Catalogue 2024

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

The inner courtyard of the Canebière building, built by Fernand Pouillon in 1952 as a vision of quality housing for the people. The camera slowly follows the vertical and horizontal lines of the windows. Traces of human presence punctuate the uniformity of the façade (laundry, plants in pots). The rythm suddenly syncopates, accelerates : pendulum movements replace pans, the sounds of steps and voices echoing in the hall reaches a crescendo. The screen turns black, and James Baldwin’s voice, talks in french about the position french society allows algerians in its midst. Between the wordless images and the imageless words, a common thread : the legacy of people’s struggles in french society, of their claims for dignity and equality.

Maïder Fortuné, studied literature and theatre (École Jacques Lecoq in Paris) before entering Le Fresnoy National Studio for Contemporary Arts, where she developed a performance-related practice of the technological image. With its great formal rigor, Fortuné’s work commands all the viewer’s attention for a genuine experience of the image and its processes. Recently, her practice turned to more narratives preoccupations. Lecture performances and films deeply rooted in writing, are the mediums she process to open up new narrative strategies. Her work has been exhibited internationaly (Europe, Brazil, Canada, China, Japan). In 2010 she won the Villa Medicis fellowship in Roma, Italy. Recent shows and performances have been held at Gallery 44, Toronto, Centre Pompidou Paris, and the Toronto International Film Festival. In 2019, her mid-length film L’inconnu de Collegno was part of IFFR Bright Future selection. In 2020, Communicating Vessels won the Accomodo Tiger award at IFFR Rotterdam, the Main Award of Moscow International Experimental Film Festival, the Student Award of Black Canvas film festival in Mexico, and was part of Indie Lisboa film festival, FID Marseille film festival, Montreal documentary Film Festival, Bucharest Film Festival. Outhere (for Lee lozano) is her last film codirected with Annie Mac Donell.

About Happy Hippos and Sad Peacocks is a decolonial fable of the 21st century, in which two animals are juxtaposed, sharing a similar fate but couldn't be more different. Places and times merge, identities are excluded; a non-anthropocentric perspective reflects upon the force-migrated lives of the protagonists and the recurring patterns of colonialism. The story begins with "a great exploration journey," which poetically illustrates how the resulting, mostly one-sided trade relations continue to shape all our lives till today. History continues to manifest itself and is embodied in this film through living animals. The peacocks and hippos, both mascots of former rulers, represent our complex (and at times absurd) relationship with the past and present and our inability to come to terms with it. Happy Hippos and Sad Peacocks explores the connections between humans, nature, and history. It is a cinematic journey of discovery, in search of a new narrative.

Elkin Calderón Guevara is a Colombian filmmaker, artist and father. After completing his studies in art, he is pursuing a master's degree in Creative Documentary at the UAB, Spain. In his work he is interested in delving into historical gaps and generating polyhedric forms of narration. From the intense reserch and observation of selected phenomena, he seeks to create films that invite audiences into unexpected encounters with a blend of historical, fictional, political, and poetic elements. Together with Diego Piñeros García, Calderón Guevara forms the collective Calderón & Piñeros, with whom they have taken part in film festivals such as the IFFR, DOK Leipzig, Festival Biarritz Amérique Latine, Rencontres Internationales Paris / Berlin (2018), 20º Festival de Arte Contemporânea Sesc_Videobrasil, São Paulo (2017).

A birdwatcher tries to record the scarce birdsongs in a deactivated mining area, while a team of ethnobotanists faces the challenges of storing one of the largest natural history collections in the world. Scientific practices from the past and present meet in the investigation of a 17th century catalogue of Brazilian plants and animals published in Amsterdam as a product of the Dutch expedition of artists and scientists in the country.

Daniel Frota de Abreu is a visual artist and filmmaker whose practice investigates the role of fabulation in the documentation of natural and historical events. Having a background in typography, his works address the shape of discourses, how history is recorded and how documents can be read. His works have been shown at institutions and festivals such as Videobrasil Festival, Clermont- Ferrand International Short Film Festival, It’s All True Documentary Festival, Fondazione Sandretto Re Rebaudengo, MAK Center for Art and Architecture, Kunsthaus NRW Kornelimünster, Fundação Iberê Camargo, among others. In 2021-22 he was artist-in-residence at Jan van Eyck Academie (Maastricht) and in 2022-23, a research fellow at Het Nieuwe Instituut (Rotterdam). He also runs of the visual communication studio Interno Bruto based in Rio de Janeiro.

Archipelago (No one is an island) splashes heedlessly into a fictional exploration of the high frequency trading firm Archipelago and its existence in the strange socio-political, socio-economical and psychological reality of the proliferating internet and lives lived in wireless connectivity. In this business realm, human activity, unfolding in virtual spaces and directed by algorithms, is mainly left to perform the rituals that gives the bodiless stream a body; performing the myths of human ingenuity and dominance; repeating the hierarchical patterns that represent human social activity. The dramatic structure of the two channel video work shapes an archipelago in itself. Every character inhabiting the depicted environment forms an island within herself, literally plugged into a closed circuit; AirPods in ear; screen glued to face. Islands that seem to react upon one another even across time particulars and image frames.

Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement, temporal displacements and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He is Associate Professor at The Royal Danish Academy of the Arts. He has been artist-in-residence at ISCP in New York, Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. Previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen. He was furthermore represented at the 9th Bucharest Biennale, the 19th Biennale of Sydney, the 1st eva International Biennial of Visual Art, the 12th Istanbul Biennial, Manifesta 8 and the 6th International Liverpool Biennial. He recently finished his PhD in Artistic Research at The Art Academy - Department of Contemporary Art, University of Bergen, titled “Oceanic Horror - or How to Survive the Night in the Haunted Mansion of Absolute Capitalism”.

Space Down is a feature-length collage film made with amateur footage retrieved on the Internet. It documents the bootstrap of an astronaut community here on Earth who migrates to space in the confines of their homes. The film is a detournement of the COVID-19 lockdowns that renders visible the Earth momentarily as one of the biggest space analogues in history.

In his ongoing quest to explode the film frame, Dominic Gagnon’s flurry of internet collage films not only cull the lonely, shocking margins of YouTube to captivate us with pixelated self-representations of despair, anger, and survivalism, they also challenge and question the definition of what constitutes cinema. (Text: J.P. Sniadecki)

L'Affaire Bajazet is an open-air, costumed adaptation of Racine's play of the same name, in which the passions of the heart and the stakes of power clash in early 17th-century Byzantium. Love, pain and death are just words here.

Simon Gaillot is a young filmmaker. At the age of twenty, he decides to shoot an open-air film every summer based on a play. In keeping with Jean Cocteau's belief that cinematographic art is above all a craft, he works, with a constant concern for to establish a relationship of proximity and necessity between a text, a face, a body and a landscape. He has thus been able to adapt, with great freedom, works by Julien Gracq (Le Roi pêcheur), Heinrich von Kleist (Penthesilea), Jean Racine (Bajazet), Robert Walser (Aschenbrödel), Oscar Wilde (Salomé), Fernando Pessoa (O Marinheiro), William Shakespeare (The Winter's Tale), Torquato Tasso (Aminta) and Charles Péguy (Ève).

Le monde de Dominique Petitgand est celui de l’écoute. Depuis trois décennies, l’artiste crée des pièces sonores qu’il diffuse à travers des disques, à la radio, lors de séances d’écoute se déroulant dans l’obscurité, selon le principe d’un « cinéma pour l’oreille », ou encore sous la forme d’installations déployées dans l’espace, dans des lieux d’exposition. Dans son travail de montage, des fragments de voix sont découpés, isolés, détachés de leur contexte, et associés à d’autres éléments vocaux, sonores ou musicaux. Ses œuvres portent attention au potentiel narratif que recèlent ces fragments de réel autant qu’aux « liens invisibles » qui les relient entre eux. Comment prolonger, à l’écran, l’expérience de ses œuvres ? Comment filmer l’écoute ? C’est à partir de ces interrogations que sont restitués trois moments de création et de diffusion : une séance d’écoute présentée au Musée des Beaux-Arts de Nancy ; un temps de travail autour de la table de montage, dans l’atelier de l’artiste ; une installation sonore, Les heures creuses, créée pour les espaces du T2G – Théâtre de Gennevilliers.

Christophe Gallois est, depuis 2007, curateur au Mudam Luxembourg. Il a été le commissaire de plusieurs expositions collectives d’envergure, parmi lesquelles « The Space of Words » (2009) et « L’Image papillon » (2013), et d’expositions personnelles d’artistes tels que Guillaume Leblon (2009), John Stezaker (2011), Sanja Ivekovic (2012), Fiona Tan (2016), Su-Mei Tse (2017), Jeff Wall (2018), Katinka Bock (2018), David Wojnarowicz (2019), LaToya Ruby Frazier (2019), Zoe Leonard (2022), Tacita Dean (2022) et Dayanita Singh (2023). Un nombre important de ces projets ont été développés en collaboration avec des institutions telles que le Taipei Fine Arts Museum, le Aargauer Kunsthaus, la Whitechapel Gallery à Londres, le Musée d’Art Moderne de Paris, le MCA Australia à Sydney, la Kunsthalle Mannheim ou encore le Whitney Museum of American Art à New York. Consacré au travail de Dominique Petitgand, « L’écoute vagabonde » est son premier court-métrage documentaire. Pensé comme un prolongement de sa pratique curatoriale, celui-ci poursuit un dialogue entamé avec l’artiste au milieu des années 2000 dans le cadre de plusieurs expositions de groupe et d’une exposition personnelle, ainsi que de la rédaction de textes et des entretiens.

In a land of musical rivers and omens coming from the heart of the jungle, a young man overhears a bird's song as a message of his fate. A dream-like contemplation of a man dissolving into a large common body.

Nicolás Garcés was born in Pasto, Colombia, and holds a degree in Filmmaking from the Universidad Nacional de Colombia. His work focuses on ethnographic explorations and experimental practices in audiovisual media, and has been screened in festivals such as MIDBO, Festival du Nouveau Cinéma de Montreal, FICCI, among others.

Turn your love into a weapon. This film reads Soviet revolutionary and sexual activist Alexandra Kollontai’s writings on female sexuality and emancipation, on the abolition of the family and the need to “change hearts and minds”. This reading traces a complex web of connections between 20th century European Marxist feminism and 21st century Latin American transfeminisms, between personal and collective mourning, between a myriad of ways of understanding the feminine, and between the melancholic gaze of disenchantment and the furious, tender, and imperious demand that the Revolution, finally, fulfil its promise. (Revolution, fulfil your promise) Red Love (2024) is the sister film to Red Love (2023). The sounds and images from the original footage of Red Love have been completely re-edited, and a wealth of new archive material has been added, which is clearly inscribed with the urgency of militancy while tracing careful historical genealogies. This film is the result of 8 years of research going from Moscow Engels-Marx-Lenin archives to multiple personal, familiar, historical and activist archives in Mexico and Latin America. It is a collective work made by a team of researchers and artists of different nationalities. It wants to inscribe itself in the urgency of the tradition of militant film while at the same time tracing careful historical genealogies and projecting into the future.

Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).

‘Health is life lived in the silence of the organs’, wrote French surgeon René Leriche in an Encyclopédie Française entry from 1936. Paradoxically, the closer we have got to this metaphorical silence, the more necessary an aesthetic synthesis, through increasingly complex and precise sounds and images, has become. The current paradigm of health technology, where bodies and their representations are sometimes indistinguishable, is the core of this film: an audiovisual study on the relationship between the human body and the latest hospital technology.

ALBERT GARCÍA-ALZÓRRIZ was born in Barcelona in 1992. His work has been exhibited at international events and festivals, including the 58th Biennale di Venezia, FID Marseille, FID Buenos Aires and Documenta Madrid, as well as at public and private institutions such as IVAM (Valencia), the Hong-Gah Museum (Taipei), the Louvre Museum (Paris), Haus der Kulturen der Welt (Berlin) and Cité Internationale des Arts (Paris).

"Dans une sorte de rêve éveillé - L'invitation" is a computer-generated animation about the domestication of nature in our homes, based on Tanya St-Pierre's handmade collages. The starting point for the project was the desire to transpose St-Pierre's handmade collage practice into computer-generated images, but not only by integrating collages into 3D scenes, but rather by approaching collage work as a method for creating 3D environments. The first influence for this work was the collage series "Espaces intérieurs" (2019 -2020): a reflection on the theatricality of nature in the interior spaces of our daily lives. The origin of this series of over 150 collages lies in the discovery of a stack of interior design magazines published in the 70s and 80s. To these magazine pages are added a few fragments of gardening magazines from the '80s, The Space Issue (National Geographic Society, 2017), the book En El Espacio (Time Life Editions, 1984) and the illustrated dictionary Natural Wonders of the World (Reader's Digest Selection, 1977). A strong feature in these interior design magazines was this constant narrative tension between the elements of nature and domestic, controlled, organized interior spaces. This series of collages takes an archaeological and architectural look at a theatrical era of interior decoration. An era that seems to desire the domestication of these natural elements through their representation in our homes. Like an attempt to convince ourselves that we dominate and possess these natural elements. An attempt that exposes an almost unresolved fictional tension between, on the one hand, the modern comforts constructed and edified by the thundering economy and, on the other, the muted threat of nature, the changing climate and their implied cataclysmic forces. ? ?

Tanya St-Pierre is a Graduate in visual arts from UQTR (Université du Québec à Trois-Rivières, Qc, Canada). Philippe-Aubert Gauthier is a digital and sound artist, musician, engineer, Ph.D. in acoustics, and a professor at the School of Visual and Media Arts at UQÀM. Both artists presently work and live in Montréal Québec, Canada. Each artists have a solo practice but they also combine their specializations for large-scale visual and sound installations. Gauthier and St-Pierre have been working as a duo since 2003. Their respective interests are addressed in exchanges that lead to hybrid artistic proposals, results of self-critical contests and inventions in tandem. Works have been supported by the CALQ and CAC and shown in divers contexts in Canada, the United States, Maroc, Mexico, United Kingdom, Germany, France and Japan.

Summer 2022. Carlotta is engrossed in recording the audiobook for Walter Benjamin’s short stories. Her sister and brother come to visit her for a few days, and the three find themselves in the small town in the Marche region where they grew up. Gradually, an episode they experienced together two years earlier resurfaces: an act of violence in which each of them was, in their own way, entangled.

Riccardo Giacconi has studied fine arts at the IUAV University of Venezia. His work has been exhibited in various institutions, such as Grazer Kunstverein (Graz), ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), Fondazione Sandretto Re Rebaudengo (Turin). He was artist-in- residence at the Swiss Federal Institute of Technology (Lausanne, Switzerland), Centre international d’art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and Künstlerhaus Büchsenhausen (Innsbruck, Austria). He presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the International Competition in 2015. He co-founded the collective listening festival ‘Helicotrema’ and the audio storytelling studio ‘Botafuego’. He is Professor of the Practice at the School of the Museum of Fine Arts at Tufts University, Boston. www.riccardogiacconi.com

Within the human struggle to live and work on a changing planet, questions of value, extraction, and adaptation echo across seemingly disparate worlds. A Common Sequence examines shifts of life and labor through a critically-endangered salamander and plant patents in the apple industry. Weaving the stories of Dominican nuns running a conservation lab, a group of fisherman attempting to live off of a depleting lake, engineers developing AI-driven harvesting machines, and an indigenous biomedical researcher resisting the commodification of human DNA, the film becomes a meditation on the shifting border between the natural and unnatural world, and the dynamics of power at play.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work. He has presented work at numerous festivals including Sundance, Toronto, New York, Edinburgh, AFI, Oberhausen, and the Harvard Film Archive. He is currently an Associate Professor at the University of Wisconsin-Milwaukee.

"We sing a lullaby, not to lull to sleep, this giant baby of iron and concrete. We sing a lullaby so it grows stronger and upon it, incessantly the revolution can walk." A poem as a wake-up call for revolution, or rather a regime-compliant lullaby? GENERATIONS OF IMAGES embarks on a search for traces through the profound transformation processes of Albanian history. In the archives, forgotten places, and memories of different generations, ruptures and continuities become visible, left behind by the transition from communist dictatorship to capitalist democracy. Employing an essayistic-poetic approach, the film delves into regime images and image regimes, bring- ing forth hidden narratives and depicting how deeply Albania’s history is inscribed into the texture of its present.

Johannes Gierlinger (* 1985) In his work, he deals with forms of memory, remembrance and perspectives of resistance. Thereby he explores and analyzes historical and contemporary traces as well as constellations, transformations and connections between different eras and political systems. In his examination of the past and its permeation of the present, he explores forms of representation, layers and patterns and asks to what extent their structures and effects are visible and perceptible in today's societies. His work has been showen at national as well as international film festivals & institution, among others Visions Du Réel Nyon (CH), Belvedere21 (AT), CPH: DOX (DK), IMPAKT Festival (NL), Werkleitz Centre for Media Art (DE), Filmmakers Fest Milano (IT), Museum der Moderne Salzburg (AT), EMAF Osnabrück (DE), Bienal de Artes Mediales de Santiago (CL), Dokufest (KOS), FIC Valdivia (CL), Edinburgh IFF (GB), Antimatter [Media Art] (CA), das weisse haus (AT), rotor Graz (AT), Salzburger Kunstverein (AT), Diagonale Graz (AT). Lives and works in Vienna.

Part of the YOURS project, an assemblage of five short films dedicated to Chantal Akerman, STONE, HAT, RIBBON AND ROSE offers a strictly personal and decidedly fragmented guide to Brussels; this idiosyncratic city symphony takes us across different urban terrains and unveils each location’s visual and sonic wonders. Amplifying the film’s elusive, drifting quality are a series of one-person performances involving disparate objects in the city. Playful and sombre, quotidian and fantastic, Eva Giolo’s film is a tender love letter to Akerman’s work. (Hyun Jin Cho)

Eva Giolo is an artist working across film, video, and installation. Her work has been exhibited at Sadie Coles HQ, Harlan Levey Project, WIELS centre for Contemporary Art , MAXXI–National Museum of 21st Century Art, Kunstmuseum Den Haag, BOZAR Centre for Fine Arts, Palazzo Strozzi, Museum of Contemporary Art Antwerp, Kunsthalle Wien, and major film festivals like International Film Festival Rotterdam, Viennale, FIDMarseille and Vision du Réel among others. She is a founding member of the production and distribution platform elephy.

A group of artists are invited to be inspired by the work of the well-known, Belgian filmmaker Chantal Akerman, specifically her film News from Home (1976). The busy city of New York serves as the film’s main character. Meanwhile, we hear Akerman’s voice reading letters from her mother in Brussels. She recounts daily anecdotes from the home front and increasingly urgent requests for news from New York. A group of artists are asked to make one film together: each with their own voice, style, and starting point. During the working process, questions arose such as: how do you as an artist relate to another film practice, how do you create a collective work while maintaining your individuality? You’ll see no less than five different films within one kaleidoscopic film: Stone, Hat, Ribbon and Rose by Eva Giolo, Barefoot Birthdays on Unbreakable Glass by Rebecca Jane Arthur, When Things Fall Apart by Katja Mater, Un Âne by the artistic duo Sirah Foighel Brutmann and Eitan Efrat, and The possibility of being sea by Maaike Neuville. Details such as letters and metros, and themes such as dislocation, detached city life, alienation versus feeling at home, distance versus proximity, and the mother-daughter relationship echo Akerman’s films. Unfortunately, the artists are no longer able to engage directly with the filmmaker, who passed away in 2015. However, this joint work attests to a way of engaging in dialogue with her work.

Eva GIOLO (1991, Belgium) is an audio-visual artist and filmmaker from Brussels. She obtained an MA in Fine Arts at KASK, Ghent and her musical education at the Institute of Contemporary Music in London. In her work Giolo tries to capture familial stories using documentary strategies to make portraits of usually private and unseen interior worlds. Her work has been exhibited all over the worl, and in 2016 she won the VAF Wildcard for experimental film. She is a founding member of elephy, a Brussels-based production and distribution platform for film and media art. Rebecca Jane Arthur is a visual artist working predominantly with the moving image and writing. Her works often revolve around portraits of people and places, and her interest lies in personal stories that depict a socio-political context and history. Arthur obtained her MA in Fine Arts at KASK, Ghent, in 2017. She completed her BA in Fine Arts at Sint-Lukas Brussels in 2015, after spending one year at the Academy of Fine Arts Vienna. Arthur recently exhibited her work at Tallinn Photomonth 2017: Contemporary Art Biennial; ARGOS Centre for Art and Media, Brussels; Convent, Ghent; and Courtisane Festival, Notes on Cinema 2017, Ghent, among others. Recent texts on Arthur’s work have been published in Metropolis M and KORTFILM.be. Arthur works in Brussels as a freelance writer, proofreader, copy-editor, translator (NL-EN) and moving image producer. She is co-founder of the film and media art platform elephy, together with Chloë Delanghe, Eva Giolo and Christina Stuhlberger. In 2017-18, she is working as a researcher on the art-based research project Six Formats on the chapter ‘Screening’, which is run by Felicitas Thun-Hohenstein and Ingrid Cogne, funded by FWF-Peek and hosted by the Academy of Fine Arts Vienna. Katja Mater’s (*1979 in Hoorn/The Netherlands, lives and works in Brussels and Amsterdam) practice focuses on the parameters of photography and film from a meta-perspective, using them as non-transparent media. By creating hybrids between different optical media, installation and performance she documents something that often is positioned beyond our human ability to see. Interested in revealing a different or alternative (experience of) reality through capturing the areas where optical media hardly behave like the human eye, Mater mediates between time, space, perception and our understanding of them, she records events that simultaneously can and cannot be – holding midway between information and interpretation. Sirah and Eitan are working in collaboration, creating works in the audiovisual field, installation and performance. They live and work in Brussels. Sirah and Eitan’s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; the temporality of narratives and memory and the material surfaces of image production. Their works have been shown in duo exhibitions in Kunsthalle Basel (CH); Argos, Brussels (BE) and CAC Delme (FR); at group exhibitions in Argos (BE); Museum für Kunst und Gewerbe, Hamburg (DE); Portikus, Frankfurt (DE); Jeu de Paume, Paris (FR) and STUK, Leuven (BE). In film festivals such as EMAF, Osnabrück (DE); Atonal, Berlin (DE); Doc Lisboa (PT); Oberhausen Film Festival (DE); Rotterdam Film Festival (NL); Les Rencontres International, Paris and Berlin (FR/DE); New Horizons, Wroc?aw (PL); Images, Toronto (CA); 25FPS, Zagreb (HR). Sirah and Eitan are currently teaching at ERG, Brussels. Maaike Neuville (°1983) is a Belgian actress and director. Maaike graduated in 2005 from Studio Herman Teirlinck in Antwerp.

“In Paris, at curfew time, people linger and hurry down the street before going home. In the morning, a person wakes up alone and listens to the messages left for her. At night, a woman recounts the symptoms of a strange illness to a cab driver. The stories unfold and touch, waiting for something to come.”

Mathilde Girard is a philosopher, psychoanalyst and writer and a member of the Lignes Committee. She has contributed to Chroniques Purple, Diacritik and AOC. She is the author of the books: Proprement dit, entretien sur le mythe, avec Jean-Luc Nancy (Lignes, 2015); L’Art de la faute – selon Georges Bataille (Lignes, 2017); Défense d’écrire – entretiens, avec Michel Surya (Encre Marine, 2018); La Besogne des images, avec Léa Bismuth (Filigranes, 2019), Un personnage en quête de sublimation (Gallimard, 2019). She writes for the cinema since 2017 and make her first films: MON PERSONNAGE (2020), LES ÉPISODES - PRINTEMPS 2018. (2020).

Jishin (Japanese: earthquake) shows an archaic-looking special effect for a Hollywood film of the 1940s: a house begins to sway, stone lanterns fall over, an actor loses his grip. Finally, mountains of debris fill the screen. The drama is repeated in five successive, slightly varied camera perspectives. The uncut raw material allows an analytical view of the clichéd and scenery-like setting: the disaster is not due to a natural event but to a precalculated performance.

born in Langenhagen, Germany, in 1966, studied Visual Arts at the Braunschweig University of Art (HBK). Since 1989 he has produced films, videos and video installations, some of them in collaboration with video artist Volker Schreiner (1994 – 2004), and, more frequently, in collaboration with filmmaker Matthias Müller (1999 – 2022). He lives and works in Hanover, Germany.

Tear out the eyes is a project that proposes a constellation of works around the gaze, and its political dimension, focusing on the pattern of eye attacks by State security forces. This project arises from the shock of the tragic events that took place in Chile and Colombia in recent years and that have left hundreds of people with eye trauma due to the pellets fred by the police during the demonstrations. It was not only in Chile, it was not only in Colombia. It also happened in Palestine, in Catalonia, in France, in Hong Kong, in Colombia, in Brazil, in Kashmir. Where else? Since when? This method has been evolving since the Israeli- Palestinian confict: bullets aimed to the eyes of protesters to blind them, to mutilate them. At the same time that the devices of police repression increase and are perfected worldwide, the unresolved conficts in each country are strengthened and violence re-emerges, as if it had never gone away. Tear out the eyes, stop seeing, hide, cover, blind, make invisible, disappear. Tear out the eyes question about the immediately preceded moment of mutilation and about what remains after the tragedy. Inquires about the causes, about that violent purpose of generate a blind gaze. At the same time seeks to understand the possible ways to stop the loss of the memory of what the eyes saw: In turn for the possible ways to stop the loss of the memory of what the eyes saw: we imagine the possibility that the eyes return , let the images emerge from the ruins. The eyes return to the bodies, they return with the memory of their marks and their struggles, they return in a gesture of resistance, they return as a possible act of reparation.

Visual artist, curator and professor of Experimental Video and New Media in Argentina and abroad. She is the director of the Bienal de la Imagen en Movimiento (BIM) in Buenos Aires and CONTINENTE, Research Centre for Audiovisual Arts, National University of Tres de Febrero, Argentina. She is also the curator of “El Cine es otra cosa”, the experimental film and video programme at the Museum of Modern Art in Buenos Aires. She is professor in the Electronic Arts career and in the Master in Technology and Aesthetics of Electronic Arts at the National University of Tres de Febrero and in the University of Cinema. She works in video, installations and site-specific interventions. His works fundamentally raise questions related to memory, identity, institutional violence and the world of labour.

In Meadows Wait, Mist Diffuses, Dzhovani Gospodinov captures the enigmatic energies of Hosbësch. Ruminating on the encroaching influence of civilisation in its woodlands and the ways in which humans disrupt and alter the intimacies between animals, the film queries the ethics of our intrusion into the natural world. Shot over four years with motion activated cameras and interlaced with Gospodinov’s own fragmented recollections of the woods, the film poeticises the protracted rupturing of a landscape. Moving between the visual and affective modalities of the voyeuristic and introspective, the film is at once a portrait of—and elegy to—Hosbësch.

Dzhovani Gospodinov is a Luxembourgish filmmaker whose work experiments with the boundaries between documentary and fiction. Interested in the power of observational filmmaking and its ability to conjure both exteriorised and reflexive modes of storytelling, Gospodinov’s projects have illustrated the poetics of ancient pagan rituals, the erosion of intimacies between humankind and the natural world, and hermetic, monastic orders, amongst other things.