Paris 2026 Programme

Winter of Machines juxtaposes Charleroi’s post-industrial landscape with the legacy of Futurism. Inspired by Fernand Steven’s mural Evocation de la chimie (1936–1938) in the Lycée Léonie de Waha in Liège, which celebrates science, industry and progress, Jan Locus explores the contrast between this utopian vision and Charleroi’s current struggles. By alternating images of the city’s industrial remnants with the mural’s promise, time seems suspended. The soundtrack by sound artist Els Viaene enhances its ghostly atmosphere. Have the avant-garde and the industrial age failed in their promise of progress?

Spanning the mediums of experimental film, photography, and sound his work often revolves around landscape as a tool in the creation of national and social identities, landscapes altered by extraction and industrialization. His films have been shown at IFFR, Rotterdam (NL), Internationale Kurzfilmtage Oberhausen (DE), Rencontres Internationales Paris/Berlin (FR/DE), Le FIFA, Montréal (CA), CROSSROADS, San Francisco (US), Asolo Art Film Festival (IT), ONION CITY, Chicago (US), BISFF, Beijing (CN) and DIGERATI, Denver (US) among others.

As night falls, Stevy begins his rounds as a night watchman at a cryptocurrency mining facility. Shot spontaneously in Quebec’s Beauce region, the film offers a ghostly, sensory portrait. It juxtaposes the technological strangeness of tomorrow’s world (the crypto mine) with a declining rural world and the gradual disappearance of its local male figures.

Born in Paris, Paul Chotel graduated from the Mel Hoppenheim School of Cinema in 2015. He has since collaborated on numerous projects as a screenwriter, editor, director and producer, notably co-writing and co-producing Écume (2020), which had its world premiere at the 70th Berlinale and was selected for TIFF’s Canada’s Top Ten. His first feature film as co-writer and co-director, Desvío de noche (2022), had its world premiere at FIDMarseille.

Every day thousands of workers make the river crossing from the South Bank to Lisbon. They come to work in the city. They make this journey all their lives, as if it were an endless stream of passage.

Gonçalo Pina studied at Lisbon Theatre and Film School, where he graduated in cinema. He is currently studying for a master's degree in Communication Sciences, specializing in Cinema and Television, at the NOVA University Lisbon.

The installation of an exhibition, the cleaning of the galleries before the doors open, the welcome at the ticket desk following the security check at the museum entrance… Contemporary genre scenes within a historic museum.

After studying science at an engineering school, Hugo Orts joined the Master’s programme in Cinema at the École nationale supérieure Louis-Lumière in 2016. He graduated in 2019 and now works as a film editor. He has recently begun developing his first projects as a director.

The Valencian farmland has become a land of ghosts. Farmers have vanished; huts and farmhouses have turned into dusty sheds, while the objects left behind are traces of a world that has disappeared. Who lives this dystopian landscape? Amid the echoes of a frozen moment, ruins, water and the environment emerge as ghostly actors, striving to tell their story—not only to recall what has been lost, but to ask why this way of life is vanishing, and whether it can still be preserved.

María Añón (Valencia, 1997) studied Cinematography at ECAM and Film Curation at EQZE. She made her directorial debut with the experimental documentary short film Un perro ladra detrás del depósito (A Dog Barks Behind the Tank), included in the IVC’s CURTS 1 2026 catalogue, which premiered at the D’A Film Festival in Barcelona and was selected for Alcances, Olhares do Mediterrâneo and MRGente, part of Madrid’s Márgenes Festival. She is currently completing post-production on her second film, El astro se ve en el zenit, while developing her third short film, Todo lo sólido desaparece en el mar, selected for the After ECAM development programme, Abycine Lanza and Animadeba.

A Jerusalem-born artist is asked to create a work about a Wuppertal-born artist, a celebrated National Socialist sculptor of the 1940s. While accepting the challenge, he refuses to name the subject in the very work he was invited to reflect upon: the work of Arno Breker, who was to Hitler in sculpture what Leni Riefenstahl was in film. How can we create art in 2025 about that dark past? What meaning can emerge through this process? What language can carry it in a present where violence is once again being justified and normalized? In a new essay film, Assaf Gruber drowns himself once again in the depths of art history, breathing through his personal account in a quest to find an artistic moral compass: Commissioned Confession, a silent film in the age of silencing.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, exploring how the political orientation of legacy establishments impacts individual lives, and how these organizations represent and communicate facts and their attendant artifacts. The often absurd biographies of his protagonists reveal and obscure the motives that lead people to obey or rebel against their inner world or the society in which they live. His photography, sculpture, and installations place the materiality of objects in relation to narrative dimensions, creating fictional spaces where movement and non-movement function as a medium. His practice has gradually evolved toward cinematic forms of narration and moving image. His work has been widely exhibited, including at the Kyiv Biennial (2025), steirischer herbst ’24, and BOZAR, Brussels (2025). Solo exhibitions include Berlinische Galerie (2018) and Muzeum Sztuki, ?ód? (2015). His films have been featured at the Berlinale (2016, 2025), the International Film Festival Rotterdam (2023), and FIDMarseille (2019, 2022, 2025). In 2025, he received the Berlin Art Prize, Jubilee Endowment 1848 to 1948, in Visual Arts, and in 2018, the Follow Fluxus – Fluxus Art Prize. He studied at Cooper Union in New York and graduated from the École Nationale Supérieure des Beaux-Arts in Paris and the Higher Institute of Fine Arts (HISK) in Ghent. He was a fellow of the Berlin Artistic Research Grant Programme 2022/23 and a Camargo Foundation fellow in 2019.

The video “Ljuba” explores two historical events from 1989 through the personal framing of a cameraman from Belgrade Television. In the summer of 1989, Ljubomir Sekuli? (known as Ljuba) documents the mass rally at Gazimestan in Kosovo—which both cemented Miloševi?’s rise to power and marked the prelude to the bloody breakup of Yugoslavia. Half a year later, Ljuba records the Romanian Revolution and the fall of long-time dictator Ceau?escu. Using a split-screen structure, the film also follows Ljuba as he returns to Bucharest to restage the images that once travelled worldwide, confronting what has endured and what has slipped from memory. The two events, though historically distinct, were both framed as popular uprisings. Yet the significance of 1989 in Yugoslavia remains largely overlooked in Western Europe.

Bojan Fajfric was born in Belgrade, Yugoslavia, and has been residing in the Netherlands since 1996. He graduated from the Royal Academy of Fine Arts in The Hague and was a resident of the Rijks Academy in Amsterdam. His work presents a specific perspective on history, combining personal memories, collective historical consciousness, and the inevitable course of events. He primarily works with moving images and photography. He has exhibited projects at venues such as Palais de Tokyo in Paris, the Baltic Centre for Contemporary Art in Gateshead, the San Telmo Museum in San Sebastian, De Appel in Amsterdam, the Belgrade October Salon, and NGBK in Berlin, The Tobacco 001 Cultural Centre in Ljubljana, Dazibao in Montreal among others. His films have been screened internationally at film festivals, including Artists' Film International, Whitechapel Gallery, London, Sharjah Film Platform, the Film Festival Rotterdam, the International Short Film Festival Oberhausen, the Vienna International Film Festival, Doc Leipzig, the Tempo Documentary Festival in Stockholm, Rencontres Internationales Paris/Berlin/Madrid, and the Impakt Festival in Utrecht, to name a few.

An epistolary film constructed from VHS tapes sent from Srebrenica between 1993 and 1994 by the filmmaker’s father, depicting the mise-en-scène of “normal life” amid the war.

Ibro Hasanovic (b. 1981, Ljubovija, former Yugoslavia) is a multidisciplinary artist based in Paris, working across film, video, photography, and installation. He studied product design at the Academy of Fine Arts in Sarajevo before pursuing contemporary art and cinema at Le Fresnoy – Studio National des Arts Contemporains in France. His practice explores the relationship between the political and the poetic, engaging with oral and individual histories, collective memory, and personal archives. His work has been exhibited at institutions including MAXXI (Rome), KADIST (Paris), Kunstverein Hamburg, Garage Museum (Moscow), Kunsthalle Wien, MACRO (Rome), Carré d'Art (Nîmes), Pera Museum (Istanbul), Casino Luxembourg, Moderna Galerija MG+MSUM (Ljubljana), Künstlerhaus (Graz), Münchner Stadtmuseum (Munich), Villa Romana (Florence), Washington Project for the Arts (Washington, D.C.), Austrian Cultural Forum (New York), Guangdong Museum of Art (Guangzhou), and Busan Metropolitan Art Museum, among other venues. His films and videos have been screened at festivals such as the International Film Festival Gent, Encounters (Bristol), États Généraux du Film Documentaire de Lussas, DokuFest (Prizren), Tempo Documentary Festival (Stockholm), Impakt Festival (Utrecht), and the Sarajevo Film Festival, alongside institutional presentations at the Centre Pompidou and the Museum of Contemporary Art Zagreb.

Bodies, architecture, and ideas age differently while passing together through time. Sonja Vukicevic (73), a dancer and choreographer from Belgrade, is known for her anti-Miloševic activism and her monumental solo at the final Youth Day celebration in Yugoslavia in 1988—just before the fall of the Berlin Wall and the beginning of Yugoslav wars. In a gymnastic hall in New Belgrade, a district emblematic of the utopian architecture of socialist modernism, Sonja trains her resilient, aging body—a body as an archive. Thirty-five years after the celebration, we see Sonja's moving body, recalling the rhythms and voices of the past while surrounded by the echoes of present-day life. Her physical presence is juxtaposed with the audio archive of a teenage girl's diary, recorded in this building block in 1988. It brings an intimate narrative of growing up amid the ideological shifts of a late socialist state. SLET 1988 revisits Yugoslavia's final grand mass performance ('slet'). Amid an onslaught of large and loud changes, there was another change: quiet yet fundamental—the transition from collectivism to individualism. The film captures the 'glitch' in a world caught between hope and uncertainty, between fading socialist collectivism and the promise of liberal individualism, while a new national collective body is creeping in and will soon shape the future of the country.

Marta Popivoda is a filmmaker, artist, and researcher. The main concerns in her work are the tensions between memory, history, and ideology, as well as the relations between collective and individual bodies. Popivoda approaches them from a feminist and queer perspective. Her work has been presented worldwide in the cinema and visual arts contexts, such as Berlinale, Locarno, IFFR, Visions du Réel, MoMA New York, Tate Modern London, MAXXI Rome, Manifesta Biennial, Berlin Biennale, etc., and featured in the Guardian, Sight & Sound, Screen, Artforum, and e-flux. She received numerous awards for her films and artwork, including the prestigious Berlin Art Prize for the Visual Arts at the Akademie der Künste Berlin. She teaches film at the University of the Arts in Amsterdam and is a member of the European Film Academy. She is a fellow of the Berlin Artistic Research Programme 2024-25.

On a cruise ship between Sweden and Estonia a shadow is travelling in a constructed imaginary world of glass. In a commercial murmur we find ourselves on a pilgrimage across the Baltic sea as we travel in Estonia’s history — searching in the night’s dusk.

Karolina Bergman Engman (b.1991, SE) is a Swedish-Estonian artist and film maker who completed her MFA at Malmö Art Academy in 2024. In her practice she focuses on environments in relation to collective memory and history, where she reflects an inner world. Through the camera she examines her perception as she is tracing a past of what is framed. To a point where the inner and outer world is blended. Her works and films have been recently shown at IFEMA + Film Festival (SE), Museum of Artistic Process and Public Art (SE), Den Frie (DK) and Cinema Visionario (IT).

Notes from Silences gathers fractured memories from Vieques and Bali, two islands on opposite ends of the world that seem like "paradise fantasy" on the surface, but conceal a common buried history. Unplanned footage, photographs, and snippets of voice recordings intertwine with the sounds of nonhuman kin that bore witness when humans choose to forget. Beneath what seems to be banalities of everyday life, lies the loudest echo of violence: the silences people continue to keep.

Alexandra Kumala tells stories of the untranslatable and the inexpressible. Experimenting across film & moving image, sound & forms of deep listening, as well as literary & text-based practices, she works and plays with nontraditional forms that reimagine new ways of seeing, listening, and connecting to stories that are normally abandoned or overlooked. Her films have screened at the Museum of Moving Image, Casa de la Cultura Diego Rivera, Musée de Guellala, Museo de Arte Moderno de Medellín, Lichtblick-Kino, Film Coop NYC, and at galleries, museums, and film festivals globally. Exploring memory, mythology, and the mutable human mind, her work has received support from the New York Foundation for the Arts, NYSCA, Artist Trust, The Field, Queens Council on the Arts, and the Northwest Film Forum, among others. With a multicultural upbringing and nomadic life across continents, her storytelling invites audiences to listen & look more deeply into cultural multiplicities, intricate global entanglements, and the constant shifting of borders, language, and power.

Where ancient rock formations and untouched ecosystems intersect with modern technology and the desire for tourism, unique transitional zones emerge. A romantic yearning for pristine nature clashes with recreational activities and environmental awareness. The film captures this central tension of our time in fascinating, sometimes surreal images.

Thomas Isler (b. 1967) is a filmmaker, artist, and lecturer based in Zurich, Switzerland. His documentary films have been shown at international festivals and have been released in cinemas and on television. Max Philipp Schmid (b. 1962) is an artist, filmmaker, and lecturer living and working in Basel, Switzerland. His short films have been screened at numerous international festivals and have received multiple awards. His video installations are presented in group and solo exhibitions in Switzerland and abroad.

The future of humanity's precarious legacy is discussed along the lines of location issues in an endless online conference with 122 participants from civil society. All the experts agree: “Geology is more stable, reliable and predictable than political systems and societies”. A peace steamer cruises through the Moselle vineyards, past the NATO nuclear weapons base. In 1.5 years, the climate targets will be missed. The last and the penultimate generation will not meet. A praying mantis transformed into a stereoscopic pre-cyborg looks into a displaced past. On the Lower Rhine, a decommissioned nuclear reactor becomes an all-inclusive amusement park. There is still no final repository for highly radioactive waste in Germany, but “how are those who come after us to be warned of the danger? Isn't there also a right to forget?” A partially three-dimensional film about warning signs, feedback loops and communication problems, surrounded by living detectors, protest songs, cave drawings and the area between sign and object.

Juliane Jaschnow is an artist and filmmaker. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. Her work has been shown at international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig and steirischer herbst Graz. She is part of the Filmic Initiative Leipzig (FILZ). Stefanie Schroeder works in photography and film and is interested in social usages of photo, images of work/labour, (mental) landscape transformations, east germany and ghostphotographs. She studied at HGB Leipzig, participated in werkleitz PMMC and in MDM pilot program and is a member of FILZ Leipzig and of artspace.mpeg. She won the Bremen Video Art Award and the Aenne Biermann Prize.

In 2012, a computer glitch causes San Diego’s Big Bay Boom fireworks display to go off in a matter of seconds. Drawing on archival footage, the film transforms this spectacular incident into a metaphor, juxtaposing the audience’s sense of wonder with the violence of US interventions around the world, and questioning the boundary between beauty and chaos.

Born in Paris and of Argentine descent, I develop an artistic practice informed by a multifaceted cultural heritage. Having graduated from the Beaux-Arts de Paris in 2025, I identify with both Europe and Latin America, a dual sense of belonging that runs beneath the surface of my work. It manifests itself both in my explorations of memory and migration and in my attention to spaces of transition, fragments, and personal narratives.

Structured as a succession of tableaux vivants, Sans soleil (2024) is an experimental film that stages a pyrolandscape in which humanity contemplates its own collapse. This vision, born of the depletion of natural resources and the industrial excesses of our society, sketches the contours of a future beset by disaster. Drawing inspiration from Caspar David Friedrich’s “tragedy of landscape” and climate fiction exploring the habitability of our planet, Sans soleil imagines the killing of the sun within an enclosed space. Materials melt and turn into a kind of lava in a glowing red semi-darkness, where combustion, far from being merely a destructive force, paradoxically contributes to the emergence of new dynamics of life. Sans soleil thus explores the tension between disappearance and rebirth, destruction and reconfiguration, opening the way to a possible reconstruction.

Collectif Grapain consists of siblings Arnaud Grapain (born in 1989) and Maëva Grapain (born in 1992). They live and work in Bobigny as part of the Le Wonder collective and studied at the Villa Arson – École nationale supérieure d’art in Nice. Since 2026, they have been enrolled in the postgraduate programme at Le Fresnoy – Studio national des arts contemporains in Tourcoing. They are recipients of the MAIF Sculpture Prize (2018), the Gustav-Weidanz Art Prize (2023), the Art Éco-Conception Prize awarded by Art of Change 21 and the Palais de Tokyo (2025), and the ADIAF Émergence Grant (2026). Their work has been exhibited at Kunstverein Braunschweig (2020), the Grande Halle de la Villette (2021), Kestner Gesellschaft (2022), Kunstverein Hannover (2023), CAC Brétigny (2024), the Greenlight Triennial in Norway (2024), and the Salon de Montrouge (2026), with an upcoming exhibition at the Yangpyeong Museum of Art.

While studying the conflictual relationship between socialist revolution and feminism, Dora García came across diaries, notes, and letters from key female figures such as Hannah Arendt, Leslie Feinberg, Alexandra Kollontai, Audre Lorde, Rosa Luxemburg, María Dolores González Katarain (Yoyes), and Clara Zetkin, among others. A common theme in these documents is a feeling of deep and bitter disappointment. These pivotal moments mark the transition from an initial period of action and enthusiasm to a phase of bitterness and sadness, which in turn gives way to a final stage of active, solidary resistance. In Letters of Disappointment (reading), Dora García proposes a collective exercise that begins with a group reading of these “Letters of Disappointment.” After the reading, participants are invited to comment on the letters and discuss personal experiences and specific disappointments, all with the aim of answering the question: “Revolution, when will you fulfill your promise?”

Dora García lives and works currently in Oslo, Norway, and Barcelona, Spain. Dora García has developed works on the GDR political police (the film "Rooms, Conversations", 24', 2006, first presented at GfZK, Leipzig, Germany), on the comedian Lenny Bruce ("Just because everything is different... Lenny Bruce in Sydney”, one-time performance, Sydney Biennale, 2008) or on the rhizomatic associations of antipsychiatry ("Mad Marginal" book series since 2010, and "The Deviant Majority", film, 34', 2010, part of her performance project "The Inadequate", first presented at the Spanish Pavilion, 54th Venice Biennale). She has used classical TV formats to research Germany's most recent history ("Die Klau Mich Show", Documenta13, 2012), frequented Finnegans Wake reading groups ("The Joycean Society", 53', 2013), created meeting points for voice hearers ("The Hearing Voices Café", since 2014) and researched the crossover between performance and psychoanalysis ("The Sinthome Score", 2013, and "Segunda Vez", 2018). In 2018-24 she developed the film project "Amor Rojo", on Marxist feminist Alexandra Kollontai and the impact of her legacy on Third-World, intersectional transfeminisms.

This long take (2’ 54’’) was filmed in the Úpa River valley, made famous in Czech literature by the author Božena N?mcová in the 1850s, who depicted life around a bucolic and lively river. Several centuries later, the story is a different one. It is written on a survival blanket to reflect what the naked eye cannot see: endangered species, pollution, rising temperatures – a reality now common to European river systems. The river’s course crosses borders and spans time. The golden screen bears the figures drawn by the artist, held in the current by the hands of successive generations. The video was produced as part of an artist-in-residence programme in ?eská Skalice in the Czech Republic, at the invitation of Luxfer Gallery.

Catherine Radosa is a Franco-Czech visual artist, performer and filmmaker. She works at the intersection of places and images, words and situations, whether she encounters them or creates them, often in public spaces. Taking shape through encounters and immersion within places steeped in history, and sites defined by their social and ecological functions, her work is rooted in process and collective experimentation; it aims to create new spaces for reflection and representation. Her projects take the form of films, video projections on an architectural and landscape scale, images, multimedia installations, sound works, performances and site-specific interventions. Her work has been exhibited internationally over the past fifteen years, in solo and group exhibitions, at festivals, in cinemas and in public spaces: for example, Maison POP (Montreuil, 2023), Nuit Blanche Paris (2026, 2023, 2013, 2011), the Centre Pompidou (Paris, 2022), Académie du Climat (Paris, 2023), Cinéma Écran (Saint-Denis, 2023), Pragovka Gallery (Prague, 2026, 2021, 2019), Proyector (Madrid, 2021, 2019), Videoformes (Clermont-Ferrand, 2017), Centre de la Photographie (Geneva, 2019, 2016), DOX (Prague, 2014), Galerie Gabrielle Maubrie (Paris, 2013), Rencontres Internationales Paris/Berlin/Madrid (2012), Côté court (2009, Pantin)…

A post-apocalyptic world—which is described through a voice-over haunts the gods and goddesses of the Gallo-Roman Museum in Lyon, filmed from very close up. Through a poem, the film paints a portrait of a doomed, lost, strange era that failed to keep its promises, yet remains abstract. A temporal and sonic rift: the sound is a character in its own right—a rather unsettling, threatening character, like an undefined entity colliding with a past that is itself inaccessible.

Inès Heddar (b. 1995) is an artist and researcher born and based in France, of Algerian origin. At the intersection of video, sound, drawing, publishing and performance, her work explores the notions of memory, territory and narrative, most importantly along the shores of the Mediterranean. She seeks to develop sensory devices that question the relationship between space, history and perception, with a poetic approach rooted in dreamlike imagery. Her installations invite the viewer to step into the territory where she wanders and find their own interpretative path through it. Inès Heddar’s work is an arrangement of reality through the image, whether it be in movement, in a fanzine, or on a sheet of paper. It is political and sensitive.

'The Murmuring Deep’ centers the rupture of traditional knowledge as the site of the sublime, where we can catch a glimpse of more-than-human sources of knowing and being.

Sarema Shorr is a British filmmaker based in Los Angeles. She is a BAFTA Scholar and holds an MFA from CalArts. Through embodied research, her films are in conversation with the external world, where boundaries of meaning are continually redefined through interaction. She uses film as a tool of investigation, play, and reciprocal transformation. Her work has been presented internationally at festivals and venues including Milwaukee Underground Film Festival, Antimatter [Media Art], Labocine, Lausanne Underground Film Festival, Rae–Nang Thailand, Whammy! Analog Media, REDCAT and the REEF LA.

Dione is a film shot at the archaeological site of Dodona, Greece, home to the oldest oracle in the ancient Greek world. Divination here was based on listening to the manifestations of the living world: the rustling of leaves in the sacred oak, birdsong, and the resonances of bronze cauldrons. Drawing on this history, the film offers a contemporary reinterpretation of the oracle, making listening its guiding principle. The elements of the landscape — stones, water, trees, insects, wind and animals — become the protagonists of a sensory experience in which the boundaries between reality and imagination begin to blur. Developed in collaboration with composer and researcher Florent Caron Darras, the film's sonic exploration uses various recording techniques to investigate phenomena that ordinarily escape perception. Natural sounds and electronic transformations intertwine to create an acoustic landscape in which other presences and temporalities emerge. With Dione, Mélissa Epaminondi continues her exploration of our relationship with territories and the forms of life that inhabit them. The film invites us to shift our perception of the landscape, attuning ourselves to its multiple presences and temporalities.

Born in Bastia in 1977, Mélissa Epaminondi lives and works between Paris and Corsica. An artist and architect, she graduated from the École nationale supérieure d’architecture de Marseille-Luminy. Her practice explores the relationships we develop with the landscapes, architecture and environments we inhabit. Through films and installations, she investigates the sensory and perceptual dimensions of our relationship to place, as well as the connections between natural phenomena, memory and imagination. Her work creates experiences in which observation, listening and fiction intertwine. Her work has been presented at FRAC Corsica, Es Baluard Museum of Modern and Contemporary Art (Palma de Mallorca), Les Rencontres Internationales Paris/Berlin, the Centre d’art contemporain de Meymac, and Casa Conti – Ange Leccia. In 2010, she co-founded L140, a collective dedicated to exploring the relationships between art and architecture. From 2016 to 2022, she taught video art at the Université de Corse Pasquale Paoli.

Bajo el cielo cayendo (Under the Falling Sky) constructs a miniature world within a maquette, where staged disasters—human-made accidents and ecological collapse—coexist with fragile scenes of emergent life. Filmed in a single continuous take, the camera glides through this microcosm in a meticulously choreographed sequence, spiraling in a 360-degree orbit that mirrors the cyclical motion of life and cosmic systems. This rotation dissolves the boundaries between catastrophe and renewal, embracing how mediated images can both obscure and reveal the layered narratives of crisis. Raw, unfiltered visuals merge with theatrical artifice: landscapes oscillate between decay and rebirth.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam, in The Netherlands. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy, Roubaix, France from 2003-2004. His work has been exhibited widely at venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Le Fresnoy, Roubaix; CAC, Vilnius; Art in General, New York City; Ludwig Museum, Budapest; Biennale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; Calouste Gulbenkian Foundation, Lisbon; the Biennale di Venezia and Documenta Fifteen. His works can be found at the collections of the Centre Pompidou; Tate Modern; Fundación Jumex, Mexico; Sandretto Foundation, Torino; Lemaître's collection; Constantini collection, Buenos Aires; Pinault Foundation, Paris; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon between others. In 2009 he was awarded a Guggenheim Fellowship.

On one hand, intergalactic particles or grains meeting a community’s fireworks—the explosions’ lights–momentary glows against the night sky. On the other hand, extracts from Gramsci’s life in prison, memories of a revolutionary thinker as he approaches death, alongside the inner workings of the planet, bubbling scenes, and volcanic land. While the film’s pace is slow, its stories carry millions of years, myths, stellar imagery, high-tech machinery, and also realities of life, especially in Sicily. Myth and Mercury’s ending segment offering a vision of scientific futures comes all of a sudden. Ultra-high energy neutrino detected in the Mediterranean, it has been declared. Records have been broken. Pulverised, even.

Rosa Barba, born in Agrigento, Italy, and based in Berlin, Germany, explores themes of permanence, impermanence, reality, and fiction through films, sculptures, installations, publications, and performances. Her work examines how space is influenced by temporal and linguistic constructs, challenging traditional narratives and semiotics. Barba deconstructs cinematic elements, merging physical materials with abstract concepts like time and sound. Her work is part of numerous international collections and her forthcoming and recent solo exhibitions include: Nevada Museum of Art (2027), Gropius Bau, Berlin (2027), Barbican, London (2027)Centre Pompidou, Paris (2026), Museum Haus Konstruktiv, Zurich Art Prize (2026), Albertina Museum, Vienna (2026), Calouste Gulbenkian Museum, Lisbon (2026), MAXXI, Rome (2025), MoMA, New York (2024, 2025), Centre Pompidou, Paris (2023), Tate Modern, London (2023), Neue Nationalgalerie, Berlin (2021-2022), and at Biennials such as the 53rd and 56th Venice Biennale, Sao Paolo (2016), Sydney (2014) and Performa (2013). Barba was awarded the Zürich Art Prize (2026), Smithsonian Artist Research Fellowship (2025), the Calder Prize in 2020 and the Fondation Prince Pierre de Monaco's International Prize for Contemporary Art in 2015.