Saturday, 18 May 2019


Karl Ingar Røys. S/CAR. Sculptures 2019


- open studios, performances, videos, installations, resident talks, publication, sculpture, food, drinks

May features the next OPENHAUS PLUS, an extended version of the regular public format, an opportunity for the audiences to connect with the hosted projects and explore the process of the residency artists.

The third Fact Finding Committee (UA#03): Solidarity3 explores the notion between art, club-culture and resistant structures. “If under attack - how to react” constitutes the frame for their investigations into rise of right-wing forces, spaces and precariousness. The theme of solidarity entrenches a common ground for various hosted projects: one research highlights the aspect of mutual support amongst artistic communities facing precariousness, others on the the destruction of social symbols of mobility and a video installation looks at collective efforts of transforming abandoned sites while private performances scrutinize exclusiveness of luxury property development.

Don’t miss the opportunity to meet the artists and researchers in residence and explore ZK/U’s space and surroundings, to ask questions, to discuss and to exchange ideas about ongoing projects and artistic practices.
This month with: Pablo Alboreda, Semâ Bekirović, Kate Fahey, Noa Heyne, Pawel Jankiewicz, Gabriel Vallecillo Márquez, Elena Mazzi, Yasemin Özcan,Cha Ji Ryang, Karl Ingar Røys, Byungseo Yoo, Laura Yuile. 


19.00-22.30 Open studios, drinks & food
17.00h Katharsis der Räume: Demotreffpunkt /Meeting Point Hansaplatz
19.00h Beerdigungsperformance von UA#03 / Funeral Performance by FFC #03  

19.30h Leichenschmaus / Food
20.00h Führung / Guided Tour
20.45h Lecture Performance by Yasemin Özcan
21.30h Performance by Christine Bonansea & Byungseo Yoo
22.30h End

Free entry

ZK/U Zentrum für Kunst und Urbanistik
Siemensstraße 27 10551 Berlin

Thursday, 2 May 2019

Speisekino // Censor Must Die at ZK/U Berlin

                                                          Censor Must Die (2012) by Ing K & Manit Sriwanichpoom
                                                                       Language: Thai with English subtitles

Censor - not the censors, not the film board, but censorship, the monstrous entity embedded in Thai society, a lumbering prehistoric beast with prejudices and a life of its own - must die. When ‘Shakespeare Must Die’, a Thai adaptation of ‘Macbeth’, that supreme song of tyrannical rule, is banned by the Thai Yingluck Shinawatra government for reasons of national security, producer Manit Sriwanichpoom begins an epic trek through the corridors of power to unban his Shakespearean horror movie; from the Cultural Ministry that had funded and then banned his film, to the Senate and the Human Rights Commission, all the way to the Administrative Court where he is suing the government for abuse of power. Followed by a camera he ventures amidst political upheaval in a land of fear into secret places long hidden from the sun, where witnesses are not welcome. The resulting cinema vérité is the living story of a struggle for justice and human dignity, for the fundamental right to freedom of expression, which Thai filmmakers do not have. This is a dark cinematic record of democracy in action, in all its farcical, obscene and heartbreaking details.

Karl Ingar Røys:

- Burmese Days, (17.05 min) Dual screen projection (Burma)
- Caminata Nocturna (22.21 min) Dual screen projection (Mexico)
- The Generation of the Peacocks (5.17 min) Single screen projection (Burma)
- Rianxeira (15.30 min) Single screen projection (Spain)


Karl Ingar Røys, artist, filmmaker, activist and resident at ZK/U - Center for Art and Urbanistics, selected the movie “Censor Must Die" together with a choice from his own work to spark a debate on cultural activism.

“‘Censor Must Die’ is one of my favourite films in the whole history of cinema.” - Film critic & academic Nicole Brenez

Menu: Thai Street Food  

Thursday, 30 May 2019 from 19:00-22:30

ZK/U - Zentrum für Kunst und Urbanistik
Siemensstrasse 27, 10551 Berlin, Germany

Entrance to the film is free as usual. Food from 7.30 p.m., films from 8.30 p.m.
A meal costs €10. Please, reserve your plate until the evening before by sending an email to speisekino(at)

#censormustdie #IngK #ManitSriwanichpoom #zensur #democracy #grundrecht #KarlIngarRøys #artistinresidence #film #shortfilms #videoart #food #filmscreening #movie #speisekino #zkuberlin

Copyright: Ing K und Manit Sriwanichpoom, Karl Ingar Røys


SPEISEKINO // FOOD AND FOOTAGE is part of ‘Shared Cities: Creative Momentum’ and co-funded by the European Union's Creative Europe Programme and the Berlin Senate Department for Culture and Europe.

Sunday, 7 April 2019

Wir bleiben alle - ZK/U Berlin

The slogan "Wir bleiben Alle" is seen on fewer and fewer weary facades in Berlin. The commanding words no longer manages to live up to what they promise and the message fades behind freshly painted houses covered by evergrowing scaffolding that comes with an increased gentrification. 

Burning cars as a form of urban protest has become a growing phenomenon in many European cities. In 2016, 372 cars were set on fire in Berlin. Burning and destroying cars expresses something more than just a simple urge to vandalize private property. Cars offer and symbolize a form of (social) mobility and an opportunity for change. This is something some people often lack or oppose, both in terms of fear and resistance of the multicultural or an overwhelming gentrification. Read and interpreted in this context, a car has many meanings and ideas associated with it. However, it is perhaps not just as a symbol that the car is important, but rather as a communication unit between several different realities. Using a car in this way, as a starting point for opening up new understanding of reality that insists on being explored, not only challenges the different interpretations of these events, but also the very understanding of a city itself. The project “Wir bleiben alle” is exploring and recording the city's social acoustics by analyzing strategies, aesthetics, content and actions as potentially choreographed actors. 

April 1 - May 31 2019 
ZK/U – Zentrum für Kunst und Urbanistik
Siemensstrasse 27 
10551 Berlin

Wednesday, 3 April 2019

Can you see A Visibility Matrix at Void Gallery?

 Sven Anderson and Gerard Byrne, A Visibility Matrix, 2018. 
Extract from material contributed by Karl Ingar Røys. The Generation of the Peacocks

A new exhibition which explores the politics and conditions of visibility will be on show at Void, Derry from April 16 until June 8. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, A Visibility Matrix assembles contributions from a distributed panel of artists, film-makers and others within a synchronised, multi-channel video installation.

A Visibility Matrix as a response to the ambitions of abandoned art and technology projects from the 1960s–1980s that prioritised multi-screen video projection, monitor arrays, communications networks and algorithmic composition principles. These projects explored visual excess and hyperstimulation prior to the development of the Internet, and before multi-screen video displays expanded into the vernacular backdrop of everyday public and private life. Considered now, the plural voices of these experiments in perception and communication simultaneously prophesise and bypass the homogenised conditions that have come to be accepted as network culture. Exploring the paradigms of what we see and how we construct visual knowledge, A Visibility Matrix returns to the instincts of these projects. It proposes a condensed counterpoint to the migratory, hyper-networked nature of visibility in contemporary culture by conjuring an offline matrix of video material presented in the gallery space for communal observation. The artwork speculates on an alternative to the composite formed by subject plus smartphone plus online-video-sharing-platform that has come to represent the current standard of visibility. It gathers content through an associative network of collaborators including visual anthropologists, cinematographers, documentary filmmakers and others from across the globe. By shifting focus from the production of images for sharing online to their reception in a shared, fixed-time spatial context, A Visibility Matrix offers another window on visual excess, confronting its own situated spatiality in order to reflect the more universal conditions that it addresses.

A Visibility Matrix manifests as a network of screens and spatial gestures, in which we observe images being duplicated, mirrored and displaced. These gestures unfold over days and months of exhibition, pursuing both repetition and re-assembly. The system that determines these patterns reveals itself through its precision but also through moments of uncertainty, asserting its presence through a series of vocal cues that punctuate the relationship between the database of video and the space of exhibition. This system speculates on the possibilities of video not as passive image but as an active signal, and the gallery as a site of condensation; a shared space and a space of reflection.

A Visibility Matrix includes video material aggregated from a network of collaborators including: Daniel and Marie Law Adams, Rosa Aiello, Matt Bakkom, Rosa Barba, Eric Baudelaire, Beat Detectives, John Beattie, Ericka Beckman, Maeve Brennan, Andreas Bunte, Duncan Campbell, Matija Debeljuh, Dennis Del Favero, Willie Doherty, Jeanette Doyle, Moritz Fehr, Diego Ferrari, Darko Fritz, Rene Gabri & Ayreen Anastas, Mariam Ghani & Chitra Ganesh, Ross Gibson, Judith Goddard, Jennie Guy, Louis Haugh, Kathy High, Klara Hobza, Jere Ikongio and Katja Kellerer, Ivan Marusic Klif, John Lalor, Charles Lim, Jeanne Liotta, Lovid, Hrvoje Mabic, Nicholas Mangan, Fiona Marron, Ed Mattiuzzi, Peter Maybury, Ronan McCrea, Conor McGarrigle, Toni Mestrovic, Abinadi Meza, Suzanne Mooney, Nadija Mustapic, Arnont Nongyao, Tadhg O’Sullivan, Dietmar Offenhuber, Matt Parker, Jack Phelan, Piyarat Piyapongwiwat, Jason Quinlan, Eugenia Raskopoulos, Lucy Raven, Ben Rivers, Karl Ingar Røys, Adam Sekuler, Craig Smith, Michael Bell Smith, Sean Snyder, Stephanie Spray, Danae Stratou, Daniel Von Sturmer, Jose Carlos Teixeira, Leslie Thornton, Gabriele Trapani, Sara Velas, Clemens von Wedemeyer, Grace Weir, Jeremy Welsh, Krzysztof Wodiczko and Tintin Wulia.

The exhibition was created under the editorial direction of Sven Anderson, Matthew Bakkom, Victoria Brooks, Gerard Byrne, Moritz Fehr, Igor Grubic, Dan Kidner, Nikos Papastergiadis und Oraib Toukan, and assembled with support from Louis Haugh and Fiona Marron.

A Visibility Matrix is an artwork formed through its infrastructure, system design and spatial permutations, which will continue to evolve as it moves from space to space. To date it has progressed through The Douglas Hyde Gallery (Dublin), Le Printemps de Septembre (Toulouse) and Secession (Vienna) before the current exhibition at Void. A Visibility Matrix is funded by the Arts Council of Ireland / An Chomhairle Ealaíon.


Derry 100 Patrick St, 
Londonderry BT48 7EL, UK
April 16 until June 8. 2019

Saturday, 23 March 2019

Filmscreening & Artist Talk Tentacles Bangkok

Some Humans as Statues, Some Not (Bangkok). Photo: Karl Ingar Røys 2019

YOO PEN (Going with the Flow)

George Orwell wrote in his seminal book 1984 “It´s a beautiful thing, the destruction of words” How does one speak of the unspeakable, without words, without a voice? Karl Ingar Røys´ research during 2018-19 in Bangkok has been concerned with how the personal and political overlap each other, creating different layers of reality and how these realities co-exist. How are power, history and identity performed and read in a period of transition.

In his presentation Karl Ingar Røys is going to talk about his ongoing research/film-project with also a look at some earlier practices.

Karl Ingar Røys film-project YOO PEN is supported by Fritt Ord – The Freedom of Expression Foundation Oslo, OCA Office for Contemporary Art Norway and Billedkunstnernes Vederlagsfond.

Filmscreening & Artist Talk
Wednesday, March 20. 2019
Curator Henry Tan, Tentacles

2198/10-11 Soi Taweewattana (Narathiwas 22),
Yannawa, Bangkok 10110. Thailand


Wednesday, 27 February 2019


Sankt Johannes kyrka
Malmö. Sweden
Sunday, 17 February 2019 from 16:00-19:00

Svedjesång - ett allkonstverk av Écran med gäster
Svedjesång består av sånger, tankar, röster om mänskliga vägval och aktiviteter i en oberäknelig, omvälvande och märklig tid. Écran är Erik Högströms experimentella analogsynthmusikprojekt.
Écrans fokus har hittills varit främst instrumentalmusikaliskt, med några vokala inslag. Den här gången kommer ett nyskrivet, delvis experimentellt textmaterial inspirerat av samtidens samtal, minnen och ekon från det förflutna att vävas in i styckena. Samarbetet med Nos (Fredrik Holm) och Baby Sage (Miranda Gjerstad) har varit mer fördjupat än vid tidigare Écran-arbeten. Gruppen frambringar repetitiva och suggestiva stycken på både ålderdomliga och moderna elektroniska instrument. Dansaren och koreografen Daniel Jeremiah Persson förkroppsligar verket med platsspecifik dans.Övriga medverkande: Doris Bengtsson (installation), Rasmus Alkestrand (sitar), Åsa Gjerstad (cello), Alex Berg och Sally O’Neill (dans), Kristian Nihlén (projektioner och ljus), Daniel Silwerfeldt (ytterligare uppsättning analoga modulsynthar).

Utdrag ur Karl Ingar Røys senaste filmprojekt i Thailand. Rösten: Parit Chiwarak, studentaktivist
Mer info:

Tuesday, 29 January 2019

A Visibility Matrix Secession Vienna

                                                  Photo: Damien Aspe. (c) le Printemps de septembre.



Association of Visual Artists

Vienna Secession

Friedrichstraße 12, 1010 Vienna, Austria

February 1 – March 31, 2019


Karl Ingar Røys. S/CAR. Sculptures 2019 OPENHAUS PLUS  ...