Catalogue 2024

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.

Faites de votre amour une arme. Ce film propose une lecture des écrits de la révolutionnaire soviétique et activiste sexuelle Alexandra Kollontai sur la sexualité féminine et l'émancipation, sur l'abolition de la famille et la nécessité de « changer les cœurs et les esprits ». Cette lecture trace un réseau complexe de connexions entre le féminisme marxiste européen du XXe siècle et les transféminismes latino-américains du XXIe siècle, entre le deuil personnel et collectif, entre une myriade de façons de comprendre le féminin, et entre le regard mélancolique du désenchantement et la demande furieuse, tendre et impérieuse que la révolution, enfin, remplisse sa promesse. (Révolution, tiens ta promesse) Red Love (2024) est le film jumeau de Red Love (2023). Les sons et les images des séquences originales de Red Love ont été entièrement remontés, et un grand nombre de nouveaux documents d'archives ont été ajoutés, qui sont clairement empreints de l'urgence du militantisme tout en retraçant des généalogies historiques minutieuses. Ce film est le résultat de huit années de recherche, depuis les archives Engels-Marx-Lénine de Moscou jusqu'à de multiples archives personnelles, familières, historiques et militantes au Mexique et en Amérique latine. Il s'agit d'une œuvre collective réalisée par une équipe de chercheurs et d'artistes de différentes nationalités. Il veut s'inscrire dans l'urgence de la tradition du film militant tout en traçant des généalogies historiques minutieuses et en se projetant dans l'avenir.

Dora García vit et travaille à Oslo. Elle enseigne actuellement à l'Académie nationale des arts d'Oslo, en Norvège. Elle a représenté l'Espagne à la Biennale de Venise en 2011 et était à nouveau présente à la Biennale de Venise en 2013. Elle a participé à la 56e exposition internationale d'art de Venise, à dOCUMENTA(13) et à d'autres événements internationaux tels que Münster Sculpture Projects en 2007, la Biennale de Sydney en 2008 et la Biennale de Sao Paulo en 2010. Son travail est largement performatif et traite de questions liées à la communauté et à l'individualité dans la société contemporaine, explorant le potentiel politique des positions marginales, rendant hommage aux personnages excentriques et aux antihéros. Ces personnages excentriques ont souvent été au centre de ses projets cinématographiques, tels que The Deviant Majority (2010), The Joycean Society (2013) et Segunda Vez (2018).

Une œuvre d’animation de synthèse s’inscrivant dans une série d'œuvres contemplatives et portant sur l’archéologie des intérieurs. Cette œuvre pose un regard archéologique et architectural sur une ère théâtrale de la décoration intérieure. Exposant une tension fictionnelle presque non-résolue entre, d’un côté, le confort moderne construit et édifié par l’économie tonitruante et, d’un autre, la menace sourde de la nature, du climat changeant et de leurs forces cataclysmiques sous-entendues. Une première rencontre des collages faits main de St-Pierre et des images de synthèse créées en duo avec Gauthier. Cette œuvre a été produite grâce au soutien du Conseil des arts et des lettres du Québec et du Grand Théâtre de Québec (Canada) pour une présentation au Studio Telus du Grand Théâtre de Québec (commissariat : Ariane Plante).

Philippe-Aubert Gauthier est ingénieur mécanique, maître ès sciences, docteur en génie mécanique (acoustique) et professeur à l'Université du Québec à Montréal, à l'École des arts visuels et médiatiques. Il travaille à la croisée des arts, sciences et technologies. Il a produit plus d'une cinquantaine d'œuvres en arts sonores et numériques. Gauthier est actuellement directeur associé du Centre for Interdisciplinary Research in Music, Media and Technology. Tanya St-Pierre est artiste en arts visuels, sonores et médiatiques. Elle explore les relations possibles entre arts visuels ou médiatiques et narration. À travers divers systèmes d'altération de la narration en propositions poétiques et conceptuelles, elle déjoue et questionne les notions de représentation et d’artefacts culturels. Détentrice d’un baccalauréat en arts plastiques de l’Université du Québec à Trois-Rivières, (Québec). Depuis 2003, leurs démarches se rencontrent dans des projets collaboratifs. Leurs intérêts et engagements respectifs sont abordés dans des échanges découlant vers des propositions artistiques hybrides qui résultent de joutes autocritiques et d'inventions en duo. Leur travail fut présenté au Canada, aux États-Unis, au Mexique, en Europe et au Japon. Tous les deux vivent et travaillent actuellement à Montréal, au Québec (Canada).

Part of the YOURS project, an assemblage of five short films dedicated to Chantal Akerman, STONE, HAT, RIBBON AND ROSE offers a strictly personal and decidedly fragmented guide to Brussels; this idiosyncratic city symphony takes us across different urban terrains and unveils each location’s visual and sonic wonders. Amplifying the film’s elusive, drifting quality are a series of one-person performances involving disparate objects in the city. Playful and sombre, quotidian and fantastic, Eva Giolo’s film is a tender love letter to Akerman’s work. (Hyun Jin Cho)

Eva Giolo is an artist working across film, video, and installation. Her work has been exhibited at Sadie Coles HQ, Harlan Levey Project, WIELS centre for Contemporary Art , MAXXI–National Museum of 21st Century Art, Kunstmuseum Den Haag, BOZAR Centre for Fine Arts, Palazzo Strozzi, Museum of Contemporary Art Antwerp, Kunsthalle Wien, and major film festivals like International Film Festival Rotterdam, Viennale, FIDMarseille and Vision du Réel among others. She is a founding member of the production and distribution platform elephy.

Jishin (Japanese: earthquake) shows an archaic-looking special effect for a Hollywood film of the 1940s: a house begins to sway, stone lanterns fall over, an actor loses his grip. Finally, mountains of debris fill the screen. The drama is repeated in five successive, slightly varied camera perspectives. The uncut raw material allows an analytical view of the clichéd and scenery-like setting: the disaster is not due to a natural event but to a precalculated performance.

born in Langenhagen, Germany, in 1966, studied Visual Arts at the Braunschweig University of Art (HBK). Since 1989 he has produced films, videos and video installations, some of them in collaboration with video artist Volker Schreiner (1994 – 2004), and, more frequently, in collaboration with filmmaker Matthias Müller (1999 – 2022). He lives and works in Hanover, Germany.

This video is produced from different VR Painting I produced about Ukraine Cyber war as an ex member of IT Army of Ukraine, by using different AI images produced on the basis of the real Ukraine war one, by using also different logs from my Hacktivism with IT Army to support Ukraine. The point is to define a kind of mental cage, because a cyber war is mostly a mental war than a physical one.

Born in 1967, Valéry Grancher is a French-born artist, theorist, curator and lecturer, living and working in Paris and Hong Kong since 2014. He first became well known in the mid-1990s for being one the first net artists (online art) and for his ‘Google paintings’ but his artistic practice is vast and covers internet art, video, photography, painting, AI painting and VR installation. Valéry Grancher is an explorer. His curiosity leads him to investigate all kinds of territories such as the different media and new technology to define new forms and concepts. On 2014, the French public collection National Fund for Contemporary Art, National Centre for Visual Arts (FNAC) acquired his video installations Geopol (a 24-hour tracking shot of the horizon at the North Pole) and Tanguntsa (a 6-hour shot in deep Amazonia). His productions are included in several public collections such like Cartier Foundation for contemporary arts (Paris), Maison Européenne de la photographie (Paris), Carillo Gil Museum (Mexico), Berkeley Art Museum Pacific Film Archive (Berkeley), ZKM (Karlsruhe), Bandjoune Station (Cameroon), VMAC (Hong Kong) and many others…

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.

En Californie, environ 172 000 personnes sont sans abri, soit 30 % du total du pays, même si cet état ne représente que 12 % de la population des États-Unis. Le manque de logements abordables, les problèmes de santé mentale et la consommation de drogues, sont les causes principales de cette crise sociale. Cette détresse humaine est partout de nos jours, mais elle est loin d’être banale. J’ai rencontré quelques personnes itinérantes lors de mon passage dans la ville de El Centro et elles ont bien voulu que je les filme. J’ai capté quelques moments de leur vie quotidienne, aux abords l’autoroute 8 et du désert de Sonora.

Isabelle Hayeur est connue pour ses photographies et ses vidéos expérimentales. Elle a également réalisé plusieurs commandes publiques, des installations in situ et des livres photographiques. Sa démarche s’inscrit dans la perspective d’une critique écologique, urbanistique et sociale. Depuis la fin des années 1990, elle sonde les territoires qu’elle parcourt pour appréhender comment nos civilisations contemporaines investissent et façonnent leurs environnements. Elle est préoccupée par l’évolution des lieux et des communautés dans le contexte sociopolitique néolibéral que nous connaissons actuellement. Ses travaux ont notamment été présentés au Massachusetts Museum of Contemporary Arts, Neuer Berliner Kunstverein et aux Rencontres internationales de la photographie à Arles. Elle a aussi fait plusieurs résidences d'artistes et participé à de nombreux festivals internationaux.

Random Access (2023) takes the form of a science fiction set in the city of Guiyang and its vicinity, home to the world's largest radio telescope FAST and a “data center cluster” credited with driving the rapid expansion of China’s digital industry. It is also the center of the Chinese Karst landscape, where geological information and meteorological clouds are stored in the mountains. Riffing on her parents’ experience of living in this misty highland technological hub, the artist imagines a narrative unfolding after the unexpected crash of its main data center. In this disordered digital reality, two characters travel through the city filled with flashes of ancient memories and imaginaries of the future. Whether they are encountering information stored in the cloud or expanded versions of themselves, the protagonists must find their way through a rapidly changing world.

HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others.

Un road movie un soir d’hiver quelque part sur la péninsule arabique. Trois amies, pour tromper leur ennui, se lancent dans une joute verbale qui mènera à une réflexion sur le pouvoir et les interdits.

Né en 1989 à Saint-Avold, diplômé des Beaux-Arts de Nancy, des Arts Décoratifs de Paris et du Fresnoy, studio national des arts contemporains. Il vit et travaille entre Paris et la Lorraine. Son travail qui se traduit à travers l’objet, le son, le film et l’installation a été présenté lors d’événements d’art contemporain et festivals de films tels que FID Marseille, IFFR Rotterdam, Visions du Réel, Paris Nuit Blanche et dans des centres d’art et musées comme le Centre Pompidou, le FRAC Lorraine, le FRAC Grand Large, Les Rotondes.

"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 flllaaer living in Berlin. She has been researching the historical relations between Nalibia and Gerlany since 2016, particularly the relationship of the liberation lovelent SWAPO and the East Gerlan state during the Cold War. Horelli was born in Helsinai, grew up partly in Nairobi and London. SIMON TJIMBAWE is a Herero born in West Berlin. His father was a lelber of the liberation lovelent SWANU who studied econolics in Leipzig in the 1960s. He is a fll sound lixer and lives and woras in Berlin.

The soldier's mind was a turbulent sea of anxiety and resolve as he arrived at the abandoned battle camp, where the hasty departure of others left him grappling with solitude and the weight of his duty.

Lin Htet Aung is a 98 born self-learned filmmaker and time based media artist based in Myanmar. In his earlier days, he wrote avant-garde poems and published underground poetry books. He started making short films in 2017.His short films have been selected and awarded at several international film festivals including International Film Festival Rotterdam (IFFR), Internationale Kurzfilmtage Oberhausen, Kurzfilm Festival Hamburg, Ruang Rantau Exhibition (United States) and so on. He is a directing fellow of the 2023 CHANEL X BIFF Asian Film Academy, a Prince Claus Seed Awardee 2023, and a participant of Locarno Filmmakers Academy 2024.He is now developing his debut feature project “Making A Sea” which got the Asian Cinema Fund ACF for Script Development from Busan International Film Festival (BIFF) 2024 and won the Fellowship Prize at the Southeast Asian Film Lab at SGIFF 2023.

Poème graphique vidéo. Adaptation des dessins sur papier -Leporello de 20 pages . Depuis CHAOS HUMAINE (NOUTRES/Il faut prévenir les petites filles) 2020, je transpose les dessins en vidéo poèmes. C’est une autre façon de lire cette histoire de déplacements de la fée Utopia en cours d’écriture graphique. Il s’agit ici de l’épisode 2 de son échappée : Utopia a quitté secrètement son endroit de vie. Errance, pensées et rêverie, c’est aller vers "t·soi"..

Plasticienne, vj-dj, enseignante, organisatrice d’évènements artistiques et de collectifs,(B&b unlimited, le noyau, les Inapproprié.e.s, Femn’Furious) Dans l'équipe du Festival Jerk Off depuis 2019. Le métissage et les féminismes se matérialisent au fur et à mesure de ses choix techniques diverses mixés : Audio-visuelles, performances, Mix live, écritures graphismes et dans leurs connexions incessantes. Les sources peuvent être iconiques ou littéraires, sociologiques ou poétiques, passées ou actuelles, Historiques ou banalement crues Elle met en scène des personnages fictifs depuis1996, comme la fée UTOPIA que l’on retrouve dans des performances, des situations burlesques, dans les dessins, les photographies, les éditions, les installations ou les vidéos. Le rôle principal de sa démarche reste l’absurdité de notre comédie humaine autocentrée et anthropocentrée.

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

In 1962, Oscar Niemeyer was invited to conceive an international fairground in the city of Tripoli, Lebanon, which was never completed. To Remain in the No Longer looks at how architecture operates in this failed state. By examining the precarity of the project site that remains to this day, the film reflects on the country’s current socio-economic crisis. Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.

Based between Beirut and Amsterdam, artist and filmmaker Joyce Joumaa earned a BFA in Film Studies from Concordia University in Canada. In 2021-2022, Joumaa had her first institutional solo show at the CCA The Canadian Centre for Architecture. Her work has shown at the Montreal Museum of Fine Arts, Fofa Gallery, the Sharjah Architecture Triennial and in the 2024 60th Venice Biennale.

The scripts are based on resources like instructional videos and management training tools, sales pitches and tutorials on stress management. Collaging and adapting elements from these and other sources, the work gives birth to a ‘subject’ who speaks with a double tongue, veering between the human and the digitally generated, and delivering a message that is simultaneously authoritative and incoherent, reassuring and vacuous.

Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren was born in Oslo, Norway where she currently has a studio. She received her MA from Chelsea College of Art (London) in 2004. The last solo shows have been at Trondheim Center for Electronic Arts (2023), Tenthaus (2021), Atelier Nord Oslo (2019), Trafo Kunsthall (2018), Podium Oslo (2017) and Trøndelag Senter for Samtidskunst (2018). Work has been included in group shows at Bergen Center for Electronic Arts (2021), Astrup Fearnley Museum of Modern Art (2008) and Stavanger Kunstmuseum (2015) amongst others. Moving image works have been screened internationally like The Australian video Biennial in Melbourne( 2017 and 2019). She has participated in and made new works for various biennials including; Riga Photography Biennial (2020), Meta.Morf Trondheim international biennale for art and Technology (2022) and Art Encounters Biennial, Timisoara Romania (2023). In 2024 she won the Nordic Award category at Lumen Prize for “Human Resource the Musical”.

Lava is a love letter to things that cannot be written about: love, exciting piles of twigs, longing, a disappearing landscape, memories you can’t trust. Either writing hurts, or it is impossible to find the words. Lava is a continuation of the working group’s previous work Magma (2020). Both works deal with human relationships and ecology. The wishes for transformation, non-monogamy and boundless love, which were still partially smouldering under the surface, erupt in Lava, a video dealing with the end of a relationship.??

Jade Kallio is working with a variety of media including experimental cinema, performance and installation art. Their personal and collaborative works mix speculative fiction with everyday life. Kallio's works have been presented at festivals and institutions such as Europian Media Art Festival (2019, 2017), Beursschouwburg Art Center Brussels (2019), Kunsthalle Osnabrueck (2019), International Film Festival Rotterdam (2019, 2017), CCA derry (2016), HAM gallery (2017), Turku Art Museum (2017), Gallery Sinne (2017).

Au cœur du Burundi, rivalités et extrémisme ethnique entrainent des milliers de pertes de vies humaines depuis l’indépendance. Dans cette folie meurtrière que nous avons traversée, il y a eu des protecteurs de la vie. Au péril de la leur, ils ont caché, protégées des amis et des voisins de l’autre ethnie.

Depuis 15 ans, Diane KANEZA, combine le cinéma, la communication audiovisuelle et le journalisme. Passionnée de l’image, elle l’utilise pour raconter des histoires de Chez elle. Diplômée du Master 2 Cinéma Documentaire de Création, elle en sort avec le Film « Mon Identité ». Une œuvre mémoire qui condense toute son expertise en matière d’acuité du regard documentaire, de capacités de création à partir du réel... Elle cofonde et dirige l’agence de communication MIKADIE Production, qui fait la réalisation et la production des films institutionnels/auteurs et des outils de communication, depuis 2012. Chargée de la programmation du Festival International du Cinéma et de l’Audiovisuel du Burundi de 2013 à 2015, directrice du festival en 2016. Elle allie la production des œuvres audiovisuelles et cinématographique, depuis 2020, à la direction de la chaine de télévision « Burundi News Publication Télévision » (BNP TV). Transmettre, partager ont toujours été son leitmov de par les magazines : « Événement Culturel de la Semaine », « Bonne réponse » et « Notre Terre, Notre Héritage » ; qu’elle développait déjà au sein de la télévision Nationale de 2006 à fin 2011, en tant que Réalisatrice et Animatrice TV. Professeur visiteur au sein de deux universités de Bujumbura (Université Lumière de Bujumbura et Université du Lac Tanganyika), elle enseigne la « Production Documentaire », dans la faculté des sciences de la communication, option communication et conception audiovisuelle.

NON HUMAN is a film made from poems written in collaboration with an Artificial Intelligence (recurrent neural network) and five artists — York Chang, Marcus Civin, Tia-Simone Gardner, Viet Le, and Yvonne Rainer. Inspired by poet Muriel Rukeyser’s technique for writing The Book of the Dead (1937), a poem in which she directly quotes workers’ voices from congressional testimony about the Hawk’s Nest mining catastrophe that killed nearly 2000 miners, 80% of whom were Black workers. NON HUMAN was filmed in rural Vermont in disused marble, quarries, hospitals, and local artists’ studios and it presents leisure time and creative space as conditions to excavate the unwritten histories of labor, racism, and environmental destruction in local American communities. The generative AI used to write the script was trained with Rukeyser’s Collected Poems, the congressional testimony of workers that she quoted, and contemporary critical race and eco-feminist theories of Kathryn Yussof, Tavia Nyong’o, Saidiya Hartman, and Hortense Spillers. In Hartman’s essay The Dead Book Revisited she asks “how do we attend to black death? How do we find life where only the traces of destruction remain?” NON HUMAN’s critical AI writing machine, fed by historic documentary materials, poetry that witnesses to extractive capitalism and anti-black racism, speculates on Hartman’s question. Live performers in NON HUMAN include: sound engineer Ben Arindell, singer/song-writer Patrick Sargent, physician Jeffrey Yucht, critic Marcus Civin, sculptor Fred X Brownstein, and sound technician Jack Schlandt.

David Kelley is an artist working in photography, video, and installation. His recent projects explore the impacts of global capitalism, resource extraction, and evolving landscapes, combining elements of experimental documentary, ethnography, and avant-garde cinema to offer a perspective that is both grounded and speculative. His work has been shown nationally and internationally at venues such as the Museum of Modern Art in New York, Rencontres Internationales Paris/Berlin, Fotofest Biennial in Houston, Commonwealth and Council in Los Angeles, The Bank in Shanghai, and the Jim Thompson Art Center in Bangkok. Kelley holds an MFA from the University of California, Irvine, and was a resident of the Whitney Museum Independent Study Program. He is based in Los Angeles, where he is an Associate Professor of Fine Arts at the University of Southern California.

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.