Riar Rizaldi

, ,
Riar Rizaldi
e-mail : rizaldiriar@gmail.com


2016 Newcastle University, Master of Arts in Creative Art Practice, United Kingdom. Graduated
2014 Middlesex University, Bachelor of Arts in Digital Filmmaking, United Kingdom. Graduated


2016 Nonhuman Rights, Selasar Sunaryo Art Space, Bandung Indonesia
Selected Group Exhibitions, Performances & Screening

Bangkok Underground Film Festival 2017, Bangkok, Thailand
dotolim concert series 97, Seoul, South Korea
KLEX: Kuala Lumpur Experimental Film, Video & Music Festival 2016, Kuala Lumpur, Malaysia
Bandung New Emergence Artist 2016, Selasar Sunaryo Art Space, Bandung, Indonesia
Art in The City Festival: BLAST Sound, K11 Art Museum, MoCA Pavilion, Shanghai, China
Made in “…”, Culture Lab, Newcastle-upon-Tyne, United Kingdom
Syrphe Electronic Night, Maze, Berlin, Germany
All Ears Festival 2016, Oslo, Norway
Salon Vol. 1, Platform3 Gallery, Bandung, Indonesia
The Thirteenth and The Last Experimental International Film Festival, Sydney, Australia
Festival B:om 2015, Seoul, South Korea
Ensemble Asia: Asian Meeting Festival 2015, Asahi Art Square, Tokyo, Japan
Lausanne Underground Film & Music Festival 2014, Lausanne, Switzerland
Subliminal Lounge #1 2014, Tong Saam Lau Art Space, Hong Kong

Selected Duo Exhibition:
2017 Intomedia w/ Aditya Martodiharjo, Galeri Soemardja, Bandung, Indonesia


2016 Newcastle Institute of Creative Art Practice Award

Signal #2: 00110001
 Installation, LCD, Camera, Mirror,  2017

Signal #2: 00110010
 Installation, LCD, Camera, Electronics, Speaker, 2017

Signal #2: 00110100
 ​Installation LCD, Camera, Mobile App, 2017

Signal #2: 00110011
 Installation, CRT, Video Synth, Metal Plates, Tape Recorder, 2017 

Signal #2 is an installation set piece consists of four different works. The work is an attempt to extend the possibilities of the previous performance work Signal (2015). Signal #2 explores the notion of network and relationship between human and consumer electronics by subverted its function through the phenomena of video feedback. In addition, each work has its own content related to recent issues in media theory: on interactivity between human and devices, on media an its contribution to global surveillance, on the accessibility on consuming media, and on communication within media.


The continuation of the work The Act of Seeing (2016). In this phase, the looping system between eyes and computer is taken
out, letting the artificial intelligence runs the program using the whole data source from the eyes movement. Will it still
consider a performance art if the A.I. takes control everything?

(with Rega Ayundya Putri) PERFORMANCE, 2016

Primal Nerve is an attempt to accommodate subconsciousness and visceral bodily reaction through a series of sonic production
and action drawing. In this project Riar and Rega interested in dissecting the possibilities of performing with less conscious, letting their gestures determined by the events. Both Riar and Rega comes from a different approach on the idea of involuntarily making. Rega explores the notion of automatism in drawing, while Riar interested in the process of looping machinery and it relationship with action reaction.  Both approaches collide, producing material and immaterial objects - sound and drawing - through a performative action. As a performative action, the project Primal Nerve seeks a possibility of interconnection between visual art, sound, body, improvisation and performance. It aims to enrich the interdisciplinary aspect of presenting contemporary art as well as challenge the process of making using both digital and traditional medium. To extend the possibility of broader discussion on the issue of interdisciplinary in art making, Primal Nerve will be presented not exclusively on the art institution or gallery, but music venue, film festival, or public spaces. As Interdisciplinary becomes global phenomenon, this project will also travel to seek cultural exchange and conversation through performing and discussion. In the end, the result of Primal Nerve will not be always a performance, but a publication and exhibition of the output materials - drawing and sound.


​Nonhuman Rights is an ensemble of phenomena which consist interaction of many material and immaterial object. This piece explores the notion of interpolation between human, objects, lights, sound, and eventually time through a series of interactivity between materials inside the performance ecology. Nonhuman Rights is a site-specific piece, in which the objects used to compose a performance is taken from the space it will performed. As an interactive piece, Nonhuman Rights allows audience to participate on the piece whether as a direct action by moving the objects inside the performance, or in a subtle way by just changing their gesture, as the whole performance ecology is networked and each movement by objects, performer and audience will affect the sound and light output. Initially this piece focuses not only on building interactive performance and its ecology, but on composing the whole space by arranging sound, light, and movement. In this piece, time is employed as a performing partner. Time is no longer merely categorical condition of presentation and perception, but instead it becomes the subject of performance. This piece concludes that an altered experience of time between materials in the context of art can challenge our society’s traditional meaning of time as commodity. Through interaction on this
performance, let us praise the waste of time!


The idea of human extend their sensory in purpose to improve its operational capability using technological improvement is not something new. It has been there for decades. However, the notion of interconnectivity and looping reaction between human and technology is an interesting territory. The Act of Seeing explores the potential relationship between eye movements and improvised audiovisual/live cinema by creating a performance piece where the data from the performer’s eyes movement will be generated into motion images & sound using a technique of measuring electrical potential. Moving images will be projected into the performer’s body: the lights from the moving images will affect the eyes’ movement and create a feedback loop reaction between eyes and motion images. During the performance, the performer sits in front of digital projector. The performer wears electrode patches on either side of the temples, forehead, and zygomatic region. These electrode patches read electrical potential from eye muscle movement. The data signal from the eye muscle that can measured is referred to as the electrooculographic signal (EOG). The EOG signal then generated into prepared visuals using software written by the performer. These visuals will react to the EOG signal sent by the eye muscle. Movements from the eyes determine the colours and frame rates of the motion images. These visuals will themselves then be projected onto the performer’s body. The lights from the projector triggers the movement and reaction on any muscle and nerve around the eye area. The whole process creates a feedback loop system between the eye and visuals. The EOG signal will also generated prepared audio that matches to the visual and eye movements. In the end, which is in control? The body? Or technology?

The Act of Seeing is supported by Newcastle Institute of Creative Art Practice

Preview video:


SIGNAL is an audiovisual performance consists of video camera, television, and sound. By generating the video signal between video camera and television into sound form using several homebrew electronic circuit, SIGNAL produces a rapid moving images feedback and unexpected atonal sonic structure that triggered looping reaction between moving images and sound. In SIGNAL, the notion of light and sound synthesis is present in the form of hacked video feedback. This piece investigates the idea of generative analogue signal, as well raising a question towards the looping system of non-digital technology and human.