Catalogue > List by artist

Une nuit, un homme étrange apparaît. Arrivé non loin des côtes, il croise le chemin d’un fantôme, qu’il se décide à suivre.

Nicolas Keroulas est né en 1997.

The Same Room investigates the dual nature of water, both as a destructive and life-giving force. In collaboration with the Deltares Institute, Minne Kersten recorded a self-made filmset of a bedroom in an industrial wave-tank, where it was deliberately flooded with water over three successive days. By inverting the use of the institute’s controlled environment originally intended to prevent flooding, she questions the human desire to control the course of nature. Furthermore, Kersten is interested in the state of paralysis and tranquility that can occur upon a catastrophe, opening up a space for thinking about the end as a transitional state rather than something final. By combining the personal space of a bedroom with the horrors of a flood, the work creates a powerful and emotional image that wavers between clarity and chaos.

Minne Kersten (b. 1993, Utrecht, NL) lives and works between Amsterdam and Paris. She works on installation, video and paintings in which ephemeral occurrences and the construction of reality is explored. Through her architectural environments, she speculates on how buildings can be receptive to stories and traumas by staging situations subjected to chaos, decay and deconstruction. She explores the traces of events left behind and questions them as witnesses to private stories retained by the walls that surround human life. Working across diverse media, she interweaves personal themes such as mourning, loss and memory with the collective domain of fiction, fables and symbols. Her work has been presented in numerous institutions including the CAPC Bordeaux 2024, Glasgow International 2024, Bonnefanten Museum 2023, 16th Lyon Biennale 2022, Stedelijk Museum Schiedam 2022, the Living Art Museum 2022, De Ateliers 2022, Hotel Maria Kapel 2021, among others. In 2022, she won the Volkskrant Visual Arts Audience Award and was nominated for the Royal Award of Modern Painting. She has been selected for residencies at De Ateliers 2018-2020, Triangle Astérides 2023 and Cité Internationale Des Arts 2024. She is represented by Annet Gelink Gallery in Amsterdam.

The work approaches the feeling of searching in a particular sense: searching for something that is already there – and does not need to be found. The point of departure is the well-known Rosenhan experiment, in which eight sane individuals, ‘pseudo-patients’, feigned symptoms to be admitted to psychiatric institutions. As recently shown, the experiment itself was dogged by inconsistencies and anomalies – the pseudo-patients likely never existed in the first place. Through repetition and superimposition, the work explores the liminal space between thinking and perceiving, re-activating the gaps and contradictions that return to haunt a scientific material.

Dag Kewenter is a visual artist, working primarily with installation and film. In 2022, he graduated from the Masters program at Malmö Art Academy with the exhibition Post Sunrise / Post Oracle, for which he received the Edstrandska Grant.

Initié en 2008, The Mapping Journey Project est une série de vidéos en cours qui visent à « cartographier » des voyages clandestins. 3 vidéos ont déjà été tournées à Marseille et Ramallah. Filmées en plan-séquence, ces vidéos s?attachent à la confrontation entre un trajet singulier et la normativité de la cartographie. Mapping Journey # 1 suit le trajet d?un jeune Algérien parti illégalement d?Annaba pour Marseille, en passant par la Sardaigne, Naples, Milan, Nice, et Paris. A Marseille, n?ayant d?autre choix pour survivre que de vendre des cigarettes de contrebande, il songe à s?engager dans la Légion Etrangère dans l?espoir de régulariser sa situation, ou de reprendre la route, mais cette fois-ci pour la Suède.

Bouchra Khalili est une artiste Franco-Marocaine, née à Casablanca au Maroc, en 1975. Elle vit et travaille à Paris. Elle a étudié le cinéma à la Sorbonne Nouvelle, et est diplômée de l?Ecole Nationale Supérieure d?Arts de Paris-Cergy. Son travail, essentiellement en vidéo - monobandes et installations - explore les trajets migratoires contemporains et les zones frontalières. En se confrontant à la géographie physique et à la normativité du tracé des frontières, le travail de Bouchra Khalili tente de perturber la cartographie traditionnelle en révélant la complexité des trajets migratoires contemporains, les représentations que ces trajets produisent, et les récits qui les accompagnent. Depuis 2002, son travail a été exposé dans de nombreuses institutions en France et à l?étranger, notamment au Centre Georges Pompidou (Paris), à La Fondation Caixa Forum et au CCCB (Barcelone), au Studio Museum (New York), au Musée National Reina Sofia (Madrid), parmi d?autres. Elle a également participé à plusieurs biennales et triennales, dont La Force de l?Art 01, triennale de l?art contemporain français (Galerie Nationale du Grand Palais), La Triennale de Guangzhou (Chine), La 2nde Biennale de Thessalonique (Grèce), et la Biennale de l?Image en Mouvement (Genève).

Bouchra Khalili

Bouchra Khalili is a French-Moroccan video-artist, born in 1975 in Casablanca. With a strong focus on the Mediterranean area (Italy, Spain, Morocco, Turkey ?), Khalili?s videos deals with nomadism and displacement, relations and distances between physical and imaginary geographies. The experimental character of her work problematizes traditional audiovisual formats, absorbing procedures from documentary films, fiction, and video art, and taking in productive contaminations from the visual arts field. Khalili`s imagetic constructions reveal the experiences of displacement typical of contemporary nomadisms, with their implications to the construction of identities. Since 2002, Khalili?s work has been shown at numerous international exhibitions, biennials, and festivals, including The New York Video Festival (Lincoln Center), CCCB and Caixa Forum of Art (Barcelona), MACRO and Villa Médicis (Rome), The Biennial of The Moving Image (Geneva), La Force de l?Art (Galerie Nationale du Grand Palais, Paris). In 2006 and 2007, several monographic screnings has been focused on her work, as at The Caixa Forum Foundation (Barcelona), and at The Museum of Modern Art of Bahia (Salvador do Bahia, Brazil). Khalili studied cinema at the Sorbonne Nouvelle and Fine Arts at the Ecole Nationale Supérieure d`Arts de Paris-Cergy. She lives and works in Paris.

First part of a video triptych about wanderings in frontier zones, where physical and imaginary geographies become indistinguishable.

Bouchra Khalili is a French-Moroccan artist born in 1975 in Casablanca. Her videos explore the Mediterranean area which she believes to be a territory dedicated to nomadic and labyrinthine wandering. In her videos she explores the relations, plastic or conceptual, maintained by physical, imaginary or mental geographies. Focused on the theme of shift, she tries to disturb the boundaries between cinema and art, fiction and documentary and essay and experimentation. Her work has been shown at numerous international exhibitions, biennials, and festivals. Khalili studied cinema at the Sorbonne Nouvelle and Fine Arts at the Ecole Nationale Supérieure d`Arts de Paris-Cergy.

An aerial journey over an unspecified major western city. We see a large television screen that projects advertising images within a public space, a heavily urbanized architecture, and an inhabited coastline. At the same time, voices escaped from a film, call out meetings to take or to miss, speak of cinema as utopia, and discuss the "world as will and depiction."

Bouchra Khalili is a French-Moroccan video artist, born in 1975 in Casablanca and raised in Paris where she also lives and works. She is the co-programmer of the Cinémathèque de Tanger. Her videos has been shown at numerous international festivals, exhibitions and biennales, including the New York Video Festival (Lincoln Center); New Arab Video (Caixa Forum of Art, Barcelona); The Film-Laboratorio (Museum of Contemporary Art of Rome and Villa Médicis), The Biennale of The Moving Image (Genève, Switzerland), VideoBrasil (Sao Paulo, Brazil), Cinéma d`Avant-Garde (La Cinémathèque Française, Paris). In 2005, she was awarded the Louis Lumière - Villa Médicis Hors les Murs Prize. In 2006, several programmes focused on her work were curated, including: Instituto Itau Cultural (Belo Horizonte, Brazil), and Palacio das Artes (Belem, Brazil). Khalili studied Cinema at the Sorbonne Nouvelle, and Fine Arts at the Ecole Nationale Supérieure d`Arts de Paris-Cergy.

The crossing of Mediterranean cities. A lonely wandering in a city by the sea, a journey made to let the time pass away. A voice confirms the description of a mobile point of view : the contemplation of the skyline, the other side, the strollers wandering, the boats leaving, and an unlimitate border : the sea.

Bouchra Khalili. 1975. Born in Casablanca. Lives and works in Paris, France. She studied cinema at the Sorbonne Nouvelle, and art at the Ecole Nationale Supérieure d`Arts de Paris-Cergy. Since 2000, she produce various installations and videos. Her work has been shown in numerous international exhibitions as well as at film and video festivals, including : New York Video Festival, Lincoln Center. VideoBrasil, Biennial of Electronic Arts of Sao Paulo, Brasil. Biennial of Moving Image, Geneva. West by East. Center of Contemporary Culture, Barcelona. New Arab Video. Foundation Caixa Forum for Art, Barcelone Rencontres Vidéo/Arts Plastiques. Center of Contemporary Art of Basse-Normandie.

Twenty continuous shots linger over the slums of Dhaka, contrasting a young man`s search for moments of stillness and clarity with the megacity`s constant onslaught of sound and movement. The young man seeks peace on a series of bridges crossing an open sewer while the noises of modern urban life - from radio advertising to religious sermons - babble on without pause.

Abid is one of the most promising independent filmmaker from Bangladesh interested in making experimental films.

In a modern city, a boy is locked up in his room for some time. He insulates himself more and more in his universe ? even speaks with him, hears voices. He creates his own imaginary world. He defies the imperceptible.

Day Fly is based on the hikikomori phenomenon What is Hikikomori ? Hikikomori, which literally means "pulling away, being confined" (i.e., "acute social withdrawal") is a Japanese term to refer to the phenomenon of reclusive adolescents and young adults who have chosen to withdraw from social life, often seeking extreme degrees of isolation and confinement due to various personal and social factors in their lives. The term "hikikomori" refers to both the sociological phenomenon in general and to individuals belonging to this societal group. In the film, the main actor wears a mask, which becomes a character in itself as he moves and plays with different perception. The mask is the means for a transference to occur between model and watcher. The speechless face, staring without emotion, becomes the face of a dweller of another world being watched in our own. such an eerie juxtaposition draws viewers in close to Khazem`s and Park `s silent innocents.

In "German Shepherds Need Heroes Too" Roman Selim Khereddine reflects on the popularity of German and Belgian shepherd dogs in Morocco. "Do you inherit your dog's violent history?" he asks, taking into account that these dogs have been used in military and police work ever since their standardization as breeds at the turn of the 20th century. The video-essay traces the history of these dogs as mediums in hierarchical relations between different human groups, ie., in concentration camps, colonies and civil rights protests. The human-animal relationship is portrayed here as one shaped primarily by violence and domination, while the potential for agency of both owner and dog is questioned. "How much of your violent history does your dog inherit", then? Found footage – videos uploaded to Youtube by Moroccan dog fanciers, and news clips – is combined with an essay, which appears as a series of captions. In his text, Khereddine draws from colonial history, Islamic tradition, popular/meme culture as well as his own experiences, memories and opinions.

Roman Selim Khereddine (b. 1989) holds Master Degrees in History and Fine Arts. He lives and works in Zurich, Switzerland.

SCULPTORS deals with the hardships of a farmer on dry land and those of a taxidermist who wants to stuff a species threatened with extinction. Both men find special solutions to their problems: The farmer places his entire herd of goats in the branches of a tree next to the motorway to attract tourists who want to capture the bizarre image. The taxidermist, on the other hand, makes do with two black bear skins, one of which he bleaches white and then sews together with the second skin to end up with something resembling the black and white fur of a giant panda. In describing these strategies, Khereddine is concerned with the relationship between image and thing, copy and original, imagination and reality, appearance and essence. In both examples examined, the obsession with the repetition of the image, the consumer’s desire to always have everything, and the individual’s urge to stand out from the crowd shines through.

In his work, Roman Selim Khereddine combines academic research and essayistic writing, found footage and his own moving images. His video essays deal with topics such as the popularity of police dogs in North Africa (German Shepherds Need Heroes Too, 2020), two of the most iconic photographs of the 21st century (Falling Man / Hooded Man, 2021), the history of Moroccan workers in Swiss circusses (‘How the Circus got its Moroccans’, 2021), the difficulties of making a taxidermy mount of a Panda (SCULPTORS, 2022) or the trials and tribulations of zookeepers in Palestine (behind a thousand bars no world, 2023). Khereddine holds Master’s degrees in History and Fine Arts. He lives and works between Zurich and Paris.

"Tehran Portraits" is an experimental diary; a contemplation of the details of a city of 14 million people. Despite the image of a country in turmoil, nothing "special" happens in the everyday life of this city. Either presented in installation format or screened individually, the 5 segments of "Tehran Portraits" each offer the viewer a tuned regard, an observant take on the cracks and corners of this immense city. From Freedom Square, to the hundreds of construction sites, to the chic shopping malls in the north of the city, the viewer travels through the every day images and sounds of Tehran, confronted with his/her preconceived notions of this capital city. As an installation, the viewer enters a pentagonal space where each screen projects a different perspective of the city in loops. The space is silent, but headphones diffuse ambient sounds of the city electronically tampered with by the director. Images and sounds can come together if the spectator wills them to. The portraits can also be screened as five consequential pieces, the sounds blending together in much the same way as the sounds in space.

Bani Khoshnoudi was born in Tehran. She studied photography and video in Texas and currently lives in Paris. While in the USA, she worked as a director and editor on numerous projects, including experimental short films and documentaries. In France she has worked as artistic director on a number of documentaries, like the "Other Iran" series produced by Article Z in 2002. In 2004 she directed "Transit", for which she received the Grand Jury Prize at the Angers European First Film Festival and which played at many festivals, including Rotterdam, Sao Paulo, and Brooklyn. She also produced and directed the documentary "Shirin Ebadi : a simple lawyer", for ARTE television in 2004. She is currently producing and directing her first feature length documentary film in Iran.

Berlin/Chalottenburg On Thursday March 20th, I was sitting in front of the TV screen, zapping through the channels in order to watch the beginning of the war on Iraq instead of having my first cup of coffee in the morning. I felt bewildered, powerless, and tense at the same time. The following weeks I found myself sitting in front of the TV screen every day, scraping my feet raw on each other until they were mutilated. Like a chained woman who cannot come to terms with the situation and is incapable of changing it. On a permanent quest for answers, I switched to and forth between news in German, English, French, and Arabic; and I went through online papers. I wanted to understand and felt a profound longing and craving for news, live ? broadcasts, confronting discussions. Everything was simply delivered right into the living room. Being an Arabic woman in Europe, I was often asked about the situation in the Middle East, especially at the beginning of the war. The question was part of the greeting at every phone call. I could sense caution or sympathy. Some consoled me with the hope that it would be over soon. I could very well understand their behavior, yet I felt tortured because people were constantly talking about nothing else. The never-ending discussions about the causes and effects of every new event and the feeling that I even have to justify myself, wore me down. And I asked myself how much longer this kind of occupation is going to last ? or rather when the awakening will take place. Everybody asked how I felt. ?Like that!? I responded.

1965 born in Damascus, Syria. Study at the University of Damascus and at the university for applied art in vienna. Painting, grafik, video performance, photography.

The flower carrier Version I 2000 to 2006 © 2006 performance video. Flower carrier is a performed sequence over a period of six years of the myself walking with a plastic flower through various streets in various cities. Each location is revealed both visually as well as acoustically, through the cacophony of road noises as the flower carrier moves fluidly between the streets of the small town of Modinagar, through the heavy-traffic streets of Delhi., through the hilly village of Rajpur, through the busy undergrounds of London and through the Badarur border, that neighbours Delhi, forever caught in messy states of [under] development. The simple act of a walk in the streets, while tenaciously looking at the tip of a flower [ : recycled plastic ] soon becomes a somewhat personalised ritual; a study of self in city very quickly transforms into an insurrection of turbulent city... There is no grand narrative. The narrative here is pursued in and through the act of making, almost as a form of psycho-visual enquiry.

S o n i a K h u r a n a abridged bio: Sonia Khurana?s studies in art include an M.A. in 1999 at the Royal College of Art, London, earllier art education in Delhi, a short course at the Film and Television institute in Pune, and in 2002, a 2-year Research residency at the Rijksakademie in Amsterdam. All of the above was pursued through sholarships and Awards, including the coveted INLAKS Award, in 1997. She now lives and works in New Delhi. « My art practice embraces areas in-between video, photography, elements of performance, text, drawing and installation. In my work I often makes psycho-sexual enquiries into two main areas of experience: interiority, or embodied experience, and the dynamics of identity. Recent body of work focuses on the poetics of inner experience mostly through performance-based videos that are often visually simple and understated Through deleberately poetic intimations, I strive to explore and re-define the space of the political. » During and beyond November 2007, Sonia?s works are currently showing at : ?Public places Private Spaces? - Newark Museum, ? Horn Please? - Kunstmuseum Bern, ? Tiger by the tail ? - Rose Museum, Boston, ?India-Art Now? Spazio Oberdan, Milan, Film Festival Roma, Rome, ?Performa 2007? ? Gallery Elga Wimmer, New York and ?Global Feminisms? - Davis Museum, Wellselly.

A Shantytown This is the story of a village that had no name. A mute village, with no children and no women. A village that is still young and yet is inhabited with elders A village of 93 Tunisians who came to work here more than 40 years ago. Most of them were craftsmen and they have built the villas of another village? Cassis, which is in the south of France. They are themselves living in the old Fontblanche?s quarry. A shantytown? This story begins in 2005?

Sonia Kichah studied in Paris and acquired in 1998, DEA of cinema in the Sorbonne. Having been helper in realization in "Frantz Fanon" of Cheick Djemai, it passes in 2001 behind the camera to sign its 1st short film "Green light". Then, it assists Cheick Djemai once again in 2002 on the film " Memory found ". It accomplishes its first documentary " veiled Identitée " in 2005. In 2007, it acquires a grant of the French-speaking world for the realization of a short film, the widow, the aunt and the child ». It accomplishes its second documentary in 2008 «A shantytown?

A BODY POLITIC CLOSE UP Public Hearing is the verbatim re-performance of a rural American town meeting from a transcript downloaded as publicly available information. Shot entirely in cinematic close-up on black-and-white 16mm film, a cast of actors and non-actors read between the lines in an ironic debate over a Wal-Mart store expansion.

James N. Kienitz Wilkins (b. 1983, USA) is a filmmaker and artist living in Brooklyn. He is the recipient of numerous grants and periodic awards for various projects of specific and/or universal proportions. He is a graduate of the Cooper Union School of Art in New York City.

In the 1860s and 70s the so-called Molly Maguire assassinations rocked Pennsylvania’s anthracite region and made national headlines. A Vague Dread Seems to Silence the Tongue attempts to conjure the specter of violence that emerged out of the racial animus and labor struggles of the Civil War in the present day, setting the bloody events of the late 19th century against the contemporary landscape of a fading coal economy.

Edward Kihn’s work ranges across documentary and experimental cinema, photography and installation, and focuses on entanglements of politics, technology and labor--especially as they reflect and shape the particularities of place. He has received awards and fellowships from organizations such as NYFA and the Whitney Independent Study program and his work has been shown at venues such as Ji.Hlava, CPH:DOX, MSPIFF, Mimesis, Arquiteturas, Artists Space and others. He teaches Film Studies and media production at CUNY and UCSD.

Jean-Luc Godard shot a film in Germany 28 years ago. A young female director retraces his steps through Germany. She is 28 years old and searches for answers about her german identity and the art of filmmaking. Godards Film is a film about ghosts and history. Does she become a ghost in her own film?

*Born 1990 in Southern Germany. Studied Scenography and Exhibition Design at the University of Arts and Design in Karlsruhe. One year visiting student at the Städelschule in Frankfurt am Main in the class of Douglas Gordon. Since 2013 studies documentary film at the University of Film and Television in Munich.

We react to the multitude of images of the world - of the world we live in. This work explores the effects of synchronizing intent, delivery and objectification. The artwork is named after the arena where the tournaments take place, Er Meydani, Place for (brave) Men. This three channel video installation attempts to create a hyper-gaze by coordinating, directing, forcing together the many components that constructed the atmosphere of the arena. My attempt is to intensify the relationship between the observed and the observer. The power of the gaze is empowering. The situation that I construct rises to a lesser extent from a desire to dominate. It is born from the empathic valence of the images of he who surrenders. It is a theater of the momentary defeated, of the broken wrestler.

Ezgi Kilincaslan was born in 1973, Besni-Turkey. She received a degree in art and pedagogic at Marmara University, Istanbul. She lives in Berlin and graduated as "Meister Schüler" from the University of the Arts (UdK) with Prof. Katharina Sieverding. While initially formed as a painter, she is now experimenting with a variety of mediums including photography, video and installation - exploring and questioning matters of power, related with patriarchy and gender. Her films have been shown at various film festivals amongst which the International Film Festival Oberhausen, the International Film Festival of Rotterdam and the Center for Contemporary Art, Geneva.

Land of Dreams title is a translation of a much loved Finnish tango ‘Satumaa’, which Heidi Kilpeläinen sang during her two Tango Therapy performance tours at Refugee Centres and war invalids and their widows homes in Finland (2017/2018). On this tour Kilpeläinen also invited the participants to sing back to her, in their own languages. The performances were filmed and edited into a 3-channel video installation and a shorter, single channel video. Songs and encounters with people from Iraq, Yemen, Syria, Afganistan, Somalia and Eritrea – to mention a few – combine with accounts of Finnish war invalids and widows talking about their experiences of the war between Russia and Finland during the second World War. Tango Therapy is a performance in which artist Heidi Kilpeläinen sings to one person at a time, sitting on opposite chairs, while rest of the audience listens and follows the performance. Anyone from the audience is welcome to sit on the chair as it becomes free. It is an intimate and personal performance of songs, mainly of Finnish tangos, with no technology or amplification. The focus in the performance is on the human presence and eye contact. Understanding Finnish language is not necessary, it is the melody and the sentiment which communicate beyond the boundaries of language.

Heidi Kilpeläinen (HK119) explores crossovers between visual art and music merging their boundaries in 'total works of art' and creating combinations of video, installation art and performance. Her work is equally inspired by the contemporary world and its technological fascinations, as well as the ancient, mythological forms that run through collective memory. She produces works of aesthetic interest with a critical eye on our social environment, reflecting on our human Heidi Kilpeläinen (HK119) explores crossovers between visual art and music merging their boundaries in 'total works of art' and creating combinations of video, installation art and performance. Her work is equally inspired by the contemporary world and its technological fascinations, as well as the ancient, mythological forms that run through collective memory. She produces works of aesthetic interest with a critical eye on our social environment, reflecting on our human condition within it. In recent years she has focused her attention to understanding the effects of transgenerational trauma and transformation as alchemical process. Kilpeläinen has widely exhibited and performed in galleries and prestigious institutions, with a rich record of participations in shows and festivals, such as Rajatila gallery, Tampere (2021) Od Arts Festival, Somerset (2021) Kiasma, Museum of Contemporary Art, Helsinki (2019 / 2005) Kajaani Art Museum, Kajaani (2019) Tate Modern / Tate Exchange, London (2018) Camden Arts Centre, London (2016) Beaconsfield Gallery, London (2016/2015) Performa 07, New York (2007) and New Contemporaries, London / Liverpool (2004). She has also released 3 albums under the title HK119 (One Little Indian Records, 2005 - 2013)  and has performed internationally in music venues, galleries and museums such as Tate Gallery, Victoria & Albert Museum, ICA, Casa da Musica and Kiasma. 

Loosely based on Korea in the 30?s, Vaudeville is a visual poem about despair, wandering and the loss of cultural identity.

Chansoo Kim studied animation in the Division of Animation and Digital Arts at the University of Southern California, and produced short animated films using various techniques, ranging from hand-drawn to stop-motion and CGI. His films, Woman in the Attic and Floating gained critical attention through the festival circuit. His new film, Vaudeville is currently touring the festivals since the spring of 2005. Chansoo recently finished the Animation Apprentice Program at Rhythm and Hues and is now working in CG animation.

A meditation on our fantastic condition of mortality and impermanence ... The peacock painted on the window will never dance or speak. It is only the peacock that lived in the forest which used to speak, dance, and walk in a sweet manner.

Andrew Kim (b. 1985) is an experimental filmmaker who received his MFA from School of Film/Video at the California Institute of the Arts in 2013. His work is inspired by the material properties of cinema and its unique ability to reify abstract ideas and ineffable feelings. Combining formal experimentation with at concern for the phenomenology of the cinematic experience, Andrew’s films are an attempt to understand the movement of the mind. Ultimately, his films attempt to transcend the exact mechanics of motion pictures such that a film might articulate a new kind of knowledge. Andrew’s films have screened at a variety of venues and festivals including the Ann Arbor Film Festival, International Film Festival Rotterdam, Festival du Nouveau Cinema (Montreal), Images Festival (Toronto), BAFICI (Buenos Aries), UnionDocs, and Los Angeles Filmforum, among others. Andrew lives in Los Angeles, California. There he is a staff member at the Echo Park Film Center and teaches film production at the California Institute of the Arts.

Petra Genetrix, who lives in the imaginary space “Porosity Valley”, is a composition of minerals living in a gigantic and bizarre-looking rock crystal protruding from the rock face. As people - fascinated or overwhelmed by its bizarre figure - often visit Petra Genetrix to purify their thoughts, over the years Petra has developed into a kind of pseudo-mythical being, regardless of its own will. One day Petra faces a situation in which it must attempt to migrate to another rock platform due to an explosion that occurred in Porosity Valley. In the process, as a would-be migrant, Petra faces various realistic problems unimaginable for a divine being. It is subject to an interview to confirm that it is a being appropriate for migration, and placed in quarantine for 40 days to rule out the possibility it is carrying any viruses that may pose a threat to the new platform. Later, it is presented with the opinion that Porosity Valley could be duplicated, as Petra’s mythological function has been found by the Immigration Data Center to be favorable to humans…

Ayoung Kim applies remote imagination and speculation in order to reflect the incoherent and anomalous properties of life and of the world. By acquiring fictional narrative devices and rhetoric, Ayoung Kim evokes unfamiliar forms of reading, listening and thinking of the conditions of the world by focusing on unlikely encounters of ideas. Recently, Ayoung Kim has been endeavoring to graft and collide the fictional and the historical together through distorting reality via the tool of “histofuturism”. In terms of the context of the works, they often deal with the issues and notions of crossings, transnational activities, transpositions, transmissions, and the altering and changing of platforms. The subjects of those movements are either humans or non-humans, such as minerals or data particles. Ayoung Kim had solo shows at Ilmin Museum of Art, Seoul (2018); Melbourne Festival, Melbourne (2017); Palais de Tokyo, Paris (2016) and created a performance piece at the national opera house in Paris, Palais Garnier (2016). Group shows and performance events include Sharjah Film Platform, Sharjah (2019); Gwangju Biennale, Gwangju (2018); Kunsthal Aarhus, Aarhus (2018); MMCA, Seoul (2018); the 56th Venice Biennale, Venice (2015), among others.