"I firmly believed that the diverse social media platforms were preventing people from living, from feeling and experiencing. As they distract us, we propel ourselves into automatic control, an inept and serene state then acquiers."


In Art As Experience, the philosopher John Dewey acknowledges the reciprocal tie between the organism and its environment. An organism cannot exist without an environment, whilst at the same time the organism determines the environment which is its habitat. Due to this co-dependency, raptures, conflicts, resistance and search for balance in a sensation of tension take place – life occurs.


BIOnline respects this tension. Each of the exhibiting artists here expresses the manoeuvre from a life experience to creative processes, by which the creative individual is continuously formed.

They look at their histories and present, as they assess their environments and themselves. The resulting works here are contemplative and personal, reflecting the idea of a meeting point, where culture meets culture, where past meets preset, private meets public, where mind meets body.


A significant attention is given to the idea of going online. The internet makes up an environment where participants are assembled in a large scale, and where a greater chance for reciprocal communication persists. It is therefore that the artists chose to utilise this domain and mark also a possible continuum and process oriented creations.

Alternatively, BIOnline is not only a place to exhibit but also a place to meet, and – most importantly – a place to explore the co-living of different selves.


BIOnline is a result of a course given by R’m Aharoni on Auto/Biographical Creation, in 2016 at the Gerrit Rietveld Academy, Amsterdam.



With: Ayesha Ghaoul (UK/FR), Dionisios Argyropoulos Ioannou (GRC), Francine ten Brummelhuis (NL), Miguel Witzke Pereira (PT/DE), Norig Dodier (FR), Vala Jónsdóttir (IS).




23/03/2016 – Second video by Dionisios Argyropoulos Ioannou will be launched

01/04/2016 – Seocnd video in the series of BodyOgraphia will be launched

03/04/2016 – Third video by Dionisios Argyropoulos Ioannou will be launched

14/04/2016 – Third video in the series of BodyOgraphia will be launched

Norig Dodier

je pensais très fermement que les divers réseaux sociaux empêchaient de vivre, de ressentir, plongeait dans un espèce d’état de veille végétatif et satisfaisant.

on a eu un workshop

il m’a demandé de produire quelque chose pour le lendemain matin

et non seulement j’étais incapable de le faire, mais en plus ça m’a « dérangée » dans mon semi sommeil. J’avais pas envie. J’allais devoir pas beaucoup dormir, beaucoup trop m’investir. Non

C’est qui ce gars qui veut pénétrer dans ma vie comme ça? Qu’est ce qu’il croit lui ?

Moi je veux bien embrasser la vie. Respecter ma condition de mammifère bipède en faisant des marches de dizaines de km sur la cote, seule. En écrivant des lettres à mes amis plutôt que des mails. En ne regardant pas une série pendant mes repas, même seule.

De cette facon je pensais avoir trouvé la solution à ce nihilisme. Mais forcée de constater que j’en faisait tout autant partie. Une façon de s’échapper, de se protéger, de ne pas se frotter pas à la vie, à la frustration, à la peur, la douleur et le plaisir.

Vala Jónsdóttir







The common Icelander is proud of the fact that his home has no armed forces, despite the fact the country has long been affiliated with both the British and American army. During the Second world war Iceland declared itself neutral, but when the Allies invaded the country in 1940 Icelandic authorities were relieved and did not protest the presence of 30.000 soldiers on their “peaceful” ground. Ever since, armed protection from a foreign country has been accessible to Icelanders, in such a way we that can sustain our image as a peaceful country with the backdoor open.


After the invasion in the 40s, women’s engagement with soldiers was exaggerated, condemned and followed closely. At no moment in the country’s history has surveillance on individuals been as excessive as the monitoring of women´s sex life at that time. It seems as if the society and media remained so passive about the military invasion that they found an outlet for their fear and scepticism through focusing on personal affairs instead of addressing the core issue. Giving up territory was not a problem, but providing women – then considered to be a biological resource of the country – was a completely different story.


Since the invasion Icelanders have been divided between those opposing the army strongly and those begging them to stay. But the opinion of Icelanders turned out faint to the US who seem to be able to leave or stay without consulting the local authorities.


The rhetoric surrounding the relationship between the two countries is coloured by words such as friendship, trust, holding grudges and so forth. So what in reality is an agreement between entities can also be seen as a personal relationship between individuals.


The audio excerpts are from letters, which show the tension between the personal and the national. The letters are written by one individual to a lover on the other side. The intimate correspondence sheds light on the affairs between country and a foreign army.

Ayesha Ghaoul

In Scotland, the doo-cots are used in a sort of bird kidnapping game. The owner of a doo-cot will let

a female bird out as she will try to seduce the neighbors bird back into her territory.

If the attempt is successful, the bird is captured and becomes the property of the capturer.


These doo-cots are an illustration of my fight against


Dionisios Argyropoulos Ioannou

This channel is powered by self-obsessive material created within a biographical framework,

exposing over-acted versions of real experiences.

Stepping out of my body to impersonate my-selves and the others.

It serves as a means to filter daily questions and attempts to experiment with and test today’s human gestures and interactions.




Miguel Witzke Pereira

Body awareness, memory, repetition, balance and space are the elements that will guide me through the challenge of translating an uncontrolled act to something that I would recognize as autobiographical.

Stumbling occurs to most of us, in different areas of life: physical, mental emotional. I express this idea through choreography – translating a general situation to a personal bodily experience.






12 May 2014 I had a meeting with a Stranger on an empty freighter.

In a period of a year, following the encounter with the Stranger I repeated this same meeting ten times, with 10 other Strangers.

The place of the meeting – an empty freighter; the actions and the renewed discovery of the boat's entrance; the questions, the diving and swimming to the other side of the shipyard – in every meeting were exactly the same.

The way actions would be executed, the history I would share, the person I became eventually, all resonated the first meeting with Stranger nr#1. I excercised 11 times the act of selfdisappearance, which lead to complete different outcomes. These outcomes eventually, created a new narrative altogether.


12 May 2014 I had a meeting with a Stranger on an empty freighter.

You may say that every Stranger has the potential to alter and distance you from your history. Where we meet is the vanishing point of one's identity – an apt condition for a tabula rasa enabling histories to be rewritten.