Resting Transmissions / Eyes Above, Bodies Below / Nice Night for a Walk

5 – 23 July 2017 / Wednesday – Sunday, 12 – 6pm
Opening reception: Tuesday 4 July, 6 – 9pm


The Upcoming Show, Su Hui-Yu, 2012, video still. Courtesy of the artist


This July The RYDER presents three video programmes, each running a week in the gallery. Nine artists will present their works in: Resting Transmissions (5 – 9 July), Eyes Above, Bodies Below (12 – 16 July), Nice night for a walk (19 – 23 July).

​Resting Transmissions presents works engaging with histories and practices of television. Industrial modes of production and dissemination are intercepted and reinterpreted, shifting and activating viewership. With its semi-lucid self-made counter-narratives, this programme unfolds like an atypical night of broadcast. Featuring work by: Kathryn Elkin, Wendy Geller, and Su Hui-Yu.

The programme Eyes Above, Bodies Below suggests there are many ways in which eyes may be separate from bodies; there are many ways bodies swap and narratives switch. The works present combinations of vision, bodies inscribed with self-actuated stories as well as scripted strands from above. Cartesian dualism is both affirmed and confronted, fluidity seeps up as stories hop hosts, sending out beacons. Featuring work by: Deirdre Sargent, Maha Maamoun, and Stephanie Comilang.

Nice night for a walk presents works that excavate material from circulating film franchises, and their resulting pop-cultural sediment. Particular moments, cyborgs, and the onscreen presence of Arnold Schwarzenegger are remobilised. Metallic mirrored surfaces emerge that reflect ossified references, surrounding and reworking them. Featuring work by: Jenna Sutela, Daniel Cockburn, and Frank Heath.

The series Resting Transmissions / Eyes Above, Bodies Below / Nice night for a walk is curated by Erik Martinson.



Resting Transmissions / 5 – 9 July
– Michael’s Theme, Kathryn Elkin, 2014, 7:47
– Six, Wendy Geller, 1986, 4:07
– The Upcoming Show, Su Hui-Yu, 2012, 17:14

Eyes Above, Bodies Below / 12 – 16 July
– Traveling, Deirdre Sargent, 2016, 5:16
– 2026, Maha Maamoun, 2010, 9:00
– Lumapit Sa Akin, Paraiso (Come To Me, Paradise), Stephanie Comilang, 2016, 25:46

Nice night for a walk / 19 – 23 July
– RI JIRI I O WA NU RU DAINICHI T-1000, Jenna Sutela, 2016, 2:15
– WEAKEND, Daniel Cockburn, 2003, 7:15
– The Hollow Coin, Frank Heath, 2016, 12:13


Daniel Cockburn is a Canadian filmmaker and video artist. His feature You Are Here won top prize at the European Media Art Festival and has been compared to the work of Charlie Kaufman, Jorge Luis Borges, and Philip K. Dick. His performance All The Mistakes I’ve Made was developed during a DAAD-Berlin residency. It toured internationally, and was followed up years later by a sequel called All The Mistakes I’ve Made, part 2. He lives in London, where he is a 2017 Associate Artist in Residence at Acme Studios, and a 2017 Fellow in Film Practice at Queen Mary University of London.

Stephanie Comilang is an artist living and working in Toronto and Berlin. She received her BFA from Ontario College of Art & Design. Her documentary based works create narratives that look at how our understandings of mobility, capital and labour on a global scale are shaped through various cultural and social factors. Her most recent films ‘Lumapit Sa Akin, Paraiso’ (2016) is a science fiction documentary about Filipina migrant workers in Hong Kong. It has been screened at Asia Art Archive in America, New York; S.A.L.T.S., Basel; UCLA, Los Angeles; Images Festival, Toronto; and Art Athina in Athens.

Kathryn Elkin (born in Belfast, 1983) is a graduate of Glasgow School of Art (2005) and Goldsmiths College (2012) and former LUX Associate Artist (2013). Elkin’s performance and video works concern role-playing and improvising, alongside experiments with the outtake and clowning on set. She has an ongoing interest in shared cultural memory (as produced by popular music, television and cinema) and the melding of this information to biographical memory. She was a participant in the BBC project Artists in the Archive in 2014, and completed a solo exhibition at CCA Glasgow titled ‘Television’ in 2016. She has shown work throughout the UK, including ICA, Tate Modern, Collective Gallery, Transmission, S1 and CCA Derry.

Wendy Geller was born in Winnipeg, Canada in 1957. She received her B.F.A. from the Nova Scotia College of Art and Design, and a M.F.A. from the University of California, San Diego. Geller’s work has been exhibited in the United States, Europe and Canada. In addition to her work as a video artist she was an Assistant Professor at the Kansas City Art Institute from 1987-1990, during which time she also curated a major show of international videotapes for the Charlotte Cross-Kemper Gallery. Geller died in 1996. The Wendy Geller Fund was established by her family at Video Pool to assist members in the completion of independent works.

Frank Heath (b. 1982, St. Joseph, MO) lives and works in New York. Recent exhibitions include Blue Room, Swiss Institute (2017); Backup, Simone Subal (2014); A Tale of Two Islands, The High Line, New York (2014); and Matter out of Place, The Kitchen, New York (2012). The Hollow Coin, has been shown at International Film Festival Rotterdam (2017), Festival International du Film de La Roche-sur-Yon (2017), Sarasota Film Festival (2017), International Film Festival Message to Man and Experimental Film Festival Kinodot (2017). The film was awarded Best Documentary Short at Indielisboa (2017) and the Deframed Audience Award at Kurzfilm Hamburg (2017).

Su Hui-Yu was born in Taipei in 1976. He obtained an MFA from Taipei National University of the Arts in 2003. In his videos, he explores both mass media’s impact on viewers, and the projection of viewers’ thoughts and desires onto media. He draws from his experiences of being surrounded by media that range from movie, TV culture, advertisement, state apparatus, terrorism, self and other, body, projection of desires, and illusion and reality. His work has been exhibited at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, MoCA Taipei, San Jose Museum of Art in California, Herbert F. Johnson Museum of Art at Cornell University, and Power Station of Art in Shanghai. In 2017, his work, Super Taboo, was invited to the International Film Festival Rotterdam (IFFR) Tiger Shorts and a solo screening of his works called “The Midnight Hours” was also presented.

Maha Maamoun is a Cairo-based Egyptian artist. In addition, she works collaboratively on independent publishing and curatorial projects. Maamoun co-founded with Ala Younis the independent publishing platform called Kayfa-ta in 2012. She is also a founder and current board member of the Contemporary Image Collective (CiC). Maamoun’s latest project, The Subduer, which combines photographs and literary texts to explore the power of the sublime in contemporary Egyptian bureaucracy, will be shown in Art Basel’s Statements, June 2017. Her work was widely shown in exhibitions and biennials including: The Time is Out of Joint – Sharjah Art Foundation (2016); Here and Elsewhere – New Museum (2014); Objects in Mirror are Closer than they Appear, Tate Modern (2012); 9th Gwangju Biennale (2012); Mapping Subjectivity, MoMA.

Deirdre Sargent (b. 1985, Boston, MA, USA) is an artist living in Brooklyn, NY working with sculpture, photography, and video. She holds a MFA from Yale University and a BFA from Pratt Institute. Recent solo and two-person shows include You Should Know When to Laugh, 315 Gallery, NYC; Island Girl on Video, AC Institute, NYC; and Usamlkpda, The Sculpture Center, Cleveland, OH. Selected recent group shows include Coping Copy, Konstanet, Tallinn, Estonia; From an Object Into an Active Subject, Alexander’s Garage, Brooklyn, NY; The Sputtering, Human-Shaped Machine, Good Work Gallery, Brooklyn, NY; Noise, ETAA Studio, Seoul, South Korea; Providence & Co., Union Docs, Brooklyn, NY; and Optic Nerve 14, Museum of Contemporary Art North Miami.

Jenna Sutela‘s installations, text and sound performances seek to identify and react to precarious social and material moments, often in relation to technology. Most recently, she has been exploring exceedingly complex biological and computational systems, ultimately unknowable and in a constant state of becoming. Sutela has exhibited her work at Haus der Kulturen der Welt in Berlin, The Institute of Contemporary Arts London, and The Museum of Contemporary Art Tokyo, among others.

Erik Martinson (Canada/Latvia) is an independent curator and writer based in London, UK. He worked in Toronto at Vtape, a not-for-profit video art distributor from 2005-2014, and was a member of the Pleasure Dome curatorial collective from 2006-2014. Recent curated screenings were presented at: Institute of Contemporary Arts London (2015); Chalton Gallery (2016); DIY Space for London (2016); Contemporary Art Centre Vilnius (2016); and LUX (2016/2017). He participated in the Independent Curators International (ICI) Curatorial Intensive on Time-Based Media, New York (2013) and was on the selection jury for Videonale.15 at Kunstmuseum Bonn (2015). Recently he completed his MFA in Curating at Goldsmiths, University of London (2016) and was in residence at Rupert, Vilnius (2016).


Michael’s Theme, Kathryn Elkin, 2014, video still. Courtesy of the artist

Six, Wendy Geller, 1986, video still. Courtesy of Video Pool Media Arts Centre


Traveling, Deirdre Sargent, 2016, video still. Courtesy of the artist


2026, Maha Maamoun, 2010, video still. Courtesy of the artist


RI JIRI I O WA NU RU DAINICHI T-1000, Jenna Sutela, 2016, video still.
​Courtesy of the artist


WEAKEND, Daniel Cockburn, 2003, video still. Courtesy of the artist


The Hollow Coin, Frank Heath, 2016, video still. Courtesy of the artist and Simone Subal Gallery


Lumapit Sa Akin, Paraiso (Come To Me, Paradise), Stephanie Comilang, 2016,
​video still. Courtesy of the artist