Catalogue 2023-2024

Des hommes et des femmes crient puis s’attroupent, s’agitent puis s’enlacent. Paul leur dit adieu. Il quitte l’institution avec l’espoir peut-être d’un nouveau départ, mais au dehors, d’une chambre à l’autre, partout le passé persiste.

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).

The Guilty Sleep, filmed during more than 75 overnight ride-along shifts with the police, illuminates urgent issues related to the current state of policing. It's a composed collage of raw, slow paced, and evocative imagery and sounds that frame polarities such as justice/injustice, observer/observed, confined/free, power/disempowered, and innocence/guilt. The video highlights the landscape behind these dualities and focuses on their complex relationship to one another.

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.

A la frontière entre film de science-fiction, roman-photo et found-footage film, another picture for the end questionne la multiplication des images autant que la domination du discours et de la pensée médiatique contemporaine par les tech-entrepreneurs et autres milliardaires-héroïques. Une I.A., dans un futur incertain, essaye de se souvenir, ou de recréer une mémoire, pour comprendre comment le monde qui l’entoure est devenu ainsi.

Né en 1981 à Genève. Après une première vie dans les méandres de la communication audiovisuelle d’entreprises, Jonathan Levy-Forcada a fait un virage à 180 degrés en 2015 et repris des études en Arts Visuels, d’abord à la HEAD Genève puis à l’EDHEA à Sierre, dont il est sorti diplômé d’un Master en juin 2023. Son travail porte sur les questions du langage capitaliste à l’heure du Capitalocène, sur les liens entre humains et non-humains et sur les différents modes de représentations d’un monde en pleine hybridation. Ses médiums de prédilection sont la vidéo, la photographie, l’écriture et la performance.

Creatures of the Lines is an artist film and collaboration with anthropologist Heather Anne Swanson. It explores how desires for economic growth and linear progress have produced straightened forms in England’s watery terrains and asks what risks are associated with the conversion of once-curvy and braided worlds into a linearised landscape. Drawing on their longstanding research interests and conversations exploring the risks to and in aquatic ecologies with freshwater scientists, the film explores how English waterscapes have been transformed via the construction of canals. As arteries of British Empire, canals linked Indian cotton fields to domestic textile mills, facilitating vast ecological transformations from monoculture agriculture in the colonies to industrial discharges in England’s waters, soils, and air– and thus serve as a key site for exploring often-overlooked histories of colonial capitalism and their material presences in contemporary worlds. Attempting to work from within muddy, submerged sites, rather than from grand narratives or “god’s-eye” viewpoints, the work begins inside canals, telling stories from within the lines. Making use of the open-ended sensibilities of ethnography and natural history, it raises questions about ecological transformations and their ties to infra/structures of global political economy.

Sonia Levy's inquiry-led practice considers shifting modes of engagement with more-than-human worlds in light of prevailing Earthly precarity. Her work operates at the confluence of knowledge practices to interrogate Western expansionist and extractivist logics. She is the 2023-2024 recipient of the European Marine Board artist-in-residence programme. She was the 2022 selected artist of the S+T+ARTS4Water residency hosted by TBA21 in Venice and the 2021 commissioned artist at Radar Loughborough and Aarhus University's "Ecological Globalization Research Group". She has presented her work internationally, including shows and screenings at Ocean Space, Venice; Museo Thyssen, Madrid; Museo CA2M, Madrid; Sainsbury Centre, Norwich; ICA, London; The Showroom, London; Goldsmiths College, London; BALTIC, Gateshead; ZKM, Karlsruhe, Art Laboratory Berlin; HDKV, Heidelberg; Centre Pompidou, Paris; Musée de la Chasse et de la Nature, Paris; Muséum d'Histoire Naturelle, Paris, Verksmiðjan á Hjalteyri, Iceland Whale Museum, Iceland; Harvard Graduate School of Design, Cambridge USA; NYU Gallatin, New-York, Paris. Her work has been published by MIT Press and Thames & Hudson.

At the speed of light a conversation is heard, learned and remembered. Through unmeasured distances two men share stories about their travels. In the deep waters someone, wandering, dreams dream rooms where no dreams are dreamt.

Gaetano Liberti and Luciano Pérez Savoy both studied the BA in Film Directing at the Film.Factory programme, founded and mentored by Béla Tarr in Sarajevo. Gaetano’s video works and installations have been presented internationally, and his film "J" premiered in FID Marseille 2018 and was also in the official selection at IFFRotterdam 2019. Luciano’s first feature-length film, titled "M-1", premiered in the 35th Torino Film Festival and won the prize for “Best International Documentary” as well as the prize for “Best Mexican Documentary” at the Monterrey International Film Festival. Have You Seen This Place? is the name under which Gaetano Liberti (Italy, 1983) and Luciano Pérez Savoy (USA/Mexico, 1993) are developing works that, departing from cinema, expand into other hybrid formats and in-between mediums. Their collaboration began in 2019, and “Can Someone Meet Me In Dark Alley?” is the first co-directed film they have produced, premiered in the International Competition in FIDMarseille 2022. They are currently working on an installation titled “Dreaming Dream Rooms Where No Dreams Are Dreamt”.

Le film suit pendant deux ans le quotidien d’un groupe de danseurs du métro new yorkais. Des trains à leurs domiciles, de leur lieu d’entrainement aux événements organisés par leur communauté, c'est un portrait de cinq individus et du milieu de la danse Hip Hop de New York. C’est aussi un portrait de la ville, de la société dans laquelle ils évoluent. Malgré les obstacles, leurs origines sociales et le racisme, ils sont déterminés à réussir et se débattent par tous leurs moyens contre un système méritocratique illusoire.

Rafaela Lopez (née en 1988 à Paris) est une artiste plasticienne travaillant à New York et à Paris. Son travail se déploir à travers des films, des performances, des sculptures, des dessins et des projets collaboratifs. Elle s'intéresse aux pratiques créatives marginalisées, aux cultures populaires et aux constructions socio-culturelles. Chacun de ses projets cherche un langage spécifique, adapté aux communautés impliquées, et questionne le rôle social de l’art. Rafaela Lopez a étudié au Royal College of Art (Londres), à la Villa Arson (Nice) et à l’École Nationale Supérieure des Arts Décoratifs de Paris. En 2015, elle est lauréate du Prix de la Région Sud à Art-O-Rama (Marseille), en 2017 de la bourse des Mécènes du Sud (Montpellier / Sète), en 2020 elle est nommée pour le Prix Sciences Po pour l'art contemporain (Paris), en 2021 elle est lauréate de la Fondation des Artistes et en 2022 du prix Social Practice Arts, organisé par le Centquatre, la Fondation Calouste Gulbenkian et les Fondations Edmond de Rothschild. Elle a exposé dans divers lieux en France et à létranger tels que Waissac Project (Wassaic, NY, 2022), le Consulat Grec de NY (NY, 2020), FLAX (Los Angeles, 2018), la Fondation Louis Vuitton (Paris, 2018), le Palais de Tokyo (Paris, 2017), le Centre National d'Art Contemporain de la Villa Arson (Nice, 2012, 2014, 2017), Studio Voltaire (Londres, 2015), le Camden Art Centre (Londres, 2015), Flat Time House(Londres, 2014, 2015). Elle a été artiste en résidence à FLAX (2018, Los Angeles), à la Villa Arson (2017, Nice), aux Laboratoires d'Aubervilliers (2017, invitée par Grace Ndiritu), à la Villa Lena (2015, Palaia) et à la Casa de Velázquez (2014, Madrid). Rafaela Lopez est l'ancienne présidente de DOC!, un espace artistique indépendant situé dans le nord de Paris.

descending notes (2022) is an erotic science-fiction film that explores transness as a form of dissonance and resonance. It takes inspiration from Donny Hathaway’s heartfelt rendition of A Song for You, whose lyrics are punctuated by a discordant progression of piano notes: “If my words don’t come together, listen to the melody ‘cause my love is in there hiding… I love you in a place where there's no space or time.” Written and performed with Ada M. Patterson and Raffia Li, the film is a cosmic love story between three transing beings whose desire unfolds across time and space, from the sensuality of early Christian sainthoods to future alien intimacies. Grounded in autobiographical experiences of tenderness, solidarity and grief within transgender friendships and everyday life; as the world splits apart, these undercover beings covertly learn to live in transformation and to give each other breath.

Lou Lou Sainsbury is a transfeminine artist based between Rotterdam, NL and Margate, UK, working across film, live-performance, poetry, installation and textiles. She identifies as a time traveller, making things that unwrite histories of living beings into tricksterish dreamscapes, exploring identity, community and ecological entanglement. She often works in collaboration, developing intimate long term projects guided by improvisation, cinematic processes and sonic thinking. Lou Lou’s work questions how we can become better listeners and how bodies can trouble history and geography. Moving across a poetics of sensual communion, her transformative work seeks to imagine stories for more liberated futures. After graduating from her MA in Art Praxis at the Dutch Art Institute (2021), Lou Lou was recipient of the Freelands Gasworks Partnership Programme. She was an associate artist at Open School East (2017), after completing her BA in Moving Image at the University of Brighton (2016). Her recent solo exhibitions include Roodkapje, Rotterdam (2023); Humber Street Gallery, Hull; Gasworks, London (2022) and Well Projects, Margate (2020). Recent performances and group presentations include: International Film Festival Rotterdam (2023); Whitstable Biennale (2022); Centre for Contemporary Arts, Prague (2021); La Casa Encendida, Madrid (2020), Tate Modern, London; Nottingham Contemporary and Yaby, Madrid (2019).

un chantier abandonné devient l'arène d'une poignée d'hommes.  Ils se préparent à combattre et à vaincre l'ennemi ;  mais qui est l'ennemi ? 

Amira Louadah est née à Alger. De 2014 à 2021, elle étudie le design et les arts visuels à l'Ensci, les Ateliers de Paris, développant un enthousiasme pour la mise en scène et la narration. Son parcours est jalonné de séjours fondateurs, notamment à Chang Maï en Thaïlande et à New York aux États-Unis, où elle réalise ses premières captations de terrain. Elle collecte et déploie ses perceptions dans une démarche empirique et exploratoire. Sa filmographie comprend notamment Un Diner Non-Newtonien (2017) et La grosse moula ou li michan (2021). Son dernier film L'Arche (2022) a remporté le prix Renaud Victor lors du FID Marseille, et a été sélectionné en compétition officielle au Camden Film Festival à Rockland aux Rencontres internationales du documentaire de Montréal, au MedFilm Festival de Rome ainsi qu’au Festival du court-métrage de Clermont-Ferrand 2023.

The video Gut Feeling investigates the body as a container full of biology, memories and stories. It explores how genetics, history and ghosts affect our consciousness, questions who we are or what we are made of, and describes a kind of life without any beginning or end. The video looks at the ambiguity of the body – to see it as both a possessor and possessed, which may make us reimagine what we interpret as living or dead, human or non human, and familiar or strange in the subject. Gut Feeling is full of unarticulated, undefined and unclear shapes – abstract forms waiting to be shaped by language and words.

Eli Maria Lundgaard (b. 1989, Norway) is a visual artist based in Oslo, Norway. She holds a master in fine art from Malmö Art Academy (2018). Her work has been presented at The Moscow International Biennale for Young Artists (2016 and 2018), the onboard program at The Antarctic Biennale (2017), as well as at several exhibitions and screenings in Scandinavia and other parts of Europe. In 2019 she was nominated for Future Generation Art Prize, and have through this exhibited at Pinchuk Art Centre in Kiev and at the collateral event of the 58th Venice Biennale. In 2022, she participated in the opening exhibition at the National Museum in Norway, amongst others. Solo exhibitions includes UKS in Oslo 2020, Delfi in Malmö 2020, Marabouparken Konsthall in Sundbyberg in 2021, and at NNKS in Svolvær 2022.

A film about snow outside the window, tractors in convoys, children learning and breathing.

Magnus B. B. Lysbakken is a writer, director and cinematographer, working in the intersection between fiction, documentary. He started his career in the Danish film industry, where he made his screenwriting debut with the feature film «Lovers» in 2017, directed by Niels Kaa. In 2022 he graduated from the Norwegian Film School with a master’s degree in Directing Fiction, specializing in combining film production with social outreach. He also holds a BA in Film Science and a BA in Comparative Literature from the University of Copenhagen. Magnus’ films explore the social dynamics of small communities, with a special emphasis on the interactions between children and adults.

In his famous text titled "On Late Style: Music and Literature Against the Grain", Palestinian writer Edward Saïd explores how the late style of certain composers, writers and artists constitutes a space of creative freedom unmoored from the conventions of their epoch that opens onto new horizons of artistic expression. Inspired by these thoughts, “Late Gestures” is a journey through scenes taken from the later, often neglected films of a number of great filmmakers that in their prophetic untimeliness look towards new possibilities for cinema and the moving image. Silvia Maglioni and Graeme Thomson invite us to explore the hauntology of images through a shape-shifting montage of these “late cinematographic gestures”.

Silvia Maglioni & Graeme Thomson are filmmakers and artists whose works explore the porous borders between fiction and documentary, the visible and the invisible, cinema and installation, theory and practice. Their production includes the creation of films (both features and shorts), mixed-media installations, sound works, performances, radio shows, vernacular technologies and books. The artists often make use of cinema to reactivate lost, forgotten, silenced or neglected archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. In constant dialogue with literature, philosophy, music, science and the history of cinema their projects are research-based, process-oriented and trans-disciplinary. Their work has been presented at film festivals, in museums and independent art spaces worldwide.

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

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

Des centaines de lettres de convocation arrivent dans le ba?timent occupe? par La Voix des Sans Papiers. Avec soin, Kande? et Taslim trient et distribuent les lettres aux occupants qui devront comparai?tre devant le tribunal. Les jours se de?roulent comme d'habitude, les occupants restent vigilants. La nuit, dans une pie?ce au fond du couloir, ils re?pe?tent ensemble avec Modou, un occupant aguerri, comment comparai?tre devant un juge. Le jour du proce?s tout le monde se pre?sente au fur et a? mesure, dans les couloirs du tribunal re?sonnent les bruits d’une occupation.

Elie Maissin 1990° et Mieriën Coppens 1992° sont des cinéastes belges. Depuis 2015, ils documentent la lutte du collectif militant bruxellois " La Voix des Sans Papiers ". Depuis sept ans, Elie Maissin et Mieriën Coppens ont réalisé plusieurs courts métrages : Carry On, Almost At Rest, This House, We Are Stubborn, A new street, Caught In The Rain et And Their Letters. Ils recherchent un équilibre entre l'attestation d'une existence réelle et l'évocation d'autres possibilités d'existence.

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

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

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

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

RAFTSIDE is Filip Markiewicz’s electrovisual pop rock project that is always connected to his visual work. The performances are film and musical experiences, that analyze in a poetic and way our digital society of the spectacle. After a european tour with with his latest LP « Ultrasocial Pop » (Grzegorzki Records / Berlin) and presenting a visual performance in 2020 for the Rencontres Internationales Paris / Berlin, Haus am Lützowplatz Berlin, Mudam Luxembourg, Konschthal Esch, the RAFTSIDE performance was presented at this year’s NRW Forum in Düsseldorf for the opening of the AR Biennale and at Filip Markiewicz’s solo exhibition « Liquid Poem » at the Stadtgalerie Kiel (D). Over the last 15 years RAFTSIDE shared also the stage on different pop rock festivals with bands like Daft Punk, Metronomy, Flavien Berger… www.raftside.com www.filipmarkiewicz.com

Filip Markiewicz (born in 1980, Esch / Alzette, Luxembourg) is a visual artist who expresses himself through various media such as drawing, painting, music, video and installation. Filip Markiewicz represented Luxembourg at the 56th Venice Biennale 2015 with the Paradiso Lussemburgo project (Sternberg Press Verlag catalog). His long-term project Celebration Factory on contemporary Europe began in 2016 at the NN Contemporary Art Northampton and at the Theater Basel before it was continued in 2018 at the Casino Luxembourg - Forum d'Art Contemporain and in 2019 at the Center for Contemporary Art Derry-Londonderry and the Kunsthalle Osnabrück (catalog Hatje Cantz Verlag). In 2017 Markiewicz staged his performance Fake Fiction with diary texts by Oskar Schlemmer (publication Hyde Éditions) at Theater Basel for the official Art Basel program. Markiewicz received the Art Prize Bourse Bert-Theis in 2019 for his art music project Ultrasocial Pop. In 2020 his theater film project Fake Fiction was presented for the Rencontres Internationales Paris / Berlin festival at the Musée du Louvre in Paris and at the Haus der Kulturen der Welt in Berlin. In the same year Markiewicz shows his monographic exhibition Ultraplastik Rhapsody at the National Museum of Contemporary Art in Bucharest. For the Lausitz Festival 2020, Markiewicz directed, created the scenography and composed the music for the play ANTIGONE NEUROPA (Sophocles) in collaboration with the Staatstheater Cottbus. In february 2021 Filip Markiewicz presented the performance Ultrasocial Pop  in the frame of the Rencontres Internationales Paris / Berlin. In August 2021 Markiewicz directed, created the scenography and composed the music for the installation and theater performance Euro Hamlet at the Lausitz Festival. From 2021-2023 Filip Markiewicz presented the Ultrasocial Pop solo exhibition through european Art Institutions like Konschthal Esch, Haus am Lützowplatz Berlin, Meno Parkas Kaunas 2022, Mudam Luxembourg. In 2023 he participated at the AR Biennale at NRW Forum Düsseldorf and most recently he presented the soloshow « Liquid Poem » at the Stadtgalerie Kiel. A catalogue presenting the body of work Ultrasocial Pop was released by Hatje Cantz. Filip Markiewicz has been composing music for film, theater and installation under the name RAFTSIDE since 1999, with which he has also appeared in several international festivals. 

After gaining independence in the early 1960s, the young African nations are greeted by an unexpected and enigmatic friend from a far-off continent. Independent Africa receives a seemingly endless stream of Soviet parliamentarians, who arrive on the continent to pay respect to the newly independent states.. These ambassadors of the nation with a ‘bright future’ radiate friendliness and offer assistance in technical, social and cultural development under the banner of a new ideology of equality and fraternity. But is everything as rosy as the Soviet propaganda claims? Are there any strings attached to the Soviet Union’s goodwill? What were the real objectives of the Red Empire?

Alexander Markov is a documentary filmmaker, cinema historian and artist. Born in Leningrad, Russia at January 28, 1973. He directs films in Saint Petersburg and abroad, teaches documentary directing at Saint Petersburg State Institute of Film and Television, and works as an independent curator. His video installations were shown at Sharjah Biennial, Calvert 22, Iwalewahaus, Africa.Cont, CEU etc. Markov's films were participated and awarded prizes at various international film festivals like Berlinale Talents, Visions Du Reel, DocPoint, Sheffield Doc, Film Africa, Message To Man, NYAFF, Artdocfest, Cinefest, Directors Lounge, Stalker, Temps De Images and others.

go slow, you’ll see better is a journey of contemplation and transitioning between opposing states (of being). Revealing a landscape interspersed with vibrant colours of magenta and pink, this represents a bridge between excitement and calmness, chaos, and order. The shift in saturation mirrors the ever-changing nature of emotions, experiences, and personal narratives. Driving by and shooting out the window, the landscape becomes blurred and unblurred, evoking the sense of in-betweenness, which can prompt the feelings of familiarity and unfamiliarity, clarity, and vagueness. go slow, you’ll see better is everywhere and nowhere, collapsing both the temporal and the spatial.

Siyanda Marrengane is a Eswatini-born visual artist based in Johannesburg, South Africa. Kuba semkhatsini is a SiSwati phrase that can be translated as being caught in the middle of conflicting states of being, situations, conditions and more. Siyanda is interested in the notion of the in-between (kuba semkhatsini), a central component in her practice that encompasses personal and collective narratives and experiences. These are subsequently explored as ways of questioning, challenging and falsifying existing hegemonies. Unpacking and translating these through video, sound and installation, to create ambiguous spaces that are both imagined and real.

The CONTROL NEGATIVE experience is an exercise in a loss. Using VR technology, author Monika Mas?o? situates the viewer in an emotional state where frustration, helplessness, anger, and sadness are used to reveal basic human assumptions, including the illusory conviction of being fully in control of one's own life. The unreal world of the experience — a negative version of the real world — is a training space where you can better understand yourself and your emotions. The user is guided through seven chapters, which gradually move from physical activity to contemplation.

Dr. Monika Maslon (born 1982) - visual artist and art educator. She graduated from the Academy of Fine Arts in ?ód? and Ph.D. studies at the Film School in ?ód?, where she completed her Ph.D. thesis entitled “Do zobaczenia” (See you), under the supervision of Prof. Józef Robakowski. She is a lecturer at the University of Leipzig and the Maria Grzegorzewska University in Warsaw where she conducts classes with the students of the department of Arts education in fine arts. In 2014 she stayed at an artistic residence in Singapore, where she made an artistic project called “Comfort of Long-Distance Perceiving”. In 2016 she implemented the project “Template - a tool to learn how to use an image”, as a part of a scholarship awarded by the Ministry of Culture and National Heritage. The scope of her art activities is manifested mainly through realizations based on audiovisual material. She participated in numerous exhibitions and shows. She is the author of the VR experience - CONTROL NEGATIVE.

The video work "no mental scars, no nursed grudges," 2022, presents two young acrobats creating figures together — the older girl becomes a support for the younger one. There is also a pose performed by the younger girl individually, however on an object, which is the handstand canes. All the exercises are recorded with two cameras, one of which is fixed on a large bolt. The robot observes and analyses girls' movements in close-ups and slow motion, in order that all their gestures and strains are detectable. This anthropomorphic machine becomes a character itself — it is visible in the distance shots performing a choreography. The title of the work comes from Zygmunt Bauman's "From Pilgrim to Tourist – Or A Short History of Identity," from the passage "The Player."

Female visual artist based in Warsaw. Graduate of the Studio of Spatial Activities by Miros?aw Ba?ka at the Academy of Fine Arts in Warsaw (2018), former student of Candice Breitz and Eli Cortiñas at the HBK in Braunschweig (DAAD scholarship for 2019/20), guest by Adam Broomberg and Oliver Chanarin at the HFBK in Hamburg (2017/18). Her main focus is mechanisms of control and processes influencing and exploiting an individual. She uses poetic visual language to analyze restrictive rules established within intimate relationships, communities, states, or companies, and towards the natural environment. She exhibited in MOCAK – Museum of Contemporary Art in Krakow, eastcontemporary gallery in Milan (2022), Fabbri Schenker Projects in London, MAXXI – National Museum of 21st Century Art in Rome, Center for Contemporary Art Luigi Pecci in Prato (2021), Wschód gallery in Warsaw (2020), Palazzo Strozzi in Florence, Starak Family Foundation in Warsaw (2019), Deichtorhallen in Hamburg, Fondation Hippocrène in Paris (2018), Museum of Modern Art in Warsaw (2017 – laureate of the Hestia Artistic Journey Competition). Agnieszka was a resident of Hospitalfield in Scotland (2022), Muzeum Susch in Switzerland, the Artists Development Program at the EIB Institute in Luxembourg (2021), and Futura gallery in Prague (2020, Visegrad Fund). She participated in the Lucy Art Residency public program in Kavala (2022) and in the School of Expressions in PLATO Ostrava (2019). Works of her are in Fondazione in Between Art Film by Beatrice Bulgari, Ergo Hestia Group, and European Investment Bank collections, as well as in private ones. Represented by eastcontemporary gallery in Milan.