Catalogue 2024

Une ode à la danse, à la fête et à la joie. Des ami.e.s se retrouvent et cherchent d’où vient ce son qui semble provenir d’une fête au loin. Des fragments de mots retiennent notre attention mais c’est le son du synthétiseur qui constitue la véritable voix narratrice de NOZA CASSANDRA. NOZA CASSANDRA, zone où la fête éclôt, faisant danser nos désirs et dans nos désirs germent notre révolution. Que la fête soit et qu’elle n’en finisse pas. Danser et faire la fête deviennent alors des actes militants pour ancrer des communautés, les rendre visibles et les faire exister. Faire la fête c’est exister et tordre sous toutes ses formes notre rapport au réel et à l’imaginaire, épuiser nos perceptions comme pour trouver la faille dans la matrice du réel.

Sarah Konté est une artiste queer interdisciplinaire travaillant la vidéo, la photographie, la performance et les installations sonores, au prisme d’enregistrements et de compositions au synthétiseur modulaire. Diplômée de l’EHESS en Arts et Langages en 2020, des Beaux-Arts de Paris en 2022 et de CalArts à Los Angeles en 2022 également, son travail s’articule autour de la mémoire, de la perception et de ce que l’on voit lorsque l’on ferme les yeux. Elle décline l’idée du griot, conteur traditionnel d’Afrique de l’Ouest, en proposant une histoire qui n’est plus contée par le griot mais par l’audience elle-même qui peut composer le fil narratif comme bon lui semble. Tous les sens de lecture sont possibles. Son travail a été exposé à la Monnaie de Paris, à la galerie Greatorex St à Londres, au MOCA à Los Angeles, à la galerie Campeche à Mexico, à la galerie SALA à Los Angeles, à l’espace Aimé Césaire de Gennevilliers et aux Grandes Serres de Pantin. Elle a récemment reçu le prix Marguerite et Méthode Keskar de la Fondation de France, en 2023.

This film explores the facets of a young man alienated from his feelings. Kickboxing, muscular bodies, nighttime, dreams and unspoken feelings slowly blend into abstraction.

Zaur Kourazov (1994) graduated from KASK with his work, 'TIME IS' (2019). Dwelling on themes of memory, identity and bonds from intercultural aspects, exploring the 'in betweenness'. A space of understanding worlds yet not fitting in them.

The truth will always out. Back in the day the truth was easier to hide, but today the world has become nearly transparent: lies are exposed sooner than ever, they look awkward and ridiculous, yet they are told shamelessly and insolently as never before. The worst is when a lie grows so big it turns into a war. Even if it’s a war against myths, lying is a heavy weapon. A few days before the war, lies started to materialize in an extremely tangible fashion. It was then that I learned from news presenter that my country does not exist, that it emerged, a century ago, as a fruit of one man’s fantasy, and that today it is a refuge for Nazis and drug addicts. I know the taste of this kind of lie and would recognize it anywhere, but I cannot accept the fact that this malady has afflicted millions of submissive supporters of a regime that has for generations treated people like idiots and kept them in the grip of fear. For former residents of the Soviet Union, mendacious state propaganda is associated with the music of the Swan Lake ballet, which has for decades served as a means of concealing the truth: every significant news that needed to be kept secret, be it the Chernobyl explosion or the death of another secretary general, was replaced by this ballet on TV screens. During the August coup, Swan Lake was broadcast for three days. My performance is set to the music of the notorious ballet, but I also called it Swan Song, foreshadowing a quick end to a regime that has gotten carried away in its bad game. When lying goes so far in its foul play, it inevitably devours itself.

Lena Kovach (1982, Lutsk, Ukraine), visual artist. Since 2002, I have been mainly working on my own long-term projects, combining photography with other visual media. I am interested in interdisciplinary forms of photography at its intersection with theater and performance and fascinated by the subject matter of memory, trauma, and deprivation, which requires working with vernacular and archival material.

Uta Kögelsberger’s 4-channel video installation that brings together Clearance and Woddworks is part of new body of work Forest Complex that observes the complex social, political, and ecological entanglements surrounding the pressures Alpine forests have come under in the wake of the climate emergency. The work visualises into the relentless cycle of destruction that humanity has set up with the environment we occupy. This is juxtaposed with the astonishing drive to ‘fix’ the destruction we have caused. More specifically Clearance follows the two-month Sisyphean task of clearing up after the devastation in the 145-metre-deep Haselbach Gorge. The sides of the gorge are so steep that the fallen trees had to be plucked from the mountainside by helicopter. Too costly to be carried away in this manner, the trees were dropped to the bottom of the gorge, creating a a flood risk. A two-tonne cable had to be stretched across the gorge by helicopter to rope the trees out of the gorge one by one. The piles of tree trunks accumulating in the riverbed were so precarious that it was too dangerous to work with large crews. Dwarfed by the scale of the task, we see a man working on his own as he proceeds to clear out one log at a time. Juxtaposed with that sits the single channel work Woodworks. Woodworks follows the next stage of the trees as they arrives at one of the largest wood-manufacturing conglomerate in Europe. We see the trees as they are first collected by a machine with oversized claws that effortlessly picks up twenty to thirty logs at a time, removes the bark and drops them on a conveyor belt endlessly churns out one log after the other. Each region in Austria has an allowance of cubic metres of wood that can be cut per year. For the area surrounding Haselbach the annual allowance was exceeded by 80% due to the storms. The abundance of wood that has flooded the market as a result of this triggered a price drop of 25–35% per cubic metre of wood, with devastating financial outcomes for the small hold farmers. Woodworks visualises the machine that forest owners small and large are compelled to feed continually.

Uta Kögelsberger is a London based visual artist whose work articulates and engages with social and political concerns through the languages of photography, video, sculpture and sound. Her work has awarded the prestigious Royal Academy Wollaston Award, been awarded the Stanley Picker Fellowship, the Berwick Gymnasium Fellowship, the EAA Award for Art in Architecture and the SPD silver medal for editorial photography. Her photographic essays have been published in Wired, Esquire, GQ, and American Photography. It has been exhibited, at MOMus, Thessaloniki, the Vincent Price Museum, Los Angeles, Art Night, London, in collaboration with Whitechapel Art Galleries, Brighton Photo Biennial, Les Rencontres, Arles, at SPG, London, the Architectural Association London, the Barbican, London, and Laurence Miller Gallery, NYC, and the Glassell Project Space MFAH, Houston amongst others. Her work is held in public and private collections including the MFAH, Houston and LACMA, Los Angeles.

Landshaft sketches the psychogeography of a geopolitically charged landscape and its inhabitants between extractivism, war and displacement. In the form of a journey in eastern Armenia, the film follows human and non-human actors as they make their way through the landscape, from Lake Sevan to the Sotk gold mine, occupied by Azerbaijan since the Karabakh War in 2020.

Daniel Kötter (1975, Bergisch Gladbach, Germany) has been working for 20 years as a theatre and documentary film director. His documentary and performance practice regularly takes him to the African continent, but also to the Middle East, North America and Southeast Asia. His work, which has been presented at numerous international festivals, focuses on the study of spatial politics. In addition to numerous music theatre pieces with composer Hannes Seidl (2008-2020), he developed the documentary film series “State-theatre Lagos/Tehran/Berlin/Detroit/Beirut/Mönchengladbach” (2009-2014, with Constanze Fischbeck), the award-winning trilogy on urban peripheries Hashti Tehran, Desert View, Rift Finfinnee (2017-2020), the exhibition and film project “CHINAFRIKA” (2014-18, with Jochen Becker) and the series of virtual reality performances and films “landscapes and bodies” on the impact of mining on landscapes and communities in West Papua, Saxony, Ruhrgebiet, the Democratic Republic of the Congo and Estonia (2018-2021).

The approaching night sky consumes the last rays of the sun. Perched on a branch in a courtyard, a peregrine falcon devours a freshly killed bird. Far from the city, two brothers sit around a campfire chatting freely, talking about their fears, isolation, dreams, perception and football.

Stefan Kruse is a research-based filmmaker and visual artist with a background in graphic design. He holds an MA in Visual Culture & Identity from the The Royal Danish Academy of Fine Arts School of Design (KADK). Exploring different ways of seeing, Stefan’s work reflects an ongoing research into technical image production, visibility, surveillance and patterns of control. His films have been presented at film festivals such as Visions Du Réel, Courtisane, 25FPS and Festival Dei Popoli. In January 2024 he published his first artist book ’Stefan Kruse A LACK OF CLARITY' with Buchhandlung Walther König. Stefan is currently pursuing a postgraduate degree at Kunsthochschule für Medien Köln.

Four communist agitators return from a successful mission in China to Moscow and are congratulated for their efforts by the Central Committee (The Control Chorus.) The four agitators, however, inform the committee that during their mission they were forced to kill a young comrade for their mission to succeed. The committee withholds its verdict until after the four agitators re-enact the events that led to the young comrade’s death. The agitators tell of how they were sent on a mission to educate and help organize the workers in China. The director of the party house (the last before the frontier) helps the four agitators and the young comrade in the obliteration of their true identities. They are told to keep concealed that they are communist, for their discovery would endanger the mission and their lives. However, once in China, the sights of injustice and oppression enrages the young comrade on several occasions, when he is time and time again not able to contain his passion, immediately acting to correct the wrongs he sees around him. As a result, he eventually exposes himself and proclaiming the teachings of the party. There, the agitators debate on what to do with him.

Can Kurucu is a filmmaker and artist focused on the sphere of the political image and its consequences. Can's work provides an insight into how digital images are made and what they represent, exploring the political and scientific elements that shape them, and reflecting on the image-making process and the deeper meanings behind the images within these broader contexts. Mariam Aslanishvili is an artist, photographer, and musician based in Berlin. Her artistic practice revolves around the exploration of human perception and the construction of realities, with a particular focus on translating personal experiences into the language of experimental cinema. Jack Hogan is a filmmaker from Waterford, Ireland. Their work focuses on the rich sociality of everyday life, foregrounding friendship and what constitutes good shared lives and places. Matthias Planitzer is a visual artist and doctor who explores scientific and political visual spheres and how they are rooted in their contexts.

Dans les profondeurs de notre imagination, une forêt apparaît, animée par des plantes, des êtres humains et leurs fantasmes. Dans cette forêt millénaire, l'espace est partagé avec le vent. Ce lieu habité de fables est une réalité proche d'un rêve vivant. Ce qui est montré témoigne du désir de vivre et de danser. Differentness a été réalisé lors de la création du spectacle Happy Island, chorégraphie de La Ribot avec la compagnie Dançando com a Diferença. Création septembre 2018 au Grütli – Centre de production et de diffusion des Arts vivants, dans le cadre de La Bâtie-festival de Genève.

Née à Madrid, La Ribot vit à Genève et travaille à l’international. « La Ribot est danseuse, chorégraphe, réalisatrice et artiste visuelle. Son œuvre, apparue au sortir de la transition démocratique dans l’Espagne des années 1980, a profondément modifié le champ de la danse contemporaine. Elle défie les cadres et les formats de la scène comme du musée, empruntant librement aux vocabulaires du théâtre, des arts visuels, de la performance, du cinéma et de la vidéo pour opérer un déplacement conceptuel de la chorégraphie. Solos, explorations collaboratives, recherches avec des amateurs, installations et images en mouvement présentent dès lors les facettes d’une pratique protéiforme, qui ne cesse de mettre en jeu le droit du corps. » — Marcella Lista, écrivaine et commissaire d’exposition au département Nouveaux Médias du Centre Pompidou, Paris, 2020 L’œuvre chorégraphique et visuelle de La Ribot a été saluée par de nombreux prix, notamment le Lion d’or pour l’ensemble de sa carrière à la Biennale de la danse de Venise en 2020, le Grand Prix suisse de danse par l’Office fédéral de la culture en 2019, le Premio en Artes Plásticas de la Comunidad de Madrid (Espagne) en 2018, la Medalla de Oro al Merito en las Bellas Arte en Espagne en 2015, le Premio Nacional de Danza décerné par le Ministère de la Culture espagnol en 2000. Son travail chorégraphique a été présenté, entre autres, à la Tate Modern (Londres), au Théâtre de la Ville et au Centre Pompidou (Paris), au Musée Reina Sofia (Madrid), au Festival d’Automne à Paris, à la Triennale d’Aïchi (Nagoya, Japon), au Museu Serralves (Porto), à Art Unlimited – Art Basel, au S.M.A.K. (Gand), au MUAC (Museo Universitario de Arte Contemporáneo, Mexico DF). Son travail visuel fait partie des collections privées et publiques du Musée Reina Sofia (Madrid), du Centre Pompidou (Paris), du CNAP – Centre national des arts plastiques (Paris), du MUSAC (Museo de Arte Contemporáneo de Castilla y León), de l’Artium (Centro - Museo vasco de arte contemporáneo), des FRAC Lorraine et Franche-Comté, du FMAC — Collection d’art contemporain de la Ville de Genève...

Il était une fois, au printemps, des télescopes plantés au sol à l'affût des étoiles mourantes. La jeune Astyanax était là aussi, dans les hauteurs froides de cet oracle, un casque sur les oreilles comme toujours, écoutant une émission diffusée au loin. Un an après la guerre de Troie. Au cinéma, on écoute l'histoire d'un roi amoureux d'une reine dont l’épée a tué l'homme et le pays. Un enchaînement de dialogues où le désir se moque du devoir politique.

Gonçalo Lamas est un écrivain et artiste, né à Porto. Après avoir brièvement fait des études de cinéma, il a rejoint le programme de Beaux-Arts 4D à Central Saint Martins, dont il est sorti en 2017. À mi-parcours, il a passé un semestre à l'Universität der Künste Berlin, dans la classe de Hito Steyerl. En 2020, il a réalisé la performance "Boeing Nº 737-800 in F#m", présentée à Culturgest Porto. Le livre qui l'accompagne a été lancé à la 6e édition de la Artist Self-Publishers' Fair à Londres. Son premier film, "Granary Squares", a été présenté en compétition nationale lors de l'édition 2021 d'IndieLisboa. En 2022, la maison d'édition SPAM Press, basée à Glasgow, a édité son pamphlet de poésie "some times zero hours". Cette année, il a terminé le programme d'études au Fresnoy, dans le nord de la France.

The story of this film begins with Moha's journey eight years ago to Melilla. When I arrived in Melilla to make my first documentary, Moha was 12 years old and was one of the many boys who every night, for months, tried to sneak aboard and reach the Spanish coast in a few hours. By diving into this reality, I got to see the true face of the inhuman European migration policy. This experience deeply marked me and gave birth to two documentaries: 'Mañana, Inshallah' and 'Riski'. The latter focuses on little Mohamed and his life among the rocks in the port of Melilla. Shortly afterwards, we would both leave: me to finish my film and Moha to reach Europe. Once the editing of 'Riski' was finished, I managed to track him down, he was in Spain, to show him the short film. Over the years we kept in touch and in 2019 I decided to visit him at the centre where he was staying, in Sabadell. Meeting him after so many years was very emotional. Somehow the time spent in Melilla had marked us both, had bonded us by creating great mutual esteem and trust. Seeing each other again and developing our friendship outside of this city was a cathartic experience. I have great respect for him and feel very fortunate to be able to tell this story, aware also of the ethical and moral problems that this may entail. Being able to define my roles as director and friend in a subtle and honest way is a major challenge and responsibility.

Otto Lazi?-Reuschel was born in Trieste. In 2011 he moved to Berlin, where he currently lives. His short film "When I dance, the Earth trembles", a one-take film set in Berlin, was presented at the 24th Black Night Film Festival, while his graduation film "Do you get me?" was presented at the 54th Visions Du Reel. He has worked on several film sets as an assistant director, cinematographer and production manager. He speaks five languages fluently: Italian, Croatian, German, Spanish and English.

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

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

After a painful breakup in February 2022, the protagonist moves into a rented apartment. As he tries not to go crazy, he films his everyday life and the world outside his window while strange things are happening around him.

Gennady Lebedev graduated from the general directing lab at the Moscow School of New Cinema.

La nuit tombée, la ville n’existe plus que par halos. Vigile ou gardien, il faut alors veiller parmi les ombres, confondre la fatigue et le sommeil, nuit après nuit, scruter l’obscurité quitte à y ouvrir une brèche et réveiller l’invisible.

Pierre Lefrançois Vérove est né en 1989 et vit à Montreuil. Il a étudié aux beaux-arts de Paris-Cergy avant d’intégrer le Fresnoy, studio national des arts contemporains en 2021. Ses travaux, films et textes s’attachent aux marges visibles ou invisibles et à celles et ceux qui les peuplent. Une considération qui l’a mené à entrer dans le champ de la psychothérapie institutionnelle (La chambre de Paul, 2022) ou encore à tirer le fil des frontières européennes entre Paris et l’île de Lesbos en Grèce (Algèbre, 2019)

Photographs, snowy mountains, videotapes. Two stories of love and death. Episode 1: The Lost Photographs. Episode 2: The unfound movie videotapes.

Lei Lei is born in Nanchang, Jiangxi Province. In 2009 He got a master's degree in animation from Tsinghua University. In 2010, his film This is LOVE was shown at Ottawa International Animation Festival and awarded The 2010 Best Narrative Short. In 2013 his film Recycled was the Winner Grand Prix shorts - non-narrative at Holland International Animation Film Festival. In 2014 he was the winner of Asian cultural council grants. In 2017 he works at CalArts Experimental Animation program as full time Faculty. In 2018 he invited for New Academy Member for the Short Films and Feature Animation branch, and his installation Weekend was the winner of Jimei x Arles discovery award. In 2019 his first feature film Breathless Animals has been selected by Berlinale Forum.

Agenzia Luce di Trieste is the meeting point of Valentina Giuriolo and Mauro Zerial: it is where analogue photography, professional excellence, photographic passion, rigorous approach and a certain vision of the world converge. It is the business they created together immediately after getting married. Valentina started from scratch, she knew nothing about photography, and Mauro taught her everything. Mauro started from scratch as well, after losing his sight in an accident along with the profession he had built. CRD is an experimental documentary in three acts that, starting from an absence, pursues an unexplored reading of reality. With a documentary approach Lele Marcojanni takes up the threads of a discussion born with Zerial and Giuriolo in 2018 in the comfort zone of their home-laboratory to go out into the streets of Trieste. Lele Marcojanni presents the first chapter, a study, which expands the experience of the first meeting with Zerial and Giuriolo and delves into the fear of losing images, into visual memory and the space around us that changes, the relationships between people that deteriorate over time like a jpeg re-exported too many times. Not seeing moves from the personal to the collective, opening up the search for the next chapter which, through a digital reworking, will investigate how to orient ourselves when there are no longer any references on the horizon.

Lele Marcojanni (Bologna, IT) focuses on filmmaking and visual arts. It started as a group dedicated to documentaries and then evolved into a path that intertwines writing, audiovisual, sound design, music and visual design in non ordinary exhibition supports tailored for its narratives. The stories collected and told by Lele prompt from everyday stories, far from mainstream media narratives. Lele Marcojanni investigates traditional forms of spectatorship by researching on screening formats, often working on the threshold of the ephemeral. Lele Marcojanni has directed documentaries, such as Carta and EVM 01, short films and mockumentaries. It was exhibited at festivals, museums and hybrid venues. It collaborated with several Italian and international performing arts festivals (Santarcangelo festival, Short Theatre, Live Arts Week, FUORI! among others) for the documentation of live works, experimenting with formats, practices and languages. Lele Marcojanni is the name of a collective visual narrative project founded in 2010 by Elena Mattioli and Flavio Perazzini.

Somehow Continue is a document of an unprecedented and fleeting moment in time set in a piece of urban wilderness located in the cultural heart of Montreal’s Mile End. A cinematic capsule shot on 16 mm that is an ode to instability and collective resiliency.

Karl Lemieux is a filmmaker, who's work is inspired by the dialogue that occurs between film, music and sound art. At the heart of his practice, also including narrative filmmaking, the importance of the cinematographic apparatus and the attachment to celluloid are essential. His films, installations, and performances have screened internationally in museums, galleries, music venues and film festivals including: the Montreal Contemporary Arts Museum, the MOMA - Museum of Modern Art in San Francisco, the Austrian Film Museum in Vienna and the Eye Filmmuseum in Amsterdam. He is known for his collaboration with Godspeed You! Black Emperor, a Montreal music collective for which he does live 16mm film projections since 2010. He is also the co-founder of Double Négatif, a Montreal-based collective, dedicated to the production and dissemination of experimental films. His first feature, Maudite Poutine (2016), premiered in the Orizzonti competition of the 73rd Venice International Film Festival presented by the Venice Biennale.

À partir d’un témoignage audio, la vidéo est à la fois une investigation et la mise en image d’un événement familial, personnel et violent. Elle cherche à décomposer, donner à voir et conduire le regardeur.euse dans l’expérience intime du processus de deuil. Le dessin, dans la variété de ses modes d’expression et ses modalité techniques diverses (dessin à la main, images de synthèse, formes hybrides), occupe une place centrale dans ce projet pour exprimer des processus psychiques tels que le trauma et le rapport à la mémoire, etc.

Thomas Léon développe sa pratique en fusionnant cinéma, arts graphiques et images issues des nouvelles technologies. Il crée des films, des installations vidéo et sonores immersives, ainsi que des dessins en grand format. Son oeuvre explore les interrelations entre mémoire, sensualité, expériences intimes et imaginaire, en s’appuyant sur des fictions, qu’elles soient sociales, urbanistiques, climatiques etc. Il s’inspire notamment de la science-fiction et de la littérature utopique et développe le plus souvent ses travaux par l’intermédiaire des outils contemporains de création d’images (modélisation 3D, IA, etc.). Il participe régulièrement à des projections ou expositions en France et à l’étranger: « Listening to Transparency » au Minsheng Art Museum de Shanghai (Chine, 2017), « Cruces Sonoros : Mundos Posibles » au MAC de Santiago de Chile (Chili, 2016), « Rendez-vous 11 » à l'Institut d'art contemporain à Villeurbanne (2011) et à la South African National Gallery à Cape Town (Afrique du Sud, 2012). Il a notamment suivi les résidences : Drawing Factory organisée par le CNAP et le Drawing Lab (Paris) en 2021 ; la résidence à Taiwan, organisée par le Grame, centre national de création musicale (Lyon) et le Digital Art Center (Taipei) en 2011. Ses oeuvres sont notamment présentes dans les collection du CNAP et de la Fondation Louis Vuitton. Thomas Léon vit et travaille à Montreuil.

In the spirit of the modernist vanguards of a century ago, three contemporary media artists read their manifestos.

Jesse Lerner is a documentary filmmaker, curator, and writer based in Los Angeles. His short films Natives (1991, with Scott Sterling), T.S.H. (2004), Magnavoz (2006), and Manifesto (2023), and the feature-length experimental documentaries Frontierland/ Fronterilandia (1995, with Rubén Ortiz-Torres), Ruins (1999), The American Egypt (2001), Atomic Sublime (2010), The Absent Stone (2013, with Sandra Rozental) and The Fragmentations Only Mean (2021, with Sara Harris) have won numerous prizes at film festivals in the United States, Latin America, and Japan, and have screened at the Museum of Modern Art in New York, the National Anthropology Museum in Mexico City, the Reina Sofía Museum in Madrid, and the Sundance, Rotterdam, and Los Angeles Film Festivals, among many other venues. Washington’s National Gallery, New York’s Anthology Film Archives, and Mexico’s Cineteca Nacional have presented mid-career surveys of his films. His books include The Maya of Modernism, F is for Phony: Fake Documentary and Truth’s Undoing (with Alexandra Juhasz), The Shock of Modernity, Ism Ism Ism: Experimental Cinema in Latin America (with Luciano Piazza), and The Catherwood Project (with Leandro Katz). His critical essays on photography, film, and video have appeared in Afterimage, Cabinet, Film History, History of Photography, La Pusmoderna, The Spectator, Visual Anthropology Review, Wide Angle, and other media arts journals, anthologies, and exhibition catalogues. As a curator, he has organized exhibitions for the Robert Flaherty Seminar, Mexico’s National Palace of Fine Arts, the MAK Center, and the Carrillo Gil Museum, as well as solo shows of Gala Porras-Kim, Manuel Álvarez Bravo, and Cannon Bernáldez. He is a professor in the Intercollegiate Media Studies program of the Claremont Colleges.

MIDSENTENCE, filmed over five years inside a county jail, lays bare larger truths about incarceration, institutional authority, confinement, shame, guilt, and power dynamics between those in and out of uniform.

Erik Levine was born in Los Angeles, California in 1960. He has exhibited widely in the United States and Europe, most recently at Ludwig Forum Aachen with a solo survey exhibition of his videos from the past 15 years. His work includes video, sculpture, and drawings, and is in the public collections of the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, Walker Art Center, Hirshhorn Museum and Sculpture Garden, and Des Moines Art Center, among several others. He has received numerous awards including a Guggenheim Fellowship and three Pollock–Krasner Foundation awards. In addition, he’s received two grants each from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council on the Arts, and the Massachusetts Cultural Council, as well as grants from Awards in the Visual Arts, Nancy Graves Foundation, and the Jerome Foundation.

"Bacata" is the first name of Bogotá: "the lady of the Andes, the mountain that lights up". It's also the name of a tower, the tallest in Colombia, never completed. From the 28th floor, Laura observes the city, its secrets and its struggles. This film takes us around Bogotá for a day. It's a snapshot of what it's like to live in this huge city, through the daily lives of different inhabitants of the Colombian capital. Each has his own home, his own path, his own secrets. Sometimes they bump into each other. Sometimes they ignore each other. But often they resonate.

Fanny Liatard and Jérémy Trouilh are a duo of French directors and screenwriters. Their first feature film, Gagarine, has been selected for the 2020 Cannes Film Festival.Fanny Liatard and Jérémy Trouilh met while studying at Science Po Bordeaux.In 2015, the duo made their first two short films, Gagarine and La République des Enchanteurs. In 2018, they shot a new short film, Chien Bleu.After being screened at a number of festivals, in 2020 their third short film was nominated for a César award.Between 2019 and 2020, Fanny Liatard and Jérémy Trouilh made their first feature film, Gagarine, shot in the Cité Gagarine housing estate on the verge of demolition. The film was selected for the 2020 Cannes Film Festival.

MAMMAL HALL (2022) is a polyphonic, sensory study of museums and the questions that arise as we wander through them. The film was created during the pandemic while in residence at the Museum of Natural History at the University of Iowa by Stephanie Miracle, Auden Lincoln-Vogel, and Ramin Roshandel. The three artists center their creative process around dialogic listening practices with “space”. MAMMAL HALL is an anti-dance film. Differing from traditional dance films that center on virtuosic movement performed by the dancer, this work references the Anthropocene and questions the dominance of humans in the narrative by literally placing the bodies of the dancers at a lower level in both the space and the camera frame. The shift in hierarchy elevates the motionless animals and draws attention to the timeless and time-bound qualities of the “natural” and artificial spaces of natural history museums and the complex histories they house.

“Mammal Hall” Directors’ Bio Stephanie Miracle (choreographer), Auden Lincoln-Vogel (cinematographer) and Ramin Roshandel (composer) are an Iowa-based artistic team that has produced two collaborative dance films - "Hyperdistanced" (2020) and "Mammal Hall" (2022), with several other projects in the works.