Cameron Jamie was born 1969, Los Angeles, California, USA.
Lives and works in Paris, France.

Cameron Jamie has created a body of work centering around film and performance that documents various fringe rituals, including backyard teenage wresting, Halloween spook houses, eating contests, and a winter visitation by mythical beasts. Working across materials and media, he frequently collaborates with street-portrait artists and celebrity impersonators as well as musicians such as The Melvins and Japanese guitarist Keiji Haino. The resulting work conflates investigative strategies, autobiography, mythologies, vernacular traditions, and urban folklore to examine contemporary life, our fascinations with the outlandish, and our need for escapism - what one critic has identified as "backyard anthropology" or what the artist calls, "social theater."


In 1998, Los Angeles-born Jamie began an objective examination of the backyard-wrestling phenomenon in Southern California, which led him into an ongoing investigation centered on folkloric reenactments, horror amusements, or what he describes as "the different types of ritualized social theatrics in America." Shot in black-and-white Super 8, BB (2000), part of the Walker Art Center's collection, focuses on teenagers in backyards across the San Fernando Valley as they jump off roofs and throw chairs at each other, reinventing, out of adversity, the codes of mass entertainment wrestling.


The second film, Spook House (2003), is set in a working-class suburb of Detroit as residents construct haunted houses before Halloween. With the eye of an anthropologist, Jamie documented residents transforming homes, lawns, and abandoned structures into spook houses and cemetery-like settings, trapped between good and evil, moral and immoral, in settings reminiscent of Danté.
The final film of the trilogy, Kranky Klaus (2002-2003), chronicles the pagan celebration of Krampus in a snowbound village of Salzburg's Bad Gastein Valley in central Austria, where each year on December 6, villagers congregate in homes awaiting a cortege of mythical elves and men dressed as horned, hairy beasts led by an elder bishop. Their performed grotesque ritual of "accepted" violence provides the cathartic experience of relieving daily abuses.

The humanistic quality of Cameron Jamie's work, his collaborative practice, and his deliberate long-term engagement with his subjects bring to mind the tactics of "cine-ethnography" introduced by ethnographic filmmaker Jean Rouch (1917-2004), a pioneer of cinema vérité. Immersing himself in peripheral elements of contemporary culture, Jamie becomes an ethnographer in search of alternative strategies for understanding and interpreting the layers of our knowledge and cultural structures.

About the Artist

Jamie has shown his work at major contemporary art venues and at film festivals in the United States and Europe. Most recently he participated in Whitney Biennial 2006: Day for Night at the Whitney Museum of American Art, New York, and La Biennale di Venezia, Festival Internazionale del Teatro. His work has been included in group exhibitions at Cologne Kunstverein; Museum voor Hedendaagse Kunst Antwerpen, Antwerp; Musée du Louvre; Fondazione Sandretto Re Rebaudengo, Torino; Neue Galerie am Landesmuseum Joanneum, Graz; Centre Georges Pompidou, Paris; and Museo Nacional de Arte Reina Sofia, Madrid. Jamie is also represented in the Walker Art Center's collection and his work was included in its 2003 exhibition How Latitudes Become Forms: Art in a Global Age.

Text taken from listart.


Cameron Jamie



Iris Van Dongen, 1975 born in Tilburg, Netherlands

Lives and works in Berlin / Rotterdam, Germany

1992-1996 Academie voor Kunst en vormgeving 's-Hertogenbosch, NL

2010-2011 Artist in rescidence at Künstlerhaus Bethaniën, Berlin, GER with Kimberly Clark
2004-2005 Artist in rescidence at Künstlerhaus Bethaniën, Berlin, GER

By no means does the work of Iris van Dongen steer clear of gloomy romanticism. In recent years she has been producing drawings several meters in height, these having a certain inescapable quality due to their size alone. Though Van Dongen’s work comes about mainly in an intuitive manner, the theme ‘human tormented by demons’ seems to keep cropping up. For that reason it often has a melancholic or malicious undertone.
The women depicted have a far-away look, because Van Dongen sees them as something abstract, as though they are figures from mythology.

“Although the drawings refer to earlier movements in traditional art, there is always a small element, such as the sweatband with the skull on it, which shows that it is from the present day: a symbol from a contemporary subculture and, at the same time, an age-old symbol. This gives extra emphasis to the aspect of mortality or melancholy – or neutralizes it. The opposites that I juxtapose with each other – ‘good and evil’, ‘past and present’, and, literally, the ‘figurative’ and the ‘abstract’ should give rise to confusion about the limits of these contradictions.”

In this way the surroundings in the drawings of the ‘angels of death’ symbolizes her psyche, as a mirror of her soul, and seems to haunt her, even though she has resigned herself to the fact that it is she who is haunting herself.
Text taken from artnews.org.






Walton Ford was born in 1960 in Larchmont, New York. Ford graduated from the Rhode Island School of Design with the intention of becoming a filmmaker, but later adapted his talents as a storyteller to his unique style of large-scale watercolor. Blending depictions of natural history with political commentary, Ford’s meticulous paintings satirize the history of colonialism and the continuing impact of slavery and other forms of political oppression on today’s social and environmental landscape. Each painting is as much a tutorial in flora and fauna as it is as a scathing indictment of the wrongs committed by nineteenth-century industrialists or, locating the work in the present, contemporary American consumer society. An enthusiast of the watercolors of John James Audubon, Ford celebrates the myth surrounding the renowned naturalist-painter while simultaneously repositioning him as an infamous anti-hero who, in reality, killed more animals than he ever painted. Each of Ford’s animal portraits doubles as a complex, symbolic system, which the artist layers with clues, jokes, and erudite lessons in colonial literature and folktales. Walton Ford is the recipient of several national awards and honors including a fellowship from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts. Ford’s work has been featured at Bowdoin College Museum of Art, the Southeastern Center for Contemporary Art, the Whitney Museum of American Art at Champion, and the Forum for Contemporary Art in St. Louis. After living in New York City for more than a decade, Walton Ford relocated his studio to Great Barrington, Massachusetts. Ford and his family reside in upstate New York.

For additional biographic & bibliographic information:
Paul Kasmin Gallery, New York  |  Michael Kohn Gallery, Los Angeles

Text taken from www.pbs.org/art21






Léopold Rabus
Neuchâtel, Switzerland

1993-94      Art School de Meuron, Neuchâtel
1994           École d´Art Chaux-de-Fonds, La Chaux-de-
2000           Cité des Arts de Paris, Paris

“People tend to talk about spectacular events, but I find it interesting to speak of the empty spaces between places and headline stories.” (Léopold Rabus, 2009)

Text taken from the website of Galerie Adler.


“There is something dramatically symphonic about these pictures. They seem to belong to another unreal world and yet, they are imbued with the original motifs of banal village life. Indeed one of the great surprises of this art is that such grand opera emerges out of such modesty. An explosive mixture of romance and the unfathomable, of bright scurrility and religious fervor, streams out of this pictures, calling forth an unreal, dreamlike occurrence like some ethereal balloon, rising up into a time that flickers nervously and is measured in global beats.”

© Markus Stegmann, 2009






Click here for the website of William Powhida.




Click here for the website of Steve Bishop.



Eric Yahnker

britney spears, los angeles, eric yahnker, l.a., hollywood, celebrity, angelina jolie, tom cruise

Eric Yahnker was born in Torrance, California. He received his B.F.A. in animation from the California Institute Of Arts and studied journalism at University of Southern California. Recent exhibitions include Dolly Parton Behind A Tree, Kim Light Gallery, Los Angeles, L.A. Potential, HangART-7, Salzburg, Austria, curated by Hubert Schmalix, Roger Herman, and Found/Gevonden/Trouve, Voorkamer, Lier, Belgium. He currently works and resides in Los Angeles, California. (text taken from www.fecalface.com)



Click here for the website of Lisa Jeannin.


Click for larger image ||| brandstrom stockholm - Lisa Jeannin - GGG&G, 2007   Still image from video installation <br/>In collaboration with Rolf Schuurmans

'GGG&G', videoinstallation, 2007

Lisa Jeannin >> website of Lisa Jeannin, Lisa on Myspace
born in Uppsala, Sweden in 1972

The Art Academy of Malmö, Sweden
The Art Academy of s'Hertogen Bosch, Holland

Lisa Jeannin often collaborates with Rolf Schuurmans. Rolf Schuurmans is an artist born in Oss, Holland, living and working in Sweden. Rolf makes installations, performances, sounds and videos >> Rolf on Myspace

Lisa Jeannin's work consists out of drawings, sculptures, animations, installations and sound. She fuses reality and art experience in series of disconcerting, imaginative modulations. All elements are equal. Every element performs on its own level and empathises with its part in creating a magic game, in which they're given life. It's about animating.

The animated characters perform as figures out of a fable. The daily life of a spider can be a metaphore for human existence. The animated universe is connected to sequences introducing real people or animals. Those become part of Lisa's mythology by for example acting in a home-made zombiefilm set in a deserted industrial area, or transforming into an eight-armed goddess in space. Lisa's tortoises make special appearances as musicians, ghosts or humanitarian workers. Often there are films within the films.

Several layers of presence characterize her pieces. There is a whole succession of widely disparate models of representation. A certain figure may show up as a sculptural object, animated in a film or video or invoked in a performance. Stories merge into eachother.
In this way Lisa Jeannin creates reality, based upon an ancient sense of recognition and the intelligibility of magical connections.
This reality is then constructed by groups of fragments taken from a flexible and fantastic cosmology.

Her internal world history, constantly implemented with new psychosocial laws of nature, lies outside the civilized order that we like to think of as generally valid, outside of the expectations of common sense. And yet - and this is where subversiveness may enter the picture - the world that she explores is not unfamiliar.

The real world is not a sequence of linked rebuses. The forcefield of Jeannin's hyperspace makes generosity of perception for the spectator possible.

States as method: Lawlessness, dreaming, latency, paranoia and hallucinations are all used as openings for thought and the shadow of thought.

What she proposes is contemporaneousness, non-linearity. The use of several videoprojections in her installations doubles or triples the space and opens existence to spatial trajectories, bifurcations and confluences in memory and the present a true freedom of choice.

(text: Alexandra Crouwers)


Bissy Bunder is a performance group by Antwerp-based artists Rani Bageria, Kati Heck, Michèle Matyn, Tina Schott, Johanna Trudzinski and Julia Wlodkowski.

Bissy Bunder - Part 1

Bissy Bunder - Part 2




Kati Heck - Neue Tafelrunde

Kati Heck - Begegnung am Proletenstammtisch

Kati Heck, Popo Moment

Kati Heck - Dabeisein ist alles

Kati Heck - Horses and Other Asses
Video by Hans Theys


Kati Heck (born 1979, Düsseldorf, Germany) is an artist based in Antwerp.

Heck has shown work internationally in many exhibitions including Art Brussels at Galerie Annie Gentils, Bonds of Love at John Connelly Presents in New York and 59 STE Badischer Kunstpreis at Museum Baden. She is represented by John Connelly Presents in New York and Stella Lohaus Gallery in Antwerp.

German artist Kati Heck uses a unique synthesis of photorealism, illustration and painterly expression to create seemingly collaged paintings. Heck's work is often auto-biographical and explores her personal experiences as well as elements of contemporary culture through outside references of pornography, architecture, art history and instruction manuals. The possible narratives in her work are influenced by comics, mystery novels and film and often contain people from the artist's immediate environment, such as family and friends. Heck's paintings appear at first to be collaged, but they are actually meticulously painted to only appear constructed. The paintings offer new meanings from the associated images while hiding the actual methods of their creation. Heck currently lives and works in Antwerp, Belgium. Last year, she exhibited at W139 in Amsterdam and Marc Selwyn Gallery in Los Angeles. Heck studied at the Akademie voor schone Kunsten in Antwerp and was a guest student at the Akademie der bildenden Kunste in Vienna, Austria, and the Akademie Munster in Germany. (text taken from Daily Serving)