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Installations Bíó Paradís

2 monitors via sofas in front of Salur 2 and 3

Projection right side of the popcorn sale

Bíó Paradís - Salur 2. - 25 March - 19:00

Hverfisgata 54, 101 Reykjavík 



A mountain range on the horizon separates the cloudy sky from the dusty desert soil of the El Mirage Dry Lake, with the sounds of a distant roar. In the long shot, the gaze shows a detail of the Californian Mojave landscape, whose static panorama forms the referential and also material background for Circular Inscription. In a performative tracing of a vehicle´s path, Lukas Marxt initiates and documents in his cinematic work, the process of inscription that gives the film its title: a seemingly unmanned white car rolls into the image and begins to spin in eccentric rounds in the middle of the dried out lake. The vehicle draws its circles uniformly, from inside to outside, the squealing of the tires continuously rising. In doing so, the tire tracks furrow spiral-shaped in the desert surface, leaving behind marks in the soil of this culturally imbued landscape – a favorite shooting site for Hollywood films and advertisements, a popular venue for car races and their media exploitation, a site tightly bound to the art-historical movement, Land Art


Reinke continues to explore the quirky possibilities of the animation film, collaborating once again with Jessie Mott, who delivers her idiosyncratic drawings, paintings and collages, plus also wrote the accompanying texts. References to cartoons and comics are once more evident, though Reinke stays somewhat of a league of its own. ‘A Day for Cake and Accidents’ brings up the parade of animals that refer to mythology and saga – a double headed unicorn or a sphinx-like creature for instance – as seen before in Reinkes earlier ‘Everybody’.In a deadpan matter-of-fact manner these creatures state and comment, ranging from simple axiomatic facts (“Today is our Birthday”) over comical philosophical-like statements (“The moon is melting”, “Saturn is cracking”) to completely absurd remarks (“It gives me a small egg, provokes my tendency for coma”). Driven by a thumping techno beat or the snare of a drum-computer plus a nimbly montage, Reinke opts once again for the short format of the music video (not to mention the tons of musical references to pop culture). As the title of this work points out, this brave ‘A Day for Cake and Accidents’ refuses to take a clean-cut position. Not able to choose between fantasy or reality, between irony or melancholy, nor between light-footedness or defeatism, this piece disconcerts and discomforts as it amuses oh so strongly at the same time.

A Day for Cake and Accidents by Steve Reinke  I  4,10 min

Follow the Bias.  


Follow the Bias (Rosie Dennis, AU 2021, 9’)

Choreography: Alicia Harvie, Ashleigh White, Viviane Frehner

Shot in the subtropical east coast region of Australia, Follow the Bias is a triptych exploring the hypnotic rhythms and patterns inspired by the everyday choreography of lawn bowls.


Follow the Bias is a beautiful new triptych that distills then rearranges the hypnotic rhythms and patterns inspired by the everyday choreography of lawn bowls. Located in the sub tropical, east coast region of Australia.


Shift your expectations with a new multi-channel video work from Gold Coast-based Gogi Dance Collective, exploring the hypnotic rhythms and patterns inspired by the everyday choreography of lawn bowls.

Gogi’s unexpected, immersive performances embolden audiences to explore their local spaces and connect with each other. With a combined 35 years of local and international dance practice, Alicia Harvie, Ashleigh White and Viviane Frehner specialise in customised site­-specific dance experiences. Key collaborators on Follow the Bias include award-winning film-maker Samuel James, composer Guy Webster and BLEACH* Artistic Director, Rosie Dennis. Commissioned by BLEACH* Festival.

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