The videos of Ivan Candeo, Irgin Sena, and Samuil Stoyanov that this exhibition brings together are seemingly unassuming and matter-of-fact in subject and manner. Such an affect however, is the result of the artists’ subtle study into our “pure intuitions” of time and space through the medium of video. In these works, image and sound are slowed down, held still, erased, fragmented, repeated, compressed, sped up or extended to produce confounding perceptions of motion and representation. United by a commitment to exploring the very elements and qualities of time-based filmic material, these works verge on the poetic.

Eriola Pira


“The 94th minute” is an aggregation of television screen grabs of the added time to the 2010 FIFA World Cup soccer matches in South Africa.Often the last minute of the game, tensions run high but by this time it is well known which way the game will go. Some of the spectators, whose looks vary from exaltation to desperation, are simultaneously watching themselves on the stadium screens while others wave at the cameras. Stitched together, these frozen fragments of time are caught between a triangle of mediatization and experience. Found sound accompanies the images as they are zoomed in and out to create the impression of movement and fluidity in time.


In A (Dan Graham), Samuil Stoyanov takes his recording of a 2010 lecture by the post-minimalist artist and in the spirit of minimalism strips it down to its fundamentals and bare essentials: Graham’s many ahs and ums. These space fillers or speech disfluencies are not generally considered intelligible or meaningful utterances of what ought to be silent pauses. Recent linguistic theory however, has come to regard such utterances as significant to language comprehension and memory. These interstices, but a fraction of Graham’s lengthy lecture, stand for the whole.

Samuil Stoyanov

Samuil Stoyanov is an artist and cultural activist who lives and works in Dobrich and Sofia, Bulgaria. Aside from many international group shows, Stoyanov has had nine solo exhibitions, the last of which at the ICA-Sofia Gallery in 2010 was titled “ON THE TOP – Exhibition of Samuil Stoyanov and its Effect on Global Warming.” He is the winner of nine artist’s awards, the most significant of which are the 2009 BAZA Award and the 2011 Gaudenz B. Ruf Award.

03 Them

Irgin Sena’s Them begins with the sound of cars that have just passed on an empty, dark intersection. Light travels faster than sound. Quietly, two cars enter the field of vision only to stop next to one another. After one of the windows is scrolled down the cars pause motionless. Or is this a freeze frame? They drive away. A barrage of cars and the sound of their running engines follow them only to be succeeded by the same two silent cars. Everything is repeated all over again. What appears like looped footage is a continuous narrative.

Irgin Sena

Irgin Sena was born in Tirana, Albania and lives and works in New York. He holds an MFA degree from Hunter College. In 2008 Irgin was an artist in residency at International Studio and Curatorial Program (ISCP), NY. In 2007 he was awarded the ARDHJE Award for Contemporary Art. Irgin has participated at Qui Vive, International Moscow Biennial for Young Art and New Insight, curated by Susanne Ghez (Chicago). His work has been shown at ISCP, at Boots Contemporary Art Space in St. Louis, (MO), at Vanessa Quang Galerie in Paris.


In Hearse in Movement Candeo revisits the experiments of Étienne Jules Marey and Edward Muybridge in the perception of movement through photography. Candeo replicates the circular motion effects of the zoetrope and photographic gun through pan-optically recording a hearse car in a Caracas roundabout. The circular motion of the hearse is not an optical illusion or a continuous loop but the repetition of the action in real time, which for Candeo is a metaphor of physical decline and death. In this context, the hearse is no more a means of physical displacement than a means of representation.


Ivan Candeo’s videos engage with Paul Virilio’s ideas about speed and media technology, specifically the notion of “static audiovisual vehicles”. Landscapes is a one second long trip of Venezuelan landscape paintings from the beginning of the 20th century. Motion is generated within these fixed images by accelerating the maximum speed of projection as if we were truly travelling through these landscapes. At such speed the landscapes dissolve into one another: we get nowhere very fast.

Ivan Candeo

Ivan Candeo was born in Caracas, Venezuela, in 1983. In addition to studies in Photography, Candeo holds a BA in Fine Arts from the Instituto Pedagogico de Caracas, where he is an active member of Taller de Arte Contemporaneo. His first solo show “Dragster” in 2009 was at Oficina # 1, in Caracas where his second show was also recenty held. His work has been included in many group shows in Venezuela and internationally.

06 Eriola Pira - Biography

Eriola Pira is an independent curator and the Program Director of the Young Visual Artists Awards – a network of artist awards in Central and Eastern Europe and residency program in New York. Eriola holds a B.A. in Media Communication and Art History and an M.A. in Visual Culture Theory from New York University. A result of her participation in ICI’s inaugural Curatorial Intensive program, her curatorial research project about fictional artists carries on.

07 Exhibition credits

Curator: Eriola Pira
Author of Texts: Eriola Pira
Realization: Lenka Střeláková and Janek Rous
Published: 2. 5. 2012