Catalogue 2023-2024

In the darkness of the polar night, a scientist tries to shed light on a remarkable phenomenon: an Arctic village in hibernation.

La persistance d’une image fatidique et le besoin de s'y accrocher impliquent le dédoublement d’un souvenir. Ce dernier se trouve ainsi suspendu entre les multiples versions d’un même évènement, entre les représentations d’un passé et un présent déjà vécu, entre figuration et abstraction, entre mouvement et immobilité, entre film et photographie. Des impressions intrusives d'autres vies se superposent au souvenir, nous exposant ainsi à une réalité surveillée où nous nous demandons qui voit et que voir.

Juan Desteract est né à Saint-Germain-en-Laye (France) en 1997. Il vit actuellement à Buenos Aires, en Argentine. Il a étudié le design graphique à l’Université de Buenos Aires. Il a poursuivi sa formation en photographie et arts visuels au cours de divers séminaires, ateliers et résidences artistiques à Buenos Aires. Parallèlement, il s'est formé en écriture, composition musicale puis en improvisation musicale. A partir de 2021, il participe à des expositions collectives dans des espaces artistiques et des musées d'art contemporain en Argentine, au Chili, Uruguay, Espagne et en France. Son travail associe des disciplines diverses telles que la post-photographie, l'audiovisuel expérimental, le design graphique et l'improvisation musicale, en se focalisant sur certains traits distinctifs du cinéma structurel et du réemploi d’archives. Depuis 2020, Juan travaille dans le domaine du design graphique en tant que Professeur à l’Université de Buenos Aires et en tant que graphiste au Musée d'art moderne de Buenos Aires.

Endymion est un space opera intime et synthétique. On y rencontre, modélisés en 3D, Mamilou (ma grand-mère), Salvadam Dalire, un toréador à jambes d’asperges auquel un croissant tient lieu de cache-sexe (c’est mon père qui lui prête sa voix), plus un cochon qui se sent devenir « ?de plus en plus bête ?» (que j'interprète). Propulsés dans une sorte de Volvo P1800 interstellaire, ces trois-là devisent de questions métaphysiques et terre-à-terre, se renvoyant la balle avec un léger décalage. Assez vite, on comprend que cette conversation est un montage de propos enregistrés dans des cadres différents. Si le résultat paraît comique et absurde par ses inadéquations, il fonctionne aussi comme machine divinatoire : chaque phrase est comme une voie à explorer selon les préoccupations personnelles de la spectatrice ou du spectateur.

Bertrand Dezoteux (né en 1982) réalise des films d’animation où différentes histoires et généalogies technologiques se juxtaposent et s’entrechoquent, dans des paysages très variés : de territoires ruraux du Pays Basque à de possibles exoplanètes, peuplées de créatures de synthèse, humaines, animales ou hybrides. Son travail a été régulièrement présenté en France au Palais de Tokyo, Centre Pompidou et Fonds Régionaux d’art contemporain. À l’international, Bertrand Dezoteux a participé à Frieze Projects (Londres), Transmediale (Berlin), Artissima XYZ (Turin). En 2015, il est lauréat du prix Audi talents pour le projet En attendant Mars, mené en collaboration avec le Centre National d’Études Spatiales. En 2021, il est le commissaire invité de l’exposition inaugurale de la Fondation Pernod Ricard, pour laquelle il réunit 13 artistes de différentes générations et horizons. En 2022, il investit la HAB Galerie à Nantes avec l’exposition personnelle Mémoires d’un touriste, une vision acide des relations entre art et industrie des loisirs.

Dans la vie de tous les jours, Clémence est chercheuse en philosophie. Mais pendant le jeu de rôle médiéval fantastique des Légendes d’Hyborée, elle incarne la chroniqueuse Nuria Delorme, venue des terres lointaines d’Aquilonie. Équipée d’un micro, devenu bâton de parole le temps du jeu, elle parcourt l'immensité des terres d’Hyborées à la rencontre des centaines d’autres personnages qui peuplent ce monde imaginaire. Elle les questionne sur ce qu'ils vivent ou ressentent, ce qu’ils comprennent d’une action souvent trop éclatée pour faire sens individuellement. La chroniqueuse s’y prendra à plusieurs reprises.

Arnaud Dezoteux (1987) vit et travaille à Paris. Il est diplômé en 2011 des Beaux-Arts de Paris et participe l’année suivante à l’exposition Géographies Nomades avec la vidéo “G-COACH”, qui mêle improvisation et coaching de séduction dans une ambiance de télé-réalité. Ses projets, qui ont tous en commun d’utiliser le studio d’incrustation sur fond vert comme le lieu d’une confrontation atypique avec les acteurs, ont été montrés à la Loop Art Fair de Barcelone, la Nuit Blanche Video de Londres, le Musée Làzaro Galdiano à Madrid, le Confort Moderne à Poitiers, la Fondation Lafayette et le Palais de Tokyo à Paris, la galerie 221A à Vancouver ou la galerie Forde à Genève. En 2016, il conçoit une exposition personnelle à la galerie Edouard Manet à Gennevilliers intitulée «Brise fraîche au-dessus des montagnes», consacrée à l’acteur Keanu Reeves. En 2017, il achève «Miroir de Haute-Valnia», une épopée à la frontière du documentaire et de la Fantasy, tournée dans plusieurs centres d’art et présentée pour la première fois au Centre Pompidou. En 2019, il part au Nouveau-Mexique et entame un projet de reenactment de la vie de Billy the Kid, si toutefois ce dernier était un adolescent au XXIème siècle Les films de Arnaud Dezoteux ont été projetés en 2019 au Cinéma Spoutnik de Genève, au Festival Côté Court, Ciné 104 de Pantin, au Drive-In Theater, Tinflats à Los Angeles, au Forum des Images pour la Nuit Blanche 2017 (en collaboration avec Treize) et Hors-Pistes Production au Centre Pompidou, ainsi que pour les 25 ans de D.C.A au Palais de Tokyo à Paris. Parmi ses dernières expositions personnelles figurent : 2018, Braquage Therapy, Forde, Genève / 2016, Sous le Soleil du Neubourg, Musée d’Art et d’Histoire d’Evreux, Evreux / 2016, L’oeil du Drone, Lycée Gilbert Martin, Le Neubourg / 2016, Brise fraîche au-dessus des montagnes, Galerie Edouard Manet, Gennevilliers / 2015, Vers le sous-bois des Aurores, Les Bains Douches, Alençon, Paris / 2013, Loop Art Fair, Hôtel Las Ramblas, Barcelone / 2012, LA TACTILIA , Galerie Bendana-Pinel, Paris.

Sous le ciel des fétiches répond à la difficulté de montrer l’ubiquité des archives coloniales dans l’histoire du séga mauricien. Née pendant la colonisation et l’esclavage au sein de communautés de fugitif.ves, cette pratique de danse et de poésie chantée survit aujourd’hui principalement sur les scènes touristiques des hôtels. Travaillant la relation d’emprise avec le passé colonial, le film réinvestit les spectres d’un regard qui hante. Comment projeter – littéralement faire sortir de soi – le récit de nos agresseurs ?

Caroline Déodat est artiste et chercheure. Docteure en anthropologie de l'EHESS, elle a été formée à l'École des Beaux-Arts de Lyon dans le cadre du post-diplôme Art. Par le biais de films et d'installations, elle explore les dimensions spectrales de l'image en mouvement dans une circulation entre fiction et ethnographie. De ses obsessions pour les processus d'archivage et d'aliénation, l'histoire et les mythes de la violence, elle exhume des récits par la convocation de mémoires hantologiques, d'archives en différé et d'images orales. Son travail a été montré au Musée Reina Sofía à Madrid, dans les Résonances de la Biennale d'art contemporain de Lyon, à la Fondation Sandretto Re Rebaudengo à Turin, et prochainement au Salon de Montrouge, au Ji.hlava International Documentary Film Festival à Prague, au Magasin à Grenoble et à l'IFAN à Dakar.

One winter night, the sea threatens once again the tower block where two neighbours live. The next day, their children come to prompt them to leave everything behind.

Francisco Dias was born in 1999 in Porto, Portugal. In 2019, he lived and studied in Norway. In 2020, he completed the Bachelor's in Sound and Image and in 2023 the Master's in Cinema at Universidade Católica Portuguesa, having obtained scholarships for both courses. Rooted in his culture and personal experiences, his films focus on coming of age, human relationships and landscape. "I Don't Like 5 PM", winner of the Take One! competition at Curtas Vila do Conde International Film Festival, and "Coast" stand out in his filmography.

Online Bodies explore la manifestation du corps dans des espaces virtuels. Le film se compose de sept courtes parties indépendantes, chacune montrant un angle différent du corps en ligne. Le film passe par des corps en transition: un acteur porno deepfake, un modèle 3D qui souhaite être reproduit, un groupe d'humains génétiquement modifiés qui vivent à l'intérieur d'un extraterrestre, quatre amis qui discutent des modifications cyborg, un corps qui ne peut pas monter un escalator. Ensemble, ils mettent en évidence l'espace entre le physique et le virtuel.

Mischa Dols (1996) is an experimental filmmaker born in Amsterdam. After graduating from LUCA school of arts in Brussels, they have a practice converging cinematic and online visual languages.

Film is made out of rooms (scenes) and a corridor (timeline). It tells a story about creation of a utopian commune. The fate of which is closely intertwined with the history of the place it occupies, the economy and the director's vision. The typology of the apartment occupied by the protagonists turns out to be more durable than the need to change the function of this place. Architecture, social status and structure of the film become closely intertwined. All camera shots used in the film come from the 1973 movie „Monterey Hotel” by Chantal Akerman.

Jan Domicz (1990. Opole/Poland) visual artist, author of videos, objects and exhibitions. In his works, he uses the narrative potential of both architectural and social space. His works were shown at the Architecture Biennale in Venice and at Museum für Moderne Kunst in Frankfurt, Museum of Modern Art in Warsaw, Arsenal Gallery in Pozna?, Neuer Essener Kunstverein and SALTS in Basel. Domicz is a graduate of the Staedelschule in Frankfurt and the University of Arts in Poznan. He is represented by Gallery Wschód in Warsaw. In addition to artistic practice, he has been running the quasi-curatorial project Office for Narrated Spaces since 2017. He works and lives in Warsaw.

A stage unfolds and a love song is sung displaced from it’s owner. INSERT SONG is video-essay meditating on music and semiotics in relation to love, and how love declarations are falling victim to the image.

Kamil Dossar (b. 1988) is a Danish artist currently based in Copenhagen. Dossar’s practice is rooted in an interest in themes concerning identity and how we relate to images in contemporary society. Central to his work is the relationship between identity and the loss of it, and exploring the image in relation to the imageless, as a son to political refugees. By investigating visual identity and semiotics he renegotiates the status of the image by rearranging it into new modes of associations.

Ce film est, avant toute chose, la sauvegarde sur 888 mètres de pellicule 16mm Kodak d’un document digital de mauvaise qualité. Pourquoi ? Parce que l’amour. La cinéphilie est un amour du cinéma apparu en France dans les années 20. C’est une drogue, une douce folie, une enquête sans fin pratiquée par des louves et des loups solitaires. En laissant entrer une caméra de télévision japonaise dans les coulisses de Shining, Stanley Kubrick, joueur, ajoute (encore !) de nouveaux niveaux de lecture à son œuvre. Elle atteint ainsi un paroxysme de réflexivité euphorisant. Mais, chut ! C’est seulement après la projection que nous pourrons ensemble déplier nos interprétations. Shining UFO révèle aussi la fille derrière le père, la sensationnelle Vivian Kubrick, et une filiation artistique prometteuse dont la dernière scène n’a pas encore été tournée. Nous sommes en 1980, une voiture s’extrait de Londres...

Olivier Dutel (né en France) réalise et produit des films et des installations depuis les années 1990. Il est également programmateur du Gran Lux (Saint-Étienne / granlux.org), membre fondateur du Fonds Eastman Infinitude (www.eastmaninfinitude.org) et concepteur de divers fanzines et magazines de cinéma et d’art.

“Are you familiar with American poetry?” The question sounds like an accusation as posed by Hanns Eisler in a heavy German accent during his interrogation in 1947 by the House Committee on Un-American Activities. Simultaneously Veronika Eberhart's GARTEN SPRENGEN shows a man (performer: Ian F Svenonius) wandering down a virtually endless hotel corridor. Yet it is the elaborate blue, yellow and cream colored pattern of the hotel's carpet floor that sticks out. Its haptic quality becomes directly translated into imagery during a different montage sequence: a hand sensitively glides along a window ledge, another likewise touches the neck of a guitar, and a third caresses the armrest of a sofa. These images attempt to grasp the ghosts of an historical place, specifically the Biltmore Hotel in downtown Los Angeles. This previous site of the Academy Awards was also where Eisler's hearing at the beginning of the McCarthy era took place... more info: https://www.sixpackfilm.com/en/catalogue/2787/

Visual artist, filmmaker and musician, born 1982 in Bad Radkersburg. Studied sociology in Vienna and Copenhagen, visual arts at the Academy of Fine Arts Vienna and at the Friedl Kubelka School for independent film, Vienna. Various exhibitions and film festivals, most recently at Mackey Garage Top, MAK Center, Los Angeles (2020), Kunsthalle Vienna (2019), Kharkiv Municipal Gallery (2019), New Jörg, Vienna (2019), Kunsthalle Exnergasse, Vienna (2018), rotor Graz (2018), Bazament Art Space, Tirana (2018), A-GALLERY, Tokyo (2017)

The work “What Is It (not) Like to Be a Bat?” is an artistic interpretation of the famous paper “What Is It Like to Be a Bat” (1974) by the American philosopher Thomas Nagel. The work consists of a self-built headset which uses three ultrasonic sensors and a gyroscope, translating the data in real-time into sound — analogous to the sonar of a bat — creating an interactive musical “Bat-Theme”. Hence, it is not only questioning the hard problem of consciousness, but also the urge of science, philosophy and technology to solve it, which might be impossible by nature.

Leon Eckard (*1995) is a Germany-based media artist and musician. He studied Music and Media at the Robert-Schumann Hochschule Düsseldorf and the Universitat de Barcelona with Jazz-Guitar as his main subject. Since 2022 he studies at the University of the Arts Berlin in the class Generative Art and is part of the collective S4NTP. Leon Eckard’s works and performances have been shown in numerous exhibitions and festivals such as xCoAx, New Now Festival and CTM Vorspiel. His artistic field develops between installative, interactive and generative art and music, as well as performances with self-developed systems. In his works, Leon Eckard deals playfully with the ideas of perception, consciousness and emergence, while exploring new ways of creating and improvising sound.

Ghosts is a short documentary film, in which ghosts, both real and imagined, haunt the lives of a rural community, in their small town in post-apartheid South Africa.

Teboho Edkins (*1980 in Tennessee, USA) grew up in Southern Africa and lives and works in Cape Town and Berlin. He studied photography and fine art at the Michaelis School of Fine Art, University of Cape Town, South Africa and film at Le Fresnoy Studio National des Arts Contemporains in Tourcoing, France. This was followed by a degree in directing at the Deutsche Film und Fernseh-akademie in Berlin (dffb). Teboho Edkins’s films have shown at many festivals, group and solo exhibitions, including at the Centre Pompidou, Paris; Tate Modern, London; South London Gallery; Haus der Kulturen der Welt, Berlin; Museum für Moderne Kunst, Frankfurt; Berlinische Galerie, Berlin; Weserburg-Museum für Moderne Kunst, Bremen; Museum of Modern Art, New York City. Some of the over 500 film festivals his films have screened at include the International Film Festival Berlin (Berlinale); International Short Film Festival, Oberhausen; and International Film Festival (IFFR), Rotterdam. His films have also been acquired by several public and private art collections including the Goetz Collection in Munich, von Kelternborn Collection in Frankfurt and the Collection KAI 10 | Arthena Foundation in Düsseldorf.

Between ethnography and reverie, La Partida de las Imágenes immerses in-between the spaces of dreams to explore how human and nonhuman social cartographies arise through dreaming alongside a Mapuche family in the south of Chile.

Ana Edwards studied Visual Arts in Chile. In 2019 she completed an MA in Visual Anthropology in the UK. She is currently taking part at Le Fresnoy Studio national des arts contemporains in France. Her practice begins as a search for human and non-human worlds as unstable and in constant transformation. She is interested in film and ecology as systems of interconnected elements subject to influence each other. 

During the darkest hours of the night a small disco light appears and shines lights to empty business premises. A minimalistic musical.

Jussi Eerola has worked as a cinematographer on many internationally awarded films since 1992. His directional debut was a documentary about electro-hypersensitive people titled Refugees of Technocracy (2009). The Return of the Atom directed together with Mika Taanila premiered at TIFF 2015 and won the NORDIC:DOX Award at CPH:DOX in 2015. Eerola’s first minimalistic short film Blue Honda Civic premiered at IFFR in 2020 and continued to many international festivals receiving three awards. Eerola is a founding member of the production company Testifilmi Oy started 2014 together with Mika Taanila and visual artist duo IC-98 (Patrik Söderlund and Visa Suonpää). Testifilmi emphasizes the vast potential of cinematic possibilities over standard formats and storytelling.

With the installation ARCHIVAL GRID, Charlotte Eifler and Clarissa Thieme present a filmic analysis in three parts. The work explores the tools of evidence production, the legal impact of cartographic surveys and the social processing of collective traumata and war crimes, as well as the criticism of it by those affected. The source materials are videos from one of the most extensive publicly accessible archives on war crimes: the archive of the International Criminal Tribunal for the former Yugoslavia (ICTY). In 2001, the ICTY conducted site visits with witnesses in Sarajevo to prepare indictments related to the 1992–1996 siege of the city. The purpose of these site visits was the detailed reconstruction of war crimes, particularly the targeted shelling of civilians. Interviews with the local witnesses at the original sites were documented on video, combined with 360-degree photographs and geographical surveys. The first part of ARCHIVAL GRID combines the forensic materials gene- rated from the ICTY evidence documents with transcripts from the court proceedings and interviews conducted today with witnesses and former employees of the ICTY. These recordings of different surveying practices in the fictitious setting of a future archive architecture shape the cinematic discursive framework. This reflects close parallels of perspectives in the technologies of witnessing, evidence and testimony and juxtaposes them with the demands of the affected people for recognition of their suffering. In a second part, ARCHIVAL GRID analyses the historical backdrop of tools of inquiry and their database logic as well as their entanglements with governmentality and coloniality. Algorithms collect data from digital archives and constantly create, combine and re-organize existing and emerg- ing databases. Through historical surveying instruments, maps and globes from the Mathematisch-Physikalischer Salon in Dresden collected und used by the Electors of Saxony, Augustus (1526– 1586) and Augustus II the Strong (1670–1733), Eifler and Thieme reflect on the historic interplay between survey and data collection, its visual representations and absolutistic claims to power. A third part turns once again to the archival ICTY videos to reflect on the specific forms of image production. Juxtaposing the processes and practices of the ICTY film team and the artistic methods that were used in the production of ARCHIVAL GRID, Eifler und Thieme engage with their own positions as filming artists and their role in the interrelation with witnesses of the war.

Charlotte Eifler is an artist and filmmaker spanning performance, video, installation, XR, and sound. Her works address the politics of representation, abstraction, and computation, and are characterized by interdisciplinary forms of collaboration. Focusing on feminist approaches and elements of science fiction, she explores processes of image & history production and imaginations of alternative futures. Charlotte is co-founder and/or member of the networks Digital Critique Leipzig, G-Edit, cobratheater.cobra, FACES – gender,art,technology und feat.Fem. Since Nov 2020, she’s teaching in the department of Media Art/ Film at the Karlsruhe University of Arts and Design (HfG). Eifler’s works have been presented at ACM Siggraph Art, Los Angeles (US); Staatliche Kunsthalle Baden Baden (DE), Le printemps de Septembre, Toulouse (FR); Sapporo International Art Japan (JN); Haus der Kulturen der Welt, Berlin (DE); IMPAKT Utrecht (NL); Kurzfilmtage Oberhausen and RENCONTRES INTERNATIONAL Paris among others. Residencies and scholarships facilitated her research in Moskau (Rosa Luxemburg Foundation), New York (KdFs Foundation) and Mexico City (Institutio Nacional de Bellas Artes y Literatura). /// Clarissa Thieme works with film, performance, text, and installation, combining documentary and fictional methods to explore processes of memory and historical translation as well as their identity implications. For this purpose, Thieme often deals with subjective testimonies in the context of collective traumas and their reconstruction with technical and legal means to trace the fissures that open up between the languages of individual memory and their translation into processes of historical objectification. Her practice is research-oriented and takes a collaborative approach. In series, many of her works link together to form long-term studies that span several years. Since the early 2000s, various artistic projects have taken her to the post-Yugoslav space, where she has collaborated with various archival collections and initiatives.

An unexpected encounter on the staircase threw the young man out of his regular routine.

Was born in Tomsk, Siberia. Moved in Moscow in childhood. Studied phylology in "Russian State University for the Humanities", then stuied in "Moscow School of New Cinema" (editing department). Is living in Tel-Aviv since August 2022.

The civil engineer and architect Freddy Mamani Silvestre (*1971), has designed more than 60 building projects in the Bolivian city of El Alto since 2008, which mock the norms of a formulaic modern architecture shaped and enforced with global aspirations by the Bauhaus. Mamani comes from a humble background and belongs to the Aymara people. His self-taught architecture is a counter-utopia that grew out of local usages and opens up a view of preferences other than sparseness and global stylistic adherence. The film shows many of the “cholets” he built with their magnificent ballrooms in their urban setting. Mamani became the founder of neo-Andean architecture.

Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: Krieg der Augen, Kreuz der Sinne (War of Eyes, Cross of Senses), Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), Normalsatz – Siebzehn Filme (Ordinary Sentence – Seventeen Films) and Das schwarze Schamquadrat (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in Die Republik No. 68-71, 76-78, 89-91, 94-97 and 123-125); Sense of Architecture with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.

Inspired by Donna Haraway and John Berger’s contemporary theories on interspecies relations, Andro Eradze fills the frames of his works with plants and animals poised to exceed their boundaries. His camera follows scenes on the cusp of something undefined: a smouldering campfire, a stormy forest of wind-whipped trees, a flooding football pitch. Accompanied by haunting, transcendent soundtracks, his films feel like a compilation of the transitional moments of a feature film, leaving the viewer with a sense of expansive anticipation. Eradze’s new video installation for The Milk of Dreams, titled Raised in the dust (2022), stems from the conclusion of classical Georgian poet Vazha-Pshavela’s The Snake Eater (1901). The poem’s protagonist has a supernatural talent for understanding the language of nature; he must decide between his connection to nature and his social responsibilities, ultimately bowing to the latter. Eradze’s film takes place in a forest. Taxidermized animals appear one by one, disturbed by an uproar of New Year’s Eve fireworks. Critical of the human carnival that is disruptive, toxic, and fatal for wildlife, Eradze’s film repositions fireworks as an entry point onto the dark and mythological side of the forest, a world of plants, animals, and phantoms.

Andro Eradze (b. 1993) lives and works in Tbilisi, Georgia. He studied at the Shota Rustaveli Film Academy, as well as CCA-T (Center of Contemporary Art Tbilisi) MFA program. His works meditate on the qualitative nature of images, still as well as moving. Working primarily in Georgia, Eradze experiments with introducing narratives to the outskirts of human habitation, in the literal and figurative sense. The feeling of an uncanny, non-anthropocentric presence in his works invites the viewer to the liminal space between the subjective and the visceral, between cognition, perception and the alien otherness of non-human experience. Animals, objects, plants, and digital artifacts permeate a sense of presence in a landscape that exists simultaneously parallel and entangled human experience. Eradze’s practice investigates the potentiality of animism as method. Photography, installations, experimental cinema practices and video blend into a project contemplating the fading present, in which the Anthropocene is faltering, and everything operates independently of it. Building upon the legacy of alternative approaches to reality—surrealism and magical realism—his images blur the distinction between the imaginary and the real.

A Peruvian father labours patiently, chipping at the white volcanic stone that forms an extraordinary landscape. His son is part of the modern world: he uses cameras and drones in order to create the digital model of a church on a computer. Separated by the mysterious death of the wife/mother figure in the family, these men do not connect. And yet their paths cross in a ghostly manner, as do their professions: each in their own way works with textures and volumes, sensations and perceptions. Can the realm of digital art recreate and revivify the old world? Can it also awaken hearts grown lonely and cold?

Felipe Esparza Pérez (1985. Talara, Peru) graduated with a master's degree from Centro de la Imagen (Lima) and Le Fresnoy - Studio National des Arts Contemporains (France). His work creates dynamic links and tensions between film and visual arts, with a strong interest in rituals, faith and its symbolic derivations and the relationship between image and time, image and history, and image and truth. His work has been shown in Rencontres Internationales Paris/Berlin -New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Pekín), Biennale Videobrasil (Sao Paulo), Los Angeles Film Forum, FIVA Videoart Festival, Rotterdam International Film Festival, Curtocircuíto, Moscow IFF, Torino IFF, Beijing BIFF, among others. He is currently a fellow at the Film Study Center at Harvard University.

What is our relationship to our tech devices? How do smart devices exist in the world? What do we want from them? What do they want from us? "Our Non-Understanding of Everything" is a daily practice, where we observe and speculate of how our personal tech devices and their building parts exist in a possible future, shared between the architecture of circuitry, political thought and the wild and programmed parts of our natural environments. “Our Non-Understanding of Everything” signals a complete openness to learn, shift viewpoints, upturn embedded prejudices, discover, surprise and draw connections between phenomena and things that reside and operate in wildly diverse realms. The project aligns with non-representational ideas, in which events and encounters in the world are constituted through emergent, relational, and intangible complexities that cannot necessarily be articulated or contained within the particular ways we attempt to represent them.

eteam is a two people collaboration who uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetical universes. Traversing over earthly planes they trigger communication, collaborations and transformations between humans, nature, and technologies. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, they forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Eteam’s work is land- and process-based, often long term, situational and happens in places they don’t inhabit permanently. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves and on mountaintops, in ships, black box theaters and horse-drawn wagons. They could not have done this without the generous support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020. They are represented by Gallery M29, Cologne Germany and Video Data Bank, Chicago.