-magnet that operates as a non-hierarchical and non-authoritarian organization which aim is to attract critical thought and facilitate discourse relating to artistic practices and the surrounding philosophical- and socio-political matters. The group develops curatorial methods that objectify preferential aspects of exhibition-making that challenge the role of the art institution and the economic pressure of the art market.
Helgason graduated form the Gerrit Rietveld Academie in 2012 where he was nominated for the Rietveld Fine Arts Award 2012.

On Air: Sæmundur Þór Helgason

We’re showing three films by Sæmundur Þór Helgason:
90°CCW/CCWR (1)
Sæmundur Þór Helgason
A camera travels sideways at a counter clock wise 90 degree angle along the walls of the exhibition space in a counter clock wise circular movement. What is depicted is the final state of the exhibition space including other works that the camera passes by. The recording is presented on a 9 inch lcd screen placed on the floor facing upwards.
Sweeping, Installing, Mopping (1)
Sæmundur Þór Helgason
While a camera hovers above the floor of an exhibition space and travels simultaneously in a clockwise- and counter clockwise manner, the artist sweeps the floor, builds up a screen on which the recording will be played and at last mops the floor.
Tourist (india)
A tourist video shot in Chennai, India. Some of the scenes are directed by the artist while others are recordings of everyday life encounters.

A direct link to Sæmundur Þór Helgason

-> Homepage of Sæmundur Þór Helgason

Other Videos by Sæmundur Þór Helgason


2012, HD video, 120 min continuous loop, without sound ( excerpt).
The work consists of a slow circular camera-movement where the camera orbits and focuses on the point that it pivots. What is depicted is the building-up process of an exhibition. The recording device is electrically powered to maintain a constant speed. The tool that is used for the recording is transformed and reassembled on the spot to facilitate the presentation of the recording.
The work was recorded a week prior to the Gerrit Rietveld Academie graduation show on the same days as the show was open. With a random number generator the time of the recordings was chosen between the opening hours of the show. Each day a 25 minute recording was made in the center of a corridor of the fine art section of the show. On that same spot the recordings were shown one after the other on a 7 inch LCD monitor.

2012, HD video, 3’06” with sound.
Location: Aspnäs, Härnösand, Sweden

Hard-core session
HARD-CORE started in 2011 as an attempt to create an exhibition with six individual artists. While seeking common ground, conversations about each others work became the most important factor in these meetings. Soon the decision came that the search towards core-elements of the work was more important than rushing into a single moment of exhibiting. These meetings where gradually baptized into hardcore, hard.core or hard-core meetings.
The general rule of a hard-core meeting is that a certain amount of time is spent on each work. Mostly a conversation takes about two hours for every person. In this time it is up to the artist self what and how much of the work is shown. Most of the times the works are still in a pre- and rough state. These talks are not necessarily there to discuss finished works. But, rather to dive into the artist’s intentions and conceptual thoughts.
Question stayed how these different works would function altogether in one space. Would it be possible and necessary to find conceptual links. And if so, would it be needed to highlight these.
To trigger and inquire these questions HARD-CORE started to develop curatorial systems. These methods challenges the notion of authorship by leaving decisions to an objectified system.
While these meetings where overall rather private, throughout time public moments became something to feed the discussion and a necessary ingredient towards an artist practise. With having a public moment, such as an exhibition, HARD-CORE wants to function as an Artist-Magnet. It aims at creating polars of attraction for several fields in the realm of art.
More at the-hard-core.eu
Hard-core session with Sæmundur Þór Helgason 7th of March 2013

Hard-core session with Hrafnhildur Helgadóttir 9th of March 2013

Hard-core session with Daniel Dressel 9th of March 2013

Reynold Reynolds – Future Historian

Posted August 8th, 2013 under Festival
Reynold Reynolds
Influenced early on by philosophy and science, and working primarily with 16mm as an art medium, Reynold Reynolds has developed a film grammar based on transformation, consumption and decay. Detailed evolving symbols and allusive references create a powerful pictorial language based on Reynolds’ analytical point of view. His depiction of people often makes us aware of the small frames we use to understand reality. By subtly altering the regular conditions of life and watching their effects, he transfers the experimental methods of science to filmmaking, where he frames reality in his laboratory and changes one variable at a time to reveal an underlying causality.


Reynold Reynolds was born in 1966 in Central Alaska. During his undergraduate schooling at the University of Colorado at Boulder, Reynolds studied Physics receiving a Bachelor’s degree under the professorship of Carl Wieman (Physics Nobel Laureate 2001). Changing his focus to studio art he remained two more years in Boulder to study under experimental filmmaker Stan Brakhage. After moving to New York City Reynolds completed an M.F.A. at the School of Visual Arts.
In 2003 Reynold Reynolds was awarded the John Simon Guggenheim Memorial Foundation Fellowship and in 2004 invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien for one year. In 2008 he received support from the German Kunstfonds to develop two projects in Berlin. Reynolds has received numerous awards for his film work, including the Festival Award for “Secret Life” at the European Media Art Festival Osnabrueck, 2008, the ‘09 Distinction Award for “Six Apartments” at Transmediale Berlin and Honorable Mention “Secret Life”, at Chicago Underground Film Festival, 2012. Early 2013 he was awarded the Rome Prize, an 11-month stay at the American Academy in Rome 2013/2014.


- Homepage of Reynold Reynolds
- Reynold Reynolds on Facebook
- Los Angeles Times: Reynold Reynolds at Christopher Grimes Gallery
- Berlin Art Link: Studio Visit
Image above: Reynold Reynolds, “Six Easy Pieces,” HD video transferred from 16-millimeter and photo stills, 2010 (Reynold Reynolds / Christopher Grimes Gallery © 2010 Reynold Reynolds)

On Air: Reynold Reynolds

The ikono On Air Festival will be showing the following films by Reynold Reynolds:
Secret Life (2009)
HD video transferred from 16mm and photo-stills
Secret Life, the first part of the Secrets Trilogy, portrays a woman trapped in an apartment with a life of its own. She moves at a mechanical speed and her mind is like a clock whose hands pin the events of her life to the tapestry of time; reflected in the mechanical eye of the camera. Her thoughts escape her and come to life, growing like the plants that inhabit the space around her: living, searching, feeling, breathing and dying.
Six Easy Pieces (2010)
HD video transferred from 16mm and photo-stills, 1o min
Six Easy Pieces is the last part of the Secrets Trilogy; a three-part cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life, 2008 and Secret Machine, 2009.
The work is based on the book “Six Easy Pieces: Essentials of physics explained by its most brilliant teacher”
by Richard P. Feynman
”Film is the Seventh Art, a superb conciliation of the Rhythms of Space (the Plastic Arts) and the Rhythms of Time (music, poetry and dance), a synthesis of the ancient arts: architecture, sculpture, painting, music, poetry and dance.”
Burn (2002 with Patrick Jolley)
HD video transferred from 16mm, 10:00min.
“Burn is a stunning evocation of those unspoken, those secrets, worries and lies, forming a force which is always a part of the fabric of everyday interactions; at first niggling at the edges, then – provoked by a word or a gesture – suddenly searing through everything and everyone in its path.”
- Belinda McKeon, The Irish Times
Excerpts of Secret Life, Burn and Six Easy Pieces

Six Apartments (2007)
HD video transferred from 16mm and Super8, 12:30min
Six Apartments is a poetic document of decline and deterioration -both physical and conceptual. Six isolated residents of six different apartments live their lives unaware of each other. They eat their food, wander between rooms, bathe, watch television, and sleep. For them, this is life. Yet while it may appear that nothing is happening here, the apartment building and its inhabitants’ bodies are aging, giving way to bacteria, larva, and finally transformation.
Reynold Reynolds on ‘Six Apartments’ at Transmediale 2009 – Tagr.tv

Interview: Peter Schlager
The Drowning Room (2000 with Patrick Jolley)
video transferred from Super8, 10:00min
“A sequence of domestic vignettes from the sunken suburbs. In the house, the stagnant atmosphere has slowly thickened to liquid. The inhabitants try to carry on as normal but beyond the borders of asphyxiation, communication is limited and expression difficult. Filmed entirely underwater in a submerged house to create an atmosphere unlike any other film.”
Last Day of the Republic (2010)
HD projection transferred from 16mm, 10:00min
The Palast der Republik (Palace of the Republic) opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but also auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley.
The building’s dazzling public lobby, surrounded by several tiers, was once the center of social life in East Berlin with thousands of sparkling lamps filling the open space of the lobby’s grand staircase.
Many Berliners recall attending a play in one of the theaters or dancing the night away in the underground disco, others seeing their first rock concert, or being married.
Later, thousands of citizens demonstrated against the planned demolition and hoped the building would be protected against historical censorship, but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared.
Istanbul (2005)
Video transferred from Super8, 6:00min.
Installation with two screens about Istanbul.
Stadtplan (2004)
HD video transferred from Super8, 10:00min.
A personal and hypnotic, split-screen and time-lapsed trip through Berlin, where the divide running down the images stands instead for the long-separated country.
Seven Days ‘Til Sunday (1998) – Reynold Reynolds with Patrick Jolley
HD transferred from Super8, 7:45min
An autonomous symphony of falling bodies. A succession of image sequences shows the human figure falling through the cityscape to- wards violent annihilation by the natural forces of fire and water.

More videos by Reynold Reynolds

ON VIEW in Den Haag: ‘The Lost’- A Moment in Time
Reynold Reynolds
The Lost is a restoration and film performance project about a lost black and white feature length 16mm movie from the 1930s. Reynold Reynolds has been working on this for a long time and in September The Hague will host the 7-channel installation of ‘The Lost’ (07.09.2013 — 06.10.2013 at Turbinehal, Den Haag). There are pictures from the set on Facebook over here and they are looking for volunteers for the big show in september. Watch the short documentary below!
Documentation from 2011 on the filming of The Lost

The Lost Film Performance (time-lapse, silent, 12:00 Min

Shot at Galerie Zink, Berlin 12.01.2012
Documentation by Maud Chalard – 3 month internship (2012)

A compilation by Maud Chalard of her internship with Artstudio Reynold during the preparation of the studio film performance for ‘The Lost’
The History of the Future (USA 1996, 16 minutes)

A Review of our changing visions of the Future as shown in over 50 Films.
Reynold Reynolds create works that directly reference and use source material from the Media in order to describe how the Media creates a kind of ‘shared consciousness’ of how we come to understand our own culture as well as anothers.
Central Florida Film Fest 97 Award: Third Place, Experimental
Chicago Underground Film Festival. Aug. 97
Ocularis Video Room Fest. Brooklyn May 21-23, 98
South Bronx Film & Video Fest, NYC 97
Sella Adler Theater: MoonWork: Best of New York Show May 25, 97
Knitting Factory Video Lounge NYC, Science Fiction night. July 25, 96
Reynold Reynolds on the ‘Secrets Trilogy’ at Transmediale 2011 and Labor Berlin #4

Interview: Andreas muk Haider muk.me.uk
Camera: Emanuel Andel this-play.com
Edit: Andreas muk Haider
Secret Machine (Germany 2009, 7min)

HD video transferred from 16mm and photo-stills, single-channel 14min or 2-channel installation
Secret Machine is the second of the Secrets Trilogy; a cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life (2008) and followed by Six Easy Pieces (2010)
In Secret Machine a woman is subjected to Muybridge’s motion studies. She is treated in the same fashion as in the original Muybridge photography: with Greek aesthetic in a Cartesian grid. A short time after Mybridge’s studies, Duchamp painted Nude Descending a Staircase, No. 2 (1912) attempting to show time on a flat surface. He is expanding cubism and painting into another dimension: time. Time is about movement and change, like our experience of reality. Without change life does not exist. Photography does not capture this experience. In Secret Machine different filming techniques are compared to the motion of the body. The film camera becomes another measurement tool in a way a video camera cannot. The intention was to make an art piece from the point of view of a machine, specifically a camera.
Based on an Actual Event (USA 2003, 16 min, found footage)

“It is not only daily life which has become cinematographic and televisual, but war as well. It has been said that war is the continuation of politics by other means; we can also say that images, media images, are the continuation of war by other means. Take Apocalypse Now.”
-Jean Baudrillard, The Evil Demon of Images
A three-channel video installation about the fictional portrayal of American military forces in 20th century war. While each film simulates an actual event, each new war simulates previous wars as shown in popular films. Conceptions of war become reality through the depiction of war as entertainment.
Sugar (USA 2005, 33min video transferred from 16mm)

By Reynold Reynolds, Patrick Jolley, Samara Golden
A young woman descends into madness in a gripping one-hour looped film by Reynold Reynolds and Patrick Jolley. That’s what seems to happen, anyway, as the film’s nonlinear narrative and mix of grainy black-and-white and lucid color tend to confuse what is real and what is hallucinated or dreamed.
By turns funny, sad, mysterious and scary, the film’s events take place in a squalid studio apartment. A young woman played by Samara Golden arrives carrying a suitcase and begins cleaning up. At one point, she extracts a corpse resembling her from behind a radiator screen and tends to it as though preparing it for a funeral. In other scenes the room violently shakes and water starts to flood it. Light bulbs pop and overloaded electrical connections crackle and buzz. A man appears out of nowhere and tries to rape the woman, but he quickly disappears. At another point she mixes up a batter including roach powder that she had put into a sugar container — hence, presumably, the film’s title ”Sugar” — and eats it. Finally, she transfers her doppelganger’s body from the refrigerator to the suitcase she came in with and departs.
Film students will detect references to famous movies — Roman Polanski’s ”Repulsion” most conspicuously. But because Ms. Golden plays her role with such understated earnestness, the film isn’t just an arch exercise in appropriation. It immerses you in a harrowing dark night of the soul.
-KEN JOHNSON (New York Times- December 23, 2005)
Music, J.G. Thirlwell;
Sound designers, Bruce Odland, Sam Auinger.
Actress: Samara Golden
NYC Symphony (USA 1995, 10 min.)

Video transferred from Super8
Personal Documentary in the style of the city films from the 1920′s.
US S-8mm Film Fest 96 Award: First Place, Audience
New York Underground Film Fest. March 97
New York University Cable Dec. 96
The Independents Vol. 1 No. 11. Ohio Television 97
Volcano Film Festival London, Special invitation. Nov. 97

Adad Hannah – The Echo of the Trickster

Posted August 6th, 2013 under Festival
Adad Hannah
Adad Hannah is known for beautiful, cleverly staged tableaux vivant videos that often revisit or re-enact famed paintings and artworks. Hannah has completed projects in diverse locales, with casts that often challenge and update the meanings of the works he’s referencing. In 2009’s The Raft of the Medusa (100 Mile House), he recreated a famous Géricault painting using BC high-school students and treeplanters. The work was featured on ikono as part of the Echo series.
Echo: The Raft of the Medusa – Adad Hannah after Théodore Géricault


Born in New York in 1971 and raised variously in Israel, England, and Vancouver, for the last nine years multi-media artist Adad Hannah has lived in Montreal, where he has pushed open the borders between the body and installation art by fusing the two in thoroughly evocative ways. Hannah combines video, photography and performance into tableaux vivants. A multi-faceted exchange between art and history, Hannah uses the space between the static body and the recorded motion to make statements on the tension of our bodies’ natural dichotomies. Young and prolific, in any given year his installations can be found around the world, living in galleries as far and wide as Berlin, New York, Seoul, or Australia.
In 2008, Hannah made a series of videos in Madrid’s Museo Nacional del Prado that show visitors interacting with works in unusual ways. Pieces, such as 2010′s The Russians (see below), are more documentary in nature, providing extended “slice of life” scenes that still play on the tension between moving and still images. Hannah has exhibited widely, including at the Prague and Liverpool biennials.

On Air: Adad Hannah

The ikono On Air Festival is showing 15 films by Adad Hannah: Couple Returning from the Supermarket, Cyclist Stopped on a Path, Girl on a Balcony, Guitarist in a Hammock, Russian Woman at Home, Six Russians Eating Ice Cream, Soldiers Resting, Teen resting on a Bench, Russian KAMA3, Three Teens in the Countryside, Two Russian Couples, Two Sinks, Two Workers and Young Couple at a Playground.


In 2003, Adad Hannah received an Honourable Mention at the 10th International Media Arts Biennale. In 2009, he won the Canada Council’s prestigious Victor Martyn Lynch-Staunton Award for outstanding artistic achievement by a Canadian artist in mid-career. He has been longlisted for the Sobey Art Award three times, and his work is in the collections of the National Gallery of Canada and the Musée des beaux-arts de Montréal, among others.


Adad Hannah has exhibited at the Samsung LEEUM Museum (Seoul 2011), Prague Biennial 5 (2011), Museo de Bellas Artes (Santiago, Chile 2011), 5th International Video Art Biennial at the Israeli Centre for Digital Art (Holon 2011), Canadian Biennial at the National Gallery of Canada (Ottawa 2011), National Museum of Contemporary Art (Bucharest 2011), Australian Centre for Photography (Sydney 2010), Liverpool Biennial (2010), Aldrich Contemporary Art Museum (2010), the Musée national des beaux-arts du Québec (currently on view), the Musée d’art contemporain de Montréal (2008, 2009), Zendai MoMA, Shanghai (2009), Galerie Thomas Shulte (Berlin, 2008, curated by Christopher Eamon), Ke Center for Contemporary Art (Shanghai 2008), the Vancouver Art Gallery (2007), Ikon Gallery (Birmingham, 2006), the 4th Seoul International Media Art Biennale (2006), Casa Encendida (Madrid 2006) and Viper Basel (2004). In 2004 he won the Toronto Images Festival Installation/New Media Award, and the Bogdanka Poznanovic Award at Videomedeja 8. His work has been funded by the Canada Council for the Arts, the Conseil des Arts et des Lettres du Québec, the B.C Arts Council, the Vancouver Foundation/Contemporary Art Gallery, the Quebec Delegations and Canadian Embassies in Madrid, Seoul, and New York. He has produced works at museums including the Montreal Museum of Fine Arts, the National Gallery of Canada, the Vancouver Art Gallery, the Rodin Gallery (Seoul), and the Prado Museum (Madrid).


- Homepage: adadhannah.com
- 17 Questions With Adad Hannah: “I Am Making a Living Doing What I Love to Do”
- Head On: Flashpoints and Clashpoints in the Art of Adad Hannah


Raft of the Medusa (100 Mile House)

This is an excerpt of a video that is 5min 08s. It was produced in 2009 in the community of 100 Mile House, British Columbia with a cast of high school students.
Young Couple at a Playground


One of the first Museum Stills. This was produced at the Montreal Museum of Fine Arts in 2002.
Adad Hannah – Visual Arts // RAEV’s “Recognizing Artists: Enfin Visibles

Ange Leccia – French pioneer of video art

Posted August 6th, 2013 under Festival
Ange Leccia
The ikono On Air Festival will broadcast Ange Leccia’s famous work “La Mer” (1991-2003) and this time you don’t have to worry about broken headphones at the gallery as you can watch the HD stream in your browser or on your SmartTV at home.


Ange Leccia is a contemporary French painter, photographer, filmmaker and one of the pioneers of video art in France. He works in Paris primarily with photography and video. Since the early 1980s, his work has explored the human dimension through the combination of light and images. Leccia was born 19 April 1952 in Minerbio, Barrettali commune, in Corsica, and studied the fine arts. Initially he was engaged in both painting and photography, but as time passed he devoted himself more to photography and video as his chosen media.
Leccia is a lecturer at the École nationale supérieure d’arts de Cergy-Pontoise (ENSAPC). He also directs research for young artists at the Palais de Tokyo in Paris.
Leccia’s first film was the short, Stridura, in 1980. In December 2004, his film Azé, made in 1999, was released. Like his earlier work, such as the shorts Île de beauté (Island of Beauty) (1996) and Gold (2000), both co-produced with Dominique Gonzalez-Foerster, in Azé Ange Leccia continued to stress the light and sound effects.
After transitioning into the photographic realm of the art world, Leccia continued to succeed in leaps and bounds. His work has been exhibited in several museums, some of which are the Musée d’Art Moderne de la Ville de Paris, the Centre Georges Pompidou, and the Solomon R. Guggenheim Museum in New York.

Le Pavillon

Apart from his evident immense artist talents, Leccia additionally is a caring and nurturing individual, as since 2001 he has been managing Le Pavillon. This establishment is a reseach unit that offers an eight-month residency for around ten young artists and curators recruited from around the world.
In 2010, Leccia went on to film Personne n’est à la place de personne with the artist Dominique Gonzalez-Foerster, as well as feature films Azé and Nuit bleue, both of which were presented at Rotterdam’s festival in 2010.
On View: Ange Leccia, «Logical Song» (Until September 22th 2013)
For the MAC/VAL Ange Leccia has conceived a new work, a piece in which he evokes the important films in his life.

Ange Leccia, Logical Song, Installation au MAC/VAL, 6 écrans simultanés, 32 minutes, 2013.
More at MAC/VAL.

Selected exhibitions

• 2004 : Chateau de Tours, France
• 2003 : Galerie Almine Rech, Paris, France
• 1999 : National Museum of Contemporary Art, Oslo, Norway
• 1998 : Musée Nicéphore Nièpce, Chalon-sur-Saône, France
• 1996 : Villa Medici, Rome, Italy
• 1995 : Art at the Edge, Atlanta, USA
• 1992 : Contemporary Art Museum, Houston, USA
• 1990 : Le Magasin, CNAC, Grenoble, France
• 1985 : ARC / Musée d’Art Moderne de la Ville de Paris, France


- More about Le Pavillon at Dazed Digital: Ange Leccia’s Angels – The Palais de Tokyo’s ‘Pavillon’ predicts the art of tomorrow.
- More at Gallery Almine Rech
- Press


Ange Leccia – “Tramway Nice” (2007)

Ange Leccia “Metro Toulouse” (2007)

Ange Leccia – “Nymphéa” Lieu unique Nantes (2007)

Ange Leccia – “while my guitar gently wheeps” (1987)

Ange Leccia – Stridura (1980, 16mm)

Anthony McCall – Landscape for Fire

Posted August 2nd, 2013 under Festival
 Anthony McCall
British-born avant-garde artist Anthony McCall occupies a space between sculpture, cinema and drawing. He is known for his ‘solid-light’ installations, a series that he began in 1973 with his seminal Line Describing a Cone, in which a volumetric form composed of projected light slowly evolves in three-dimensional space.
Anthony McCall was a key figure in the avant-garde London Film-makers Co-operative in the 1970s and his earliest films are documents of outdoor performances that were notable for their minimal use of the elements, most notably fire.
Line Describing a Cone has long been a classic of American avant-garde cinema, but because it was most often screened in dusty Soho lofts in the past, the piece was little known to a wider audience. The inclusion of Line Describing a Cone,1973 in the Whitney Museum of American Art exhibition “Into the Light: the Projected Image in American Art, 1964-1977″ has opened McCall’s work to a great deal of interest both in America and abroad. While curators are only now beginning to mine the history of the projected image in art, McCall continues to be one of the most important of the Post-Minimalist artists to use projected film.

On Air – Landscape for Fire

The ikono On Air Festival will be showing “Landscape for Fire” (1972, 16 mm), one of McCall’s sculptural performances based on a precisely calibrated grid of small fires.

For Landscape for Fire, Anthony McCall and members of the British artist colla-borative Exit followed McCall’s pre-determined score to torch containers of flammable material across a field. McCall describes it: “Over a three-year peri-od, I did a number of these sculptural performances in landscape. Fire was the medium. The performances were based on a square grid defined by 36 small fires (6 x 6). The pieces, which usually took place at dusk, had a systematic, slowly changing structure.” The work brought the grid — a conceptual focus for many artists in the 1970s and after — into a natural landscape, merging it with the vagaries of outdoor space and fire.
Image: Still from “Landscape for Fire”

On View: Anthony McCall – Crossing the Elbe

Anthony McCall - Crossing the Elbe
To mark the opening of IBA Hamburg’s presentation year, British artist Anthony McCall realized a light project for Hamburg Deichtorhallen, which is on view until March 22 2014. The project reimagines the »Leap across the Elbe« in visual terms. Three searchlights project slender beams of white light towards one another from three different locations – from the roof of the SPIEGEL building next to Deichtorhallen in Hamburg Neustadt, from the bunker in Wilhelmsburg, and from the Deichtorhallen – Falckenberg Collection in Hamburg-Harburg, thus linking the Elbe island with both the north and the south banks of the river. Over the year, these three horizontal beams of light will progressively rotate their angles of direction so that, one by one, all sections of the city will become part of this symbolic leap.

Starting ninety minutes after sunset, Crossing the Elbe is visible for 10-minutes every evening for a whole year in most parts of the sky between Deichtorhallen Hamburg and Deichtorhallen – Falckenburg Collection in Harburg.
The project is a collaboration between Deichtorhallen Hamburg and IBA. It was realized by Tim Hupe Architects. You can share your thoughts and images on a blog under www.crossingtheelbe.com.

Anthony McCall about CROSSING THE ELBE


Anthony McCall studied graphic design at the Ravensbourne College of Art and Design, Bromley, Kent, England in the late 1960s and experimented with film during that time. Today he lives and works in Manhattan.
After moving to New York in 1973, McCall continued with fire performances and developed his ‘solid light’ film series, conceiving the Line Describing a Cone, in 1973. These works are simple projections that emphasise the sculptural qualities of a beam of light.
At the end of the 1970s, McCall withdrew from making art. Over 20 years later, he acquired a new dynamic and re-opened his ‘solid light’ series, this time using digital projectors rather than 16mm film.
In October 2009, McCall’s work was featured in a solo show opening at the Moderna Museet. This exhibition showcased Doubling Back (2003) as well as a light installation entitled You and I, Horizontal (2005). Also included in the show were a number of drawings illustrating varied motions of light waves, which the artist refers to as “scores” of his films.
Later in 2009, McCall was awarded £500,000 from the London 2012 Cultural Olympiad to create a work consisting of a column of steam in Birkenhead which was planned to be visible up to 100 km away.[6] In April 2013 it was announced that the work would never be completed despite already costing £535,000 In Fall of 2013, the Contemporary Art Museum St. Louis will host an exhibition of his work, entitled You and I, Horizontal (II).


McCall’s work has also been exhibited at, amongst others, Centre Pompidou, Paris, 2004, Tate Britain, London, 2004, Institut d’Art Contemporain, Villeurbanne, France (2006), Musée de Rochechouart, France (2007), SFMoMA (2007), Serpentine Gallery, London (2007-8), Hangar Bicocca, Milan (2009), Moderna Museet, Stockholm (2009), Adam Art Gallery, Wellington, New Zealand (2010), Sprueth Magers/Ambika P3, London (2011), and Serralves, Porto (2011). A solo exhibition will open in April 2012 at the Hamburger Bahnhof, Berlin.


McCall’s work is represented in numerous collections, including, amongst others, Tate, Museum of Modern Art, New York, Museum für Moderne Kunst, Frankfurt, Museu d’Art Contemporani de Barcelona, Whitney Museum of American Art, New York, SFMoMA, Musée National d’Art Moderne, Centre Georges Pompidou, Paris, Moderna Museet, Stockholm, and the Hirshhorn, Washington DC.

Book & Links

-> Anthony McCall ‘s Homepage
-> Sean Kelly Gallery
Anthony McCall: The Solid Light Films and Related Works is a nonfiction book on avant-garde artist Anthony McCall and his work in cinema. The book was edited by Christopher Eamon with contributions by Branden W. Joseph and Jonathan Walley and was published in 2005 by Northwestern University Press, in association with the New Art Trust in San Francisco, California. You can try getting a copy in amazon’s used books section over here.


Anthony McCall. Five Minutes of Pure Sculpture.

From Berlin’s museum for contemporary art, Hamburger Bahnhof — Museum für Gegenwart which presented the largest exhibition of McCall’s work to date. The museum presented a selection of Anthony McCall’s works from the past ten years. The historic central hall of the former railway station had been transformed into a cinema space, filled only with the the haze and the veils of light that are typical for McCalls unique light installations, the so-called solid light films.
Anthony McCall | Hamburger Bahnhof – Museum für Gegenwart

A ‘solid-light’ film by Anthony McCall.

This film captures a recent presentation of Anthony McCall’s ground-breaking 1973 work, Line Describing a Cone. Testing the boundaries between cinema and sculpture, the work takes the form of a projected white dot that slowly grows to fill the dark space with a cone of light, immersing audience members in its field, to mesmerising effect.
Anthony McCall – 2012 Lecture: “Recent Work and Current Projects”

From HBK Braunschweig

Kite & Laslett – Kinetic Light

Posted August 6th, 2013 under Festival

Kite & Laslett
Kite & Laslett are a young creative practice of installation artists based in London who were our artists of the month in March 2013. The duo; Sebastian Kite and Will Laslett, trained in architecture, sound and music, specialise in producing architectural interventions in the form of interactive installations. Their cross-disciplinary projects fuse sound, light, film, performance and sculptural elements to construct immersive experiential environments that challenge human perceptions of space. Elementary to Kite & Laslett is the phenomenological conception of engaging with architecture, creating interventions through rigorous experimentation and exploration into psychoacoustics and kinaesthetics.

Since graduating as architects in 2010 (Glasgow School of Art, Westminster School of Architecture), Sebastian and Will established Kite & Laslett, a creative arts and design duo in London. Whilst constructing their own houses and studio inside the shell of a disused warehouse, the duo established their practice. Their studio provides the space and inspiration for rigorous experimentation and prototype making. From technical drawings via engineering solutions through construction to installation, and finally, photographic documentation, the duo possess the skills to realise their ambitious ideas self-sufficiently from concept to fruition. Inherent to their work is a passion for precision, technical efficiency, inventive materials and elegance.
Audiences have encountered their site-specific works in non-art spaces such as churches, prisons, bunkers, railway stations and warehouses, but also the white cube gallery. The artists have recently exhibited in Berlin, presenting their dynamic sculpture Panoptic in the former Women’s Prison in Kantstrasse for platform79 – the berlin project 09/12; kinetic laser installation Orbit + Candescence for curated art event +-0 in derelict Postbahnhof, 11/12 and solo show Lichtspiel at Import Projects Berlin, 02/13.


- Homepage: www.kiteandlaslett.com
- Kite & Laslett on Soundcloud
- Kite & Laslett on Twitter
- Lichtspiel. An Interview with Kite & Laslett

On Air: Kite & Laslett

The ikono On Air Festival is showing the following films by Kite & Laslett.
Echelon (2012)
Echelon is a film made in response to the baroque interior of St. George’s Church Bloomsbury, London. The film presents a frenetic spatial augmentation of the church, manipulating perspective, scale and depth to produce a rest-ructured architectural space within the cinematic frame. Contrary to Kite & Laslett’s usual practice of producing physical interventions in dialogue with architectural spaces, Echelon portrays an inverse paradigm; the film itself becomes a cinematic installation.
Recorded at night, flash photography was used to create 3,000 high contrast images of the architectural features of the church. The removal of colour in the film directly communicates the medium of light itself, allowing the eye to dis-tinguish the disparity and spatial foreshortening between one frame and the next. The rhythmic layering of 25 independent frames per second entrances the eye in a restless and ever shifting architecture, transforming scenes of the familiar into a mirage.
Enclosure (2011)
Enclosure is an immersive sound and light installation, whereby the audience interact with a specifically composed sound score in a quadraphonic configu-ration in the spatial volume it inhabits.
La Cura (2012)
Central to the choreography of La Cura, Kite & Laslett have produced an octa-phonic sound and light composition that intensifies the therapeutic atmosp-here of the performance and playful interaction by the audience.
Orbit (2012)
Orbit is a kinetic light installation designed for a former railway tunnel. A series of rotors of increasing diameter and speed are positioned along the 80m space, projecting laser beams into the void. Their orbiting constellation tar-gets towards a circular plane at the end of the tunnel.
The viewer follows the rays overhead, approaching the swirling red cells ema-nating from the vanishing point. The churning rumble of the revolving cogs re-veals a machine in perpetual motion. Orbit premiered as part of a curated art and club event in Berlin in November 2012.
Panoptic (2012)
For platform79 – the berlin project Kite & Laslett produced two artistic inter-ventions. The first, Panoptic, is a physical mobile-installation situated in Cour-tyard IV of the former Kantstraße Women’s Prison, exploring visual space. In contrast, Klangzelle, a sound installation, examines solely aural space and the acoustic energy of the prison interior. The two works stand in relative juxtapo-sition to one another, both architecturally and in conception.
A Leap in the dark (2011)
A mystery surprise film.
Reflex (2013)
Two projectors face one another, separated by a series of translucent screens. The projectors call and respond in a chaotic and restless dialogue, firing interlocking shapes and gradually becoming more complex. The repetition of the projected image through the screens transforms flat impressions, enlarging and giving the sense of physical volume within the exhibition space.
Reflex is an experiment in the medium of dual-projection, spatialising light itself; the immaterial presented as material. The installation is a simple apparatus, yet allows scope for complexity in effect. The interchangeable pace at which the spectrum of colours crossfade between the projectors creates the sense of a parallel timescape; time slowed down.
Candescence (2010)
The installation is an array of acoustically responsive spheres activated by sound and touch. Human interaction triggers an ascendance of vision, light and sound in a cyclic loop of which the individual is integral. The project explo-res the notion of psychoacoustics and acousmatics applied in an architectural space. The sonic and radiant atmosphere inhabits and alters one’s perception of the former Empress Coach House space.

IN SITU features three young artists whose work relates to the architectural and the site specific. Kite & Laslett present Genius Loci, an immersive installation that seeks to capture the spirit of the Belfry through sound and light. Eleanor Wemyss presents Foundations, a series of intricate architectural drawings based on original designs of the building.
Kite & Laslett’s Genius Loci draws on sound recordings made in the Church interiors, where improvised acoustic experiments are incorporated into a multi-layered sound piece and projected into the Belfry space. The soundscape is experienced in near-darkness, asking the viewer to contemplate the subtleties of the interaction between the sound composition, light and their relationship to the space with limited navigation.
The sounds have been de-contextualised and re-placed, causing disorientation as to their original source, context and their relationship to the Belfry. An example of this can be heard via the spatialised deconstruction and abstraction of Anton Bruckner’s Locus Iste – This Place. The installation is an experiment in kinaesthetic experience, limiting the use of some senses and emphasising the use of others, reconfiguring one’s orientation around the space.
Live performances took place at the Opening & Closing Views with a live feed from the main Church hall to the secluded space of the Belfry, connecting different spaces across the building and challenging notions of ‘liveness’ and sensory experience.
Sound composition: Sebastian Kite
Voices: Toby O’Conner, Lara Karady, May Kersey, Damien Taylor
As part of IN SITU
02/02/12 – 01/03/12
The Belfry
St. John on Bethnal Green

Finnbogi Petursson – Iceland Sounds

Posted August 6th, 2013 under Festival
Finnbogi Petursson
Finnbogi Petursson is one of Iceland’s most prominent artists. In his works he fuses sound, light, sculpture, architecture and drawings. Petursson has also already been ikono’s artist of the month in July 2012.
Sound, a crucial element in his works, is literally shaping his work out of thin air from its natural physical properties. Elemental in form as well as content, Finnbogi’s starkly beautiful and powerful pieces capture acoustic phenomena in water, wind, metal, and fire.
Sound itself is his primary material, typically incorporated into spare sculptural installations that can involve multiple audio speakers placed on the wall, the floor or within columns. The speakers emit sequences of single tones that make what Petursson likes to call “drawings”: forms consisting not of visible marks but of invisible sound waves. Petursson’s sound sculptures often elicit a palpable sense of mystery and discovery, suggesting an openness to the kind of world-shaping powers that are especially evident in Iceland.
Pétursson represented Iceland at the Venice Biennial in 2001 with his monumental sound installation Diabolus. He transformed the small Icelandic pavilion into a large, tunnel-like “musical” instrument. Gregory Volk wrote about this installation at the time: “Mixing medieval methodology and up to date electronic technology, Pétursson’s work conflates past and present, and his tunnel becomes a kind of time chamber, a conduit between the centuries. Importantly, Pétursson has constructed his tunnel in such a way that it is essentially a private experience for the viewer/listener. In a crowded place, you are not in a crowd at all but instead alone with this haunting sound which comes with a very powerful cultural history.”
Collections include T-B A21, Vienna; Malmo KunstMuseum, Sweden; Nordiska Akvarell Museum, Sweden; and the National Gallery of Iceland. Permanent installations are at Landsvirkjun, Vatnsfellsvirkjun (an electric power plant) Reykjavik University and the Reykjavík Energy Headquarters. Finnbogi lives and works in Reykjavik, Iceland.

On Air: Finnbogi Petursson

The ikono On Air Festival is showing 12 of his films Earth, Deep, Koutoubia, Motor Drawing 45°, Sphere, Waves, Conversation, Circular Cubes, Mobile, Feed, Ode and Diabolus.
-> Artist website: www.finnbogi.com


Finnbogi Petursson – Reset (2011)

Reset 2011 – Wood Street Galleries, Pittsburgh – USA
Finnbogi Petursson – Surveillance (2011)

Finnbogi Petursson – End 2012

Public Art Center-Hlemmur (Kling & Bang), Reykjavik 2012
Finnbogi Petursson – one man

one man in Morocco, February 2012
freq_out 8

moderna museet, stockholm, sweden 2012
Image above: Finnbogi Pétursson. Elements, 2005. Watertanks, Reykjavík.
Selected American Poems

By Kristján Guðmundsson and Finnbogi Pétursson

Tarryn Gill & Pilar Mata Dupont

Posted August 6th, 2013 under Festival
Pilar Mata Dupont
Pilar Mata Dupont is an interdisciplinary artist from Australia working in film, photography, and performance. Her recent work explores aspects of identity and nationalism (especially in militarised societies) through the appropriation of memory, mythology, and history.
Pilar Mata Dupont about her work
In my solo practice I am interested in re-creating or re-imagining memories or histories based on fragments of texts, photographs or people’s stories; exploring how memory/history can be disfigured or glorified. At present I am experimenting with creating narratives, through film and photography, as hybrids of various mythologies and the memories relayed to me by people I meet while traveling. I am doing this in order to create a sort of new world mythology, stripped of the grandeur of the original myth, but bestowing a heightened reality and meaning to ordinary memory. These experiments further my interest in engaging with and subverting storytelling tropes, and resume my investigations into the genre of magic realism as a device to explore the effects of colonialism, nationalism, and militarised societies.
At this time I am on a two year-long research trip during which I am developing projects around the world, including stays in the Netherlands, Germany, Finland, United Kingdom, Argentina, China, and North and South Korea.

On Air – Pilar Mata Dupont

The ikono On Air Festival will be showing two films by Tarryn Gill & Pilar Mata Dupont:

Ideas of the fascist aesthetic, it’s use in propaganda and the cult of the heroic sportsperson in Australia permeate Gymnasium. “Fascism is theatre,” said Jean Genet, so we have portrayed 20 athletes ‘performing’ various indoor gymnastic-like routines. Their movements are repetitive, drone-like, made with the poise and perfection of an ancient statue of Diana, and their smiles are like Ziegfeld’s girls in his 1920′s follies. Indeed, the Nazi soldiers in the propaganda film, Triumph of the Will (1935) by Leni Riefenstahl and her perfectly honed athletes in Olympia (1938) are heavily referenced in this work.
We find that alluring visual effects of this kind of propaganda suggest a sinister subtext; that the qualities valued in sport – camaraderie, bodily and mental control, submissive behaviour and endurance of pain – are also valued in militarised societies. We link the sportsfield to the battlefield as a location for the demonstration of legitimate patriotic aggression, and success in both as a source of national pride. Through the display of these Australian replica sports heroes using a tongue-in-cheek, fascist-styled aesthetic the fascist nationalistic aggression is implied and transposed into Australian culture.
Winning work for the 2010 Basil Sellers Art Prize.

In this work the artist experiments with creating a narrative as a hybrid of the Orpheus and Eurydice myth and various collected memories associated with loss, and the moments leading up to the loss of a person from one’s life, through death or another form of parting. The movement was developed between the director and the two performers and was designed to reflect the transient movements of water and the act of washing/cleansing.
This work has been developed in collaboration between the CineB Festival, Chile and MUBI. Working with the Nine Inch Nails album ‘Ghosts I – IV’ and 36 international directors a feature film is currently being created based on the Orpheus and Eurydice myth. The feature film is due for release in 2013 and will tour to London and New York.
More at festivalcineb.com


Pilar Mata Dupont – www.pilarmatadupont.com
Tarryn and Pilar – www.tarrynandpilar.com
Hold Your heroes – www.hyh.com.au


The Musical (2001) by Tarryn Gill & Pilar Mata Dupont

Performance and video work
Hold Your Horses presents: The Soloists (a case study)

Working with WA composer Tim Cunniffe, Hold Your Horses (Thea Costantino, Tarryn Gill and Pilar Mata Dupont) have created ‘The Soloists (a case study)’, a choral adaptation of Freud’s famous ‘failed’ case, Dora.
Dora is an eighteen-year-old ‘hysteric’ hopelessly entangled in the destructive relationships of her family and their intimate friends. Freud’s attempts to enact a cure are thwarted by Dora’s ability to elude the analysis. In The Soloists, the testimonies of each character within the case study compete within a sound world made entirely of human voices.
The work was developed during a residency at the Fremantle Arts Centre and presented in a solo exhibition at the Fremantle Arts Centre from the 21st May – 17th July 2011.
‘Ever Higher’ (excerpt) from Tarryn Gill & Pilar Mata Dupont

This work was created with the support of the Western Australian government through the Department of Culture and the Arts.
Filmed on location at the Perth Institute of Contemporary Arts.
Interview: Tarryn Gill and Pilar Mata Dupont (2010)

Image: Bloodsport promo photo by Kim Tran

Larissa Sansour – Space Exodus

Posted August 7th, 2013 under Festival
Larissa Sansour
Born in Jerusalem, Lariss Sansour studied Fine Art in Copenhagen, London and New York. Her work is interdisciplinary, immersed in the current political dialogue and utilises video art, photography, experimental documentary, the book form and the internet.
Sansour’s work features in galleries, museums, film festivals and art publications worldwide. Recent solo shows include Anne de Villepoix in Paris, Photographic Center in Copenhagen, Sabrina Amrani Gallery in Madrid, Kulturhuset in Stockholm, DEPO in Istanbul and Jack the Pelican in New York. She has participated in the biennials in Istanbul, Busan and Liverpool.
Upcoming shows in 2013 include the MuCEM in Marseille, the Bluecoat in Liverpool, Lawrie Shabibi in Dubai, Harlem Studio Museum in New York and the Turku Art Museum in Finland.
Larissa is represented by Galerie Anne de Villepoix in Paris and Lawrie Shabibi in Dubai. She lives and works in London and Copenhagen.

On Air: Larissa Sansour

The ikono On Air Festival is showing Larissa Sansour’s “Space Exodus”.
Excerpt from “A Space Exodus” (2009)

A Space Exodus quirkily sets up an adapted stretch of Stanley Kubrick’s Space Odyssey in a Middle Eastern political context. The recognisable music scores of the 1968 science fiction film are changed to arabesque chords matching the surreal visuals of Sansour’s film.
The film follows the artist herself onto a phantasmagoric journey through the universe echoing Stanley Kubrick’s thematic concerns for human evolution, progress and technology. However, in her film, Sansour posits the idea of a first Palestinian into space, and, referencing Armstrong’s moon landing, she interprets this theoretical gesture as “a small step for a Palestinian, a giant leap for mankind”.
The film offers a naively hopeful and optimistic vision for a Palestinian future contrasting sharply with all the elements that are currently eating away at the very idea of a viable Palestinian state. In A Space Exodus, Sansour does finally reach the moon, although her contact with Palestine’s capital is cut off.
Larissa Sansour This five-minute short is packed with highly produced visual imagery. The arabesque elements ranging from the space suit to the music are merged within a dreamy galactic setting and elaborate special effects. A great deal of attention is paid to every detail of the film to create a never before seen case of thrillingly magical Palestinian displacement.
- A Space Exodus was nominated for the Muhr Awards for short film at the Dubai International Film Festival
- The artwork above, Floating, A Space Exodus by Larissa Sansour, is currently for sale at Lawrie Shabibi. Find comprehensive details on this artwork here.


- Homepage : Larissasansour.com
- Artist Larissa Sansour Speaks Out About Her Ejection From the Lacoste Art Prize for Being “Too Pro-Palestinian”
- I Exist (in some way) — exhibition in Liverpool – Palestine portrayed as plastic state in new art show
- Larissa Sansour at the Barjeel Art Foundation
- Larissa Sansour at electronicintifada.net

Videos by Larissa Sansour

Nation Estate (clip)

Nation Estate is a 9-minute sci-fi short film offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East.
With its glossy mixture of computer generated imagery, live actors and arabesque electronica, Nation Estate explores a vertical solution to Palestinian statehood. In Sansour’s film, Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population – now finally living the high life. More here.

Heavily referencing the 1980 cult classic The Shining by Stanley Kubrick, Sbara explores the castigation of Arabs in contemporary Western dialogue.
By adding an audio montage combining historical and current quotes on the Middle East to footage paraphrasing scenes from the original film, Sbara seeks to expose the cyclical nature of Middle Eastern rhetoric and policies and emphasize the psychological terror inflicted upon those at the receiving end of this repetitively stagnant political discourse.
Run Lara Run

This short video touches upon issues of identity and belonging. It explores the idea of displaced identities, typical of societies that have undergone political turmoil – and their diasporas. Cultural hybridity is also called into question.
Land Confiscation Order 06/24/T (excerpt)

A requiem for a small piece of land, Land Confiscation Order 06/24/T explores the notion of territory as constitutive of not only national, but also personal identity.
Bethlehem Bandolero (excerpt)

Bethlehem Bandolero is a kitsch video featuring Sansour herself as a Mexican gunslinger arriving in Bethlehem for a duel with the Israeli Wall. Wearing a big sombrero and a scarf, the artist walks the streets of Bethlehem and greets the locals before taking off for her final showdown.
The editing is inspired by television effects from the seventies. The humour of the piece is stressed by the underlying music.
By fusing world crises and blatant absurdity, Bethlehem Bandolero challenges the current dialogue on the Middle East by shaking its conceptual foundations.

Ori Gersht – Still Life & Big Bang at Times Square

Posted August 7th, 2013 under Festival

Ori Gersht
Frequently referencing art history, Ori Gersht’s imagery is uncannily beautiful; the viewer is visually seduced before being confronted with darker and more complex themes, presenting a compulsive tension between beauty and violence. This has included an exploration of his own family’s experiences during the Holocaust, a series of post-conflict landscapes in Bosnia and a celebrated trilogy of slow-motion films in which traditional still lives explode on screen.
In his evocative and innovative films and photographs, Ori Gersht weds the past and the present. With the latest technology he takes a discerning look at multiple histories and the ways they are communicated: histories that have shaped his own identity and helped define the state of contemporary society. Gersht’s images, with sources ranging from 19th century still life painting to the Holocaust, reveal the links between history and memory, creation and destruction, and beauty and violence while exploring the passage of time.


Ori Gersht was born in Israel in 1967, but has lived in London for over 20 years. Throughout his career his work has been concerned with the relationships between history memory and landscape. He often adopts a poetic, metaphorical approach to explore the difficulties of visually representing conflict and violent events or histories. Gersht approaches this challenge not simply through his choice of imagery, but by pushing the technical limitations of photography, questioning its claim to truth.

On Air: Ori Gersht

The ikono On Air Festival is showing three of Ori Gersht’s films:
Falling Bird (2008)
Ori Gersht
Courtesy of Mummery+Schnelle Gallery, CRG Gallery, Noga Gallery, Brand New Gallery, Angles Gallery
‘Falling Bird’, is based on Chardin’s still life painting titled ‘A Mallard Drake Hanging on a Wall and a Seville Orange’. The film reveal a hanging mallard, suddenly free-falling towards a mirror like black surface, collapsing into its own reflection. On impact the bird penetrates the liquid surface and in doing so triggers an epic chain reaction, reminiscent of a geological disaster.
The film is part of a body of still life works, which are related to seminal old masters paintings. In these works, Gersht explores relationships between pho-tography and technology, revisiting fundamental philosophical conundrums concerning optical perception, conceptions of time and the relationships between the photographic image and objective reality.

The film allude to the inherent shadow of death and decay hanging over old master still life and vanitas paintings. However, technology has aided Gersht in creating contemporary versions, bringing the concerns of still life masters into a contemporary context. By basing his films and photographs upon paintings within the long-established art historical tradition, Gersht draws attention to the painterly nature of his work which closely resembles these iconic master-pieces. Yet they are distanced due to the instantaneous digital process which translates every second in reality to a minute on film in the case of the moving image pieces and in the photographs, captures each shattering still life at a speed of 1/3200 of a second and stores the information immaterially as data on a harddrive until each is transcoded into a film or fabricated as a C-Type print, returning the image to the world of two-dimensional artworks.
Throughout this body of work peacefully balanced compositions become victims of brutal terror, revealing an uneasy beauty in destruction. This tension that exists between violence and beauty, destruction and creation, is enhanced by the fruitful collision of the age-old need to capture “reality” and the potential of photography to question what that actually means. The authority of photography in relation to objective truth has been shattered, but new possibilities to experience reality in a more complex and challenging manner have arisen.
Big Bang (2001)
Ori Gersht
Courtesy of Mummery+Schnelle Gallery, CRG Gallery, Noga Gallery, Brand New Gallery, Angles Gallery
In Big Bang, Gersht explores relationships between photography/film and technology, revisiting fundamental philosophical conundrums concerning op-tical perception, conceptions of time and the relationship between the photo-graphic image and objective reality.
The film depict and explosion of an elaborate floral arrangements based upon 17th century Dutch still life paintings. Dependent upon the advanced techno-logy the film depict an event that was inconceivable to the old masters. This visual occurrence that is too fast for the human eye to process and can only be perceived with the aid of technological devices, is what Walter Benjamin called the ‘optical unconsciousness’ in his seminal essay ‘A Short History of Photography’.

Gersht´s film allude to the inherent shadow of death and decay hanging over old master still life and vanitas paintings, complete with moths hovering above the explosions. Technology has aided Gersht in creating contemporary versions of frozen life, bringing the concerns of still life masters into a contemporary context. By basing his film and photographs upon paintings within the long-established art historical tradition of still life painting, Gersht draws attention to the painterly nature of his work, which closely resemble these paintings.
Flowers, which often symbolize peace, become victims of brutal terror, revealing an uneasy beauty in destruction. This tension that exists between violence and beauty, destruction and creation, is enhanced by the fruitful collision of the age-old need to capture “reality” and the potential of photography and film to question what that actually means. The authority of photography in relation to objective truth has been shattered, but new possibilities to experience reality in a more complex and challenging manner have arisen.
Extracts from Big Bang at Times Square, April 2012

Dew (2001)
Ori Gersht
Courtesy of Mummery+Schnelle Gallery, CRG Gallery, Noga Gallery, Brand New Gallery, Angles Gallery
The video was filmed in the Negev Desert, the camera was stationary, and the entire film was created in a single shot.
While filming a Bedouin camp I realised that the viewing was obstructed, when turning the camera to an auto focus mode, I figured out that the obstruction was caused by condensation of dew drops on the lens. Since the camera was focusing on itself the dew drops were sharp in focus.
I filmed the process of evaporation ( over 2 hours, which were later compressed to a 4.5 minutes film). When the lens finally cleared up, the camera automatically shifted it’s focus of attention to the background ( the Bedouin camp and the landscape).
The transition in this film is very slow, while watching, the viewer is unable to detected the temporal changes, however, at the end, when the film loops on itself the viewer is becoming aware of the visual journey.
Apart of its political and geographical evocation, the film is exploring the relationships and tensions between the still and the moving image.


- Book by Al Miner: History Repeating
- New York Times: Beauty, Tender and Fleeting, Amid History’s Ire
- Guardian: War
X-tra: Ori Gersht – Lost in Timeblossoms into art: Ori Gersht at the Imperial War Museum – in pictures
- “Ori Gersht”. Information Center for Israeli Art. Israel Museum.
- Art of Ori Gersht at Europeana.
- Ori Gersht at the Noga Gallery


History Repeating: A Conversation with Artist Ori Gersht and Curator Al Miner

On the occasion of his first major survey exhibition, Ori Gersht: History Repeating at the Museum of Fine Arts, Boston (August 28 – January 6 2012), Gersht and exhibition curator Al Miner discussed Gersht’s evolving body of work and the diverse threads of history woven throughout his oeuvre. With a special introduction by Norman Kleeblatt, Chief Curator of The Jewish Museum.
In the Artist’s Words: Ori Gersht on Violence and Beauty

Ori Gersht: This Storm is What We Call Progress

Artist’s insight: Ori Gersht | Seduced by Art: Photography Past and Present

Artist Ori Gersht talks about his book “History Repeating”

Ori Gersht: History Repeating published by Lund Humphries in association with the Museum of Fine Arts, Boston, is the most comprehensive survey of the photographs, films, and videos of the Israeli-born artist to date. This richly illustrated book presents the best of Gersht’s achingly beautiful work and explores how he intertwines spectacles of painterly and narrative imagery with personal and collective memory.

Giulia Giannola – Tinker, tailor, soldier, sailor

Posted July 25th, 2013 under Festival

Individual and society, individual action and collective action are some of the themes around which Giulia Giannola’s work circulates. The italian artist just won the first Völklinger Art Award for “Tinker, tailor, soldier, sailor” (2012) which will also be shown as part of our festival program in September.
The video takes its name from the English nursery rhyme datable between 1475 and 1695, sung by children in a counting game with buttons, flower petals, cherry stones, pebbles or other objects in order to ‘determine’ their future job: tinker, tailor, soldier, sailor, rich man, poor man, beggar-man, thief. Giannola converts the game into factory work, staging a human production line intent on extracting seeds from watermelons. Each individual has his role, mechanical, repetitive, punctuated by the rhythms of the nursery rhyme which is recited by the last link in the chain who is involved in counting the seeds. A reflection on work conditions in a factory before the industrial revolution where the workers act like mechanisms of an immobile engine. The selection of each frame, the formal balance, the aesthetic care and the repetitiveness of the rhythm exalt this work of Giannola who succeeds in transforming the scene into a theatrum mundi in which we can all recognise ourselves.


Giulia Giannola was born in Naples in 1985. She studied Visual Arts at IUAV University in Venice, where she began to work with performances and video. After her degree she moved to Berlin where she is currently studying at the Universität der Künste. In her performances she creates choreographies, staged situations, and actions in public spaces to reflect on the value of personal and collective time.
Giulia Giannola Tinker, tailor, soldier, sailor Book: Referring to the unofficial twinnings that reflect Berlin’s current immigrant population instead of the official equivalents of the city, Invisible Twinning explores the city’s long tradition of urban horticulture and reveals ideas of health in the widest sense: as balance and imbalance as well as on a societal and personal level, looking at how people navigate and share resources within a city. Invisible Twinning was published as part of the Asia-Pacific-Weeks 2011 at the House of World Cultures in Berlin.
Images: Video Stills from Giulia Giannola’s Tinker Tailor Soldier Sailor (2012), Courtesy of e x t r a s p a z i o, Rome

Videos by Giulia Giannola

Show Reel


It’s a calm little place


Swimming Lane

This video deals with the theme “Time”.
In this video I played with different time levels.
The swimming pool divided in lanes is particularly suitable for this purpose.
Every swimmer has a different speed (natural speed, innatural slowness, innatural quickness…). The resulting absurd and chaotic situation, can be a metaphor for the collective time.
Despite chronological time is the same for all, everyone has its own “speed.
Kochzeiten (Cooking Times)

Awarded project Invisible Twinning
Meridian| Urban Project, Haus der Kulturen der Welt Berlin
“Experiment über kollektive Lebensrhythmen”

On the May 20th, 2010 four actors paid 10 euros worth of supermarket items with coins valued at 1 cent upto 50 cents at the supermarket Real in Braunschweig. 
The aim of the action was to stop the flow of traffic in the lines and record the behaviour of the cashiers and the people waiting in line.
Some of them stressed, some of them resigned, and some of them offered to pay themselves, in order speed up the process. 
In the performance, money, which is conceived to accelerate commercial exchanges, ends up causing the payment process to even go slower and stop the normal flowing of operations.

The antropologue Marc Augé has defined the anthropological “no-places” (supermarkets along with shopping-malls, hotel chains, airports) as a category of places, mostly with commercial aims, where people
 are often inserted into mechanisms, characterised 
by standardised behaviours which they have learned. 

The supermarket is a specific place which is part of a bigger system, and influences our everyday life and its rhythms, and definetly defines them.
Also see Elettrocardiodramma, experiment on collective life rhythms (1)
-> More at Giulia Giannola’s Vimeo Channel

festival blog:

Brian Eno – 77 Million Paintings

Brian Eno – 77 Million Paintings

September 1st, 2013 | Festival
Brian Eno is an old friend of the house. He has been our special guest in 2011 already and we’re more than happy to present his 77 Million Paintings at the ikono On Air Festival. Brian Eno first created 77 Million Paintings to bring art… Read More

ikono On Air Festival – Official trailer

September 1st, 2013 | Festival
The ikono On Air Festival is the first ever on air art festival to be broadcasted exclusively on TV and on live stream. The festival (6th – 29th September 2013) follows ikono‘s main aim of creating visual bridges between periods of time, various movements and… Read More
Yoko Ono – Painting to Shake Hands

Yoko Ono – Painting to Shake Hands

August 30th, 2013 | Festival
Yoko Ono was born in Tokyo in 1933, and moved to New York in 1953, following her studies in philosophy in Japan. As a pioneer of conceptual art, Ono has been creating unique and progressive works since the 1960s, which challenge how we think about… Read More
Mustafa Hulusi – Extasis

Mustafa Hulusi – Extasis

August 30th, 2013 | Festival
Mustafa Hulusi (born 1971) is a London based conceptual artist who uses a diverse set of mediums for his work, such as painting, photography, video and installation. Being of Cypriot-Turkish origin Hulusi explores his dislocated cultural background in his work which deals with hybrid identities…. Read More
Shepard Fairey – Mandala

Shepard Fairey – Mandala

August 30th, 2013 | Festival
Shepard Fairey is the man behind OBEY GIANT, the graphics that have changed the way people see art and the urban landscape. What started with an absurd sticker he created in 1989 while studying at the Rhode Island School of Design has since evolved into… Read More
Jenny Holzer – Sense

Jenny Holzer – Sense

August 30th, 2013 | Festival
For more than thirty years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Reichstag, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, and the Whitney Museum of American… Read More
Matt Pyke – Transfiguration

Matt Pyke – Transfiguration

August 30th, 2013 | Festival
Matt Pyke (b.1975) is one of the most innovative digital-motion artists of his time. Pyke’s body of work, which explores the tensions between abstract and figurative form and the synesthesia of sound and image, encompasses a striking diversity: it ranges from interactive design and branded… Read More
Doug Foster – Veil of Light

Doug Foster – Veil of Light

August 30th, 2013 | Festival
British artist and filmmaker Doug Foster (b.1961) produces large scale digital film installations that play with symmetry and exploit the human eye’s susceptibility to optical illusion. Foster has exhibited internationally, including at Works from the David Roberts Collection, DRAF, London (2007); Only Human, The Fine… Read More
ikono On Air Festival presents: Bill Viola

ikono On Air Festival presents: Bill Viola

August 30th, 2013 | Festival
Bill Viola (b. 1951) is internationally recognised as one of today’s leading artists. He has been instrumental in the establishment of video as a vital form of contemporary art, and in so doing has helped to greatly expand its scope in terms of technology, content,… Read More

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