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Bio ︎



Ronnie Karfiol is a graduate of the Shenkar college of Art, Engineering & Design, Tel Aviv. She has also studied Media Technology & Animation at the H.A.W. University Hamburg, Germany. Her work has exhibited in museums such as Petach Tikva Museum of Art & Nahum Guttman museum as well as in galleries like SPEKTRUM Berlin, Galleria R+ Poland & the Center of Contemporary Art (CCA) Tel Aviv. Furthermore, her films screened in Europe and the US on national and international film and media festivals, including FILE Festival Brazil [BR], KFFK [DE], EMAF - European Media Art Festival [DE] and Currents Festival for new media [US]. She is the recipient of Margaret & Sylvan Adams Prize for young Israeli artist (2017), the Mifal HaPais Council for Arts (2018) and the Ministry of Culture Independent Artists’ grant (2020) and the Rabinovich Foundation (2021).

In 2020 She was a resident at the joint intiative in ZKM Museum and Akademie Solitude [de]. In 2018, she was an artist-in-residence at Cripta747, Italy. Her works are part of the collections in both the public collection of the Guttman Museum and the Herzliya Museum of Contemorary Art [IL].

Karfiol’s work focuses on new media techniques, often countering themes within the obscured borders of technology and humanity; and interrogating how new political, theological and social structures form and thrive in these new portals of being.


ronnie.karfiol@gmail.com
For CV, please email.

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Artist Statement ︎



Locating her studio within the internet-realm, Karfiol seeks to render new thoughts and reflect upon the blurring, obscured frontlines between humanity, spirituality and technology in the anthropocene.

 Her artistic means to this end are new media techniques, coupled with a historical or artistic source acting as both a visual and a philosophical fulcrum from which the artwork can draw life force. 

 That way, 3D animation renders and 3D prints, web-based installations and AR are not a mere spectacle but a crucial lever to the history of art and humanity. By making use of these tools  one can further explore different social and spiritual sea-changes through various interfaces and technological quasi- revolutions. That way, the philosophical, artistic exploration is in alignment with the practical work in the artist’s studio.

 This exploration, and the dedication to animate the allegory of control behind every seemingly innocent interface or tech-human vis-a-vis meeting, aims to reach the viewer at a pace more fit for this time and space - not as a passive viewer, but rather, as an active participator in the acute play of our times. 











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