Programme Paris
Mercredi 20 novembre 2024

The game follows ideas such as design by subtraction. A world devoid of time and space where the great dichotomies of human thought no longer cast a shadow. A post-anthropocentric world with a non-hierarchical structure. Here we cannot orient ourselves, which defies our understanding in a refreshing way and makes us forget - at least for a few moments - who we are; where we come from; and that we believe we are of particular importance. Forced Amnesia follows a simple instruction pattern: explore and you will find. As it is devoid of language all we have to do is follow our instinct. What we learned in games that we played before. The idea for Forced Amnesia started 2023 as an art exhibition, which led to the development of a video game. Forced Amnesia is a game with focus on quiet moments, inspired by the concept of design by subtraction, philosophy introduced by Fumito Ueda. The game gives the player lots of space to navigate through. Forced Amnesia’s aesthetics moves through a stage of comforting uncertainty, the player does not know if they are above or under water, swinging or flying. This state, fused with a calm soothing musical score creates a space for relaxation and calm. Places that nowadays are getting increasingly harder to find. Forced Amnesia aims at an older generation of gamers. Gen X and Gen Y will be the first generation to grow old playing video games. As we slowly age, our lifestyle and perception changes, Forced Amnesia is there to accompany us.

Mary-Audrey Ramirez studied under Thomas Zipp at the University of the Arts in Berlin Germany from 2010 to 2016. In 2019 she was the recipient of the prestigious Edward Steichen Award in Luxembourg for her textile-based sculptural and pictorial works. Early 2025 Ramirez’s Qrst percent for art work will be Qnalized in Berlin Spandau. Her works have been shown in both solo and group exhibitions at institutions such as Casino Luxembourg, forum d’art contemporain, Luxembourg; Kunsthalle Gießen, Gießen; Dortmunder Kunstverein, Dortmund; TRAUMA BAR UND KINO, Berlin; Kai 10 Arthena Foundation, D sseldorf; Haus Mödrath, Kerpen; Margot Samel Gallery, New York City; Polansky Gallery, Prague and MARTINETZ, Cologne. She was also part of Esch2022+ARS ELECTRONICA, Luxembourg/Linz. “Ramirez creates a dense image of a world with her figurative representations in pictures, objects and games, It is a world devoid of time and space where the great dichotomies of human thought no longer play a role. A post-anthropocentric world that is not organised hierarchically. A world in which we cannot orientate ourselves, which defies our understanding in a refreshing way and makes us forget, at least for a few moments, who we are, where we come from and that we believe we are of particular importance” - (Annekathrin Kohout)

Fascinated tourists stroll through the GDR museum as if it were an amusement park, detached from the painful narratives of the communist regime. Their casual attraction to vintage relics, coupled with a comfortable amnesia, and a desire for utopian ideals, renders them complicit in the current Cuban reality.

Heidi Hassan is a Swiss-Cuban filmmaker and visual artist with a career that spans documentary, experimental cinema, and hybrid forms. After earning a degree in Cinematography from the Escuela Internacional de Cine y Televisión (EICTV) in Cuba and a distinction from the Haute École d'Art et Design (HEAD) in Geneva, her work has been celebrated globally. Her films often explore themes of exile, identity, and memory, and have been exhibited at prestigious festivals around the world. Among her works, "A Media Voz" (2019) stands out, having won multiple awards such as Best Documentary at IDFA-Holland, at the Havana Film Festival-Cuba, Málaga Film Festival-Spain, Iberoamerican Festival of Ceará- Brazil, FICCALI-Colombia. Her other acclaimed films include "Tierra Roja" and "Otra Isla" Additionally, she has received numerous grants and participated in exhibitions like "Inner Landscape" in Taiwan and collective shows in New York, Buenos Aires, and Geneva. Through her deep engagement with both cinema and visual arts, Hassan continues to craft narratives that challenge conventional storytelling.

Built during British colonial rule in 1930, the Kalurghat Bridge serves as a vital connection between the north and south of the greater Chittagong district of Bangladesh, bisected by the Karnaphuli River. Historically, this bridge facilitated communication between regions in south Chittagong, bridging the gap from British India. From the circle of my family ancestors, many left the southern part of Chittagong from the British period, particularly the partition period, to the Pakistan period and settled in different parts of this subcontinent. Then, during the liberation war of Bangladesh in 1971, some people in Bangladesh-India border areas took shelter for some time and worked in various ways for the freedom of the country. From the post-independence period to the present, many people from this southern region migrated to other countries outside the subcontinent for different purposes and reasons, including re-settlement in Chittagong City and Dhaka. These familial and local stories are not linear. Through different layered images on the bridge, the video features a female narrator, embodying the collective familial past. The narrative within the video is a fictionalised merge drawn from different stories and correspondences, further exploring familial history and connection.

Palash Bhattachajee has undergone a shift in his artistic journey, transitioning from academically focused printmaking toward multi-media, experimental art-practice via a close encounter with performance art activism. He takes critical interest in closely reading filmic genres and their performative idioms. The photo/videographic style and the eclectic selection of objects in his works are influenced by the cerebral matrix of contrapuntal, non-narrative aspect of deconstructed storytelling adopted from global cinema. Based and born in Chittagong, Bangladesh, he received his Master’s and Bachelor's degrees from the Department of Fine Arts, Chittagong University. He was awarded the Asia Pacific Fellowship Residency from MMCA Residency Goyang in 2011 and received a grant from Seoksu Art Project of Stone & Water, South Korea, in 2010. His works have been widely exhibited in Bangladesh, including at Chobi Mela 2021, Dhaka Art Summit 2012-2020, Asian Art Biennale 2012-2022, Dhaka, and internationally, including ‘Legacies of Crossings’, Shahnaz Gallery, London, UK 2024; NOmade Biennial, Art Center Gallery Elblag, Poland, 2023; Warehouse421, Abu Dhabi, UAE, 2022; Colomboscope, Colombo, Sri Lanka, 2022; ‘The Oceans and the Interpreters’ and ‘The Deep City’, Hong-Gah Museum, Taiwan, 2020; ‘Seven Exhibitions’ at Exhibit 320, New Delhi, India, 2018; and many more.

Filmmaker Alex Schuurbiers became captivated by a small house on a French island, a mystical place hidden between the incessant force of wind and waves. In the experimental documentary Song Of Homecoming, she talks to the house and its inhabitant in an attempt to find kinship and connection.

Alex Schuurbiers (she/her) is a photographer and filmmaker from the Netherlands living and working in Antwerp, Belgium. After years of writing short stories and shooting portraits, she started combining text with moving images for the short film En Vagues, which premiered at Courtisane, Gent in 2023. Inspired by the work of Jean Epstein, it was shot on 8mm on Ouessant, a small rocky island off the coast of Brittany. She created the miniature Handwerk at LABOBXL filmed on a Bolex, hand-developed and edited on a Steenbeck, after which she fell even more in love with the medium. In early 2023 she finished Where I lay my head to rest, a personal cine-essay about modern day femininity and close collaboration with cinematographer Ans Mertens. Song of Homecoming is her first foray into more documentary-based experimental filmmaking. She is also the founding member of Ursula, a collective of women working with the moving image based in Antwerp.

Echoed in a memory-laden house are daily conversations between a mother and her two sons, all seemingly asleep. This autobiographical short, in a hybrid form, chronicles a personal memory from director Le Ngoc Duy's adolescence, using set design and reenactment to reconstruct his childhood home and featuring his mother’s voice as part of the cast.

LE Ngoc Duy (b. 2000) is a Vietnamese filmmaker and a member of A Sông Collective from Danang City. He was trained in filmmaking workshops by doc cicada and New Asian Filmmakers Collective in Cambodia. His works explore the subjects of family and homeland memories, queerness, and young adulthood, often set against historical backdrops and blending nonfictional and poetic elements within fictional narratives. "The House That Stays", Duy’s debut short film, was an official selection at Kaohsiung Film Festival, ZINEBI International Festival of Documentary and Short Film of Bilbao, Uppsala Short Film Festival, and Jogja-NETPAC Asian Film Festival. Currently, he is organizing and co-programming the Cinema Con Nha Ngheo project in Danang.

A man wakes up in a nightmare where he finds his grandmother's favorite tree burning outside his window, and is haunted by whispers of his childhood. The text is adapted from a page in my notes app dedicated to things my younger sister says that I find strange, or sad, or hopeful. The images are from a recurring nightmare. This film was shot on 500 ft of 5219 Kodak 35mm film stock.

Dylan Rizzo is a filmmaker and photographer based in New York City. He is currently pursuing his MFA in directing at Brooklyn College’s Feirstein Graduate School of Cinema. His work draws from his experiences as a native New Yorker and Chinese - Italian American, often dissecting the meaning of memory and how reconciling the past informs the process of becoming. Last year he completed a 18 min short film titled “One Day I’ll Open My Fist”, shot on location in NYC’s Chinatown on 16mm film. It is currently being submitted to festivals.

Fade portrays the rural life of a grandmother in Japan while persimmon trees enter the late season.The grandmother’s tenacious care for traditions, trees & home, the film poetically depicts the tableaux of forgotten rural memory of the post-war; the glimpse of human spirit and persistence appear in the passing of seasons, awaiting the new beginnings.

Asako Ujita (1997, Osaka, Japan) is an artist/filmmaker based in London. In her practice, she is interested in exploring history and working with the archival - from news, found footage, to informal recordings such as dairies and letters. Beneath the layers of calm and dream-like tone of her films, these narratives of the past weave into current socio-political issues such as post-colonialism, ecology, gender, and identity. She considers this stitching of time a reconstruction of myth, evoking psychological experiences of collective memory, trauma and imagination in the present. Her work has been screened and awarded internationally, including the Grand Prix award at 25 FPS Festival, Croatia, Alchemy Film and Moving Image Festival, UK, Regeneration at Barbican Centre 2021 London, and Speculative Future; Climate Crisis at Horniman Museum and Gardens, 2020 London.

Mercury Black Magic is a meditation on being young and restless. A young man transfers his grief into the reconstruction of a 1980’s muscle car. His description of this restoration parallels the coming to terms with the emotions related to the loss of his father. This piece follows him through the landscape in which he and his friends hangout, together. This work is created amongst the young people of Salina, Kansas. They were hanging out at lookouts, parking spaces, and park shelters, doing seemingly nothing, but to them (and me) everything: listening to music, gossiping, relaxing, being. These moments are often described as nothing or as boredom or as inconsequential, but these are the moments with the most potential. Maybe these instances will not be recounted or thought of as memorable but, to me these moments feel the most intense. Before there is time for reflection these times are over, exhausted without ceremony. This is less a full understanding of a place, but my impression, a trace of a series of moments or an attempt to understand the world. This is an attempt to make something with the participation of the young people I met in Salina.

Justin Schmitz is and photographer and video artist working outside of Chicago, Il USA. He completed his Master of Fine from Yale University in 2013. He is the recipient of the Toby Devan Lewis Fellowship, The Tierney Fellowship, City of Chicago CAAP Grant, Albert P. Weisman Scholarship, and The Union League Civic and Arts Foundation Scholarship. A collection of his work is part of the Mid-West Photographers Project at the Museum of Contemporary Photography. He was runner-up for the Photography Book Now Prize, and a finalist for the Honickman First Book Prize.

Aequare. The future that never was by Sammy Baloji, 2023, 21’04 The film swings between archival film clips dating from 1943 and 1957, sourced from INEAC’s colonial propaganda, and 21st century captures of the same Yangambi premises, like a pendulum that never moves time forwards. An acronym for the former National Institute for the Agronomic Study of the Belgian Congo, its post-colonial successor, the Institut national pour l’Etude et la Recherche Agronomique (INERA), is on film so suffused with past, colonial “coordinate systems” that the present looks inert and at a standstill, as if held hostage by frames of knowledge that refuse to abdicate. Decades after decolonization, that persistent hold is made explicit by an imposing and intact map of the Belgian Congo hung high on the wall, and by all the remaining rusty machines, labelled test tubes and rotting reports and specimens, dusty instruments of measure, and laboratories. Against the crumbling of these infrastructures, a devoted population of Congolese clerks seem to assist the preservation of the collected data and methods, in a choreography of gestures that the montage reveals to be inherited from the colonial decades. Amidst images of farmers burning trees to make the charcoal sold at surrounding markets, or those of clerks’ motivational posts proudly professing the exactitude of their pursuit, the atavism of colonial ecology seems apparent. Excerpt from: Sandrine Colard, FROM THE EQUATOR, I HAVE SEEN THE FUTURE

Since 2005, Sammy Baloji has been exploring the memory and history of the Democratic Republic of Congo. His work is an ongoing research on the cultural, architectural and industrial heritage of the Katanga region, as well as questioning the impact of the Belgian colonization. He touches upon a variety of media to translate his research into artefacts. His use of photographic archives allows him to manipulate time and space, comparing ancient colonial narratives with contemporary economic imperialism. His video works, installations, sculptures, andphotographic series highlight how identities are shaped, transformed, perverted and reinvented. His critical view of contemporary societies is a warning about how cultural cliches continue to shape collective memories and thus allow social and political power games to continue to dictate human behavior. His recent personal exhibitions include: Sammy Baloji, Goldsmiths CCA, London (2024), Unextractable: Sammy Baloji invites, Kunsthalle Mainz, Mainz (2024), Style Congo: Heritage & Heresy, CIVA, Brussels (2023), K(C)ongo, Fragments of Interlaced Dialogues. Subversive Classifications, Palazzo Pitti, Florence (2022) He has recently participated in the 35th Bienal de Sao Paulo (2023), the Architecture Biennale of Venice (2023), the 15th Sharjah Biennial (2023), the Sydney Biennial (2020), documenta 14 (Kassel/Athens, 2017) Sammy Baloji co-founded in 2008 the Rencontres Picha/Biennale de Lubumbashi. In September 2019 Sammy Baloji started a PhD in Artistic Research titled “Contemporary Kasala and Lukasa: towards a Reconfiguration of Identity and Geopolitics” at Sint Lucas Antwerpen.

"Ombazu yaKouHerero yazikama okuza kororowa." A studio in Berlin-Kreuzberg. Simon Tjimbawe has chosen this location to answer questions sent by a museum in Braunschweig. The museum is exhibiting Chief Kahimemua’s belt, which will be soon given back to Namibia. Kahimemua was an Ovambanderu leader, who was executed by Germans in 1896. His descendants are related to Tjimbawe’s family.

Laura Horelli is a visual artist and filmmaker living in Berlin. She has been researching the historical relations between Namibia and Germany since 2016, particularly the relationship of the liberation movement SWAPO and the East German state during the Cold War. Horelli was born in Helsinki, grew up partly in Nairobi and London. www.laurahorelli.com Simon Tjimbawe is a Herero born in West Berlin. His father was a member of the liberation movement SWANU who studied economics in Leipzig in the 1960s. He is a film sound mixer and lives and works in Berlin.

Au Bénin, les gens de l'eau, qui autrefois ont lutté contre la Colonisation, font face à la jacinthe d'eau, une plante colonisante qui se reproduit à une vitesse vertigineuse en étouffant le lac. Réalisme et imaginaire se mêlent alors, comme si l’un n’était compréhensible ou tolérable qu’en raison de l’autre.

Italienne et diplômée en Économie de l’Art à l’Université Bocconi, Marina Russo Villani s’est formée en cinéma et en scénario en France, à la Sorbonne Nouvelle et à Paris Nanterre. Scénariste et réalisatrice de fiction et de documentaire, elle co-signe avec "À qui le monde" une fable politique fantastique qui dresse un portrait fantasmé et ironique de la manière dont fonctionne le monde. En parallèle de son travail d'auteure, elle fonde en 2023 sa société de production, Filibusta. Le travail de Victor Missud s’intéresse de manière poétique à des personnes marginalisées d’un territoire et de la société, qui deviennent acteurs et actrices non-professionnel·le·s de ses œuvres. Mêlant documentaire, fiction et cinéma de genre, ses travaux ont été présentés et primés en France et à l’étranger - Visions du Réel, IFF Rotterdam, Hors Pistes - Centre Pompidou, Rencontres Internationales Paris/Berlin, Etats Généraux du Documentaire de Lussas. En 2024, il intègre le Fresnoy - Studio national des arts contemporains.

Le monde de Dominique Petitgand est celui de l’écoute. Depuis trois décennies, l’artiste crée des pièces sonores qu’il diffuse à travers des disques, à la radio, lors de séances d’écoute se déroulant dans l’obscurité, selon le principe d’un « cinéma pour l’oreille », ou encore sous la forme d’installations déployées dans l’espace, dans des lieux d’exposition. Dans son travail de montage, des fragments de voix sont découpés, isolés, détachés de leur contexte, et associés à d’autres éléments vocaux, sonores ou musicaux. Ses œuvres portent attention au potentiel narratif que recèlent ces fragments de réel autant qu’aux « liens invisibles » qui les relient entre eux. Comment prolonger, à l’écran, l’expérience de ses œuvres ? Comment filmer l’écoute ? C’est à partir de ces interrogations que sont restitués trois moments de création et de diffusion : une séance d’écoute présentée au Musée des Beaux-Arts de Nancy ; un temps de travail autour de la table de montage, dans l’atelier de l’artiste ; une installation sonore, Les heures creuses, créée pour les espaces du T2G – Théâtre de Gennevilliers.

Christophe Gallois est, depuis 2007, curateur au Mudam Luxembourg. Il a été le commissaire de plusieurs expositions collectives d’envergure, parmi lesquelles « The Space of Words » (2009) et « L’Image papillon » (2013), et d’expositions personnelles d’artistes tels que Guillaume Leblon (2009), John Stezaker (2011), Sanja Ivekovic (2012), Fiona Tan (2016), Su-Mei Tse (2017), Jeff Wall (2018), Katinka Bock (2018), David Wojnarowicz (2019), LaToya Ruby Frazier (2019), Zoe Leonard (2022), Tacita Dean (2022) et Dayanita Singh (2023). Un nombre important de ces projets ont été développés en collaboration avec des institutions telles que le Taipei Fine Arts Museum, le Aargauer Kunsthaus, la Whitechapel Gallery à Londres, le Musée d’Art Moderne de Paris, le MCA Australia à Sydney, la Kunsthalle Mannheim ou encore le Whitney Museum of American Art à New York. Consacré au travail de Dominique Petitgand, « L’écoute vagabonde » est son premier court-métrage documentaire. Pensé comme un prolongement de sa pratique curatoriale, celui-ci poursuit un dialogue entamé avec l’artiste au milieu des années 2000 dans le cadre de plusieurs expositions de groupe et d’une exposition personnelle, ainsi que de la rédaction de textes et des entretiens.

Ce film-installation, projeté en boucle sur deux écrans, présente une variation sur la vision paroptique (la possibilité de voir avec la peau, sans le concours des yeux), la télépathie, la théorie des couleurs et le thérémine. Les différentes séquences introduisent l’hypothèse d’un cinéma imaginaire. Le film est présenté comme une série de rushes suggérant un film inachevé, en puissance.

Érik Bullot est cinéaste et théoricien. Auteur de nombreux films à mi-chemin du documentaire et du cinéma expérimental, il a publié récemment L’Attrait des ventriloques (Yellow Now, 2022) et Apunts de cinema (Filmoteca de Catalunya, 2023). Il présente en 2025 une exposition personnelle Voyages en kaléidoscope au Centre d’art Les Tanneries, accompagnée d’une publication Cinéma vivant chez Macula. Il enseigne le cinéma à l’École nationale supérieure d’art de Bourges.

This animation highlights the technological remnants of what is left behind. It is a simplistic creation consisting of color and rhythm. It incorporates X-ray images, figures from Pompeii, and footage of a turtle in Syria. This creation story symbolizes the ability to generate something new and release it, akin to a primordial soup of pixels. The animation emphasizes the constant act of looking, viewing, perceiving, and receiving images. It portrays the relationship between the photographic technique, the apparatus itself, "the machine," and the complexities of distortion in perception and imagination. The film was created using a broken special effects machine from the 1990s, resulting in the destruction, overexposure, underexposure, abstraction, and, ultimately, in the freedom of the material.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, there by enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

UNDER BOOM (2024) is a hallucinatory cinematic experience shaped through a combination of human-shaped sonic ecologies and deep time. Framed as a listening station and a geological hotspot to imagine society’s shifting sonic world, the work takes the audience through an anthropogenic cinema experience with infrasound, an inaudible bandwidth of 0–20 Hz filled with shockwaves caused by human activities. These include mining blasts, burning space debris, air strikes, atomic bangs, sonic booms, seismic guns, and the calving of ice sheets. The work stems from the discovery of a listening island in the mid-Atlantic, which due to its geo-positioning and low noise ratio is hyper-sensitive to long-wave sounds. From this island, the sonic ruptures of the Earth’s ever-changing global acoustics can be heard. UNDER BOOM is captured using stroboscopic techniques, where anthropogenic beats orchestrate the presence of visuals. Infrasonic events become markers of visibility, entangling frequency with video frame-rates in an act to dissolve ocularcentrism. The frictions of vibrating matter, shaking sonics, and flickering images highlight the physical renderings of human sounds on the Earth. Linking the intimacy and intensity of flicker cinema with an embodiment of climate allows for alternative modes of listening and climatic imaginary experiences. What if the Earth was dancing faster and faster every year?

Louis Braddock Clarke is an artist and researcher interpreting notions from domains of art, geography, physics, and esoteric philosophy. Listening and amplification as creative methods have become key approaches to their work relating to disrupted ecologies. Through fieldwork, filmmaking, sonic tuning, and amateur geology their projects seek to speculate on the future surfaces of the Earth. Braddock Clarke’s relationship with the geographical arts is embedded in their formative years in Cornwall, surrounded by radon moorlands, granite quoits, shifting isolines, pixies, tin mines, and trans-Atlantic cable systems. These entangled Earth energies have become paramount to their ongoing research methods relating to technologies and terrains.

Quote: "While I was watching you, exotic words drifted across the mirror of my mind as summer clouds drift across the sky". Unquote.

Sandro Aguilar (1974) studied film at the ESTC. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and shown in the most relevant festivals worldwide. Two times nominated for the EFA – Best european short film. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF.

Que nous dirait La Seine si elle pouvait nous parler ? Se souvient-elle de tout ce dont nous avons rêvé, imaginé et dit à son sujet ? De ses passages lumineux, de ses recoins sombres ? De tous les secrets déposés ? Des mots d’amour ? Des chagrins ? Le Fond de la Seine nous parle à la première personne, nous dévoilant un portrait poétique d’un fleuve chargé de vie, de luminosité, d’histoires et d’espaces sombres. Ce portrait réalisé grâce à des images subaquatiques et des images de paysages, narré par une voix puissante et accompagné d’une bande son émouvante, se construit au fur et à mesure du film. Depuis sa source timide, origine de nombreux mythes paléolithiques, en passant par des recoins doux et cristallins qui lentement deviennent une puissante masse d’eaux, route industrielle, passage urbain et de pouvoir qui finit par se déverser dans l’océan en fusionnant cœur et âme avec toutes les masses d’eau sur terre. Le Fond de la Seine nous parle d’une façon sensible, des sentiments et fantasmes que nous projetons envers ce fleuve que nous connaissons si bien et qui pourtant nous cache tant de choses.

Iván Argote, Bogotá 1983, vit à Paris. Iván Argote est un artiste et réalisateur colombien basé à Paris. À travers ses sculptures, installations, films et interventions, il questionne notre relation aux autres, aux structures de pouvoir et aux systèmes de croyance. Il développe des stratégies basées sur la tendresse, l'affect et l'humour à travers lesquelles il génère des approches critiques des récits historiques dominants. Dans ses interventions sur des monuments, ses œuvres d'art public éphémères et permanentes à grande échelle, Iván Argote propose de nouvelles utilisations symboliques et politiques de l'espace public. Iván Argote a étudié le graphisme, la photographie et les nouveaux médias à l'Universidad Nacional de Colombia à Bogotá et est titulaire d'un MFA de l'École Nationale Supérieure des Beaux-Art (ENSBA) à Paris. Ses expositions personnelles comprennent : 'TO MOVE AND BE MOVED', KØS Museum, Copenhagen, DK (2024) ; 'The Burden of the Invisible', SCAD MOA, Savannah, GE (2024) ; 'Prémonitions', Perrotin, Paris, FR (2022) ; ‘Aliens en Madrid’,galerie Albarrán Bourdais, Madrid, ES (2022) ; ’Chaflierplatz’, Dortmunder Kunstverein, DE (2021) ; 'A Place for Us', Perrotin, New York, US, (2021) ; 'All Here Together', Artpace, San Antonio, TX, US, (2021) ; 'Juntos Together', ASU Museum, Phoenix, USA (2019) ; 'Radical Tenderness', MALBA, Buenos Aires (2018) ; 'Somos Tiernos', Museo Universitario del Chopo, Mexique (2017) ; 'Somos', Galeria Vermelho, Sao Paulo (2017) ; 'La Venganza del Amor', Perrotin, New York (2017) ; 'Let's write a history of hopes', Galeria Vermelho, Sao Paulo, BR (2014) ; 'La Estrategia', Palais de Tokyo, Paris (2013) ; Sin heroísmos, por favor', CA2M, Madrid, (2012) . Les œuvres de l'artiste font partie des collections permanentes de nombreuses institutions prestigieuses dans le monde entier, notamment le Guggenheim Museum (New York, États-Unis) ; le Centre Pompidou (Paris, France) ; l'ASU Art Museum (Phoenix, États-Unis) ; la Cisneros Fontanals Art Foundation (Miami, États-Unis) ; la Colección de Arte del Banco de la República (Bogotá, Colombie) ; Kadist (San Francisco, États-Unis) ; le MACBA (Barcelone, Espagne).

In a land of musical rivers and omens coming from the heart of the jungle, a young man overhears a bird's song as a message of his fate. A dream-like contemplation of a man dissolving into a large common body.

Nicolás Garcés was born in Pasto, Colombia, and holds a degree in Filmmaking from the Universidad Nacional de Colombia. His work focuses on ethnographic explorations and experimental practices in audiovisual media, and has been screened in festivals such as MIDBO, Festival du Nouveau Cinéma de Montreal, FICCI, among others.

In search of traces and imprints of an absence, this film examines the coexistence between nature and man-made structures or artifacts, to deliver a formal object of commemoration. An obscure celebration of the surface of a fractured and exhausted world, what could have been a city symphony evokes instead the feeling of a mausoleum for our present existence.

Pablo Marín is a filmmaker and writer. As an independent researcher and curator, he has presented programmes on Argentinean cinema in the United States, Canada, Spain, Austria, Finland and Switzerland. He has translated books by Jonas Mekas, Stan Brakhage and John Waters, among others, and his volume on Argentine experimental cinema, Una luz revelada. El cine experimental argentino, was published in both Argentina and Spain by La Vida Útil in 2022. His film Resistfilm (2014) won the best Avant-Garde Film at Filmadrid, and his latest, Trampa de luz (2021), was awarded the Principal Online Prize of the International Short Film Festival Oberhausen.

Un dialogue entre le mont Ararat et le Mont Analogue de René Daumal interroge le paradoxe de leur présence visible mais inaccessible en tant que montagnes intérieures. Ce dialogue reflète comment les montagnes, au-delà de leur rôle de repères physiques, agissent également comme des constructions métaphysiques qui façonnent notre perception de nous-mêmes. À travers ce prisme, les frontières entre biographie personnelle et géographie s'effacent, révélant les liens profonds entre nos identités et les paysages que nous habitons. Le mont Ararat, avec son sommet volcanique de 5 137 mètres visible à l'horizon, se dresse comme un symbole poignant—toujours à portée de vue, mais inaccessible en raison des forces géopolitiques intractables.

Dans sa pratique filmique, Gohar Martirosyan examine les ensembles d'influences qui participent à la construction d'une personne ou d’une identité, qu'elles proviennent d'événements historiques, de pratiques culturelles, de liens sociaux ou de relations avec différentes formes du vivant. Par le biais d’images d’archives et de procédés technologiques, son installation vidéo fait dialoguer des géographies devenues inaccessibles, autrefois habitées par l’activité humaine, prenant naissance dans la biographie de l’artiste. Gohar a étudié au Le Fresnoy, elle est née à Gyumri (Arménie) et est actuellement basée à Paris.

Qirat is loosely based around an oral family anecdote of a robbery that took place in the lush valley of Fez in northern Morocco during the 1980s. In the film, the events have been transposed to Ouarzazate, located on the edge of the Sahara Desert in central Morocco. Here the anecdote is reconstructed freely, over the course of a single Friday, shot solely during dawn, dusk and finally night.

Amin Zouiten (born 1994) is a Swedish-Moroccan filmmaker and artist educated at Malmö Art Academy and the Academy of Fine Arts in Vienna. His works and films have been shown at Malmö Art Gallery, Recontres Paris/Berlin, International Short Film Festival Oberhausen, Kunsthal Charlottenborg, CPH:DOX, and Tempo Documentary Festival, Uppsala Short Film Festival. In 2024, he was the recipient of the Cultural Award of the City of Stockholm and the Bernadotte Scholarship, awarded with an upcoming solo presentation at the Royal Academy of Arts in Stockholm. Beyond his own artistic practice, he has served as an assistant editor for filmmaker C.W. Winter and as a visiting tutor at Malmö Art Academy and the Royal Danish Academy of Fine Arts in Copenhagen.

Nhà Sàn Collective presents a new moving image work filmed at the residence of Mr. Manh Duc, a home in close proximity to the collective and their community of artist friends for many years. In this playground, a mystical world emerges; a cinema is reenacted. As the film unfolds, a river, a garden, spirits, wooden structures, people and objects appear, dissolve and reappear, as if they were characters morphing into one another. The film draws attention to cinematic transformation of physical and immaterial beings as a process of experiencing diverse forms of archives.

Nhà Sàn Collective (NSC) began operating as an independent artist collective in Hanoi in 2013, when a group of friends set up their publicly accessible space. With or without a physical base, NSC has worked with fellow companions and collaborators to organise exhibitions, workshops, film screenings, talks and other activities as a supporting platform for artists in the community. An initiative for exchanges, expansions and connections. A place that’s also open toward works-in- progress and the unexpected, a just-do-it attitude which doesn’t always yield answers. Some of the Collective's main projects, which have been held on numerous occasions, are Skylines With Flying People, IN:ACT Performance Art Festival, Queer Forever!, Emerging Artists programme, amongst others. The collective board consists of Tr??ng Qu? Chi, Nguy?n Ph??ng Linh, Nguy?n Qu?c Thành, V? ??c Toàn, and Tu?n Mami. In 2022, they participated in Documenta 15 curated by Ruangrupa with their invited artist friends. The name ‘Nhà Sàn’ signifies the Collective’s foundation which is rooted in the spirit of Nhà Sàn Studio, an artist-run space founded in 1998 in Hanoi. The original Nhà Sàn, a house on stilts, was taken apart in 2020. In the Ng?c Th?y area by the bank of the Red River, the artists imagine this house to become the new Nhà Sàn Collective space, rebuilt, and transformed.

The video work The Clearing reveals a fascination for exploring the indescribable and the ambiguous, a space in which certainty falls away and one can experience moments of thoughtlessness, perhaps even timelessness. This concept of an indefinable space is a recurring theme in Marco Douma and Roel Meelkop's audiovisual works.

Since the 1990s, both makers have been active in art in their own fields. Roel Meelkop developed from visual art to sound artist and Marco Douma developed from painting to multimedia artist. They made the acquired expertises their own and are in that sense self-taught in their current fields. At the same time, their visual academic background still plays a major role in the creation process. Perhaps this common denominator, which they recognise in each other's work, makes their collaboration so natural and complete. The collaboration began in 2011 and since then they have created video installations, performances and video works.