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Blinded by Centuries navigates the evolution of consciousness in a speculative ??post-human landscape. A generation adrift, existing between earthly and mythical realms, traces history to imagine a future before transformation. Inspired by short-format contemporary music videos, it is an auto-fictional retelling of the Buddhist folktale rooted in Southeast Asia called “Phra Ros Meri” (‘Twelve Sisters.’)

Parinda Mai, like many of her generation in Thailand, grew up with the story Twelve Sisters, communicated across platforms, from oral history to soap operas and cartoon animations. The project 12 Kalpas Tales is the artist’s personal search and reinterpretation of the moral of this story and its implications for the interconnected humanity. Blinded by Centuries emerges from this project, and is intended to capture the core energy of this myth that involves invading, exploiting, and destroying something, then leaving it behind to later try to rescue it with one’s ethics. In Blinded by Centuries an esoteric folktale is played out globally in contemporary terms. Project website: https://the12kalpastale.online/

“Through our eyes, the universe is perceiving itself. Through our ears, the universe is listening to its harmonies. We are the witnesses through which the universe becomes conscious of its glory, of its magnificence.”

Born in Vila do Conde (Portugal). Based in Berlin. Portuguese filmmaker working predominantly with 16mm and 8mm film, pushing the boundaries between analog, digital and live cinema. His work has been presented and exhibited at renowned places like The Barbican Center, Serralves Museum, The Centre Pompidou, Tokyo Contemporary Art Museum, Mostra São Paulo, CA2M Centro de Arte Dos de Mayo, Eye Film Museum, amongst others. Maia has contributed to projects to Patti Smith, Soundwalk Collective, Danny Elfman and Lucrecia Dalt and has presented solo performances as well collaborations with musicians such as Vessel, Shackleton, Holy Other, Kevin Richard Martin, Craig Leon, Lee Ranaldo, Raul Refree, and many others, with presentations of these worldwide in leading festivals like Sonar, Unsound, Berlin Atonal, Ars Electronica, All Tomorrow’s Party, Mutek Montreal, Mutek Mexico, Red Bull Music Academy, among many others.

Arise (Zona) has as starting point the feature film A Zona, by Sandro Aguilar and emerges up from all the cinematic dirtiness inherent to the film material. These images in the wasted film, doomed to emptiness and total forgetting, lead us to the ambiguity and indetermination between life and death, in which narrative and temporal logic are suspended.

Born in 1983. Graduated in Audiovisual Comunication at the Instituto Politécnico do Porto. Works as a freelance professional in cinema, multimedia and audiovisual. Videoart Course at Fundação Caloute Gulbenkian. Since 2004 he has been exploring the concepts of live cinema and live manipulation of images and its relation with sound.

synopsis: our lights shows us the way (or, the night is time to struggle) presentation: The film tell this to those who say we’ve been defeated stems from a collective process of organization and development in whose nature lies the instrumental excellence of words. However, what we address here is a different moment in this process, in which the layers of sound, resulting from concrete body actions, lead us, by means of what is unseen, to a greater sensorial understanding of the issue at hand—it is the exchange of meaning for feeling as the path to hearts and minds. To this end, we pored over MLB’s archive for about six weeks to better understand the latent aesthetic powers of that heterogeneous amalgam of images and sounds. By imposing a few rules on the archive research, we were able to first define the material that would compose the film, to then shape it as idea and gesture.

Recife (BR), 1990 Lives and works in Recife and Belo Horizonte, in Brazil. Filmmaker and visual artist, studied Film Direction at the Fundación Universidad del Cine (FUC-Argentina), but then dropped out of it, attending the Documentary Practice and Video at the Centro de Formación Profesional of the S.I.C.A. (Union of the Argentine Film Industry). His interests are in the intersections between documentary practices, archive, performativity and theater applied to contemporary cinema and media supports. It has been lately relating it to the resistance communities of popular struggles and social movements. Is artistic director and curator of the Transterritorial Films Festival, in Recife – BR. Also works as cinematographer, film editor and film researcher. His work has been exhibited and awarded in several festivals such as the Contemporary Art Biennial Sesc_Videobrasil, Brasília, Nantes, Beijing, Belo Horizonte, Recife, São Paulo, Buenos Aires, Concepción, Ciudad de Mexico. In 2018, was awarded with the prize of the 13th Rucker Vieira Documentary Screenplay Contest and in 2019 with the Sesc Award for Contemporary Art at the 21st Biennial Sesc_Videobrasil.

A series of animations based on the watering effect and visual problems that come fom.

Nicolas Maigret broadcasts mainly his work through video and sound, getting interested notably into links that unite medias. After being graduated from Besançon Fine Arts, he developed his work through different practices such as installation, composition, video, sound radio and multimedia, also through collaborations with dance, performance, theatre or graphic fields. He recently developed series of works about the relation between image and sound. Based on an approach by analogy, his work is presented essentially under the form of installations, videos, or performances.

WAR ZONE explore les tensions entre les technologies et leur héritage militaire. La majorité des ruptures technologiques profondes étant issues de la recherche militaire, leur diffusion dans le domaine public n`est-elle pas une propagation des valeurs idéologiques dans lesquelles elles ont été produites? "Il n’est pas superflu de rappeler [...] le lien originel entre technologies militaires et technologies du réseau (l’arpanet, ancêtre d’internet, a été développé par la DARPA, l’agence américaine chargée des projets en recherche avancée pour la Défense). [...] L’artiste reconstitue en vision subjective trois trajectoires de missiles dans le logiciel Google Earth, à partir des coordonnées réelles. Celle d’un missile V2, développé par les nazis, tiré de la Hollande vers l’Angleterre en 1945 (dont l’impact est encore visible dans les images satellites actuelles), un Scud tiré du Koweït vers l’Arabie Saoudite pendant la guerre du golfe et, enfin, un missile air sol tiré d’Israël vers Gaza en 2014. «C’est grâce à la fusée V2 équipée d’une caméra qu’on a pu voir la première image de la Terre vue de l’espace et l’incurvation de la planète». Le résultat est hypnotique, générant un sentiment mitigé de fascination et d’effroi. En train de chevaucher notre missile à la manière d’un Docteur Folamour, on observe pensif l’évolution de ces instruments de mort, de la précision médiocre des V2 aux frappes chirurgicales d’Israël, la nation qui compte le plus grand nombre de start-up, notamment dans la cyberdéfense, et où l’armée est le principal creuset de l’innovation." Marie Lechner

VIDEO DOCUMENTARIES ABOUT ARCHITECTURAL SPACES SET INTO VIBRATION - Since 2006, the Art of Failure collective has been sending bass frequencies into remarkable architectural structures. These experiences establish a dialog between architecture, the structures? spatial components, and their geographic context ? revealing building`s specific acoustic and vibrating qualities.

The ART OF FAILURE collective experiment the capacity of the contemporary technologies to generate specific sound or visual languages. In their realizations, the internal characteristics of the media are revealed through their errors, dysfunctions, borderlines or failure threshold, which they develop sensory and immersive audio visual experiences.

WAR ZONE explore les tensions entre les technologies et leur héritage militaire. La majorité des ruptures technologiques profondes étant issues de la recherche militaire, leur diffusion dans le domaine public n`est-elle pas une propagation des valeurs idéologiques dans lesquelles elles ont été produites? "Il n’est pas superflu de rappeler [...] le lien originel entre technologies militaires et technologies du réseau (l’arpanet, ancêtre d’internet, a été développé par la DARPA, l’agence américaine chargée des projets en recherche avancée pour la Défense). [...] L’artiste reconstitue en vision subjective trois trajectoires de missiles dans le logiciel Google Earth, à partir des coordonnées réelles. Celle d’un missile V2, développé par les nazis, tiré de la Hollande vers l’Angleterre en 1945 (dont l’impact est encore visible dans les images satellites actuelles), un Scud tiré du Koweït vers l’Arabie Saoudite pendant la guerre du golfe et, enfin, un missile air sol tiré d’Israël vers Gaza en 2014. «C’est grâce à la fusée V2 équipée d’une caméra qu’on a pu voir la première image de la Terre vue de l’espace et l’incurvation de la planète». Le résultat est hypnotique, générant un sentiment mitigé de fascination et d’effroi. En train de chevaucher notre missile à la manière d’un Docteur Folamour, on observe pensif l’évolution de ces instruments de mort, de la précision médiocre des V2 aux frappes chirurgicales d’Israël, la nation qui compte le plus grand nombre de start-up, notamment dans la cyberdéfense, et où l’armée est le principal creuset de l’innovation." Marie Lechner

VIDEO DOCUMENTARIES ABOUT ARCHITECTURAL SPACES SET INTO VIBRATION - Since 2006, the Art of Failure collective has been sending bass frequencies into remarkable architectural structures. These experiences establish a dialog between architecture, the structures? spatial components, and their geographic context ? revealing building`s specific acoustic and vibrating qualities.

The ART OF FAILURE collective experiment the capacity of the contemporary technologies to generate specific sound or visual languages. In their realizations, the internal characteristics of the media are revealed through their errors, dysfunctions, borderlines or failure threshold, which they develop sensory and immersive audio visual experiences.

Three men are working on a construction site. The work has been interrupted by five months of imprisonment. The rain suddenly falls like the silence that precedes an eviction.

Mieriën Coppens is a Belgian filmmaker born in 1992, graduated from LUCA School of Arts in Brussels. Since 2015 he has been documenting the struggle of members of the Brussels collective ‘La Voix des Sans Papiers’. In 2017 He start working with the Belgian filmmaker Elie Maissin, born in 1990, graduated from RITCS in Brussels. For six years Elie Maissin and Mieriën Coppens have directed several short films: Carry On, On se sauve, Almost At Rest, This House, We Are Stubborn, La Vingtième Commune and Caught In The Rain. They seek a balance between the attestation of a real existence and the evocation of other possibilities of existence.

Hundreds of summons letters arrive at the occupied building of La Voix des Sans Papiers. Doulo Kandé and Mamadou Taslim Diallo hand the letters over to all of the occupants, who will later appear in court. Those letters will not remain unanswered.

Elie Maissin 1990° and Mieriën Coppens 1992° are Belgian filmmakers. Since 2015 they have been documenting the struggle of the Brussels militant collective ‘La Voix des Sans Papiers’. For seven years Elie Maissin and Mieriën Coppens have directed several short films: Carry On, Almost At Rest, This House, We Are Stubborn, A new street, Caught In The Rain And Their Letters. They seek a balance between the attestation of a real existence and the evocation of other possibilities of existence.

The phenomenon of a finite whole of perceptions generates concerns in man, who legitimately hopes that technological devices and their performances act not only as a mediator, but also as a creator. Computers add, subtract, multiply, divide zeros and ones infinitely, with the power of its processor as its sole limit. I have therefore expressed the hypothesis saying that an image subtracted to its become-different self would be the image of difference. This operation would lead, if carried on infinitely, to an image without any detail, to light; an image that would somehow be imperceptible to man. I chose to show in a loop a landscape where repetitions, distinct grounds, bumps, holes, surfaces, depths etc, can be found. I shot this moving landscape a thousand times in the most rigid possible way, making an effort to record the same thing as before, in order to let the accidents happen. New images are created thanks to the progressive superimposition of all these video tracks (more than 2 millions). These images go from analogical representation to digital images, touching on pictorial language. Coïncidence 3 displays the process of evanescence of the image, its mutation throughout the completion of the loop. The viewer is invited to contemplate this landscape in silence, and let himself be carried away by the vanishing of his gaze.

I was born in 1980 in Dijon, and live and work in Paris. After my studies in Arts and Stagecraft at the university of Montpellier, i wanted to enter the Ecole Nationale Supérieure de la Photographie in order to develop a research and creation project about this very broad question "What is the image, what are its limits?". I passed my diploma in 2006, and still carry on with my work in quite experimental perspectives, using photography and video.

I Remember When I Was A Soldier is an experiment of memory put together through a collage of archival footage and sound taken from various war museums in the US and Britain. While in these archives, there exist overlaps and discontinuities that connect, through a lack of subjectivity, different non-white bodies, this work attempts to reconstruct the history of the millions of Africans who fought as soldiers during the WWII for the British. As Stuart Hall notes in “Cultural Identity and Diaspora”, the European presence is that which in visual representation has positioned the black subject within its dominant regimes of representation: the colonial discourse, the literatures of adventure and exploration, the ethnographic and travelling eye, the violent, pornographic languages of urban violence. Presence Europeenne is about exclusion, imposition and expropriation. As such, this work puts together a non-linear argument for how we perceive history and attempts to forge a new language about the WWII.

Keli Safia Maksud (b. 1985) is Kenyan-Tanzanian-Muslim-Christian visual artist based in Nairobi and Toronto. Concerned with the histories of the colonial encounter and its effects on memory, Maksud’s interdisciplinary practice uses multiple voices, rather than one narrator, to work towards destabilizing received histories about “African” identities. Maksud graduated from the Ontario College of Art and Design in 2007 and her works have been shown in galleries and venues in Kenya, South Korea, Brazil, Canada and the United States.

Over the course of eighteen months, artist Tommy Malekoff travelled extensively throughout the United States, filming arranged events as well as natural patterns occurring in one of America's most ubiquitous and banal open spaces – the parking lot. His video, titled Desire Lines, is a fifteen minute loop with orchestrated sound that cycles through moments of strange spectacle. These flat, concrete grids behave as stages for all types of activation and rituals, positing a location for expression and a future of meaning.

Tommy Malekoff, born 1992 in South Boston, Virginia, lives and works in New York, NY. His film Desire Lines was exhibited this January at Morán Morán Gallery in Los Angeles.

Charlie Malgat est née en 1990. Elle a obtenu en juin 2012 son diplôme national d`arts plastiques aux Beaux Arts de Paris en vidéo. De 2007 à 2010 elle a travaillé en tant qu`assistante décoration sur des tournages à grosse production pour la télévision et le cinéma français. Dès ses 18 ans, elle devient chef décoration pour des publicités, court-métrages et clips. Depuis, son travail vidéo s`articule autour de la machinerie de la fiction et base sa réflexion sur l`expérience cinématographique. Elle tente de mettre en scène des scénarios complexes en focalisant l`action sur les aléas et les conflits provoqués par l`urgence du tournage. Aussi, elle a participé au prix des Amis des Beaux Arts 2012, une association privée parrainée par d`Agnès B et Thaddaeus Ropac.

Cette vidéo met en scène « La forêt aux arbres tordus » qui se situe en Pologne en bordure de la frontière nord allemande. À travers ce travail, j’observe la façon dont les traces d’un passé venant d’une légende ou d'un mythe, existent encore dans un temps contemporain. Cette forêt interroge et génère une forte dimension mystique, mystérieuse, imaginative et narrative. Est-ce une trace de la guerre, de la sorcellerie ou l’énergie d’un lieu qui a tordu si mystérieusement ces arbres ? Ou est-ce simplement l’action des Hommes ?

Artiste et réalisatrice, mon travail de l’image se situe entre la fiction, le cinéma documentaire et la vidéo d’art. Il questionne et explore les espaces en marges, en mouvements ou en conflits. Il interroge la façon dont l’être humain déraciné et déplacé arpente des zones de passages et de frontières, une façon mouvante d’habiter le monde, parfois fragile. J’explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre, survivre et construire leur identité.

January 2021. The museum was empty. The current exhibition found itself closed, abandoned from the gaze of its spectators. Only emptiness and silence, cruel, morbid, still inhabited this space which had become distressing.

Who builds the city and for whom? How do we organize our lives together? Modellarkivet portrays the archive of architecture models at Stockholm’s Urban Planning Department, as a departure point for a tentative reflection on what it means to build a city. Through slow takes along the shelves of the archive we are confronted with stacked models and cast miniature buildings, fabricated and named according to a system envisioned in the 1960s, but never completed. The camera closeups reveal the room bit by bit, contributing to a confusion of scale and offering a possibility to imagine the city anew. A constantly moving camera forms the backdrop of a narrative, where questions, fragments and references are woven together. It touches upon diverse themes such as the city as a political space, the idea of utopia, archives and collecting, artefacts, language and words. The film was conceived for the exhibition The Promise at Index, The Swedish Contemporary Art Foundation, Stockholm, in 2017. It is distributed by Filmform and has so far only been screened in Stockholm.

Malin Pettersson Öberg (b. Falun, 1979) is a Swedish visual artist and filmmaker working in a variety of media. She holds a master’s degree in Fine art from Konstfack University in Stockholm (2007) and has studied video art and experimental film at ENSAD in Paris and the Royal Institute of Art in Stockholm (2011). Pettersson Öberguses essayist formats to explore how we perceive time and describe places and cultural or national identity. Through meditative and intimate works she sets focus on forgotten and overlooked aspects of our built environments, in order to open for new interpretations and evaluations of our surroundings. Since 2007, Pettersson Öberg has taken part in screenings and exhibitions in Sweden and abroad, a.o. at ArkDes (upcoming 2018), Index- The Swedish Contemporary Art Foundation (2017), Kalmar konstmuseum (2016), Iaspis (2015) and Bonniers Konsthall (2011, 2007) in Sweden and JD Centre of Art, India (2017), International Short Film Festival Oberhausen (2016, 2014) and the Swedish Institute in Paris (2012). Her films are distributed by Filmform - The Art Film & Video Archive. She is a teacher and co-organiser of the studio space Slakthusateljéerna since 2010 and a board member of the Nordic Art Association.

“I have no words to say” is the phrase one can often hear when the reality of the war is so striking that language seems to be incapable to describe it. While studying in Brussels, Daryna Mamaisur is caught up in the russian full-scale invasion of her country. In the springtime, when chestnut trees are blooming at the same time in Brussels and Kyiv, she makes a film capturing that spring in the distance. Keeping a visual correspondence with a friend from Kyiv, she faces the question: while making a film about war, how to speak about the wound that is fresh and ongoing?

Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. Having a background in art theory and philosophy, she developed her practice at the intersection of different disciplines. Her works were related to transformations of public space, and landscape due to their connection to visual culture and memory. Besides, she is particularly interested in situations when language and vocal expression appear fragile and incapable of seizing reality. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films participated in the film festivals as Kassel Dokfest, Visions du Réel, FIDMarseille, Docudays UA etc.

There is Portugal, there is the Portuguese language and there is a Ukrainian filmmaker who learns the language and approaches the role of the potential migrant. Between languages, between images from here and those from a country at war, a voice tries to put into words the state of longing.

Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. In her practice, she combines theoretical research, filmmaking and photography. Her main focus lies in the transformations of landscape and public spaces in relation to visual culture, memory and political ecology. Daryna’s two recent films were a personal journey around distance, migration and fragility within the language when it comes to describing the shocking reality of the war. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films and video works were screened in art exhibitions and participated in international film festivals such as Visions du Réel, FIDMarseille, Kassel Dokfest, DOK Leipzig, RIDM and others.

5 ready media files by Vasile Carlova film by calin man a.k.a. reVoltaire duration: 11:27 min year: 2012 a project initiated by Ion Dumitrescu and Stefan Tiron based on unused soundtrack by Rodion and rare footage by reVoltaire and Zsiga Ioan. dedicated to the fabulous poet Vasile Carlova. track list: 1_ Trip departure. {Marșul oștirei române / Romanian Military March} 2_ La Debel A Gora. {Înserarea / Eventide} 3_ Carnival in Sanicolaul Mic. {Ruinurile Târgoviștii / Ruins of Târgoviște} 4_ Heroes: Jakob & Johann Schmeltzer and A Short Visit At The Shoe Factory "Libertatea" . {Rugăciune / Prayer} 5_kapet. {Păstorul întristat / The sad shepherd} * Vasile Carlova 1809 - 1831 - romanian poet. he wrote only 5 poems: 1. Romanian Military March; 2. Eventide; 3. Ruins of Târgoviște; 4. Prayer; 5 .The sad shepherd. * Rodion SA - experimental new wave band with no albums released (early 80`s). * Zsiga Ioan - amateur filmmaker from Sanicolaul Mic (late 60`s). * Mikalaka Aesotheric and Second Administration - part of Esoth Eric project (since 2000) by calin man * the term ready media was coined by reVoltaire / kinema ikon (1995)

calin man b.: 1961; place of residence: Arad, Romania. education: B.A. in literature, Timisoara University, Romania; chief-editor and designer of intermedia magazine; member of kinema ikon group. net.art work and interactive installations exhibited at: Venice Biennial, Centre Pompidou, Sao Paulo Biennial, FILE Sao Paulo, EMAF Osnabrueck, ISEA Liverpool and Paris, Rencontres internationales Paris/Berlin, Cornell University NY, d>art Sydney etc.

Riza Manalo wurde 1969 in Manila auf den Philippinen geboren. Sie hat Malerei in der Universität von Philippinen (Bachelor of Fine Arts)und Film im Mowelfund Institut studiert. In ihren ersten Werke erforscht sie quer durch die Medien Malerei, Installation und Video Fragen nach Identität und Umwelt. Eins ihrer Werke über diese Themen war "Paper Planet". Für diese Installation modelierte sie Puppen als Darstellung von Models mit Zeitschriften- und Latexschichten, die sie mit gefundenen symbolischen Objekten füllte. Das Werk stellt dem Publikum folgende Frage: Sollen wir uns aufgeben, indem wir als angepasste Wesen in einem von der Gesellschaft geformten Muster bleiben? Manalo benutzt ihre Lebenserfahrung als Referent in ihrer Arbeit. Ihre Sorgen für die Umwelt sind in mehreren Werken integriert, wie z.B. in der Installation "Lulan (To bring back)", wo sie ein 35m langes Band aus wattiertem Samt installiert in 15 verschiedenen städtischen und ländlichen Orten einbindet. Das Werk soll das Thema Wasser als ein Element anregen, das für sie Synonym für Energie, Leben und Regenaration in jeder Form ist. Genauso wie ihr persönliches Tagebuch, das Video und die Fotos von "Lulan" erzählen von ihren zahlreichen Reisen und von den Menschen, die sie auf diesen Reisen kennengelernt hat. Ihre in ihrer Jugend häufigen Umzüge, haben zu einer Arbeit von einer Reihe von grossformatigen Matratzen geführt, die gerollt und mit einer Industriekabel mit Metallplatten geätzt mit Text festgebunden waren. Ihre Bett-Reihen "Grassland" sind sowohl eine Autobiographie wie ein Kommentar über das Nomadenleben von zahlreichen Philippinesen als Resultat der sozialen Bedingungen in diesem Land. Nach ihrem letzten Umzug nach New York Manalo experimentiert mit den verschiedensten Medien und Formaten, mit dem Ziel, die Grenzen der existentiellen, geografischen, sozialen sowie die Probleme der Einwanderungspolitik und der Isolierung zu erforschen. Ihr letztes Video "Homebound" handelt sich von einem Einwanderer, der, während er seine verstorbene Mutter in einem Sarg nach Hause schickt, den Geschmack eines besseren Lebens eifrig zu bringen versucht. Das Auspacken der Geschenke, die zusammen mit der Verstorbenen abgeschickt wurden, stellt die absurde aber praktische Realität dieser Mischung von Konsumverhalten und Tradition in einem Entwicklungsland. "Homebound" gewann 3 Preise als bester Experimentalfilm. Riza Manalo stellt seit 1994 aus. Ihr Werk wurde in mehreren Ausstellugen und Filmfestivals in Philippinen und im Ausland gezeigt, einschliesslich des Cultural Center of the Philippine; Vargas Museum; Quezon City, Philippines; des Museums für zeitgenössische Kunst in Honolulu, HI; des New York Videofestivals, des Lincoln Center, New York, NY;

Filmed between dusk and dawn, Liquid Skin was filmed with nine women, who all perform night-time labour, across a wide variety of professions, including a baker, pole dancer, care worker, nightclub owner, cleaner etc. These women take us on a tour of night-time working environments, linked by history, economics and events shaping the post-industrial landscape of the Ruhr region in Germany. Through this choice of locations, the work links the nocturnal with questions on the subterranean, which is so present across this region with its thousands of kilometres of quiet tunnels underneath. The video consists of long, mostly single shot sequences each guided by one protagonist. Filming in black & white Infrared gives both the locations and the people a slightly abstracted and ghostly appearance, calling into question the specificity of each situation. Sound is integral to this work as it references industrial, technological, subterranean sounds of coal mining histories. The soundtrack is constructed from field recordings captured in each location but used in a non-diegetic way that consciously avoids synch sound. Visually the work aims to cross the dreamlike counter-logic of Lynch with urban spaces that may evoke Tarkovsky, Lang’s Metropolis or drawings by Escher.

London-based artist/filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Manchot’s first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is working towards her second feature film: Mount Makalu. She is shortlisted for the Jarman Award, UK. Her work is held in many public collections and was presented in a major survey show at museum MAC/VAL, Paris 2018. Selected solo exhibitions: STEPHEN, The Exchange, Penzance, 2024; Alpine Diskomiks, Parafin, London, 2022; Black Snow White Out, Museum Lumen, Italy, 2021; Mountainworks (Montafon), InnSitu, Innsbruck, Austria (2019); Open Stage/Back Stage, Kunsthaus Pasquart, Switzerland (2019); She completed her MA in Photography at The Royal College of Art in London in 1992.