Karin Kihlberg & Reuben Henry
Apeiropobic Framework  2011  production still

Kihlberg & Henry are artists working with moving image, performance, interdisciplinary research projects and publications.

They have had recent solo exhibitions at Fig-2, ICA and Res, London, Artsway, Hampshire, Aspex Gallery, Portsmouth, Gallery Box, Gothenburg, and Danielle Arnaud, London.
They have participated in group shows and projects at Camden Arts Centre, London, Eastside Projects, Birmingham, Fundació Miró, Mallorca, Tate Modern and the Hayward Gallery, UK. They won the Great North Run Moving Image Commission in 2012 and were artists in residence at Wysing Arts Centre, Cambridge, 2011, Futura, Prague, 2007 and Red Gate Gallery, Beijing, 2006.

Kihlberg & Henry completed a two-year fellowship at the Jan van Eyck Academy, NL in 2011, and are currently coordinating the Disembodied Voice Research Group supported by Vision Forum and Arts Council England.

Kihlberg & Henry are based in London and are represented by Danielle Arnaud. Selected video works are distributed by Filmform – The Art Film and Video Archive in Stockholm.


Curriculum vitae
Exhibitions at the gallery: Footnotes to a Long Distance Telephone Call, 2016, Abandon in Place 2010
Editions: Considered Regardless 2015, Formations 2013, Afterimage 2010
Pleasure Through Drowning
2015, HD Video 1080p  25 minutes
Pleasure Through Drowning is a film about an impossible attempt to escape a society over-saturated with moving image. Charting a day trip to Portsea Island in search of 32 historic cinemas which existed there during the 20th Century, the narrators describes a desire for moving image to be harnessed, ‘geographically bound once more to these custom-made architectures’, islands in themselves. Seemingly unable to differentiate between the old cinemas and the parking lots and supermarkets which have replaced them, the narrators’ disillusion with the ‘films’ they find in these everyday places causes them to propose 32 new films for the lost cinemas, inadvertently creating a new flood to saturate the attention span and flooding the island, possibly the last remaining dry land accessible.
The Order of Things
2013, HD Video 1080p  5.1 Audio  30 minutes  commissioned by Bupa Great North Run Culture 2012

Part science fiction, part natural history, The Order of Things depicts the world’s largest half marathon from the perspective of a society of sentient architectures who, intoxicated by the delusions of consciousness, encounter themselves via the human senses. The near-mute narrators present the urban, post-pedestrian environment of the course through senses borrowed from long-distance runners in a state of rhythmic trance, in what might be considered a natural history for buildings.
The work is presented with a publication designed by An Endless Supply which intersects the work with its research process. With an original score by Bernard Felaise and the voice of John Woodvine
Analytical Chronology of Three Dimensions
2011, HD video  3'50 minutes  produced with the assistance of Wysing Arts Centre
Analytical Chronology of Three Dimensions is an experiment in developing a cinematic grammar based on the spatial-temporal properties of lingual grammar. Grammatical tenses become camera movements as a series of tenses applied to simple verbs are expressed in relation to various types of space: the abstract mathematical space expressed in a geometry textbook, the physical space of a building, its architectural maquette, and the projected space of the video itself.
Acting Dead
2010,  graphite on paper  70 x 100cm
Dead Actor No.8
Dead Actor No.9
Dead Actor No.10
Dead Actor No.11
Acting Dead is a series of drawings depicting actors acting dead in films.
This Story is About a little Boy
2010, SD Video 4:3  9'30 minutes
This Story is About a little Boy is a reconstruction of a film according to its recollection through subjective memory.
A friend of the artists was asked to recall a film which had moved him in some way and which made an impression on his life. His recollection of The Fallen Idol by Carol Reed was recorded and used as the narrative structure to re-edit the visuals of the film. Confusions, alterations, hesitations and added events were reanimated in the reconstruction of the film-as-memory.