Catalogue 2024

Like many people in their later years, my grandfather had a set of oft-repeated stories. Towards the last few months of his life, a brand new person,'Chetan' started populating his life. This poem-film is an attempt to understand the feeling.

Adheep Das likes mixing various mediums and finding out what comes of them. Fascinated by science and arts alike, his interests take him to places that merge the two. As part of a 3 person collective, he got the ThinkArts Grant for Children in 2022. 'Moonless', a film he directed and animated, has competed at DokLeipzig and Dharamshala Intl. Film Festival, amongst others. His documentary 'Khaalti Kaay Varti Kaay' competed at IDSSFK, Kerala. Some of his work has also been exhibited as part of the Kochi-Muziris Students' Biennale and the Wrong Biennale. He has worked on a live shadow puppetry production called ‘Zig Zags to Earth’, and has performed at venues such as Max Muller Bhawan, Delhi, and Kiran Nadar Museum of Arts, Delhi. He has also been part of the Serendipity Arts Foundation Residency 2024.

On 4TH March 2009, security forces came to Phoubakchao Makha Leikai in Imphal valley, in the Northeast Indian state of Manipur, looking for a militant ostensibly named, “Azad.” They dragged Azad Khan, just 12yrs and studying for school exams, out of his home, and shot him dead in front his parents. The draconian Armed Forces (Special Powers) Act. 1958, in force in large parts of several states of NE India, offers unbridled impunity to security forces for such gross lapses. Azad’s parents are still waiting for justice. In recent years AFSPA has been withdrawn from some parts of Manipur. Civil rights groups have been demanding its complete abrogation for many years now.

Bhaskar Jyoti Das is a writer and filmmaker from Assam, India. He is best known for "I Don't Want To Be Born Again For Poem" (2019), ‘Where is my Home’ (2021). He loves working in experimental and research-based projects.

Benevolence is a film art installation in the form of a flicker film. The subject is the depiction of relationships between men and women in film. The work analyses and reveals the various forms of sexism, particularly benevolent sexism. The movement of the film unfolds like a love scene: starting with a seemingly innocent chase, it progresses into violence and ultimately culminates in an overwhelming display of love and submission. The film constructs a choreography using the mise-en-scène typical of classic Hollywood films from the 40s and 50s. Shots are divided into segments of 7 frames and interwoven with one another, creating a choreography of movement, a dance. By doing this, the film reveals the conventions in the ways men and women interact with each other in physical space. In doing so, the film not only questions the normative framework of that time but also challenges the cinematic conventions of today, as many of them are still in use.

Karel De Cock, born in 1982, works and lives in Brussels. He studied Audiovisual Arts at the Sint-Lukas Institute. In his film and photography work, he often reflects on the weight of social conformity. His practice is heavily grounded in research, drawing from popular culture, film, and media history. His photography takes a sociological approach, incorporating an observational element in an urban context. His central goal is to bring visibility to the unseen, emphasizing the extraordinary within the ordinary rather than seeking out exceptions. His work has been featured internationally in several exhibitions and museums, including, House Of World Cultures, Transmediale, Berlin; European Media Arts Festival, Osnabrueck; Centre Pompidou, Rencontres Internationales, France; Europalia Arts Festival, Belgium; Beirut Art Center, Lebanon; Museum M, Belgium and Courtisane, Belgium.

Now that Lumumba's mortal remains have been repatriated, renowned artists Marlene Dumas (South Africa) and Luc Tuymans (Belgium) talk about their paintings of Pauline and Patrice Lumumba respectively. About paintings, politics of nudity and death.

I’m a Belgian filmmaker and professor in film studies and visual cultures. Since 2005, my work centers around exploring the failures of decolonization. I've been trained in Philosophy (MA), African Studies, International Relations (MA), and Cinema Studies (MA). After I completed a thesis on Eurocentrism (Europa Mensura) and co-created a video series on Alterity (ôtre k’ôtre 2007), I researched African cinema and postcolonial film theory at the New York University’s Tisch School of the Arts; at the Helsinki Collegium for Advanced Studies; the University of Bayreuth’s Africa Multiple Cluster of Excellence and at the Waseda University in Tokyo. I teach/taught courses on World Cinema, Aesthetics, Curating & Exhibiting, Documentary Theory, Film Criticism, and Script Writing. My current Marie Sk?odowska-Curie research at the Amsterdam School for Cultural Analysis of the University of Amsterdam, explores scattered worldviews and aesthetics as politics of forms. My films, including Under The White Mask(2020), Palimpsest of the Africa Museum (2019), Lobi Kuna (2018), Diorama (2018), and Jerusalem, the Adulterous Wife (2008), have been showcased at festivals such as the Berlinale and numerous platforms. I guest lectured at EHESS, Paris1-Panthéon, Humbold… and published with Interventions, Third Text, Cambridge Scholars, Columbia UP, Black Camera, Artl@s Bulletin, Visual Anthropology, Francofonia, Imaginations, Journal of African Cinema, Image [&] Narrative, Ethische Perspectieven, L'Harmattan, Sternberg Press and Wallflower Press amongst others. My writings include an edited book on Lumumba in the Arts (Leuven University Press) which reached a list of the top-100 "books to escape the news" (LitHub). Besides, I was regularly invited to talk in non-academic contexts (Bozar, RFI, Klara, KVS, De Roma, Bruzz, Cinematek, WIELS), to curate film programs (MuZee, NOVA) and to write for MO* Magazine, Rekto:Verso, l’Art Même, Aktief, Filmmagie and Décadrages.

Once a world-famous tourist destination, Acapulco is now one of the cities with the most murders per capita. Assembling stories about five emblematic Acapulco objects and characters, Acapulco Folding Screen is an experimental documentary that registers the contrasting complexity of this old global port. Inspired by the oriental folding screens that arrived in America through the port of Acapulco in the 16th century, the film combines a non-linear and polyphonic narrative with a discordant montage composed of diverse audiovisual material about the place.

Unidad de Montaje Dialéctico (UMD) is a faceless artistic collective. Its refusal to show their faces and use proper names stems from a defense of clandestinity and collectivity as a tactic to confront the logic of spectacle and the industrial-celebrity complex. The practice of the collective has focused on the film essay as a way to generate constellations of dialectical images that put in tension multiple realities and temporalities. Their work has been presented in festivals across the world, such as the Havana Film Festival (Cuba), Punto de Vista (Spain), MIDBO (Colombia), FICUNAM (Mexico), FICValdivia (Chile), FIDOCS (Chile), London Short Film Festival (UK), and L'Alternativa (Spain), among others.

“I am a phoenix bird. It's hard for me take off and fall.” writes Katja. She is a kindergarten teacher in Narva, a border town between Estonia and Russia. She was born in 1992, with the new Estonian Republic, in a Russian speaking family and environment. Katja considers that her generation was an experiment for the new republic. Today she is trapped between languages that reflect opposite positions about war and peace and freedom.

Eleonore de Montesquiou is French-Estonian, she was born in 1970 in Paris. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eleonore is primarily working with film, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with the search for freedom, issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. Since 2007, she films women living on the Estonian-Russian border town of Narva: “Na Grane”, in 2016, she started working with asylum seekers from French speaking countries in Estonia: “Hope is no home” while pursuing a long time film project in France with peasants in the Haute-Alpes : “Traverses”.

Look into the eyes of a horse and know that you are looking at an intelligent and sensitive animal. If a horse is an animal, what are we? We experience a trailer ride on the highway and wake up from anesthesia in a veterinary clinic. ‘No horse on Mars’ is a film, documentary in its research that plays with fictional elements. The horse’s POV is the most effective element of the film. The voice over tells the story of the galloping mind that resides in all domesticated horses and questions the horse-human positioning. The human is introduced as a screen viewer who follows the horse, wants to measure her, record her and knows her as an object. Ultimately, from the human perspective, there seems to be a glimmer of recognition in the film for the individuality of the horse.

Bea de Visser is known for her film art, installation work and sound performances. Her work can best be described as a digital media-based practice -from the perspective of a painter and storyteller who sees the world through different lenses. AnimaIs are a recurring motif in her work. Her latest works focus on non-anthropocentric storytelling. She mixes fiction with the everyday and emphasizes structures of power, dominance and control. Her work seduces the viewer through a rich audiovisual language, which is poetic in nature and told in an alternative narrative form. Bea de Visser attended the Rijksakademie van Beeldende Kunsten in Amsterdam (1993-1995). Prior to she pursues her studies painting with a study electro acoustic sound. She initially began her career as a sound and performance artist in the trendy club scene and artist’s spaces, early 1980-ies. With her installation work, she was asked for international exhibitions in museums, art spaces, and galleries, including MoMA New York, National Museum Prague, Madrid, Pittsburgh, and the Stedelijk Museum Amsterdam. Her films are screened at international film festivals, museums and gallery’s worldwide. Bea de Visser leads to date the independent studio Anotherfilm that nowadays works as a platform for scenario and film development. Bea de Visser is a lecturer and researcher at the University of the Arts Utrecht at the departments Audio Visual Media and Writing for Performance. She is a buddy for Master students of the department MA Scenography. She works as an art consultant for the corporate art collection of the Bravis hospital, NL.

Water like crystals, spirited ruminants and haunted lakes. A meal is prepared, animals graze, wind moves through potato flowers. Land, lore and history conflate, confuse and constellate. Meanwhile: musicians are in the street, ancient objects are unearthed and small plans are made.

Bolivian filmmaker living in La Paz. MFA graduated in Cinematic Arts program at the University of Wisconsin in Milwaukee. Working in 16mm format, I’m exploring the spectral presence of places, objects, and matter, intertwining them with microhistories revealed through intimate interactions and relationships with the people who participate in my films.

In an Paper, a journalist revealed some classified elements which prove that French weapons are involved in war crimes. She is being questioned by the intelligence services to reveal her source.

Various structures of power, the forces of order, contemporary forms of oppression and security, and media manipulation are the core concerns of French artist Alain Declercq. Born in 1969 in Moulins, France, he lives and works in Paris. His work has been shown in Europe since the early 1990s, including at the Palais de Tokyo, Paris (2006 and 2003), Museum 52 in London (2005) and the Musée d’art moderne de la ville de Paris (2001). He has also created a number of specific pieces, among them Welcome Home Boss, featured in the Mois de la Photo in Montreal (2001) and Crash Cars, shown at the Cairo Biennale (2001). Alain Declercq is represented by Lœvenbruck gallery, Paris. Jacky Strenz gallery, Frankfurt and Museum 52, London.

This project ventures into the intricate landscape of masculinity, embarking on an in-depth investigation that challenges and deconstructs conventional definitions framed by societal and cultural norms. By examining masculinity through the lens of vulnerabilities, repression, and gender role construction, the initiative encourages a profound reevaluation of the male identity, advocating for a reconnection to the more primal, emotional, and sensitive sides of men's nature.

Daniela is an internationally renowned choreographer and movement director known for her boundary-pushing approach to dance. Driven by a profound curiosity about movement’s power, her work interweaves memory and the body’s capacity for storytelling. She debuted at the 2017 Biennale Danza with We Are Raw Material, setting the stage for a journey of artistic exploration across continents. Her collaborations include projects with the Pinuccio Sciola Museum, Accademia Nazionale di Roma, ?finMalta, and Tanz Company Gervasi. In 2021, Daniela earned an MFA in Choreography from Trinity Laban, where her innovative vision continued to flourish. Her celebrated piece Before Night Falls recently premiered at Contemporary Cairo Night and is currently touring Italy. Her latest work, Truncare Su Cadenas, explores the profound links between Armenian and Sardinian dance traditions.

When cracked seasons passes through the materials and life’s goal then how long a dream can sustain? How long urgencies can take to transfer into pleasing weathers of now? How long a season can sustain in the desertification of care? Aadara - a Bhojpuri sub season of 16 days at the time of monsoon is the beginning of the paddy plantation and rains in the Bhojpur region of India. The title is referred from the presence of season which symbolises life and dreams through cyclic toil. The work is an audio visual/seasonal conversation between the agrarian urgencies of Nadaon village in Bihar and the extracted forests and contaminated water bodies of Rani forest of Brahmaputra valley. The crucial goal of the work is to place the viewer into the friction between multi-layered fragments of times and ecologies by creating a space of contemplation.

Dharmendra Prasad- Rolling through orality, toil, winds, dimensions, horizon and deteriorating seasons and sites, Dharmendra Prasad harvests imagination, memories, times, change and toil, that are stored as residue in the backyard of life's goal. Through the medium of need, time, toil and soil Dharmendra's practice gets cultivated and tilledup in the form of installations, videos, paintings, photography, texts, events, and travelogue and beyond. Born in-between stories, discrimination, hierarchies, chaos and silence, full of winds and dusts, without any address, Dharmendra practices between the fields of Gangatic plains to the villages, water bodies and rainforests of northeast India, and in extension co-founding the Guwahati based Anga Art Collective. Shrutiman Deori is a filmmaker based out of Guwahati, North East India. He has worked on documentaries, narrative films as well as video art installations. While for the most part he works as a cinematographer, Shrutiman has also directed films that have received critical acclaim in film festivals around the world including International Documentary Film Festival Amsterdam(IDFA) and Camden international Film Festival. He is the recipient of IDFA Bertha Fund 2023 for his ongoing feature documentary "Shadows of the Forest". He works in the audio-visual medium wherein he explores the politics of indigeneity , community and environment. Shrutiman studied sound engineering from School of Audio engineering, Chennai and was also selected for the cinematography mentorship program by the Indian Society of Cinematographers(ISC).

On Facebook, I recognized him right away. 40 years after we met, we don't even know if it's a good memory. Despite the virus, I was able to join Dean in Los Angeles. Here everything is closed, and from Malibu to Watts, we let ourselves be crossed by the immensity of the city, in the momentum of the Mustang. Hold my hand tight, my beloved, the end has already happe- ned, everyone knows it in Hollywood, but now only poetry can reveal it.

After studying art history, Vincent Dieutre entered IDHEC (Fémis) in 1983. In 1989, he won the Villa Medici outside the walls in New York, and then lived in Rome and Berlin. After these years of drift, he returned to Paris in 1990 and wrote his DEA dissertation there (“Aesthetics of confusion” Paris III) before turning definitively to directing with Rome Désolée. Filmmaker, critic (la Lettre du cinema, les Lettres Françaises), he also often teaches in film and art schools in France and Europe (Paris VIII, HEAD, Fresnoy, la Cambre, etc.). Both do- cumentaries and autofiction nourished by music, painting, Queer culture, his work questions the links between the intimate and the collective but also the forms of cinema. His films have received several awards at international festivals.

Twenty performing artists and dancers embedded themselves in sites with different dynamics between nature and culture: the Berlin Botanical Garden, a cultural site focused on nature; a power plant, where nature is burned to make culture; a landfill and recycling center where the detritus of culture re-enters nature; a spy station built on a hill of rubble from the second world war; and a nature paradise impacted by climate change. Contaminations is an outdoor, experimental educational programme for people who want to work with their bodies (floating-berlin.org/contaminations). This short film shows scenes from Contaminations 2022. In this film, you see roads washed out by floods induced by climate change, with their guardrails floating in midair. There are metal structures newly constructed to prevent landslides in a forest impacted by forest fires worsened by climate change. When trees burn, their roots no longer hold the soil, and landslides further destroy the forest and homes.

Sebastian Díaz de León lives in Berlin with a spatial practice at the interface of architecture, film, photography and research. He examines existing structures to imagine a social and climate-just future, combining a variety of disciplines to address contemporary spatial challenges. As part of the collective ufoufo - urban fragment observatory they edited and published the book „VISITING - inken baller & hinrich baller, berlin 1966-89" (2022), including the accompanying exhibition at DAZ berlin (2022), Freie Akademie der Künste in hamburg (2023) and Kunsthochschule Kassel (2024). With ABRISSSTOP! (2023) they fight against the demolition of buildings in Berlin through film, performance and exhibitions. IVRY-AFFAIRES (2023) is a 3-channel video installation displayed in the public spaces of Ivry-sur-Seine and berlin. It shows the stories of Ivry-sur-Seine’s inhabitants and unfolds collective imaginaries emerging from the multi level terrace housing by Renée Gailhoustet and Jean Renaudie. After teaching architectural design at the chair of Jean-Philippe Vassal, he is currently teaching at the chair of Stéphanie Bru at Universität der Künste berlin. Katherine Ball is a habitat for fungi and bacteria located on planet Earth. Katherine is a member of Floating University e.V., runs the program Contaminations, and is part of the Hybrid Infrastructure Working group there. Their art practice includes things like: living in an off-grid floating island building mushroom filters to clean a polluted lake and coordinating a national day of action to halt business at banks and corporations influencing state laws. Katherine has a Master of Environmental Management from Yale University School of the Environment (2022), a Master’s in Fine Arts in Social Practice from Portland State University (2012), and studied at the School of Walls and Space in Copenhagen (2011, 2015). Katherine has exhibited and performed at Smackmellon (NY), apexart (NY), Kampnagel Hamburg (DE), Schauspiel Dortmund Theater (DE), Wien Woche (AT), Wiener Festwochen (AT) and their work is in the collection of the Museum of Modern Art in New York (MoMA, NY). Their books include Not Broken Yet: Life in the Mojave Desert (High Desert Test Sites, 2014) and Utopia Walks Away: Infrastructure in Copenhagen, Denmark (LikeLichen Press, 2014). Katherine has been a Fulbright Fellow in Copenhagen, a German Chancellor Fellow (Bundeskanzler-Stipendium), a Macdowell Fellow, an artist in residence at Andrea Zittel's High Desert Test Sites in the Mojave Desert, an observer delegate at the United Nations Climate Change Summit in Mexico, and a member of the inflatable sculpture collective Tools for Action (2014-2017). Originally from Detroit, Katherine lives between Colorado, Berlin and Hawaii.

Portugal’s Serra da Gardunha is a mountain known for the paranormal. Where before it was revered as a site of saintly apparitions, nowadays it is known for alien sightings, with rumours of a UFO hangar hidden inside it. Atmospheric and dream-like, Our Lady Who Burns guides us through this mountain and an intergenerational lore of infatuations. In parallel, two friends lament the pregnancy of their old cat, speculating on whether the mystical energy of the mountain might be able to interrupt its gestation. Shot on 16mm with an small and intimate crew, Our Lady Who Burns is a personal voyage through the biographical landscape of the director, for whom the presence of the otherworldly, the geology of the territory, and a biography of unwanted bodily gestation are expressed through acts of cinematic apparitions.

Alice dos Reis, born in 1995 in Lisbon, is a visual artist and filmmaker, and has a Masters in fine arts from the Sandberg Instituut in Amsterdam. In 2019, she won the Novo Banco Revelation prize for young artists, and in 2018, she won the VISIO Young Talent Acquisition Prize. She was also a recipient of Foundation Botin Visual Arts Grants (2022-2023), and previously, the Mondriaan Fonds Stipend for Young Artists (2020-2021)

In the kilimanjaro area the life of a boy, a young adult and an old blind man intersect amidst cultural and climate changes.

Ben Donateo is a filmmaker from Switzerland. In 2023 he took part in the Locarno Residency with The Slaughter, his first feature project. Meanwhile he co-directed the film Muzungu, which world premiered at the 55th Visions du Réel 2024.

The film seeks to reveal the humble personality of the Swiss writer Robert Walser (1878-1956), through an immersion in the archive of his “Microscripts”. These minuscule writings at the limit of the indecipherable, little sheets written in pencil in microscopic handwriting, which the writer himself called the “pencil method”, allowed him to write more freely and less laboriously. A process that seems to reflect his desire to discreetly distance himself from the world and society.

Tommaso Donati was born in 1988 in Lugano, Switzerland. He lives and works in Ticino. His work combines a narrative approach with documentary cinema and revolves around the theme of marginality. His short films have been screened at several national and international festivals, including the Locarno Film Festival. His first feature-length documentary, Forma del primo movimento (2022), premiered at the Solothurner Filmtage, in competition in the Opera Prima section. His latest film, Poetenleben, is produced by Noha film and co-produced by RSI. He has participated in various development programmes such as Berlinale Talents and Locarno Residency.

The video work The Clearing reveals a fascination for exploring the indescribable and the ambiguous, a space in which certainty falls away and one can experience moments of thoughtlessness, perhaps even timelessness. This concept of an indefinable space is a recurring theme in Marco Douma and Roel Meelkop's audiovisual works.

Since the 1990s, both makers have been active in art in their own fields. Roel Meelkop developed from visual art to sound artist and Marco Douma developed from painting to multimedia artist. They made the acquired expertises their own and are in that sense self-taught in their current fields. At the same time, their visual academic background still plays a major role in the creation process. Perhaps this common denominator, which they recognise in each other's work, makes their collaboration so natural and complete. The collaboration began in 2011 and since then they have created video installations, performances and video works.

Tracing a space between real and phantasmatic ecological dread, Terminal Island presents a multi-sensory portrait of a landscape in peril, an ambivalent lament for LA’s vanishing palms and a sermon on Doomsday infrastructure delivered to no one.

Sam Drake (USA) is a filmmaker based in Milwaukee, WI. Working with 16mm film and found media, her work embraces collage as a framework for interrogating contemporary life and landscapes. She received a BFA in Film from Wright State University, and an MFA from the University of Wisconsin-Milwaukee in Cinema Arts. Her work has been exhibited at film festivals and venues including International Film Festival Rotterdam, Doc Fortnight (MoMA), Media City Film Festival, ExiS, Edinburgh International Film Festival, Curtas Vila do Conde, CROSSROADS, Non-Syntax Experimental Image, Alchemy Film & Moving Image Festival, Collectif Jeune Cinéma, Winnipeg Underground Film Festival, Transient Visions Festival of the Moving Image, and Antimatter. She is currently a lecturer in Film, Video, Animation and New Genres at the University of Wisconsin-Milwaukee.

Paris, 2023. We are the continuity of our ancestors who transpose colonial time and space to guide us. We are sent to remember the gift of who we were and will be: ancestors.

João Dumans was born in Belo Horizonte, Minas Gerais. Since 2004, he has been working as a programmer, teacher, scriptwriter and director in different areas of artistic production, focusing on the intersection between film, literature and theatre. In the films he has directed, as well as in those in which he has collaborated as a scriptwriter and editor, he has dedicated himself to reflecting on the contradictions of Brazilian reality through documentary and fiction, addressing the difficulties, desires and subjectivity of the marginalized and excluded from economic and social processes. He is currently the coordinator of the Centre for Audiovisual Production of the Galpão Theatre Group, in Belo Horizonte, where he guides collective works and creative processes located on the border between theatre and cinema. His first feature film Arábia (2017), co-directed with Affonso Uchoa, won the awards for Best Film, Editing, Actor and Soundtrack at the 50th Brasília Film Festival in the year of its release, and has been screened in more than a hundred festivals around the world, such as the Rotterdam Film Festival (Tiger Competition), BFI, San Sebastian, New Directors/New Films, FID Marseille and Viennale. It has also been released in commercial theatres in Brazil as well as in Mexico, Argentina, Ecuador and the United States, where it received the Tropical Awards in 2018. João Dumans has also worked as a screenwriter and editor in films that have become central references in Brazilian cinematography in the last twenty years, and have won many awards in Brazil and abroad. Among them, Os Residentes, by Tiago Mata Machado (exhibited at the Berlin Film Festival Forum, 2010, and voted Best Film at the Tiradentes Film Festival, 2011); A Vizinhança do Tigre (Best Film at the Tiradentes Film Festival, 2014); Sete Anos em Maio (awarded in the Burning Lights section of the Visions du Réel festival, 2019), by Affonso Uchoa and A Cidade onde Envelheço, by Marília Rocha (presented at the Tiger Competition of the Rotterdam Film Festival and elected best film at the Brasília Film Festival, 2014). In addition, he has worked as a researcher and script consultant in partnership with Brazilian and foreign directors such as Nicolas Klotz, Marcelo Gomes, Cinthia Marcelle, Alfredo Manevy, Francis Vogner dos Reis, Clarissa Campolina, Juliana Antunes and Gregório Gananian. His second feature film, As linhas da minha mão, will be released in the first half of 2023.

Dans cette pièce vidéo, paysage d'écriture et de traduction, un poème dans une des langues du marronage, le saramaka, est le lieu de la rencontre : entre des locutrices de saramaka, Odet et Sobriena et l'auteur, entre l'hypothèse d'un texte et sa possibilité. Le poème se précise au fur et à mesure des allers et retours incessants entre Sobriena, sa mère et l'auteur, entre les différents niveaux de langue. Il s'agirait là comme d'une négociation au sens créaeur du terme, quand des mondes qui ne se connaissaient pas avant la rencontre apprennent l'un de l'autre. Ici, c'est ce que la langue coloniale projette qui est remis en chantier, et comment les voix s'accordent et transforment le poème pour qu'il soit et qu'il puisse exister dans les deux ensembles culturels, avec les adaptations nécessaires, parfois les renonciations que cela implique du côté de l'auteur. Ou comment se construit une forme en se déconstruisant. Quand l'autre, essentiel et germinal, transforme avec, à Cayenne, Sobriena Amoïda et, par téléphone, sa mère, Odeth Amoïda, à Kourou. résidence soutenue par la DAC Cayenne et l’Alliance Française de Cayenne.

Frédéric Dumond est plasticien et poète/auteur. II travaille à des textes et des dispositifs textuels dans des médiums multiples : vidéos, installations, performances, dessins, livres, etc. Il mène depuis de nombreuses années une recherche qui a pour objet les langues du monde et leurs liens avec le territoire, dont un projet de collecte dans le vivant du langage en langues autochtones, notamment au Mexique et en Colombie. Il séjourne dans des communautés racines, filme l’environnement, les gestes, les liens entre le milieu et ceux qui y vivent, et recueille des récits en langues amérindiennes qui documentent des cosmovisions, et constituent autant d’archives de langues fragilisées ou en danger. Cet ensemble de matières visuelles et sonores sont à la fois des archives déposées chez les communautés où séjourne l'auteur et se déploient en installations, notamment.

Following the disappearance of DJ, her filmmaker friend, Daryl stays at the Prospect Center, a place with a unique set of codes designed to gather the archives of deceased artists. There, she reconnects with HB, a mutual friend who has since become the center's gardener.

Camille Dumond is an interdisciplinary artist based in Geneva. Her work frequently blends real and fictional elements, spanning film, sculpture, and installation to explore themes of territory, labor, and the circulation of cultural references. Her narratives, situated at the intersection of personal stories and socio-political issues, examine how places and structures shape individual identities, often touching on the theme of belonging. Her work has been shown in Switzerland and internationally, including at Centre d’art contemporain de Genève, Palais de l’Athénée, EAC les Halles, Unanimous Consent, CAN – Centre d’Art de Neuchâtel, Biennale de Saint Flour, FRAC des Pays de la Loire, Le Cube - independant art room, Glassbox. Between 2016 and 2020, she completed artist residencies in Paris, Marseille, Berlin, and Rabat. Since 2020, she has been coordinating an editorial project entitled Entretiens pour un film, which addresses a filmmakers practice and the boundary between reality and fiction in their filmed territories. Since 2018, she has worked in collectives focused on the professional conditions of art workers in Switzerland and France.