Catalogue 2025-2026

Des personnages évoluent dans une étrange forêt : traque, errance ou déambulation? C’est une traversée nocturne âpre, là où les formes les plus archaïques et inconscientes peuvent surgir... Polaris est le nom de l’étoile polaire et désigne aussi le nom d’un missile…

Aurélie Garon est née et a grandi en Savoie. Elle vit actuellement à Paris. Après une classe préparatoire littéraire (Hypokhâgne et Khâgne), elle fait des études de philosophie à Paris 1 Panthéon-Sorbonne (D.E.A. mention Très Bien), puis entre à l’Ecole Nationale Supérieure de la Photographie à Arles (Major de promotion, Félicitations avec les Honneurs du jury). Elle développe là-bas un travail photographique puis vidéo et sonore qu’elle poursuit ensuite au Fresnoy à Lille (Mention spéciale du jury pour l’originalité de la recherche). Ses oeuvres ont été diffusées en France (Le Bal, Le 104...) et à l’étranger (Hollywood, New York, Los Angeles, Séoul, Montréal, Sydney, Rome, Madrid, Barcelone, Rio de Janeiro, Kassel, Bruxelles, Liège, Milan, Colombie, Bamako…), dans des Cinémas, Musées, Galeries, Biennales et Festivals. Elle fut également en résidence d’artiste à New York à l’International Center of Photography School, à Bamako au Conservatoire National des Arts et Métiers du Multimédia et à Madrid à la Casa de Velázquez. Son travail a été lauréat de nombreux Prix et Bourses. Elle a aussi participé par le passé à l’écriture d’ouvrages de philosophie. Elle est lauréate de la Bourse Ekphrasis (ADAGP et AICA): un texte de Véronique Terrier Hermann sur l’ensemble de ses oeuvres est publié dans Le Quotidien de l’Art. «Floaters», son 1er court métrage de fiction, a été sélectionné dans plus de 30 festivals de cinéma aux USA (New York, Hollywood, Los Angeles etc), à Séoul, Sydney & en Europe. Il a reçu 12 Prix à ce jour. En 2023 elle est parmi artiste invitée du Festival « L’Art dans les Chapelles » et a présenté sa nouvelle oeuvre «Here be dragons» (Installation visuelle et sonore, dérive fictionnelle : Film/ Peinture Bleu de Prusse/ Cercle acrylique noir brillant). Elle achève son 2ème court métrage «Polaris». Elle poursuit actuellement l’écriture de son prochain film et la création d’une nouvelle oeuvre «Psychic Landscapes» (sculptures psychiques en céramique et installation vidéo) pour lequel elle vient d’obtenir une aide à la post-production du Fresnoy. En 2025 elle sera artiste en résidence au Centre National d’Art Dramatique et Scénique de Kasserine (Tunisie)

On a bleak day in midwinter, a girl travels to her city's bus station to meet someone. She travels familiar streets, confident and absentminded. Her relationship with her city changes when no one arrives on the expected bus. She wanders out of the bus station, noticing her city in a new way.

Noah Gehman is a Canadian director based out of Montreal and Toronto. He has a BFA in film production from Concordia University. His films explore life in urban environments and rural environments with attention paid to work, public space, and the unknowable. He employs observational cinematography, and expressionistic sound design to straddle the internal and external experiences of his characters. Beyond writing and directing, Noah works as a sound designer.

An enigmatic character spends her last day in the house she designed and built. Her solitude is interrupted by the arrival of old friends who threaten to drown her in the past. A speculative fiction, E for Eileen is shot entirely at Eileen Gray’s villa E-1027 — one of three French national monuments of the modern era, and the only one built by a woman.

Gerard & Kelly are visual artists and filmmakers whose interdisciplinary practice spans film, performance, and installation, incorporating choreography, writing, printmaking, drawing, and sculpture. Based in Paris since 2018, they are known for conceptually rigorous and research-based projects that address questions of memory and history, sexuality and the formation of subjectivity. Gerard & Kelly have collaborated since the early 2000s to develop a distinctive body of work that situates movement, narrative, and critical theory in direct conversation with architecture and site. Their projects often unfold in iconic modernist spaces and have been presented by leading institutions across Europe and the United States. Hailing from the farms of Ohio and the coal country of Pennsylvania, Brennan Gerard and Ryan Kelly met in New York and launched a collaboration that led them to the Whitney Museum Independent Study Program, where they were Van Lier Fellows from 2009-2010, and then to the University of California, Los Angeles (UCLA), where they earned their MFAs in 2013 from the Interdisciplinary Studio under the direction of artist Mary Kelly. Ruins, their first solo show in a European institution, was presented by the Carré d’Art – Musée d’art contemporain de Nîmes in 2022–2023. Solo exhibitions and performances of their work have been presented by Marian Goodman Gallery, Paris (2025), Fondation Maeght, Saint-Paul de Vence (2024), Centre Pompidou, Paris (2023), Marian Goodman Gallery, New York (2022), MAMCO, Geneva (2020), MOCA, Los Angeles (2020), Festival d’Automne, Paris (2017 and 2019), The Getty Museum, Los Angeles (2019), Pioneer Works, New York (2018), Palais de Tokyo, Paris (2016), New Museum, New York (2014), and The Kitchen, New York (2014). They participated in the 2023 NGV Triennial at the National Gallery of Victoria, Melbourne, the 2023 and 2017 Chicago Architecture Biennials, and the 2014 Made in L.A. Biennial at the Hammer Museum, Los Angeles. Their work has been included in group exhibitions at Château La Coste, Le Puy?Sainte?Réparade (2025), Collection Lambert, Avignon (2024), Le Commun, Geneva (2024), High Line, New York (2023), FRAC Franche-Comté, Besançon (2022), and Solomon R. Guggenheim, New York (2015), among others. Gerard & Kelly have received numerous awards and grants, including the VIA Art Fund (2024), Mondes nouveaux program of the French Ministry of Culture (2023), Graham Foundation (2014), and Art Matters (2013). Their works are held in the permanent collections of the Carré d’Art, Nîmes; FRAC Franche-Comté, Besançon; Solomon R. Guggenheim Museum, New York; LACMA – Los Angeles County Museum of Art; Hammer Museum, Los Angeles; National Gallery of Victoria, Melbourne; Serralves Museum of Contemporary, Porto; and Whitney Museum of American Art, New York.

THERE'S A HOLE IN THE WORLD WHERE YOU USED TO BE is a short film about memory and mourning. It departs from the premise that both grief and black holes are so dense and intense that they bend space and time around their specific gravity - each absence both a wound in the heart and a hole in the world.

Mariam Ghani is an artist and filmmaker. Her films, public projects, and installations have been presented worldwide, notably in Times Square and LaGuardia Airport; the Tate Modern, Guggenheim, MoMA, Smithsonian, Secession, CCCB, and Metropolitan Museums; Documenta 13 and the Liverpool, Lahore, Yinchuan, and Sharjah Biennials; the Berlinale, Rotterdam, CPH:DOX, SFFILM, DOC NYC, Jih.lava, BlackStar, and Ann Arbor film festivals; theatrically and streaming on Ovid, Criterion and Docuseek.

Prem, the charismatic host of a popular radio show offering advice on matters of the heart, is himself plagued by heartache. He seeks solace in the rugged mountains. As he goes through his own emotional upheaval, desperate calls from listeners asking him for advice echo through the wilderness. Both Prem and his audience try to navigate their way through the treacherous terrain of love. A gripping tale of emotional turmoil and self-discovery.

Saurav Ghimire is a Nepali audiovisual artist whose work explores boundaries in storytelling between fiction and documentary. His projects are edited using a mix of archival and live action footage, personal interviews, and collection of songs & poetry. Ghimire has been awarded the Visiting Artist Fellowship from the Laxmi Mittal South Asia Institute at Harvard University His short film, Songs of Love and Hate (17 mins, 2024), had its world premiere at the 74th Berlin International Film Festival where it was awarded Special Jury Mention. Similarly, his first short film, Barking Dogs (14 mins, 2021), was awarded Best Experimental Film at Tasveer South Asian Film Festival (USA) and Best Student Film at Pame Film Festival (Nepal). In addition to this, he has attended training programmes including the Locarno Basecamp Academy (Switzerland), the Odense Talent Camp (Denmark) and the Fantastic Film School BIFAN (South Korea).

Lumi is a story of snow and luminance, of reflection and planetary light. The video essay arranges historical photographic datasets through the perspective of an imaginary synthetic intelligence trained for the repainting of landscapes as part of an operation of climate restoration. Lumi can be seen as a science and climate fiction about a collective intelligence of Artificial Agents that time travel from past photographic images to future programmed landscapes. This intelligence has grown out of those moments of light computing its path, together with the landscape computing its growth and preservation. Lumi is a dataset of snow, ice, and light. It is a film about the reversal of time and the synthesis of landscapes: once made, then remade.

Abelardo Gil-Fournier is an artist and researcher. Originally trained in Physics, he holds a PhD in Art from Winchester School of Art (UK) and has worked as a researcher at FAMU in Prague. He is currently a grantee of a Leonardo scholarship from the BBVA Foundation. His work has been exhibited and discussed internationally, including venues such as Transmediale (Berlin), Fundación Cerezales Antonino y Cinia (León), Fotomuseum Winterthur (Switzerland), Design Museum (Shenzhen) and Tabakalera (Basque Country). He is the author, together with Jussi Parikka, of the book Living Surfaces. Images, Plants and Environments of Media (MIT Press 2024). Jussi Parikka, Finnish cultural historian, is professor of Digital Aesthetics and Culture at Aarhus University and visiting research professor at University of Southampton (UK). He has written and co-edited a number of books on media theory, history of digital culture, and environmental media. Some earlier work includes What is Media Archaeology? (2012) and Insect Media (2010). More recent work includes The Lab Book (with Lori Emerson and Darren Wershler, 2022), Operational Images (2023), and Living Surfaces: Images, Plants and Environments of Media (with Abelardo Gil-Fournier, 2024). He also works as curator, including such past projects as Weather Engines (2022) and Climate Engines (2023-204) with Daphne Dragona.

During its wanderings in a nocturnal forest, a robot encounters various flowers and plants, confronting the natural world and attempting to smell the scent of a wild bloom.

John Gillies is a Sydney (Eora)-based artist who has been creating work with time-based media, including performance, moving image, installation, music and sound, since the 1980s. Drawing on the world of experimental theatre and the languages of video and cinema, his art practice is often improvisational and collaborative.

Dholera reveals the dystopian vision of this eponymous city, envisioned in the desert-like landscape of the Indian state of Gujarat. The city’s vast network of highways, elevated railways, electric pylons and water towers extend as far as the eye can see on an arid terrain devoid of vegetation, swept through by dust whirlwinds. This vast urban project— for which ground was broken over a decade ago—has now come to a virtual standstill. In-situ footage captured via drone reveals the enormity of this unfinished project through the virtual implantation of certain symbolic buildings featured in the initial project, through the use of point clouds. The ghost of Dholera city is brought forth through the film; a phantom construction site where future ruins create cracks in the very idea of utopia.

Pierre Jean Giloux, born in 1965, was awarded the Villa Kujoyama residency in Kyoto in 2015 and received the Grand Prix for Video Art at the Côté Court Festival in Pantin in 2016. Working in a form of augmented reality, he presents his installations in museums and art centres such as the Museum of Botany in Brussels, La Criée – Centre for Contemporary Art in Rennes, the Barbican in London, the Hiroshima MoMA and the National Museum of Osaka in Japan, as well as in galleries including DNA (Berlin), Sophie Scheidecker and Christophe Gaillard (Paris), Cristina Guerra (Lisbon) and Bank MABsociety (Shanghai). His works are held in private collections (in Paris, Rennes, Brussels and Tokyo, as well as the Pierre Darier Collection in Switzerland and the An-Sammlung in Munich) and in public collections (Fonds d’art contemporain – Paris Collection and the City of Marseille).

Eva Giolo’s latest work takes us to Val Gardena, where people still speak Ladin, a Rhaeto-Romance language. Giolo subverts the usual representation of mountain communities to deliver a portrait of a precious cultural heritage in constant evolution. Here, the inhabitants preserve and nurture their culture for future generations with awareness of the world and creativity. Shot on 16mm film sensitive to the grandeur and fragility of nature, Memory Is an Animal, It Barks with Many Mouths is an exquisite essay on the vital importance of linguistic diversity.

Eva GIOLO (1991, Belgium) is an artist working in film, video and installation. Her work places particular focus on the female experience, employing experimental and documentary strategies to explore themes of intimacy, permanence and memory, along with the analysis of language and semiotics. Her films, installations and other projects have been widely exhibited internationally at festivals, museums and galleries, including Sadie Coles HQ, Viennale, FIDMarseille, IFFR, New York Film Festival and many others. Her film Flowers blooming in our throats (2020) was nominated for The European Film Award and awarded the Top Prize at THIS IS SHORT 2021. She also received the National Award Special Mention at Lago Film Fest 2021, the Jury Special Mention at First Crossings Festival and the Critics’s Jury Award at 25FPS Festival. She is a laureate from HISK (2018-2020) and a former art resident at SeMA NANJI (2020), the year-long film–writing residency Conversation #4 (CVB, GSARA and Beursschouwburg), CASTRO studio program (2021), WIELS (2021), RU Unlimited New York and Fogo Island Arts (2022). Her films are distributed by elephy and Light Cone.

How can we recognize Medea? What can she reveal about ourselves? I search for her with Alice, Élise, Nino and other friends, at the crossroads of our urgent questions about life, love and children. Between the intimacy and a text, Heiner Müller's "Medea material", each of us learns to tell our own story. Perhaps this time we'll be able to hear.

Born in Paris in 1979, Mathilde Girard is a psychoanalyst, writer and filmmaker. A doctor of philosophy, she has published several works on the notion of community in contemporary thought (by Georges Bataille and Jean-Luc Nancy). For several years now, she has been working as a screenwriter with Pierre Creton, writing three feature films with him: Va, Toto ! (2017), Le bel été (2019), and Un prince (2023, winner of the SACD award at the Director’s Forthnight in Cannes). Her first film, EPISODES - SPRING 2018, won the First Film award at FID Marseille in 2020 and has been shown at numerous festivals including the New York Film Festival, Sheffield Doc/Fest, Viennale, Doc Lisboa. His second film, the feature-length essay THE NIGHT DRAGS ON, won the Georges de Beauregard award at the FID Marseille 2023. With the medium-length film MEDEA RESEARCH, her new work, she continues the investigation on love started with her first episodes. Mathilde Girard's work straddles the border between solitude and the world, love and politics. For her, cinema is born of this relationship, which presupposes collective involvement and aims to link the thought, intimate words of each individual and the contemporary.

In 1939, a second unit with a double and extras filmed scenes for the Hollywood classic “Mr. Smith Goes to Washington” in the Lincoln Memorial. The succession of the long, sorted-out plan sequences undermines the classic cinematic narration; the plot does not seem to progress. The neoclassical architecture remains the setting for a recurring and questionable ritual, in which the protagonist is lost.

Christoph Girardet, born in 1966, is a German video artist and filmmaker. Girardet makes both the accidentally found and the extensively researched found footage from the archives of film history the subject of his art. Montage, omissions, and repetitions reveal the actual structures and inner mechanism of the depicted cinematic reality. Beyond the analysis of the material and its clichés, his work deals in essence with a melancholic state of absence, thus creating an individual pictorial world. From 1988 to 1994, Girardet studied Visual Arts at the Braunschweig University of Art (HBK) in the film class of Birgit Hein. 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 – ongoing). Girardet has participated in group shows at the Stedelijk Van Abbemuseum, Eindhoven, MoMA PS1, New York, Palais de Tokyo, Paris, Hirshhorn Museum, Washington, and Eye Filmmuseum, Amsterdam, among others. He had solo exhibitions at institutions such as FACT, Liverpool, Kunstverein Hannover and West, The Hague. He has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto, Locarno, Oberhausen and Rotterdam. His work is included in public and private collections. He has received numerous awards, among them a stipend for the International Studio and Curatorial Program in New York (2000) and a scholarship at Villa Massimo in Rome (2004). He lives and works in Hanover, Germany.

An unsanctioned observation of [redacted]’s largest oil refinery, processing 440,000 barrels of crude oil a day. By night, the complex becomes a heaving edifice of flame and fog. We observe its operation from afar as the inferno slowly engulfs the frame, accompanied by an original hypnotic soundscape by UK club experimentalist Loraine James. A vision of industrial desolation in which dread turns to awe.

Alexander Girav (b. 1995) is an American filmmaker and cinematographer whose observational work explores post-capitalist landscapes through an experimental, ethnographic lens. His films have been screened at Sundance, the International Film Festival Rotterdam, the Chicago International Film Festival, the Edinburgh International Film Festival, the Atlanta Film Festival, and the Jeonju International Film Festival. His cinematography on The Harvest earned him a nomination for the National Geographic Award for Best Cinematography at Millennium Docs. He earned a BFA in Film/Video from CalArts in 2017.

In the Garden of Hesperides, a fruit, capable of granting immortality to whoever ate it, once grew. This garden, located somewhere off the coast of West Africa, was guarded by a dragon with one hundred heads. Through the use of bio-sonification of banana trees, a monoculture crop in the Canary Islands, we discover a tale of eternal life where this mythical garden used to exist.

Their work investigates the relationship between mythology, history and materialism. Their first feature film, Eles transportan a morte (2021), premiered at the Venice and San Sebastian festivals winning awards at both. It has subsequently been shown at international festivals such as Rotterdam, Cairo, Mar del Plata, Viennale, Hamburg and Sao Paulo. Their short films have been shown at festivals like Toronto, Locarno, New York, Ann Arbor and many others. They have made installations and performances in art centers like CCCB (Barcelona), BAM (New York), TEA (Tenerife) or Solar (Vila do Conde).

Sarge and Joseph are flag inspectors working in Vermont. We see them criticizing the placement of a flag, having a confrontation with an angry Libertarian, and listening to a conversation where Joseph expresses doubt. They find a US flag with a tractor and accuse local farmer of being a traitor. The inspectors retreat with promise of future payments. Sarge notices two women folding a US flag with a lobster. The women explain that this is the Notary Uprising flag. Joseph falls in love with Nova, the a leader of the local notaries. They coincidentally meet in an art gallery and decide to go to NYC together. While notary rebels are plastering their slogans over Manhattan, Nova and Joseph visit Times Square where he is moved by the pixellated flag. Nova meets other notaries. Joseph finds army vets in Central Park who try to convince him he is Jewish. He fights off Mossad agents. The Vets encourage him to visit Reb Pineas, immortal sage from Chelm. Joseph is convinced to stay while Nova returns to Vermont. After learning the secret of the Three Stooges, Joseph returns to Vermont and shops for kosher products in a local grocery store.

Shalom Gorewitz (born 1949), a pioneering video artist, curator, and writer, bridges image processing and social commentary. A Guggenheim Fellow and former curator at The Kitchen, he collaborated with dancers like Daniel Nagrin, Lucinda Childs, and Regina Miranda. His work was exhibited internationally while Gorewitz explored experimental media. In 2022, he retired from Ramapo College of New Jersey and has since directed nine feature narrative films with improvisational non-professional performers. The Northeast Kingdom, a region in Vermont and the US, is Gorewitz’s primary filming location. He does camera work and post-production. Notary Uprising!, the first NEKflix film shot in Vermont, New York City, and New Jersey, Previous films address the plight of returning citizens, the fentanyl crisis, eco-terrorism, and other local issues. Notary Uprising! Is Gorewitz’s seventh film and first comedy. Gorewitz was inspired to be a film maker after seeing Godard’s Breathless and Anger’s Scorpio Rising at the Bleeker Street Cinema when he was 17 years old. He began Major influences include Emir Kusturica, Tony Gatlif, and Frank Capra. He began making feature films when he was 71. He resides in New York City and Danville, Vermont, with his wife, the poet Rachel Hadas.

2002, North Carolina. Teenagers recall the investigation into the mysterious fainting of high school cheerleaders.

Lilith Grasmug is an Austrian actress based in Paris. She began her career in 2017 starring in Virgil Vernier's feature 'Sophia Antipolis'. She is known for appearing in Jean-Christophe Meurisse's 'Bloody Oranges' (2021), Carmen Jaquier's 'Thunder' (2022) and Claire Burger's 'Langue étrangère' (2024). She is currently doing a master's degree in contemporary art research at La Sorbonne after a spell at the ECAL art school in Lausanne. ‘Some of you fucked Eva’ is her first short film as a director.

To stop the loss of biodiversity, the forests must become wilder and rougher. "More life" follows people at work to simulate natural damage and disturbances in forests. Trees are torn, scraped, broken, blown up and burned

Even Grimsgaard (b. 1994) is a Norwegian filmmaker and cinematographer. He studied at Nordland School of Arts and Film and the Norwegian Film School. He works both as a cinematographer and director.

A young man in a bomb-vest, on the run, lands in the backyard of a confused woman whose dead husband is in a chair in her living room. Shot in black-and-white, the film makes allusions to the early work of Alfred Hitchcock.

In short narrative films, documentary and installation work, Bart Groenendaal (Amsterdam, 1975) explores how the cinema shapes our social subjectivity and the world around us as expression of ideology.

A young woman wanders around a business district at night and at dawn meets seven lonely strangers, who each fall under the thrall of her energy. Inspired by the imagery of the Flemish Primitives and made in collaboration with a real-life quantum-healer, the film is a musing on the longing for connection in a neoliberal urban context.

In short narrative films, documentary and installation work, Bart Groenendaal (Amsterdam, 1975) explores how the cinema shapes our social subjectivity and the world around us as an ever fluctuating expression of ideology.

Miraculous Accident is a transtemporal film that narrates the love story between Nadir, a Moroccan student at the ?ód? Film School in 1968, his Jewish editing teacher Edyta, and their shared relationship with Jarek, Nadir’s best friend and Edyta’s protégé. Nadir is among a group of North African students sent to study communist filmmaking techniques as part of the Eastern Bloc’s support for anti-imperialist struggles. Despite her opposition to Zionism, Edyta is forced to leave Poland due to the political rift between Poland and Israel following the Six-Day War or the Naksa (The Setback). In 2024, Nadir returns to the school to make a film after discovering a forgotten letter Edyta wrote to him from Haifa in 1989. The film mourns the cruelty of nations, birthing rare miracles—accidental loves—only to crush them before they breathe. Inspired by the life of former Moroccan student, poet, and filmmaker Abdelkader Lagtaâ, who also plays Nadir in the film, Miraculous Accident weaves its plot through original footage and extracts from 1960s student films by Lagtaâ and his peers.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, which aims to explore both how the political orientation of legacy establishments impact the lives of individuals and how these organizations choose to represent and communicate facts and their attendant artifacts. The absurd biographies of the protagonists in his projects simultaneously reveal and obscure the reasons and motives that lead people to obey or rebel against their inner world or the society in which they live. His photography, sculpture, and installations place the materiality of objects in relation to narrative dimensions, which in turn create fictional spaces where movement and non-movement function as a medium. Gruber’s solo exhibitions include the Berlinische Galerie, Berlin (2018) and the Muzeum Sztuki,Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, which aims to explore both how the political orientation of legacy establishments impact the lives of individuals and how these organizations choose to represent and communicate facts and their attendant artifacts. The absurd biographies of the protagonists in his projects simultaneously reveal and obscure the reasons and motives that lead people to obey or rebel against their inner world or the society in which they live. His photography, sculpture, and installations place the materiality of objects in relation to narrative dimensions, which in turn create fictional spaces where movement and non-movement function as a medium. Gruber’s solo exhibitions include the Berlinische Galerie, Berlin (2018) and the Muzeum Sztuki, ?ód? (2015). His films have been featured in festivals including the International Film Festival Rotterdam (2023) and FID Marseille (2022). He studied at Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. (2015). His films have been featured in festivals including the International Film Festival Rotterdam (2023) and FID Marseille (2022). He studied at Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent.

A video shows two migrants of different origins wandering through the winding streets of the Eternal City, ending up in the non-Catholic cemetery. The first visits the tomb of the Italian Marxist philosopher Antonio Gramsci and places a mint on it; the second then goes and eats the candy. Who or what needs “freshening up”? Milutin Gubash's work orchestrates an encounter with Gramscian theories, rediscovered in contemporary times. Among the best-known, cultural hegemony describes the maintenance of power and wealth by the state and the dominant capitalist class - the bourgeoisie - through the imposition of an ideology dictating the social norm. In the same way that mint invades fertile ground, dominant ideology infiltrates the minds of the masses, both having harmful repercussions on diversity. Although this theory was invoked by the right to win the battle of opinion, the contemporary era is also witnessing a reinvestment of these writings used as a theoretical framework for a reflection on (im)migration that considers the ways in which migrants can question the hegemonic order and contribute to alternative visions of society. Also renowned for his reflections on the southern question, Gramsci wrote about alliance and solidarity, resonating today with the potential for alliances between (non-)migrants to bring about social and political transformation, as well as change to the capitalist system.

Roma Talismano, seventh instalment of the ‘Superfictional World Atlas’, explores Rome as the moral and aesthetic talisman of the West. To the sound of opera hymns and arias, the allegorical animals the she-wolf, the eagle and the lamb narrate the endless recycling of Roman aesthetics to create an artificial and pale classical universality, from the Renaissance to fascism to the present day: Roma Talismano, eternal volcano of visual and spiritual bleach.

Guerreiro do Divino Amor holds a master’s degree in architecture from the School of Architecture of Grenoble (France). His since 20 years ongoing research “Superfictional world Atlas” explore the historical, media-related, religious and corporative mythologies that make up the collective imaginary of nations. He creates an universe of science fiction from fragments of reality in the shape of films, publications, and large-scale installations. Divino Amor represented Switzerland in the 2024 Venice biennial, was a fellow of the DAAD Artist-in-Berlin Program in 2021-2022, was awarded the PIPA Prize 2019. In 2022 he presented the retrospective solo show “Superficitional Sanctuaries” at the Centre d’Art Contemporain in Geneva. His work has been presented at the Frestas Trienal in Sorocaba (Brazil) Bangkok Biennale 2024, CAC Vilnius (Lithuania), Pinacoteca de São Paulo, among other institutions. His award-winning films have been screened at various national and international venues and festivals. Guerreiro do Divino Amor lives and works in Rio de Janeiro, Brazil.