recent and forthcoming:

P2P, Herrmann Germann @ Barbara Seiler & Annex14, Löwenbräukunst Zürich, 7 - 22 December 2018
Festival of Dangerous Ideas, Sydney, 3 - 4 November 2018
TodaysArt, The Hague, 21 - 23 September 2018
Mike Bouchet, Libia Castro & Ólafur Ólafsson, Riley Harmon, and Atelier van Lieshout, Rotterdam, 7 - 23 September 2018

Exit the King 1962, The Villa AVL Mundo, Rotterdam, 7 September 2018, 17:00 – 19:00 CET
live via Red Light Radio in collaboration with Hofplein Jeugdtheater, TodaysArt, Torus, Loma Doom, et al

Extra Extra Magazine, Theater Rotterdam, 1 - 3 June 2018
Forum on European Culture, video screens @ Centraal Station, Leidseplein, de Balie Amsterdam, 31 May - June 3 2018
AVL Mundo, Atelier van Lieshout, Rotterdam, residency 2018
Unfair 18, Amsterdam, 29 March – 02 April 2018
Christies Fundraiser Auction, Arti et Amicitiae, Amsterdam, 26 February 2018
ArtRotterdam, 8 t/m 11 February 2018
PROJECT TMT : public filming, Vondelbunker, Amsterdam, 24 January 2018
artist talk and tour, 32nd Biennale of Graphic Arts Ljubljana, 10 October 2017
Who's Eye, Spike Island Bristol, 19 July 2017
32nd Biennale of Graphic Arts Ljubljana, 16 June - 29 October 2017
ENTROPY, Dead Darlings #9, FOAM Amsterdam, 11 June 2017


info [at] rileyharmon [dot] com




selection of works (2013 - 2018)




WIIWTHTWI:X (2018)
commissioned by the Festival of Dangerous Ideas, Sydney









The Firewall Grove (2017 - 2018) 4K DCP









Untitled dharma wheel (2018)
Untitled set piece for The Firewall Grove (2017-2018)
escape hatch, Nirvāṇa (2018)
escape hatch, Nirvāṇa (2018) reverse detail











Dana 2012, (2016 - 2017) multiple editions each unique
50 cm x 50 cm x 52 cm, 3d laser scanned reconstruction of artist's destroyed backpack, cnc milled polyutherthane, polyester fiberglass, archival news plates, laser cut perspex

32nd International Biennale of Graphic Arts, archive MGLC; photo: Jaka Babnik
supported in-part by Mondriaan Fonds, STUDIO for Creative Inquiry, MGLC Ljbuljana
International Centre of Graphic Arts collection








closing performance (with DNK Ensemble) for James Beckett's Palace Ruin (2016)





Compression Artifacts (2015)
hydraulically compressed film set, custom animation and projection
160cm x 160cm x 3cm
photo courtesy GJ van Rooij



FLOTSAM, JETSAM, &
performance structure (with Koen Nutters, Seamus Cater, Gerri Jager, Tim Breukers)
photo courtesy Mattie van der Worm (2015)





Collaborative performance with DNK Ensemble during Come Closer public program on Oude Kerk Rooftop, Amsterdam
installation 'The Garden Which is the Nearest to God' by Taturo Atzu (2015)
photo courtesy Roel Brekelmans












a Method for Blue Logic (2014) 11' 2K DCP stereo looping film
Environment view, photo courtesy Roy Taylor

Review: Infinite Monkey Theorem – Metropolis M
A Method for Blue Logic enacts fantasies from Internet conspiracy forums, after the artist received emails claiming them to be an actress hired by the government to help fake a tragedy. Using these conversations as an instruction guide for self-genesis, a parallel universe is constructed. And as a personal response to a stranger, the film continually shifts between a strange loop of cinematic fiction and absurdist para-documentary.











Ghost Flowers – Herrmann Germann, Zürich







photo courtesy Showroom MAMA, Lotte Stekelenburg, Rotterdam






























Performance for the launch of Warhol Museum's Figment (2013)







Passengers (2010 — 2014)
edition of 10, each unique

Passengers is a series of video works in which the artist has edited themself and others into scenes from Hollywood films, each of which is set in a car interior. The substitution is seamless, largely thanks to the performances and also the skilled technical execution. Both comic and sexually charged, the silence of the exchanges accentuates and heightens each facial expression and nuance, suggesting meaning and understanding between the characters.

Proxy, Or - Seventeen, London