Catalogue 2024

The work begins and ends with a shot of a snowy mountain under a full moon, which renders it into a glowing majestic mountain. As starting and as end point, this image symbolically represents the concerns and leitmotif of I speak the night: A reflection on perception, imagination and on artistic expression of the collective real, external world, in relation to the subjective inner life of each individual. The basic structure of the video rests on three strands, which are poetically interwoven into a singular composition consisting of: Photographic images by the artist, improvised sound by a musician and poetry, by two poets. The visual plane consists of a series of countless cyanotypes constituted by still photographs, supplemented with surreal video sequences. Music sets the rhythm and simultaneously opens up wide sound spaces. The symbolic and enigmatic language of the poems – engraved into text panels – combines in an associative manner, with the images and sound. At the core of the work stands, metaphorically, the darkness of night; one which conceals much, in contrast to the light with the sense imagery of sun and full moon. In the analog cyanotype process, images emerge from darkness (from the night) as it were, into the light, as handmade unique pieces with a characteristic deep blue colouring: dreamlike and in yearning reminiscences of places, spaces, nature, landscapes, animals or human bodies. The pictures bear witness to a physical, presence of being. At the same time, they appear as sublime, multilayered soul-states in connection with natural elements, such as water and fire. In utilising the cynotype in a media based interplay with video, the artist explores experimental aesthetic possibilities. Due to the magical power of the images, in an absorbing combination with music and text, she succeeds in creating an impressive plasticity, sensuality and sense of meaning. The work casts a spell over the viewer and inevitably sets our imagination in motion. Text: Bruno Z`Graggen

Doris SCHMID (b. 1974. Switzerland) is a a visual artist with video, installation and photography. He studied in Basel and Zurich (painting and video/new media). Since 2000 participation in video festivals, exhibitions, art projects, screenings and numerous collaborative audio-visual projects with musicians, sound artists and artist radio projects. Prizes (such as Videotage Basel, NAB, shift Festival Basel, Shortlist Medienkunstpreis SEHNERV). Residencies in Tokyo, Vienna, Berlin, San Francisco, Paris and Nairs. Lives in Berlin and Zürich.

Mercury Black Magic is a meditation on being young and restless. A young man transfers his grief into the reconstruction of a 1980’s muscle car. His description of this restoration parallels the coming to terms with the emotions related to the loss of his father. This piece follows him through the landscape in which he and his friends hangout, together. This work is created amongst the young people of Salina, Kansas. They were hanging out at lookouts, parking spaces, and park shelters, doing seemingly nothing, but to them (and me) everything: listening to music, gossiping, relaxing, being. These moments are often described as nothing or as boredom or as inconsequential, but these are the moments with the most potential. Maybe these instances will not be recounted or thought of as memorable but, to me these moments feel the most intense. Before there is time for reflection these times are over, exhausted without ceremony. This is less a full understanding of a place, but my impression, a trace of a series of moments or an attempt to understand the world. This is an attempt to make something with the participation of the young people I met in Salina.

Justin Schmitz is and photographer and video artist working outside of Chicago, Il USA. He completed his Master of Fine from Yale University in 2013. He is the recipient of the Toby Devan Lewis Fellowship, The Tierney Fellowship, City of Chicago CAAP Grant, Albert P. Weisman Scholarship, and The Union League Civic and Arts Foundation Scholarship. A collection of his work is part of the Mid-West Photographers Project at the Museum of Contemporary Photography. He was runner-up for the Photography Book Now Prize, and a finalist for the Honickman First Book Prize.

This fiction, filmed on the Carnac alignments in Brittany, France, shows us a world where a group of household electric appliances have acquired a series of affects. Together they stage a version of a Victorian drama, a very free adaptation of Charlotte Bronte’s Jane Eyre, where an air conditioner named AC suffers the adventures of being poor and orphaned in a loveless world in the midst of climate change. This drama, performed entirely by household appliances, takes place at a time when its moral content is linked to the first industrial revolutions. The idea would be to take up the fundamental themes of Victorian literature, such as the evolution of Romanticism towards reason, religious skepticism, the gradual urbanization of society, the creation of the bourgeoisie, the appearance of the figure of the snob, prejudice, glory and sensibility, as well as high moralism and the repression of sexuality.

Born in 1985, Liv Schulman grew up in Buenos Aires, where she attended public school. Fascinated by television, the arrival of cable in 1990 and the financial crash of 2001 are among the most striking moments of her life. A graduate of the École nationale supérieure d’ans de Paris-Cergy, she has lived in France since 2015. Liv Schulman’s work takes the form of filmed fictions, TV series, readings-performances and novel writing. The narratives at the core of her work deal with the role of subjectivity in the political space and the difficulty of giving it credit. In this way, a real telenovela is shown on television as if in a museum. In her approach, creating means directly experiencing an environment, a system, a subject. She has exhibited her work at the Villa Vassilieff in Paris, the CAC La Galerie in Noisy-Ie- Sec, the Centre Pompidou in Paris, the Crac Alsace, the Steirischer Herbst Festival in Austria, the Ricard Foundation in Paris, the SMK in Copenhagen, the Museo de Arte Moderno in Buenos Aires, the Reina Sofia Museum in Madrid, and the Bennis Center for Contemporary Arts in Nebraska. She has benefited from the ADAGP grant, the sponsorship of the Fondation des Artistes, the DAAD residency programme in Germany, and was awarded the Ricard prize in 2018.

Filmmaker Alex Schuurbiers became captivated by a small house on a French island, a mystical place hidden between the incessant force of wind and waves. In the experimental documentary Song Of Homecoming, she talks to the house and its inhabitant in an attempt to find kinship and connection.

Alex Schuurbiers (she/her) is a photographer and filmmaker from the Netherlands living and working in Antwerp, Belgium. After years of writing short stories and shooting portraits, she started combining text with moving images for the short film En Vagues, which premiered at Courtisane, Gent in 2023. Inspired by the work of Jean Epstein, it was shot on 8mm on Ouessant, a small rocky island off the coast of Brittany. She created the miniature Handwerk at LABOBXL filmed on a Bolex, hand-developed and edited on a Steenbeck, after which she fell even more in love with the medium. In early 2023 she finished Where I lay my head to rest, a personal cine-essay about modern day femininity and close collaboration with cinematographer Ans Mertens. Song of Homecoming is her first foray into more documentary-based experimental filmmaking. She is also the founding member of Ursula, a collective of women working with the moving image based in Antwerp.

Tanja speaks English and small talk. Thorsten likes to eat „pocket coffee“ Tillmann loves team building events. He recently found one of the three door openers needed to escape from the chamber of horrors while visiting an „escape room“ together. Thorsten is „top tax rate“ Tanja is „Veganuary“ Tillmann is the first to be dismissed. Seedless Fruits is about the founding of a new company whose product or service remains unknown. We glide through an imposing company headquarters that gradually becomes more and more cracked. It is a satirical commentary on the abysses of neoliberal office worlds and alienated labour in a self-perpetuating construct of value creation ­without content.

Stefanie Schwarzwimmer (*1990 in Linz) is a multimedia artist who lives and works in Berlin. From 2012 to 2018, she studied art and digital media at the Academy of Fine Arts Vienna under Constanze Ruhm. Her graduation film Silent Revolution was awarded the Academy Prize. Schwarzwimmer completed the Berlin Programme for Artists in 2017 and was a participant in the Goldrausch programme in 2022. Her work has been exhibited internationally in solo and group exhibitions, including at Kunsthal Charlottenborg in Copenhagen (2020), at Deborah Bowmann in Brussels (solo exhibition, 2021), at Kasseler Kunstverein (2022), at Oberösterreichischer Kunstverein (solo exhibition, 2024) and in solo screenings at Kunstverein der Rheinlande und Westfahlen Düsseldorf as part of the ‘Another Eye’ series (2024) and at KW Berlin as part of a ‘Pogo Bar’ event (2024).

In Sans histoire, an epic river of thought, current fears of the end of civilization are both “without story” and “without narrative”. Disturbing images of animals in the night, visions of a technologized future and images of people dancing to excess or fleeing war combine to generate an apocalyptic atmosphere. Yet what seems dystopian at first conceals a utopian potential for a new beginning: time and again, Schweizer deploys images of waves, oceans and currents that sweep through what she shows, washing it away and absorbing it. Maya Schweizer draws our attention to oblivion as a reality determined by human life. In this paradox lies her proposal for confronting the existential fears of our time: Sans histoire is a space for honoring memory and a monument to oblivion.

Maya Schweizer, born in Paris, studied art and art history in Aix-en-Provence, at the Hochschule der bildenden Künste Leipzig (HGB), where she completed her pre-diploma, and at the Universität der Künste (UdK) Berlin in the class of Lothar Baumgarten, where she graduated in 2006 and was awarded the title of Meisterschülerin in 2007. Schweizer works in a variety of media (including photography and textiles), although her focus is on experimental video works. She has had numerous solo exhibitions (including Jewish Museum Berlin, 2023, Deutscher Künstlerbund, Berlin - Exhibition winner of the HAP Grieshaber 2022 award, Museum Villa Stuck, Munich, 2020/21, Kunstverein Leipzig, 2018, Kunstverein Langenhagen, 2013, Irish Museum of Modern Art, Dublin, 2016, Kunsthalle Baden-Baden, 2014, Frankfurter Kunstverein, 2011, Westfälischer Kunstverein Münster, 2010. She has shown her work in group exhibitions and at biennials including Neuen Berliner Kunstverein e.V., Berlin 2020, Manifesta 13 Marseille, 2020, Anren Biennale China, 2018, Kunsthaus Dresden, 2016, The Elizabeth Foundation for the Arts, New York, 2013, Centre Georges Pompidou, 2007,Berlin Biennale, 2006. Her videos have already been selected for numerous festivals and events, including Forum expanded during the 67th and the 71.rst Berlin International Film Festival, Berlinale (in 2017 and 2021), the Vancouver International Film Festival (2017, 2020) and the International Short Film Festival Oberhausen several times. Examples of the Awards, project grants and residencies, include; Funding programme for women artists in film/video, 2024, Dagesh Art Award 2023, HAP-Grieshaber-Prize, 2022, e-flux film award, 2019, Artist in Residence, La Non-Maison, 2014, Studio grant, Karl Hofer Gesellschaft, 2008–2010, Villa Aurora, Los Angeles (2008). So far, four monographs on her work have been published: Voices, (Walther and Franz König, 2121), Where Ivy Cracks The Wall (Naima, Paris / Berlin 2019), Lieux de Mémoire and Desire (Archive Books, Berlin 2015) and Maya Schweizer?The Same Story Elsewhere (Spector Books, Leipzig 2010). Schweizer works in Germany and France.

Title: Moon Tapestry Year: 2024 16 mm transferred to DV-tape and to digital file 13:09 min Color Sound A 19th-century French hand-painted wallpaper from Medborgarhuset, the house for the citizens in Stockholm, forms the basis of this piece. It was filmed using 16 mm film transferred to DV-tape and processed through a broken post-production machine from the 1990s. The installation explores a variation of the Endymion mythology, where the god Hypnos falls in love with Endymion, causing him to keep his eyes open during sleep. This allows Hypnos to continuously gaze at the young man's face. The installation embodies a technological sedimentation or a pastoral utopia, representing the moon as a gigantic pixel. It explores the dimensions of a square, representation, subject, room, limit, surface, and the definition of front and back.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, thereby enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

This animation highlights the technological remnants of what is left behind. It is a simplistic creation consisting of color and rhythm. It incorporates X-ray images, figures from Pompeii, and footage of a turtle in Syria. This creation story symbolizes the ability to generate something new and release it, akin to a primordial soup of pixels. The animation emphasizes the constant act of looking, viewing, perceiving, and receiving images. It portrays the relationship between the photographic technique, the apparatus itself, "the machine," and the complexities of distortion in perception and imagination. The film was created using a broken special effects machine from the 1990s, resulting in the destruction, overexposure, underexposure, abstraction, and, ultimately, in the freedom of the material.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, there by enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

What aspects of our own identity construction stem from the collective memory of the previous generation? And what kind of collective memory will we pass on to the next generation? The resulting 12 performance art pieces, centered around the theme of identity construction, resemble narrative fragments of minor history, reconstructed using the language of film imagery. As an archive, film aids in remembering society and offers a contemporary interpretation of history. Is it a societal memory of the past or a historical narrative?

Visual artist, Shake studied in Paris Cergy National Graduate School of Art. She employs film language as the methodology to experiment the moving image narrative. Her recent works center on Asian geopolitical history, identity construction and relation between collective/individual memory. Shake has done multiple international artist residencies, and her works have been exhibited in France, Korea, Japan, the US, etc.

A dreamer who doesn't sleep at night and builds aquariums at day creates himself a microcosmos at home, so he would never have to go out again.

Daria Shoshani (b. 1998) is a multimedia artist born in Jerusalem and based in Rome. Her practice includes sculpture, video, painting, and printmaking. Her works are a confessional research of how immaterial aspects of existence such as ephemerality, heritage, politics and location interact with the material figure. As the semiotic interaction is retelling narratives by intertwining the mundane with the oneiric. Daria has graduated from the Hebrew University of Jerusalem in the department of general and comparative literature, and has an MFA in sculpture and installation done in Rome University of Fine Arts. She has participated in various exhibitions in recent years (e.g MAXXI museum, Fondazione Pastificio Cerere, Export Gallery), and was published in numerous magazines (e.g Granata, Portfolio magazine, Dito Publishing, Ha’aretz, Institute for Israeli Art).

The essay film “Period and System” reflects on the inclusion of different forms of life in dealing with the present and the future. After the closing of the Kreenholm textile factory in Narva, it was said that there was no more life there, the area became a private property that locates in the border zone and has limited public access. What one considers to be the life? In a huge area ruderal plants have taken over asphalt covered patios within a few years. There are obviously some beavers cutting down trees. The Middle Ordovician outcrops in the Narva river canyon, deposited hundreds of millions of years ago, speak of “deep time” and mark the arrival of the first amphibians that adapted to both aquatic and terrestrial lifestyles. Amphibian-ness reveals the relationships between people, animals, plants and places where different times and spaces meet. Images of limestone outcrops, a pedestrian bridge over a dry riverbed, an abandoned factory, a power station, a dam appear over and over again forming an atlas network. By following geological and political passage of time, amphibian-ness is understood as border and transitional situations and the contacts that emerge from these crossings.

Liina Siib is a visual artist and filmmaker who lives and works in Tallinn. She studied printmaking and photography at the Estonian Academy of Arts and has taken longer study trips to London, New York, San Francisco and Paris. The topic of her works ranges from social space to different manifestations of people’s everyday practices and daily routines. She deals with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. She has taken part at the biennales in Tallinn (Photomonth 2015; Print Triennial 2014), Moscow (2007), Rauma (Finland, 2006), Cerveira (Portugal, 2005), Ljubljana (2001, 1999) and Rijeka (Croatia, 1997). In 2011, her project “A Woman Takes Little Space” represented Estonia at the 54th Venice Art Biennale. Over twenty years Siib has made experimental documentary videos and staged short films, that have been shown mostly in the format of gallery installation and expanded cinema at solo and group exhibitions. Recently, she has been artist at residence at the NART art residency in Narva, Estonia (2022). Her work has been included in several public and private collections (e.g., the Art Museum of Estonia in Tallinn, Neues Museum in Nürnberg and Moderna Museet in Stockholm). In 2006 she received the Annual award of the Estonian Cultural Endowment.

Garden of No Return is a new hand-tracked VR experience by Sim Chi Yin and Dan Archer which chronicles the depletion of sand from Vietnam’s Mekong Delta and across Asia. The world is running out of sand. The insatiable demand for this non-renewable resource has led to large-scale environmental impact driven by rapid urbanisation and land reclamation. In Vietnam’s Mekong Delta, land about the size of a football field is melting away into the river every day. For local residents, the land snaps off suddenly, sometimes in the dark of night, and robs them of their homes, shops and ancestral shrines. This work weaves together lullabies, laments, and poetry narrated by Vietnamese writer Kh?i ??n to speak about the erosion of both memory and site as the consequence of large-scale global sand mining. It combines reconstructed 3D terrain using photogrammetry and filmed sequences to allude to communal losses and extreme precarity in the global business flows of sand mining. It brings viewers to the site of the landslides and see, hear, and feel firsthand the landscape of the Mekong Delta where large-scale erosion is taking place, and convey the human cost of sand mining in a visceral and experiential manner.

Sim Chi Yin (b. 1978, Singapore) is an artist whose research-based practice uses artistic and archival interventions to contest and complicate historiographies and colonial narratives. She works across photography, film, installation, performance and book-making. She is participating in the 60th Venice Biennale (2024) and has exhibited at the Gropius Bau, Berlin (2023); the Barbican, London (2023); Harvard Art Museums, Boston, USA (2021); Les Rencontres d’Arles, France (2021); Nobel Peace Museum, Oslo (2017), Arko Art Centre, Seoul (2016); Zilberman Gallery Berlin (2021); Hanart TZ Gallery, Hong Kong (2019). She has also participated in the Istanbul Biennale (2022, 2017) and the Guangzhou Image Triennial ( 2021). Her work is in the collections of Harvard Art Museums, The J. Paul Getty Museum, M+ Hong Kong, Singapore Art Museum, and the National Museum Singapore. She was an artist fellow in the Whitney Museum’s Independent Study Program (2022-3) and is completing a PhD at King’s College London. Dan Archer is a creative technologist, computer scientist and immersive storyteller who co-founded Empathetic Media, an XR production studio, in 2014. EM leverages augmented, mixed and virtual reality to foster stronger connections and perspective-taking between the subjects in its stories and its audiences. A leading thinker and practitioner in the immersive space, Archer has researched and written about the link between empathy, impact and immersive story-telling. He was a 2016 fellow at the Tow Center at Columbia University, a Reynolds Journalism Institute Fellow (University of Missouri, 2014) and a Knight Journalism Fellow at Stanford University (2011). He is currently completing a PhD at UCL focusing on evaluating embodiment and performance using biological signals in virtual reality environments, and exploring persuasive immersive technologies as a researcher at the Hong Kong Polytechnic University.

In the film 5 people from diverse backgrounds and gender identities are sharing their experience of love and sex, from avoidance of intimacy, commitment phobia, to addictive behaviours. Together with a composer and a choreographer, through movement, conversations and musical improvisation they explore vulnerabilities and celebrate diversities.

Simona Žemaityt? (1984) is a Lithuanian artist-filmmaker. She holds a practice-based PhD in arts from Vilnius Academy of Arts. Selected festivals and exhibitions: Oberhausen Short Film Festival, Kaunas Biennial (Kaunas), National Gallery of Art (Lithuania), gallery "Meno Parkas" (Kaunas), gallery "Centrala" (Birmingham), gallery "Kasa" (Istanbul), gallery "Galata Perform" (Istanbul), Contemporary Art Center (Vilnius), etc.

The documentary filmmaker is filming an old Securitate officer with a hidden camera. He suspects that, 60 years ago, the officer had followed and photographed a famous monk turned civilian - a real character, now about to be sanctified. The former spy is now being spied upon, but things turn out badly.

In the early 1990s, Solomon emerged as a young director of photography and he started making documentaries aside from filming feature films. Solomon was among the first Romanian film-makers who committed themselves to a then compromised genre; today, he is one of the leading political film-makers from Romania and active on the international documentary scene. His recent work triggered public debates about the function of documentary film within the public sphere and contributed to re-establishing documentary film as an arena for reframing Romania’s recent history. Solomon’s previous work, “The Great Communist Bank Robbery” (2004), broadcast on Arte and as part of BBC4’s prestigious Storyville series, was awarded Best Film at the History Film Festival in Pessac, France and the Prize for Social Values at Documenta Madrid. His ‘Cold Waves’ (2007) is a chilling slice of political history that played for 12 weeks in Romanian theatres. It deals with the love and hate story between Radio Free Europe, the Romanian audiences and the communist regime. “Kapitalism - our secret recipe” (2010), speaks of the rise of a new ruling class in the East (produced for Arte and RTBF with Media support). “Tarzan’s Testicles” (2017), premiered in Karlovy Vary, is a film about utopias & a metaphoric drama that threads the similar destinies of monkeys & men.

The work Ecumenopolis departs from a specific aspect of the Cold War: the efforts on both sides, East and West, to extend their spheres of influence by means of art and culture. As a counterpart to Socialist Realism, the United States advanced modernist art as a vehicle for spreading Western values. This Cultural Cold War also took place on the front of architecture and urbanism. Against this geopolitical background, Ecumenopolis zooms in on Greek architect-urbanist Constantinos Doxiadis and his role as a cultural agent of change. In the 1950s and 60s, Doxiadis developed many key projects across the Middle East, Asia and Africa, and was responsible for the modernist master plans of Riyadh, Baghdad and Islamabad, the capital of Pakistan. Parallel to these influential commissions, he worked on his own mission: a visionary urbanist theory which he named ekistics, the science of human settlements. Its ultimate aim was a blueprint for a future city that would encompass the entire world: Ecumenopolis. In the work Ecumenopolis a voice-over narrates about Doxiadis’ mission and his interdisciplinary network of inspirational fellows, the Delians, which he gathered annually on a boat in the Aegean Sea to contribute to his mission. The camera hovers around the island of Delos and its ancient city where Doxiadis would take them. In order to envision the urban future, they were to travel back in time. As the story unfolds, two different perspectives are interweaved on Doxiadis and his Delians, drawing both on official archives celebrating his architecture as a practice beyond politics, and on alternative sources that trace a more complex context - the context of the Cultural Cold War.

Elian Somers (NL, 1975) is a visual artist based in Rotterdam, the Netherlands. Her works have been shown at various art venues, a.o. Stedelijk Museum Bureau Amsterdam (SMBA), Amsterdam; Pennings Foundation, Eindhoven; Foam, Amsterdam; TENT, Rotterdam; Kunsthalle Wilhelmshaven, Wilhelmshaven (DE) and MK Galerie, Berlin (DE). The works have also been regularly published as artist books, and in art, photography and architecture magazines. The book One and Another State of Yellow (Fw: Books) was published in 2017, and the book Border Theories (Fw: Books) in 2013. The work Ecumenopolis (A Stone from the Moon, 2015-2022) was selected for the International Film Festival Rotterdam, IFFR 2024. Elian Somers’ projects have been financially supported by the Mondriaan Fund, Amsterdam, Culture Fund, Amsterdam, and CBK Rotterdam.

Brothers escape to the virgin forests of Impivaara to create a new world. An experimental imagining of Finnish national author Aleksis Kivi’s novel Seven Brothers (1870) for the 21st Century, focusing on the energetic basis of a Northern welfare state and a possible future emerging from the climate crisis.

Writer and Director Patrik Söderlund is the founding member of artist duo IC-98. With backgrounds in visual arts and cultural studies, Söderlund’s and Visa Suonpää’s 25-year collaboration as IC-98 has produced artist publications, site and context specific projects and interventions, animated moving image installations and various public commissions. IC-98 received the Finnish State Art Prize in 2009 and represented Finland at the Venice Biennale in 2015 with Abendland (Hours, Years, Aeons), which was picked by Sundance Film Festival in 2016. Their work has been shown extensively at museums, biennials and festivals in Europe, Asia and the Americas. Though their practice is essentially conceptual, IC-98 is best known for animations, which combine classical drawing and digital effects, depicting landscapes shaped by long time durations, natural and human histories and climate. The landscapes are always devoid of humans but completely shaped by their actions. Mythical, material, factual and ctional elements are weaved together into visual narratives, which – though deeply political and meticulously researched, scripted and executed – are presented as open-ended poetic reveries, which leave room for the viewer to make her own conclusions. IC-98's work since 2010s addresses the environmental crisis and artistic-political methods of finding solutions to it. The projects seek to replace anthropocentric worldview with modes better suited to take into consideration the interrelationships, dependencies and myriad temporal rhythms of all animate and inanimate nature.

In a transhuman world inhabited by centaurs, the fates of the main characters intersect as they enter timelessness, as if they had entered a desert storm. The rural way of life mixes with bizarre elements of soap opera and acid western, weaving together a rambling and dreamlike world of uncertainty. Struggling to cope with the challenges of an ever-changing reality, the Centaurs embody a state of confusion between despair and hope. The audiovisual work WILD WILD BEAST operates with the situational material of the theatre group D'Epog. It is a reconstruction and recontextualization of all the unused scores that the theatre group D'Epog has been developing for a long time.

Marie Šprincl is a director, editor and visual artist. She has over 10 years of experience in creating music videos, showreels, films and other audiovisual outputs. She has worked on films that have been shown at Czech and international film festivals.

Around 1920, a wealthy man from northern Italy returns from the First World War. Without having actively fought, neither having seen the blood of battle or an actual trench, he asks a group of people to stage for his camera scenes from the war as he imagined it. In 2024, four individuals are asked, in an attempt at freezing time, to didactically re-enact the scenes already staged in the 1920s photographs. In the corridors of a war museum housing a series of dioramas depicting war landscapes without figures, the endless cycle of the representation of war unfolds in an infinite suspended moment.

Giulio Squillacciotti is an artist and film-director born in Rome in 1982, living and working in Milan. After an education in Medieval Art History and Humanities in Rome and Barcelona, he studied Visual Arts at the University of Architecture in Venice. He was a fellow resident at the Jan Van Eyck Academie in Maastricht and one of the artists of the Dutch pavilion at the 2018 Architecture Biennale. His work is oriented mainly on the invention and mutation of traditions by merging together fiction and historical facts. Using film, documentary, sound and scenography, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, religion, language and popular culture. He is currently working on his first fiction feature film, co-produced among Italy, Ireland and Poland, project recipient, so far, of the MEDIA Creative Europe Grant and the Screen Ireland writing fund.

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Summer has arrived at Ubuyama-mura. The cuckoo’s cry can be heard reverberating across the landscape of this mountain village. Masae travels from house to house gathering summer songs. She seems to be looking for something. Summer songs: a collection of ancient and contemporary poems compiled over 1,100 years ago, single verses from a heartbreaking ballad, an intimate confession, a looping prayer as a path to enlightenment… Each one has its own structure. In the commitment to communication, each (re)writing entails a specific translation effort and its own setting-in-space/time/word/image/sound… Summer songs, sweetly, in intimacy, unleash iron ties, floating on the heavy inheritance of the despotic unwritten laws of the mountain village. They are outside of space and time, and by grasping them, by bringing them to the present and placing them, they exert their liberating power.

León, Spain, 1992. Madrid-based visual artist and filmmaker. His work is part of Light Cone catalogue since May 2023. He has presented his first solo exhibition, “Marcel !”, at WIELS Contemporary Art Center - Project Room, Brussels, in July 2023. In June 2024 his film “Natsu no uta [Summer songs]” was awarded the prize ‘Fugas’ at the International Documentary Film Festival Documenta Madrid. In 2021 his work “Pintura de roca” received the 'XXXII Prize of Plastic Arts Circuits 2021' (Community of Madrid). Jorge Suárez-Quiñones Rivas experiments around the formal and conceptual implications of in-camera-editing regarding the experience of present as a space-time category potentially condensable in filmic matter, and therefore capable of being shared through projection devices specifically determined for each work. Resident artist at WIELS Contemporary Art Center (Brussels) and Artists in Aso (Kumamoto). Selected screenings/exhibitions: IFFR Rotterdam, FICUNAM, First Look, Anthology Film Archives, Dilalica Contemporary Art Gallery, WIELS Contemporary Art Center – The Project Room, MoMI, Fracto Experimental Film Encounter, Takechi Gallery, SixtyEight Art Institute, Nomadica LABA, Punto de Vista, Venice Architecture Biennale – Spanish Pavilion, Documenta Madrid, S8, Tokyo Image Forum, CA2M Contemporary Art Museum, CCCB-Xcèntric, VideoEx, Frontera Sur.

Der Titel A few remarks on logistics in general verweist auf eine Kapitelüberschrift in Antoine-Henri Jominis militärtheoretischer Schrift Précis de l'art de la guerre, aus 1983. Darin legt er den Grundstein für einen „oeconomic turn“ in der Kriegsführung indem er in aller Deutlichkeit darauf hinweist, dass zukünftig überlegene Nachschubrouten der entscheidende Faktor zum Sieg sei. Kriege würden folglich durch bürokratische Akkuratesse und weniger durch Tapferkeit, Heldenmut und strategisches Geschick gewonnen. Eine folgenreiche Erkenntnis, die auf dem Weg zur allgemein anerkannten Militärdoktrin auf Widerstand stieß. Liegt darin doch eine kränkende Abwertung des Einzelnen vom Soldaten bis zum General durch eine Perspektive, die weniger mit dem Wirkungsbereich und dem Schicksal von einzelnen befasst ist, als mit systemischen, strukturellen Zusammenhängen und Funktionen. In der zweiten hälfte des 21. Jhdts wurde diese logistische Wende auch für den ökonomischen Wettkampf zum totalitären Paradigma, zur Basis des globalisierten Neoliberalismus, superior Supply Chain über alles. Eine der Fragen die diesen Video-Essay motiviert ist, wie sich eine solche Perspektive ohne Held*innen in ihrem Blickfeld, ins Kino übertragen lässt. So zeigt der Film weniger einzelne Handlungen als deren choreografische Verzahnung, etwa ein Staplerfahrerkollektiv bzw. -Balett.

Regie/Produktion/Kamera: Arthur Summereder Biografie: Arthur Summereder, geboren 1983, lebt und arbeitet in Wien und Heiligenkreuz im Wienerwald. Er ist Filmemacher, Filmeditor, bildender Ku?nstler und PhD Researcher (Kunstuniversita?t Linz). In seiner Arbeit bescha?ftigt er sich insbesondere mit dem Verha?ltnis zwischen filmischen Repra?sentationen nicht- filmischer Wirklichkeit sowie in ju?ngerer Zeit mit Aspekten von Mobility Studies und Metapherntheorie. Er studierte Film und Kunst im o?ffentlichen Raum (u.a. an der Akademie der bildenden Ku?nste Wien, Villa Arson, Nizza), lehrte im universita?ren Bereich in O?sterreich und China. Seit 2011 arbeitet er als Cutter von vorwiegend Kino-Dokumentarfilmen, 2019 erhielt er den Preis fu?r Dokumentarfilm-Montage der Diagonale - festival des o?sterr. Films; 2021 erschien sein Langfilm- Regiedebu?t Motorcity