Catalogue 2024

FLY ANGEL SOUL recounts the story of Sebastian, a young gay physician estranged from his Missouri Catholic family who dies of AIDS in Mali, having lived a peripatetic life searching for acceptance and a place to call home. Drawing on our experience as interactive VR storytellers (Queerskins: A Love Story, Queerskins: ARK, QuillsFest VR world), we created a bold cinematic language made possible only through virtual production. This language forefronts gestural camerawork, multiple perspectives, and elements of dance film, theater, and video games. Using Unity game engine and Cinemachine tools and the directors’ descriptions, lead engineer Elliott Mitchell created three types of “embodied” virtual cameras: a fly, an angel, and a human/soul, each of which sees and moves through the responsive virtual mis-en-scene differently. Although our film privileges the human space-time perspective, it allows the audience to experience alternative, computer-mediated ways of perceiving the same story. All three cameras function as the “players,” both in the video game and theatrical sense. The cameras’ real-time “performance” is documented as footage edited to create the final film. Both the fly and the angel cams are purely virtual. The “soul” cam path, however, was based on the real-time experience of creative technologist, dancer, and artist Clemence Debaig who was asked to move through the virtual set with the mindset of certain characters e.g. Sebastian’s estranged but loving mother, his cold and distant father, and as herself, a “neutral” observer. Debaig's decisions regarding how she moved through the environments and interacted with the virtual sets determined what was captured in real-time as 2D film footage by the “soul cam” programmed to follow her path and speed. In agreement with Vivian Sobchack’s description of the film camera as perceiving “subject,” we propose that our soul cam acts like a virtual cinematic avatar, allowing viewers to actively participate in the narrative as it navigates the responsive mis-en-scene. mbracing the visual language of spatial computing and video game, the film is constructed as a journey. There is little plot. In place of action, Sebastian’s acceptance of himself as a gay man and a Christian evolves. To allow Sebastian's interior state to manifest outwardly in a way that could be “lived" by film viewers, the story is revealed and experienced by movement through dream-like architecture and landscapes created in collaboration with fine artist Paolo Barlascini.

llya Szilak is an independent scholar, writer and new media artist. In her art practice, she uses open source media and collaborations forged via the Internet to create multimedia narrative installations online. Shaped by her experience as a physician, her artistic practice explores mortality, embodiment, identity, and belief in a media inundated by an increasingly virtual world. Cyril Tsiboulski is her interactive designer/ collaborator. Her first work Reconstructing Mayakovsky was included in the second Electronic Literature Collection and has been taught both as an example of innovative narrative game and literature at the university level. Her second work Queerskins was included in the third Electronic Literature Collection. She is currently working on Atomic Vacation, a post-apocalyptic narrative journey through virtual landscapes. She writes frequently in the popular press on new media art and electronic literature. Please join her September 10th from 1-6 PM at The Kitchen in NYC for the event she is curating: Electronic Literature: We Have Always Been Digital. This afternoon of interactive presentations showcases a range of dynamic forms from bots and games to interactive online works, and offers audience members the chance to engage with works and authors after the performances.

Sixty years ago, a 30-year-old waitress and single mother, was persuaded to engage in psychotherapy sessions on film, with three of the most influential Theorist-Psychologists of the 20th century. Reeves newest dual-projection film breaks down and expands this widely viewed work “Three Approaches to Psychotherapy” with an intricate superimposed montage of scenes from Gloria’s unguarded sessions and numerous film artifacts of her lifetime: newsreels, home movies, commercials, a beauty pageant, cold war propaganda, and educational films from the 1930s-1970s. Sixty years ago, a 30-year-old waitress and single mother, was persuaded to engage in psychotherapy sessions on film, with three of the most influential Theorist-Psychologists of the 20th century. Reeves newest dual-projection film breaks down and expands the seminal film series Three Approaches to Psychotherapy with an intricate superimposed montage consisting of material from Gloria’s unguarded sessions and numerous film artifacts of her lifetime: newsreels, home movies, commercials, a beauty pageant, cold war propaganda, and educational films from the 1930s-1970s. The Gloria of your Imagination immerses audience members in an unabashed patriarchal, nationalistic era which many U.S. conservatives are working tirelessly to recreate. Social and legal limitations of that era, which formed Gloria and the struggles of her generation, remain unacknowledged in the sessions. While the therapists seem progressively non-judgmental about Gloria’s active sex life, there is no mention that contraceptives are actually illegal for her to take. Reeves’ original intertitle script fills in missing context and introduces Gloria’s greater life and self: from her Polish-Catholic upbringing to marriage straight from high school to an ever-evolving single parent on a spiritual journey, living by her own principles, until an untimely death at 45 years of age.

New York-based film artist Jennifer Reeves (b. 1971, Sri Lanka) has independently made 25+ film-works to date, from avant-garde shorts to multiple projection performances with live music, and experimental features. Reeves’ visceral 16mm film works immerse viewers in intricate, unfamiliar cinematic territory. They investigate themes of mental health and recovery, feminism and sexuality, and the beauty and decay of the natural world. Reeves premiered her dual-projection film THE GLORIA OF YOUR IMAGINATION (97 min) at Berkeley Art Museum Pacific Film Archive in October 2024. With support from residencies at Atelier 105 in Paris and Yaddo in New York, Reeves wrote, directed, edited and sound designed this one-of-a-kind experimental documentary. Reeves has also completed shooting her in-progress YANQUIS GO SOUTH, an experimental feature supported by a Princess Grace Awards Special Project grant. Since 1992, Reeves’ acclaimed work has been screened extensively, from the Berlinale, Curtas Vila do Conde, Sundance and Science New Wave Film Festivals, to the Museum of Modern Art and numerous art cinemas and universities worldwide. Reeves started making films in 1990, and has been doing her own writing, cinematography, editing and sound design ever since. Her works expand the boundaries of cinematic expression through optical-printing and direct-on-film techniques. For many of her projects, Reeves has collaborated with celebrated composers including Marc Ribot, Elliott Sharp and Zeena Parkins. Her feature-length 16mm dual-projection WHEN IT WAS BLUE was performed live with composer, performer Skúli Sverrisson, at venues including Toronto International Film Festival, the Sydney Opera House, Berlinale, and RedCat in Los Angeles.

A three-week vacation in the middle of a heatwave. Failed Emptiness describes the familiar experience of emptiness when responsibilities end.

Taanila’s works have been shown at major international group shows, such as Venice Biennale (2017), Aichi Triennale (2013), Documenta (2012), Shanghai Biennale (2006) and Berlin Biennale (2004). Solo shows include Padiglione de l'Esprit Nouveau, Bologna (2020), STUK Leuven (2018), La Neomudéjar Madrid (2018), Balzerprojects, Basel (2016), Kiasma Helsinki (2013–14), CAM St. Louis (2013), Badischer Kunstverein (2008) and Migrosmuseum, Zurich (2005). His films have been screened at several international film festivals and special events, such as Toronto International Film Festival, IFFR Rotterdam, CPH:DOX, International Short Film Festival Clermont-Ferrand, Karlovy-Vary Film Festival, Midnight Sun Film Festival, IDFA Amsterdam, Berlinale and Kurzfilmtage Oberhausen. Taanila has received numerous awards, both in Finland and internationally. Taanila was awarded the prestigious Ars Fennica prize in 2015.

This second film from Young-jun Tak's on-going choreographic film series challenges the conventional binarity of gender presentations through queer male bodies and movements. It juxtaposes the hypermasculinity and hyperfemininity. The former is presented by Spanish Legion soldiers’ spectacular annual Maundy Thursday ritual carrying the life-sized crucifix in Malaga during the Holy Week that leads to the Easter Sunday. The latter can be found in Kenneth MacMillan’s ballet “Manon” (1974) where numerous male dancers worship the eponymous female protagonist in Act 2 Scene 1 by constantly lifting up and carrying her in the air. In spite of the two situations’ obvious difference, the glorification of two gender displays surprisingly reveals their similarity, for instance, in the lifted bodies’ open arms. In this regard, a new choreography, inspired by the specific scene of “Manon”, is commissioned to choreographer Jamal Callender—including himself as lead dancer—with five other gay male dancers, and a few preconditions were given to him: Manon should be male; his barefoot should never touch the dirt on the ground; and the choreography should be performed in Berlin’s popular gay cruising forest Grunewald. Throughout this film, the Spanish soldiers’ public ritual and the six male dancers’ choreography alternate while their bodies and movements, exposed to either crowded audience’s eyes on streets or hidden lustful gazes in bushes, try to fill the gap between the polarized gender presentations.

Young-jun Tak (born 1989, in Seoul, South Korea) is visual artist and filmmaker, and he lives and works in Berlin, Germany. Tak’s practice examines socio-cultural and psychological mechanisms that shape belief systems, ranging from simple objects of worship to sophisticated forms of religions. Blurring the lines between media, techniques, and subject matters, his films and sculptures pursue obfuscation as a tool of critique, and the human body is often exposed in the context of polarizing norms and conventions. Recent solo exhibitions include PHILIPPZOLLINGER (Zurich, 2024); COMA (Sydney, 2024); Atelier Hermès (Seoul, 2024); Julia Stoschek Foundation (Berlin, Dusseldorf, 2023); palace enterprise (Copenhagen, 2023); Wanås Konst (Knislinge 2023); O—Overgaden (Copenhagen, 2023); SOX (Berlin, 2022); and Efremidis (Berlin, 2022). He has participated in numerous international group exhibitions such as at St.Moritz Art Film Festival (2024); Bangkok Art Biennale (2024); the High Line (New York, 2023); Chicago Architecture Biennial (2023); Lyon Biennale (2022); Perrotin (Paris, 2022); KINDL Center for Contemporary Art (Berlin, 2022); Berlin Biennale (2020), Seoul Museum of Art (2019); and Istanbul Biennial (2017). Tak won the “Love at First Sight Prize” at the 3rd St.Moritz Art Film Festival and the “TOY Berlin Masters Award” at the 9th Berlin Masters. He studied English Language and Literature, as well as Cross-Cultural Studies at Sungkyunkwan University in Seoul.

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The film W is for Waves takes sisters, author Virginia Woolf and visual artist Vanessa Bell, as a starting point to explore the artistic process and examine the relationship between the visual and the literary. We see a choreography of two figures taking turns reading a book and moving with two large-scale paintings. The camera witnesses the actions and plays a subtle yet active role in altering the experience of space and visibility The film was shot on 16 mm film at Bell’s country house, Charleston, in East Sussex, and at Kalervo Kallio’s Artist Home in Helsinki. The text is adapted from Virginia Woolf's novel The Waves (1931), with some modifications.?

Jenni Toikka (b. 1983) is a Helsinki-based visual artist who graduated from the Academy of Fine Arts (FI) in 2012. Toikka has had several solo and group exhibitions in Finland and abroad, and her works have been shown at international film festivals. Her work is represented by different public collections such as the Museum of Contemporary Art Kiasma and the Saastamoinen Foundation. Alongside her own artistic work, Toikka has also worked in many artistic ensembles and she is one of the founding members and curators of Monitoimitila O. Eeva-Riitta Eerola (b. 1980) graduated from the Finnish Academy of Fine Arts in 2010 and has also studied at the École nationale supérieure des Beaux-arts de Paris. She has exhibited in several group and solo exhibitions in Finland and abroad, e.g. at Galleri Bo Bjerggaard, Copenhagen, in 2015 and Gallery Jaus, Los Angeles, 2014. Eerola's latest solo show, Locus, was seen at Helsinki Contemporary in January 2022. Eerola’s work is represented in a number of Finnish art and museum collections, such as those of the Museum of Contemporary Art Kiasma, Saastamoinen Foundation, Sara Hildén Art Museum, and the Wihuri Foundation. Eerola and Toikka have been working as an artist duo since 2016. Previous collaborative exhibitions have been exhibited at Turku Art Museum's Studio (2017), Hippolyte Studio in Helsinki (2018) and Maison Louis Carré in France (2019). The process-oriented and intuitive way of working and the montage-like combining of images and the use of juxtapositions define their work.

Pierre Tonachella films not only to return to his childhood home in Essonne, but also to find in the work of cinema a raison d'être equal to that of the friends who stayed behind. A fragment from Schiller's letters, one of four literary excerpts that punctuate the film and provide a middle ground between the poetic and the political, suggests that return is a compass for aesthetic education. Far from sterile nostalgia, this compass points both to fidelity to origins and to a path for the future. For a long time, this vision has revived the collective, collaborative form of Jusqu'à ce que le jour se lève (presented at Cinéma du réel in 2018) after a film dedicated to his poet friend Théophile Cherbuin. Familiar faces are reunited, and each enters the film without introduction, through varied stagings that project shared memories onto the stage of the game, while the space left vacant by the biographical narrative is invested by words from other times and places. In praise of friendship, an intimate attachment to the land and a documentary on a proletarian, contemporary rurality, all come together in the exercise of an attentive, open, precise and free gaze. Closer in this respect to early Guiraudie or Creton than to Bruno Dumont, this vision echoes the words of Mahmoud Darwich: “This is the strength of poetry: there is no last poem. The horizon is open. The path to poetry is poetry. There is no last station, not even God. [...] If we knew what this poem was, we'd write it and be done with it.” (Text: Antoine Thirion)

Pierre Tonachella was born in 1988. He grew up in a village in Essonne, then studied philosophy and film theory in Paris before devoting himself to documentary filmmaking. His work blends the intimate and the political, and is often made with people close to his village. He also writes poetry.

"Until..." is a single-take video, captured using only the switch between the front and back cameras of an iPhone by the performers, and filmed during the 2022 "Woman Life Freedom" protests in Tehran, Iran. The video not only presents a highly intricate choreography for the camera, infused with the originality and urgency of what is deemed 'possible' in that specific situation, but also encapsulates the essence of unity, resilience, and purposefulness demonstrated by young artists responding creatively and courageously to an actual brutal situation in Iran.

Tanin Torabi is a multi-award-winning filmmaker and choreographer acclaimed for her innovative single-take short dance films in Tehran, described by critics as 'pushing the boundaries of screendance.' In 2021, Dance Magazine recognized her as one of the '9 Screendance Artists You Should Know.' Throughout the past decade, Tanin has showcased her films at over 200 film festivals and academic institutions globally, while also conducting workshops at universities and institutions like The Place London, Irish World Academy of Music and Dance, Villa Arson, ArtEZ Arnhem, Mov’in Cannes, and Tetralab Screendance. She has served on jury panels for prestigious festivals such as the Cannes Dance Film Festival and Dance Camera West, to name a few. Her recent accolades include the esteemed Cinedans Grand Jury Prize, ZED Festival’s Best Original Storytelling Prize, and the AVIFF Festival Jury Award for her 2023 film Until. Her 2017 film The Derive is one of the most frequently showcased dance films at festivals, winning many awards, including the Best Film Prize at the San Francisco Dance Film Festival, Dance Camera Film Festival, and Southampton Film Week. Tanin has previously received numerous awards in categories like Creative Vision, Best Artist Film, Best Inspirational Film, Best Inspiring Woman in a Film, Best Experimental Film, and Best Documentary. Juries have described her works as rebellious, without words but full of expression, inspiring, evoking the feeling of real life, emblematic and poignant, and empowering to women over the years. In 2024, she received a 7-month bursary from the Institut Français to conduct choreographic research at the Cité Internationale des Arts residency in Paris. She was also invited as an Associate Artist for Dance Limerick in Ireland to offer workshops to the University of Limerick and Dance Limerick's joint programs and conduct choreographic research. As a choreographer and performer, she has collaborated with numerous dance artists internationally, most notably with NYC-based choreographer Yoshiko Chuma since 2021 in her international shows. Currently, she is the artist-in-residence at Villa Arson, in collaboration with the Collège de France, engaging in the university's pedagogic programs, offering mentorship, and working on her screendance projects and writings. Tanin holds an MA in Contemporary Dance from the University of Limerick in Ireland and a BA in Sociology from BIHE.

All the Good Times is a sound based video installation and performance examining transatlantic aspirations in land lock as a metaphor for generational divides and the fetishization of histiographies. Performative gestures that seek to reclaim dislocated fatherhood and recalibrated pride blend with archival footage shot by the artists’ respective grandfathers. Fleeting memories are punctuated with the rhythm and repose of staged theatricality. Immersed in a soundscape that transforms the traditional tune All the Good Times are Past and Gone into an aggressively celebratory jazz infused piece the gallery is peppered with tv stacks littered with repetitive inconclusive processions. The installation examines the role of nostalgia coupled with the legacies of creole cuisine and the Black Atlantic questioning the distancing of technology and spirituality. The piece premiered at the 2019 Art of Brooklyn Film Festival.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, The Rencontres Internationale Paris/Berlin, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY. In 2021, he received City Artist Corps Grant to curate and produce Archival Interventions, a film screening at FiveMyles gallery in Crown Heights and he is the recipient of a 2024 Foundation for Contemporary Arts Grant. Treadaway is a Fulbright Scholar to Italy and a Faculty member at The International Center of Photography in New York City where he has taught a range of courses including topics related to analog and digital photography, video, sound, installation and archival interventions as the as the founding media. From 2008-2020, Treadaway also held the position of Digital Media Coordinator at ICP. Additionally, he has taught a range of courses at Bard College, SUNY Purchase, The Fashion Institute of Technology (FIT), Barnard College and Louisiana State University. He is available for private and small group mentorship on all lens-based topics – critique and project development, technical skillsets and workflows and more. Justin Randolph Thompson is an artist, cultural facilitator and educator born in Peekskill, NY in ’79. Based between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of Black histories and cultures in the context of Italy founded in 2016. Having realized, coordinated, curated, facilitated and promoted over 300 events and with 8 ongoing research platforms, the initiative has been reframed as a Black cultural center called The Recovery Plan. Thompson is a recipient of a 2022 Creative Capital Award, a 2020 Italian Council Research Fellowship, a Louis Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin and an Emerging Artist Fellowship from Socrates Sculpture Park amongst others. His work and performances have been exhibited widely in institutions including The Whitney Museum of American Art, the Centro de Arte Reina Sofia and The American Academy in Rome and are part of numerous collections including The Studio Museum in Harlem, and the Museo MADRE. His life and work seek to deepen the discussions around socio-cultural stratification and the arrogance of permanence by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse, social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

"Object Reconnaissance" is a work of fiction that depicts actual artifacts, historical archives, and museum collections from the Netherlands. The story is set in the 1960s and references events such as the Indonesian mass killings, the Free Papua Movement, and stories of forced displacement. The narrative follows the fictional character Ratna "Merah Muda" Bakti, an Indonesian activist associated with the Gerwani movement who fled to the Netherlands in 1965 during the political crisis. In the present day, her granddaughter, Ria Bloem, seeks to uncover Merah's past by exploring letters, family albums, and Super 8 films. During her investigation, Ria discovers photos of a significant ceremonial object, a seashell, which has gone missing. Intrigued, she sets out to find the shell, leading her to uncover family secrets that shed light on Dutch colonial history.

Stefanos Tsivopoulos is an interdisciplinary visual artist, filmmaker, writer, and educator who divides his time between Amsterdam, New York, and Athens. Known for his research-based work on archives and the unique visual style of his films, which blend found footage with cinematic sequences, Tsivopoulos is motivated by a pressing need to delve into the anthropological aspects of contemporary global crises. These include ecological, economic, political, social, and cultural issues. His body of work focuses on personal and collective histories, examining their influence on present-day socio-political discourses. Throughout his 15-year career, Tsivopoulos has written, directed, and produced over 30 short and medium-length films across different countries.

Filmed in Moscow twenty years after Akerman’s d’Est and over ten years ago, COLDER addresses the deep conundrums of memory, place, and time. A camera locks on to past glories, lingers, skittishly- its tonalities are sombre, nonmetaphoric, obscure and difficult. Iandovka and Tsyrlina’s cinematic approach to memory is closer, more intimate, and more unstable and problematic—more true—to notions of remembrance than other sorts of cinematic representations. An almost graspable (post)cinematic spatiality - a space both interior (subjective and singular) and exterior (collective, communal) overcomes us - complete with an apparitional trace that haunts memory and event alike. COLDER opens the unstable spaces of memory to confront the presence/non-presence of events and our complicated and difficult relations to our histories and our selves.

Sid Iandovka and Anya Tsyrlina (both born and bred in Novosibirsk, USSR) are visual artists often working together on film and video.

À l’automne 2023, j’ai été invité dans les Côtes-d’Armor, à Locquémeau, à porter mon regard sur le monde paysan le temps d’une résidence artistique. C’est ainsi que j’ai rencontré Audrey, qui a récemment repris la petite cidrerie de son père Gilbert. Le mois de novembre a été celui du ramassage et du pressage des pommes. Cette étape de quelques semaines est d’une importance capitale puisqu'il est question de récolter le jus des pommes pour l’année suivante. Durant cette période, il a été question pour moi d'investir ces différents espaces et temps de travail aux côtés d'Audrey et Aurélie qui est employée pour la saison. Cela m’a permis de comprendre, d’appréhender les éléments, ressentir les matières et leurs poids pour ensuite insérer le regard de ma caméra. Mec 65 Smeraldo est un film monté sur deux écrans différents, évoquant le travail à plusieurs mains, les différents points de vue et positionnements des corps ainsi que la question de la transmission et de l’apprentissage. Le geste et le vivant sont au centre du projet. Le scénario se construit naturellement au rythme des mains et des machines (Mec 65 Smeraldo est le nom de la pompe donnée par Gilbert), contournant les corps et les cuves pour assister à la transformation des fruits en jus.

ue: Nicolas Tubéry est né en 1982 à Carcassonne. Il a étudié à l’Ecole Supérieure d’Art et de Céramique de Tarbes puis à l’Ecole Nationale Supérieure des beaux arts de Paris où il obtient le DNSAP. Sculpteur et vidéaste, Nicolas Tubéry conjugue les deux pratiques dans ses œuvres. Ses recherches récentes se concentrent sur le monde paysan d'où il vient : ses phénomènes atemporels, comme une foire aux chevaux, mais aussi plus conjoncturels comme les exploitations abandonnées par manque de repreneur. Quel que soit le sujet, il concentre son attention sur les gestes du travail, et sa fascination pour les détails est contagieuse. Observant tout en sculpteur, il adapte le matériel agricole en machinerie cinématographique, puis utilise les mêmes matériaux pour créer les structures monumentales dans lesquelles il projette ses films. Il parvient, avec affection et justesse, à donner une place à la ruralité dans l'art contemporain. Marilou Thiébault

The animated film depicts a female arctic fox’s epic journey from Norway to Canada in 2018. In her inter-continental journey, she covered 3507 km in seventy-six days, across vast and changing landscapes, transitioning from marine ecosystems to land-based prey. Her voyage highlights the understanding and adaptability of wildlife across diverse environments, providing exploration of survival and migration in the natural world.

Rojda Tu?rul is an interdisciplinary artist and researcher whose work focuses on identity in relation to space and time. Her early work examined the impact of war on ecological and cultural heritage within the socio-political framework of Kurdish territories, leading to her interest in analysing consciousness and cognition, both in human societies and the ecological world. Rojda examines sociopolitical landscapes as reflections of changes in cultural and ecological identity. Rojda holds an MSc in Veterinary Studies and a PhD in Practice from the Academy of Fine Arts Vienna.

I used to find the dusk a very unsettling time, as though the approaching night was something to be feared. It was as if, once night fell you could not flee, and had to face unspecified consequences. Maybe the land remembers and the night will reveal what we might have done...

Biography Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. After a brief hiatus from cinema (including formal study in philosophy for seven years) he returned to film-making in 2004. Initially working exclusively in Super 8, the next five years saw an extremely productive period with dozens of experiments and works finished in the small gauge. In 2006 he, along with his partner Dianna Barrie, launched nanolab, a super 8 film processing laboratory based at their home in Daylesford Victoria. The establishment of this lab afforded the opportunity to set up darkrooms and install 16mm film processing and most importantly printing and sound recording equipment. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. AFW has become the center of experimental film practice on film in Australia, being the focus for regular experimental film screenings, touring artists programs, workshops and supporting numerous artists in their personal film practice.

"Eva" is a sequence shot from an audiovisual performative video art piece that simulates an acting test, where a naked female body is positioned within the iconic biblical imagery of Eve and Adam. The performance is directed by a male voice behind the camera, guiding the attempt to embody and conform to these archetypal representations.

Bianca Turner works across a diverse array of mediums, including video, video art, video performances, video installations, expanded cinema, audiovisual actions, urban interventions, and video mapping. Her practice critically engages with the concept of the archive as an imperialist imposition, while also exploring how time and space can be expanded through audiovisual technologies and video projection, particularly in relation to the human body. Turner holds a BA in Design and Performance Practice from Central Saint Martins (2011, London) and a Master's in Scenography from the Royal Central School of Speech and Drama (2013, London). Her career has seen her participate in prominent exhibitions, such as BIENALSUR and the 2023 exhibition Ese Frágil Equilibrio in Buenos Aires, Argentina, as well as Mulheres em Luta! Archives of Political Memory at the Memorial of Resistance in São Paulo, Brazil (2023). Turner also collaborated with Neo Muyanga and the Collective Legítima Defesa on the opening performance of the 34th São Paulo Biennial (2020). Other notable appearances include the Verbo Festival of Performance Art (2018, 2022, Vermelho Gallery), the 40th Arte Pará and the 1st Salon of Art of Goiás (2022, MAC), the 46th SARP (MARP) in 2021, and the SSA Mapping Festival (2018, 2023). She also participated in the Reencontre Audiovisualle #7 in Lille (2024), with Honorable Mention from the Jury. Her work, which she defines as expanded video, utilizes video mapping, video performances, and video art to challenge and expand the notions of time-space, while reclaiming narratives and interrogating the role of archives in shaping history.

Hole is the Bubble i Blew is a hybrid-documentary combining video, generative animation and composite imagery. It is a choral history of shared intimacy where days and nights loop as an apartment window emerges from a burning tunnel; from this window a small group of people share stories of platonic and erotic love through space and time that separate like oil on the surface of water. "Movements pulse into the void, actions become sentient, consequences wait for the morning that will never be."

christopher tym (UK) is an artist-filmmaker based in The Netherlands that explores the (dis)locations between 'virtual+natural' environments. By combining film and animation he creates hybrid spaces where humxns bend time as they navigate their relationships with each other and their evolving world/s. His current projects focus on eco-centric moving image where new insights of form and time challenge our preconceptions of the Anthropocene. christopher teaches hybrid-animation and is a core tutor at the Gerrit Rietveld Academie, Amsterdam.

Fade portrays the rural life of a grandmother in Japan while persimmon trees enter the late season.The grandmother’s tenacious care for traditions, trees & home, the film poetically depicts the tableaux of forgotten rural memory of the post-war; the glimpse of human spirit and persistence appear in the passing of seasons, awaiting the new beginnings.

Asako Ujita (1997, Osaka, Japan) is an artist/filmmaker based in London. In her practice, she is interested in exploring history and working with the archival - from news, found footage, to informal recordings such as dairies and letters. Beneath the layers of calm and dream-like tone of her films, these narratives of the past weave into current socio-political issues such as post-colonialism, ecology, gender, and identity. She considers this stitching of time a reconstruction of myth, evoking psychological experiences of collective memory, trauma and imagination in the present. Her work has been screened and awarded internationally, including the Grand Prix award at 25 FPS Festival, Croatia, Alchemy Film and Moving Image Festival, UK, Regeneration at Barbican Centre 2021 London, and Speculative Future; Climate Crisis at Horniman Museum and Gardens, 2020 London.

Fellow members of the Berlin queer community mourn together the loss of their dead friends due to substance abuse and the mental health crisis as well as the loss of urban safe spaces in general. By sharing personal materials, stories, and honest criticism about the club scene, working on this film becomes a means of healing for this group of friends. Resembling glow-in-the-dark fungi, they radiate light together as a network of support and care, they transform dead bodies and memories into a collective structure that sustains future living.

Sarnt Utamachote (????? ????????) is a Southeast Asian nonbinary filmmaker and curator based in Berlin. They are a co-founder of un.thai.tled, an artist collective from the German-Thai diaspora, and curated many film events and exhibitions regarding postcolonial histories, Southeast Asian diaspora and activism. Regarding their research in migration trajectories to West/East Germany, they have curated many research-based exhibitions such as Where is my karaoke? (2022 in D21 Leipzig; 2023 in Museum of visual arts Leipzig MDBK, 2024 in House of world cultures HKW Berlin) on the Vietnamese, Laos and Cambodian migrants in GDR (German Democratic Republic). On the other side in FRG (Federal Republic Germany), stories of sexualized Thai and Filipina women are found in Beyond the kitchen: Stories from the Thai Park (2020 in district museum Charlottenburg-Wilmersdorf), and In nobody’s service (2024 in Galerie Wedding Berlin). They curated the intervention “Forgetting Thailand” (2022) at exhibition “Nation, Narration, Narcosis” (curated by Anna-Catharina Gebbers) Hamburger Bahnhof: Museum of Contemporary Arts. Their short documentary films deal with intimacies and structures of Berlin queer kinship, sociality and collectivitiy. These are Sonic Reverbs (2022), I Am Not Your Mother (2020) or Soy Sauce (2020) have been screened internationally. I don’t want to be just memory (2024) won the Dok.Composition Award at Dokfest Munich 2022 and NEBULAE Award to represent German film projects at DocLisboa 2022. It has its world premiere at 74th Berlinale Forum Expanded. Currently they work as a film programmer at Short Film Festival Hamburg, Xposed Queer Film Festival Berlin (2022-) and Sinema Transtopia. This includes other cinema-related projects such as symposium and international cinema joint-project “Cinema of commoning” (2022) at Sinema Transtopia (and 8 other cities around the world), “Imagining Queer Bandung” (with Popo Fan and Ragil Huda, 2021) workshop series and “un.thai.tled Film Festival Berlin” (with Rosalia Namsai Engchuan, 2019-now) at Sinema Transtopia Berlin. They also worked on and edited various music videos, online contents and short films such as Hundefreund (2022), which was nominated for National German Short Film Award 2022.

‘Remote Occlusions’ draws on excerpts from a camera manual, which details what the manufacturer expects from the camera, while the film presents cases where the camera rejects these intentions and expectations. The images that make up Remote Occlusions come from cameras that are not password-protected, available on internet directories that publish live feeds from these cameras. It is in this ethical grey area that directories act as mediators, making private feeds public. __ No flickering. No noise. No artefacts. No hard lights that cast shadows. No fog, clouds, trees or buildings. No conditions of slow-moving or stopped people for long periods. No moving objects whose appearance is similar to the target in the areas of interest. No waving objects that cause the continuous modification of the image in the area of interest, for example a meadow with tall grass. The target must have a minimum height of 30 pixels, which is at least 1/10 of the image height. The body of the target must be visible for at least 3/4 of its height. The target must have a minimum area of 100 pixels and stay in the interested area for a time of at least 1 second. The target must also maintain a sufficient dissimilarity from the background, which means at least a colour difference of 5% or a brightness difference of 10%. The image must have a resolution of 640x360, 640x480, 320x180 or 320x240 pixels and must be in landscape orientation with 16:9 aspect ratio. The camera must be mounted at a height between 3 and 5 metres and the camera lens must not be dirty, wet or steamy. The accuracy to be expected is under ideal environmental and installation conditions. Recall: 95%

Utkarsh is a filmmaker and writer from Delhi, India. His work has recently been programmed at EXiS, Seoul (Korea), 2024; Festival ECRÃ, Rio De Janeiro (Brazil), 2024; FICUNAM 14 - Umbrales/Threshold, Mexico City (Mexico), 2024; Berlinale - Forum Expanded, Distant Connections, Berlin (Germany), 2024.

In a remote industrial site in Inner Mongolia, miners extract a strategic resource essential to our way of life under dramatic human and environmental conditions. This is where 80% of rare earth minerals, essential to the manufacture of digital technologies, come from. A miner working on the site shares his thoughts on his life and working conditions. White Cloud is a film developed with generative AI that offers a unique perspective on the Bayan Obo mining district. While questions of geopolitics, ecology, capitalism, conspiracy and future scenarios run through the film, the essence is the testimony of a lone miner in search of a better future.

Emmanuel Van der Auwera (b. 1982, BE) works multidisciplinary with video, theater, sculpture, printmaking and often in tension between art and technology, reality vs. simulation and the trivialization of violence. Finding his material in the rampant image production of a global screen culture, he is interested in the meaning of images and how they depict reality while at the same time constructing it. Van der Auwera is the winner of the Goldwasserschenking awarded by WIELS and the Belgian Royal Museums of Fine Arts. His work has been featured in exhibitions at the Pinakothek der Moderne, Munich; WIELS, Brussels; Centre Georges Pompidou, Paris; Palais de Tokyo, Paris; Centro per l’Arte Contemporanea Luigi Pecci, Prato and the HeK - House of Electronic Arts, Basel; amongst others. In 2023, Van der Auwera's work was presented in exhibitions at the Biennale internationale des arts numériques de la Région île-de-France (Paris, FR), Z33, House for Contemporary Art, Design & Architecture (Hasselt, BE). In 2024, his work was shown in the Biennale de l’Image en Mouvement 2024 - BIM 24 (Geneva, CH), KW Institute for Contemporary Art (Berlin, DE), 8th Yokohama Triennale (Yokohama, JP), Kunsthal Charlottenborg (Copenhagen, DK), Kunstverein Hamburg (Hamburg, DE), Deichtorhallen Hamburg (Hamburg, DE), and Royal Academy of Fine Arts (Antwerp, BE).

Filmed in Tokyo and Yokohama, of girls brings a variety of contemporary voices in resonance with two distinct female voices from Japan’s literary and political past. Both popular authors of their time—the period from the late 1920s on—Fumiko Hayashi and Yuriko Miyamoto both died young, in 1951. They each had a strong feminist and class consciousness as well as an impressive literary voice, but came from very different backgrounds and expressed their ideals through different paths. The power and contradictions in both these women’s words reverberate in dialogues and images of an intergenerational cast moving through the various spaces of knowledge, memory and culture, and reflect today’s struggles around gender, politics, and love

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, always shown in specially developed architectural settings, she shows widely in the art and museum context. Recent solo presentations include: unset on-set at Museum of Contemporary art Tokyo (MOT) 2022/23, tono lengua boca at CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her work was recently included in Delinking and Relinking, collection presentation van Abbemuseum 2021-2026; Sonsbeek 20->24,, Arnhem 2021; of bread, wine, cars, security and peace… at Kunsthalle Wien, 2020; Chicago Architecture Biennial 2019, Singapore Biennial 2019. Her films Two Stones (2019) , Hier. (2021) and of girls (2023) premiered in the International Competition of FID Marseille.