recent and forthcoming:

AVL Mundo, Atelier van Lieshout, residency 2018 Sponsored by Mondriaan Fond
Unfair, Westergasfabriek Amsterdam, 29 March - 02 April 2018
Christie's Fundraiser Auction, Arti et Amicitiae Amsterdam, 22 - 26 February 2018
ArtRotterdam, 8 t/m 11 February 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



Riley Harmon (b. 1987 US) is an artist based in The Netherlands.

info [at] rileyharmon [dot] com



selected images















3d laser scanned reconstruction of artist's destroyed backpack (2012), 2016 - 2017 ed. of 2
50 cm x 50 cm x 52 cm, 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, and International Centre of Graphic Arts collection



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, 2014
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

































Passengers, 2010 — ¿

Proxy, Or - Seventeen, London