Catalogue > List by artist

Marcel Duchamp talks about an absurd 'readymade'. An art dealer creates a discourse using the idea of the 'readymade'. An art historian talks about her long time relationship observing Robert Smithson's Spiral Jetty. These personal micro-histories around paradigm shifting artists offers hidden knowledge around the common art historical narrative. While the artist turns over the rocks of the Spiral Jetty, bringing back the experiential quality to an artwork that is mostly known through images.

In this film about a falsified InterRail ticket, a chain of events and links arise which leads the filmmaker on a journey. Where fiction in a performative manner seems to materialize itself and create a piece of reality that seems to imitate fiction. The protagonist in the film is never to be seen, instead we follow her voice through staging and documents while the story is being mediated.

Eva Rocco Kenell (b. 1982 Växjö, Sweden) holds a BFA from Gerrit Rietveld Academy in Amsterdam and a MFA from Konstfack University of Arts and Craft, Stockholm where she graduated with the honorable Principal scholarship. Kenell’s artistic practice is based on a documentary ground, even though the intentions are rather to break down classical narratives and normative storytelling. Not only concepts surrounding fiction and reality are central, but also questions around which one of the two is creating the other. Kenell`s methodology consists of a research based practice with a focus on micro-histories, where she explores single events and where details in a story can become the new center and the place which the focus is transferred to. Kenell`s practice brings up notions concerning the role of the documentary, storytelling, concept of truth and imitation. And at the same time it opens up for questions around freedom of movement and counter-strategies.

Looking down at the Brisbane River–a play of masking and superimpositions. Sound by Samuel La France. Made in residency at Container, Brisbane and nanolab, Daylesford.

Chris Kennedy (b. 1977 Easton, Maryland, raised Cambridge, Maryland) is an independent filmmaker, film programmer and writer based in Toronto. He is the Executive Director of the Liaison of Independent Filmmakers of Toronto. His short experimental films have screened at over one hundred film festivals worldwide.

The Quinta da Regaleira in Sintra, Portugal is a huge estate that has two wells for performing initiation ceremonies built into the ground. This film takes us into one of them.

Chris Kennedy (b. 1977 Easton, Maryland, raised Cambridge, Maryland) is an independent filmmaker, film programmer and writer based in Toronto. He is the Executive Director of the Liaison of Independent Filmmakers of Toronto. He programmed for the Images Festival from 2003-06, Pleasure Dome from 2000-06 and for TIFF Cinematheque’s The Free Screen/Wavelengths from 2012-2019. He co-founded and co-programmed Early Monthly Segments from 2009 to 2018. His short experimental films have screened at over one hundred film festivals worldwide and have been featured in solo shows at the Canadian Film Institute, Los Angeles Film Forum, Nam June Paik Art Center, the La Plata Semana del Film Experimental and the Pacific Film Archive. His film “Watching the Detectives” won the Ken Burns Award for the Best of the Festival at the Ann Arbor Film Festival in 2018. He has presented the work of others in Belgium, Egypt, Germany, the US and Canada. He holds an MFA from the San Francisco Art Institute, where he was co-founder and host of a weekly film salon. His work as an artist and programmer operates in dialogue with the history of film as art, exploring the medium’s materiality in a contemporary context.

Texts from the 1969 American Indian Occupation of Alcatraz and letters from supporters propel an exploration of political yearning, emancipatory architecture and failed utopias. What does it mean to claim land that has more value as a symbol than as a potential home? And how does that symbol function beyond the boundaries of its geographic limits?

Chris Kennedy is an independent filmmaker, programmer and writer currently living in Toronto. He programmed for the Images Festival from 2003-06, Pleasure Dome from 2000-06 and co-founded the ongoing screening series Early Monthly Segments in 2009. His short experimental films have screened at over one hundred film festivals worldwide and he has presented film programs in Egypt, Belgium, Germany, the US and Canada. He holds an MFA from the San Francisco Art Institute.

Hippopotamus synopsis A figure in a laboratory observers preserved specimens in jars Do they come to life? He begins to attend to the specimens The disks of a main frame computer begins to run He is now inside a container were many animals were housed many seem to be dead One animal a hippopotamus is still alive The figure plays and interacts with the hippopotamus in a pool among many dead fish The figure returns to the laboratory and his duty of attending the computers memory disks.

an irish artist graduated from uic with an MFA in studio art in 2012 resident at rijksakademie amsterdam 2001 2002

In a factory of the archipel of the modern ruins. Two silhouettes. Masculine and feminine. Hard and silky. Suspended to their shadows. Contemplate the time which passes, and sacrifice their bodies to the work. Fragments of day by their side

Djamel Kerkar was born in Algiers, in Algerie. He spent a part of his childhood in Tunis, and worked in Algiers for a cineclub as a curator and moderator. He graduates in Film Direction at the high school of the visual arts from Marrakesh in Morocco. He realizes his first work in 2012, the documentary short film "Archipel" followed by "Earth Is Full Of Ghosts" a Fiction freely inspired by Albert`s Camus Misunderstanding. He develops several projects in Algeria both in documentary and fiction

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.

Where I'm calling from was an exhibition of new work by Netherlands-based artist Minne Kersten. Working with the architecture of David Dale Gallery, Minne constructed a detailed and evocative environment exploring the narrative capacity of inanimate objects, and their role in triggering memory in a transportative way. Minne takes a literary approach to her work, blending installation, video, sculpture and drawing to craft the backdrop of a fictional world. Through her immersive installations, she reveals buildings to be receptive to stories and traumas, as she stages situations subjected to chaos, decay, and deconstruction. Minne explores the traces of events left behind and exposes them as witnesses of private stories retained by the walls that surround us. Her work considers the relationship between the real and imagined, the ordinary and the uncanny, and poses questions about memory and its reconstruction. Working across a range of media, she interweaves personal themes such as mourning, loss and memory with the collective domain of fiction, fables, and symbols.

Minne Kersten (1993, NL) is an artist based in Paris and Amsterdam, working with video, installation and paintings. Underneath these media lies a literary approach in which she combines several techniques to construct a world where objects and scenes hold traces of both facts and fiction. She speculates on how we can recall events, memories and stories, by tracing what is lost in what remains. Her work considers the relationship between the real and the imagined, the ordinary and the ephemeral, and poses questions about memory and reconstruction. By drawing attention to the act of construction in both our shared real and imagined world, her work offers a connection between intimate themes such as mourning, loss and desire, and the collective domain of fiction, fables and symbol making. Painting and drawings are continuously made during a process of introspection and research. They serve as a form of visual note taking, made alongside her spatial approaches. In recent years, she has used the method of crafting an architectural environment, which reveals itself as a scenography, a film set, and subsequent sculpture. Often informed by personal encounters with spaces, these sculptures provide a tangible terrain to explore how a space can witness or distort stories and events. By staging situations that embed symbolic elements such as the appearance of animals or phantom presences, she refers to ways of how the past can leave impressions on the present. Subjecting her scenes to chaos, decay and disruption, she suggests different outcomes of the familiar circumstance of feeling unstable, losing control and reaching a state of transition.

The Zeppelin Grandstand on the former Nazi Party Rally Grounds in Nuremberg is one of the most well-known architectural remnants of the Nazi era. Where the masses once gathered to cheer Hitler, today car races and various leisure activities take place. The film explores the tension between remembrance and neglect, use and responsibility - and poses the question: in a time of rising right-wing extremism, how do we engage with a place built for a criminal ideology that nonetheless remains woven into the fabric of daily life?

Saskia Kessler studied European Studies at Maastricht University and Sociology at Friedrich-Alexander University Erlangen-Nuremberg before discovering her passion for filmmaking. Since October 2022, she has been studying documentary film directing at the University of Television and Film Munich.

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.

This is the story of those who live forever in the shadows. A former prisoner-of-war camp, built by their own hands after World War II, has now become a psychiatric hospital. To this day, in these long, narrow, white barracks, people live isolated and confined—those who have lost their grip on reason, clarity, and the sense of time. Seasons change, years pass, and human faces age, yet here, time seems frozen. It’s impossible to tell if they are free or still trapped in the same state, like the German prisoners of war many years ago.

I was born in Yerevan, Republic of Armenia. I graduated from University of Cinematography of Moscow. Many years I have worked at "Hayk" and "Armenfilm" film studios. I am now an independent director and producer. During this period I took part in creating 45 films. My films have been presented in many international festivals, and have been awarded. I am lecture at the Yerevan Institute of Theater and Cinema. Professor of Theater and Cinema.

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.

Watch with the Weary Ones is a short documentary that looks at the American urban landscape while the filmmaker quietly drifts back to memories of Iran. It places the surfaces of U.S. cities next to the feelings of someone living far from home, caught between two places. The film reflects on the sorrow carried by those who left Iran searching for another life, and those who stayed and continue to fight for theirs. It’s about holding two worlds at once, the one in front of you and the one that never leaves you, and trying to make sense of that weight

Sina Khani (aka Sina Ahmadkhani) is a Tehran-born, Los Angeles–based filmmaker, writer, and editor. His feature debut won Best International Experimental Feature at the Portoviejo Film Festival and earned awards, nominations, and selections at Regina IFF, Toronto International Nollywood FF, New York City Indie FF, and many other international festivals. He recently completed his MFA at Virginia Commonwealth University and continues to create bold, character-driven stories.

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.

The deliberate shooting of protesters in the eye during the 2022-23 protests in Iran points to particularly perfidious systematic repression. A duo of Iranian filmmakers in exile in Berlin take this as a ground line and ask the question: “What happens when security forces aim at vision itself?” Based on this, they reconstruct narratives of images taken from social media during the protests. The film presents the search in the montage process, in which the filmmakers combine their distanced, subjective narrative with the images of the protest in order to examine the power of the images of the protest as a political construct.

Atefeh Kheirabadi and Mehrad Sepahnia are filmmakers whose work explores the relationship between politics, narration, images and sound. They are interested in how cinema can create spaces for resistance, rethinking, and collective reflection. They adopt a hybrid approach to creating films that defy conventional viewpoints and invite viewers to engage with content and Form by perceiving and feeling it. 2025: Blind, into the Eye (Director/Screenplay) | Prod.: Realillusion Doco-Experimental | 19' 38 “Funded by Medienboard Berlin Brandenburg and Hessen Film and Media 2023: Blick (Director/Screenplay) | Prod.: Realillusion | Doco-Experimental | 14' 27 “Funded by: Stipendium Bildende Kunst, BBK, Modul D, Neustart Kultur 2022: 7+1 Fragmente (Director/Screenplay) | Prod.: Realillusion |Experimental | 30' 00 “Supported by: Recherche Stipendium Bildende Kunst Berliner Senat für Kultur und Europa 2020: Come and Go (Director) | Prod.: Realillusion |Experimental |08' 28" 2017: Soma / Haoma (Director/Screenplay) | Prod.: Realillusion | Doco-Experimental | 26' 09'' 2013: Erlöser (Director/Screenplay) | Prod.: Realillusion | Doco-Experimental | 06' 08'' 2012: Flesh (Producer) | Prod.: Realillusion | Experimental | 10' 00''

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.