Alona Rodeh

Artist

Alona Rodeh · n/a ↗

Based

Born 1979, Israel. Lives and works in Berlin

Practice

Visual artist, scenographer, dark-sky advocate, and urban/spatial practitioner working across installation, video, sound, light, CGI, public space, and artist books

Now

Recent work includes CGI video, public-space research, night walks, and institutional presentations of light, safety, and urban perception

In the set

Jenim ↗ · 135 editions

Links

Full bibliography ↗

Alona Rodeh's work is best understood through systems that make bodies feel protected, directed, watched, or staged. Her official biography describes a Berlin-based visual artist, scenographer, and dark-sky advocate whose research-driven practice explores material cultures and audiovisual expressions of safety, often through immersive environments, short films, artist books, and nighttime walks.¹ Rosenfeld Gallery similarly frames her as an urban and spatial practitioner working between virtual and physical space, with a practice rooted in light, sound, and the feeling of safety.²

Rodeh's Art Blocks entry is Jenim, made with Orr Kislev for Art Blocks Presents in 2023. The collection contains 135 unique artworks, the exact edition count relevant to AB[500], and transfers Rodeh's long-standing attention to fabric, visibility, material coding, and public signals into a generative textile field.³ Verse's secondary presentation of the series emphasizes the project description and its relation to denim, labour histories, indigo, seams, and algorithmic variation.⁴

Safety as an image system

Rodeh's institutional record begins well before the blockchain work. Collectors Agenda describes her as working across video, sculpture, wall-mounted works, light and sound installations, theatre design, public art, and publications, and notes her Berlin studio conversation around darkness, blackouts, club culture, and work with the Berlin Fire Department.⁵ Artis also identifies urban environments, industrial products, and nightlife culture as central to her research process, which helps explain why safety equipment in her work rarely reads as neutral infrastructure.⁶

This concern is visible in critical writing on her practice. Frieze's profile, "How Artist Alona Rodeh Reveals the Tyranny of Safety," situates her sound and light installations within systems of order, control, and counter-cultural appropriation.⁷ Artfridge's interview likewise describes her "acoustic and visual keyboard of safety," a useful phrase for a practice that repeatedly turns alarms, reflective surfaces, emergency codes, and illuminated architectures into an aesthetic grammar.⁸

Live on Art Blocks: jenim-by-orr-kislev-and-alona-rodeh ↗

From installation to algorithmic fabric

The importance of Jenim within Rodeh's practice is not that it replaces her physical installations, but that it translates several of their concerns into a generative substrate. Denim is already a coded material: workwear, class marker, fashion object, indigo surface, and repeating industrial weave. In Jenim, the cloth is not cut and sewn, but rendered through procedural variation. Art Blocks records the project as 135 unique artworks, a compact but complete generative edition within Presents.³

Rodeh's earlier installations clarify the stakes of this move. CCA Tel Aviv's page for Above and Beyond describes a transformation of the main gallery through sound, light, and architectural intervention, a format that treats the viewer's movement through space as part of the work.⁹ Kunstpalais Erlangen lists Rodeh's Safe and Sound: High Visibility and records her as born in 1979 and working in Berlin, placing her among artists concerned with serial form, colour, light, and spatial perception.¹⁰

CGI, public space, and AB[500]

Recent presentations show Rodeh pushing the same vocabulary into synthetic imagery. Christine König Galerie lists works from the CITY DUMMIES and related CGI video projects, including 4K single-channel and dual-screen computer-generated videos with sound.¹¹ Ars Electronica's 2025 festival profile identifies her as an artist, scenographer, and urban practitioner whose work combines spatial awareness with a highly stylized visual language influenced by hyperrealistic CGI and video games.¹²

Seen from AB[500], Jenim is a concise bridge between these worlds. It carries Rodeh's interest in regulated surfaces and social signalling into a project where the rules are code, the fabric is image, and each mint is a variation within a fixed edition of 135. The series sits lightly in Art Blocks history, but it is conceptually aligned with Rodeh's broader practice: an inquiry into how materials tell us where to stand, what to fear, how to behave, and how systems of safety become visual culture.

Bibliography

The references cited in this essay are listed below. For the complete bibliography see the Alona Rodeh links page ↗.