| 2018 | BRUTUS / AVL Mundo, Atelier van Lieshout, Rotterdam |
| 2014, 2015 | Rijksakademie van beeldende kunsten, Amsterdam |
| 2011 | Artist in Residence, KIBU, Budapest |
| 2010 | Visual Music Collaborative, Ghostly International and Eyebeam, New York City |
Riley_Harmon__Projects
Selected_Archive__2006—2024
Residencies
Education
| 2012 | MFA, Carnegie Mellon University, Pittsburgh |
| 2009 | BFA with Distinction, University of Oklahoma |
Selected Solo * / Duo Projects
| 2021 | Pareidolia Clouds, Centraal Station, Amsterdam* |
| 2018 | WIIWTHTWI:X, Festival of Dangerous Ideas, Cockatoo Island, Sydney* |
| 2018 | Exit the King 1962, The Villa AVL Mundo, Rotterdam* |
| 2018 | PROJECT TMT : public participatory filming, Vondelbunker, Amsterdam* |
| 2016 | DNK Ensemble with Riley Harmon Closing ceremony performance, James Beckett’s Palace Ruin, Amsterdam |
| 2015 | Riley Harmon & Manuel DeLanda, the itch scratch itch cycle, Double Feature, Schirn Kunsthalle Frankfurt |
| 2015 | DNK Ensemble with Riley Harmon, Come Closer: public program rooftop Oude Kerk, Amsterdam |
| 2015 | Infinite Monkey Theorem, Showroom MAMA, Rotterdam* |
| 2013 | Poser at Figment, performance for launch of Warhol Museum’s Figment, Pittsburgh* |
| 2012 | STRATA, concept and lead artist, with Bricolage Productions, Pittsburgh |
| 2010 | Lag in a complex system, WORM/MODDR_, Museumsquartier, Vienna* |
Selected Group Projects
| 2022 | 48-hour Science Fiction Film Festival, London |
| 2022 | European International Auction: Kyiv Biennial Emergency Support Initiative |
| 2022 | From Limelight to Stage fright, Dead Darlings #14, Heimathafen Neukölln, Berlin |
| 2021 | Love for Sale: Alles Moet Weg, Dead Darlings #13, W139, Amsterdam |
| 2020 | Experimental Blue Shorts, Filmtheater Kriterion, Amsterdam |
| 2019 | Bring Your Own Beamer, Upstream Gallery, Amsterdam |
| 2018 | P2P, Herrmann Germann at Barbara Seiler and Annex 14 Löwenbräukunst, Zürich |
| 2018 | Bubble Visions, TodaysArt, The Hague |
| 2018 | What’s Wrong With This Picture? with Mike Bouchet, Libia Castro & Ólafur Ólafsson, Atelier van Lieshout, Rotterdam |
| 2018 | European Forum on Culture, video on screens at de Balie, Centraal Station, and Leidseplein, Amsterdam |
| 2018 | Christie's Fundraiser Auction, Arti et Amicitiae Amsterdam |
| 2018 | Unfair18, Westergasfabriek, Amsterdam |
| 2017 | The Wrong Biennale, Alicante |
| 2018 | Prospects & Concepts, ArtRotterdam |
| 2017 | The Gadling Society for Eternal Life (LARP), WG Terrein, Amsterdam |
| 2017 | Seoul Biennale of Architecture and Urbanism with Pablo Garcia, Seoul |
| 2017 | Birth as Criterion, 32nd Biennial of Graphic Arts, Ljubljana |
| 2017 | ENTROPY, Dead Darlings #9, FOAM, Amsterdam |
| 2017 | performance, Sociëteit Sexyland, NDSM, Amsterdam |
| 2017 | Who’s Eye, traveling screening with Riley Harmon, Nancy Holt, Robert Smithson, Harry Dodge, and Stanya Kahn, Plymouth College of Art / Spike Island, Bristol, UK |
| 2016 | Ghost Flowers, Hermann Germann Contemporary, Zürich |
| 2016 | Bâtard, Beursschouwburg, Brussels |
| 2016 | Adele, organized by Bruno Zhu, Amsterdam |
| 2016 | Annals of Floating Island, (performance for the work of Feng Chen) Hanart TZ Gallery, Hong Kong |
| 2016 | FestivTown, organized by Dan Walwin, Oosterpark, Amsterdam |
| 2016 | Horse Dance of Resistance, screening, Lost & Found, KattenKabinet, Amsterdam |
| 2016 | Focus>Berlin, KunstRAI, Amsterdam |
| 2016 | Jumanji with Kris Lemsalu, Angelo Plessas, Sophie Jung, Tatjana Pieters, Ghent |
| 2016 | The One Minutes at Intersections, ArtRotterdam |
| 2015 | FLOTSAM JETSAM &, RijksakademieOpen, Amsterdam |
| 2015 | Omnipresent Past, Paradocs, IDFA, in conversation with Bart Rutten, EYE Film Museum, Amsterdam |
| 2015 | performance, an abstract machine (the Invention of Morel) MOMART, Amsterdam |
| 2015 | Personal Science Solution is For Me, MOMART, Amsterdam |
| 2015 | Your Time Is Not My Time, De Appel, Amsterdam |
| 2015 | Mega Armageddon Death - Long Version, selection by Nathaniel Mellors, traveling screening, The One Minutes at Art Museum of Nanjing University of the Arts (CN), ArtRotterdam Intersections (NL), Open Day Sandberg Instituut, Amsterdam (NL), Primary, Nottingham (UK), Le Plafond, Amsterdam (NL), Kunsthal Nikolaj, Copenhagen (DK), Bonnefantenmuseum, Maastricht (NL), deBuren, Brussels (BE), Dortmunder U (DE), Drents Museum/CBK Assen (NL), East China Normal University, Shanghai (CN), Museum de Fundatie, Zwolle (NL), Museum Hilversum (NL), Museum De Pont, Tilburg (NL), SCHUNCK*, Heerlen (NL) |
| 2014 | a Method for Blue Logic, RijksakademieOpen, Amsterdam |
| 2014 | Free Cinema, W139, Amsterdam |
| 2013 | Il bardo di Timperley, BubbleByte.org, ArtLicks, London |
| 2013 | New Media Caucus’s 10th Anniversary Video Programme, traveling screening |
| 2012 | FreePlay Festival, Melbourne |
| 2012 | Festival Shorts, Abandon Normal Devices, Cornerhouse Theater, Manchester |
| 2012 | New Work, New Problems, Pittsburgh Filmmakers Gallery, Pittsburgh |
| 2012 | The You Inside of Me, Miller Gallery, Pittsburgh |
| 2012 | Cyborg Cabaret: Passion, Terror, Interdependence, New Hazlett Theater, Pittsburgh |
| 2012 | Illuminating Data: Visualizing the Information that Moves Our World, TCNJ |
| 2011 | Space Invaders, Nikolaj Contemporary Art Center, Copenhagen |
| 2011 | Trace, Public InLight Commission, 1708 Gallery Richmond & The Kitchen New York City |
| 2011 | Zero, One, Togetherness, curated by Lindsay Howard, FE Gallery, Pittsburgh |
| 2011 | Proxy Or, with David Blandy, Riley Harmon, Graham Hudson, Seventeen Gallery, London |
| 2011 | Padiglione Internet 2011, San Servolo, Venice Biennale |
| 2011 | LPM, Cinema Aquila, Rome |
| 2011 | Fresh Baked Goods, Bakery Square, Pittsburgh |
| 2010 | Bring Your Own Beamer, Spencer Brownstone Gallery, New York City |
| 2010 | Bring Your Own Beamer, SPACE gallery, Pittsburgh |
| 2010 | Digital Communities / Tele-internet, Ars Electronica, Linz |
| 2010 | Space Invaders, Netherlands Media Art Institute (formerly Montevideo), Amsterdam |
| 2010 | Quiet In The Land? Future Tenant, Pittsburgh |
| 2009 | Space Invaders, FACT (Foundation for Art and Creative Technology), Liverpool |
| 2009 | Future Places, Maus Habitos, Porto |
| 2008 | Artbots, Trinity College Science Gallery, Dublin |
| 2007 | Symbiosis: Contemporary Concepts in Art and Science, IAO Gallery, Oklahoma City |
| 2005 | NCAC Film Festival, Rubin Museum of Art, New York City |
Selected Artist talks, Teaching, Research
| 2020 | panel discussion, Manufacturing Reality in Times of Crisis, Spui25, Universiteit van Amsterdam |
| 2020 | panel discussion, for MFA candidates, Carnegie Mellon University |
| 2019 | artist talk, Amarillo college, Amarillo |
| 2018 | artist talk and tour, installation Exit the King 1962, BRUTUS/AVL Mundo, Rotterdam |
| 2018 | panel discussion, Forum on European Culture, Amsterdam |
| 2018 | visiting artist, workshop, ‘The Camera’, Experimental Cinema, for Gabriel Lester, Sandberg Instituut, Amsterdam |
| 2018 | artist talk, ExtraExtra Magazine, Theater Rotterdam |
| 2018 | artist talk, Hyper-normalisation and other distorted realities, KABK, Den Haag |
| 2017 | artist talk and tour, 32nd Biennale of Graphic Arts, Ljubljana |
| 2015 | artist talk & workshop with masters students of AKV St. Joost @ Showroom MAMA, Rotterdam |
| 2013 | artist talk, Reverberant Extracts, University of Cincinnati |
| 2013 | visiting artist, Contemporary Photography and Media Literacy, 2 courses, majors and non-majors, DAAP, University of Cincinnati |
| 2012 | artist talks with Daniel Luchman, Carnegie Museum of Art, Lawrenceville Satellite, Pittsburgh |
| 2009- 2012 | Research Associate, STUDIO for Creative Inquiry, Carnegie Mellon University |
Selected Bibliography
| 2023 | 월간미술 MONTHLYART, Seoul, South Korea. August Print Edition. |
| 2020 | Wicked Art Assignments. Valiz Publications. Amsterdam. |
| 2018 | Grazia. The Festival of Dangerous Ideas takes aim at “Truth and Trust.” Nicholas Carolan. 4 September. |
| 2018 | ArtViewer.org Special Feature Selectrion of works at ArtRotterdam 2018. 11 February |
| 2018 | Metropolis M. Unfair18 Review. 30 March. |
| 2018 | Metropolis M. Prospects and Concepts 2018. 10 Febuary. |
| 2016 | De Groene Amsterdammer. Nr. 01-2016. “In Staat van Limbo.” Arjan Reinders. 6 January. |
| 2016 | The Altars Where We Worship: the Religious Significance of Popular Culture. Westminster John Knox Press. Floyd-Thomas, Juan Marcial. |
| 2016 | Metropolis M. Nr. 2-2016. "Who's Your Daddy And What Does He Do?" |
| 2015 | NRC Handelsblad. “Tam en eigenwijs jong talent.” 27 November. |
| 2013 | Vice. "Going Along For The Ride In Famous Hollywood Car Scenes" Kathleen Flood. 29 January. |
| 2013 | Dramatist, The Technology Issue. Jan / Feb. |
| 2013 | American Theatre Magazine, Cover, with Bricolage Productions, July / Aug Issue. |
| 2012 | Media-N: Journal of the New Media Caucus. Dadaist Game Art: The Digital Ready-Made and Absurdist Appropriation. Gibson, Stephen. ISSN 1942-017X |
| 2011 | Ludic Dissonance: Riley Harmon’s What It Is Without The Hand That Wields It, PAILTHORPE, B. in Hypermédias et Pratiques Numériques, Université Paul Verlaine-Metz, France, Paris ISBN: 978-2-7462-3804-6 |
| 2011 | Neural. Issue 39. Italy. June. |
| 2011 | Wired, Italy. “L'arte del montaggio e il gioco dei ruoli di Riley Harmon.” Matteo Bittanti. 13 June. |
| 2011 | Vice. "Creativity Bytes: A Brief Guide To Video Game Art." Kevin Holmes. 16 February. |
| 2010 | Halos and avatars: playing video games with God, Craig Detweiler. Westminster John Knox Press. |
| 2009 | Guardian UK. “The Game of Art.” Keith Stuart. 4 December. |
| 2008 | Rolling Stone, Italy. “Bloody Riley.” Matteo Bittanti. June Print Edition. |
| 2008 | De Telegraaf. "Bloederig kunstwerk geinspireerd door game.” Amsterdam. 4 April. |
Collections
| Belgium, Germany, Netherlands, Slovenia, United States |