Born in Iceland and trained as a violinist, Steinunn Briem Bjarnadottir (Steina) is a major figure in the field of electronic and video art. She received a scholarship in 1959 to study at the Prague Conservatory, where she met Woody Vasulka. They married in 1964 and moved to New York in 1965, where she worked as a freelance musician. She started using video in 1969, and embraced it wholeheartedly when she discovered that, with it, she could control the movement of time. It was the glorious age of the Portapak (used by a number of conceptual artists such as Nam June Paik, Gillette, Nauman, Serra) and of feedback experiments. In 1971, along with Woody Vasulka and Andres Mannik, she founded The Kitchen, a performance space devoted to electronic media. 

Her collaborative work with Woody in that period was remarkable for its interworking of audio and video signals: by attaching the Portapak to a synthesizer, they created video images from the audio signal and sound with the video signal (Matrix I & II). The goal of these phenomenological exercises was to explore the essence of the electronic image and sound. Steina's installations often involved electronically manipulated visual and acoustic landscapes. For example, the installation Orka, shown at Iceland's pavilion at the 1997 Venice Biennale, juxtaposed two transformative natural forces - water and fire - which, in their various manifestations (volcanic eruptions, waterfalls, glaciers), reveal the workings of time. In 1991, she undertook a series of interactive performances with a MIDI violin, which let her generate video images as she played (Violin Power).

She performed this piece in analog form from 1971 to 1978. In tandem with Woody, she was awarded the 1992 Maya Deren Prize and, in 1995, the Siemens Media Art prize. In 1992, with Woody and David Dunn she curated the exhibition and catalogue Eigenwelt der Apparate-welt (Pioneers in Electronic Art) at Ars Electronica in Linz. Her installations and videos have been shown throughout the United States, Europe and Asia. Since 1980, the Vasulkas have been based in Santa Fe, New Mexico.

• www.memoryofnations.eu/
• monoskop.org/

The Kitchen, a curatorial experiment providing one of the first safe-havens for electronic media makers of all sorts, is at the beginning of the rich history of the Vašulkas’ curatorial activities.

The Kitchen was one of the first places dedicated to video and other art, especially electronic music. Vaskulkas' aimed to support experiments based on manipulation of electronic signals, devote themselves to the live demonstration of the video and at the same time to emphasize video as a spatial phenomenon, showing tapes on a series of monitors. The Kitchen program also focused on documentary videos, especially in conjunction with the radical marginal genres of popular culture from underground New York theaters and clubs, and featured documentary-activist video production. All of these areas were largely out of focus on the established gallery scene. Performers in the early years of The Kitchen have discovered many pioneers in video editing as well as experimental theater, performance and music. There were also training programs, workshops and seminars focused on cybernetics, perception, or biological feedback.

Vaskulkas left The Kitchen as early as 1973, but it still exists, although at another address, in the vast area of ​​the former 19th-century ice farm, where it moved in 1985. From a former artistic experiment, it turned into a professionally functioning institution with a gallery and video archive.

• thekitchen.org