Paris 2026 Programme

The Valencian farmland has become a land of ghosts. Farmers have vanished; huts and farmhouses have turned into dusty sheds, while the objects left behind are traces of a world that has disappeared. Who lives this dystopian landscape? Amid the echoes of a frozen moment, ruins, water and the environment emerge as ghostly actors, striving to tell their story—not only to recall what has been lost, but to ask why this way of life is vanishing, and whether it can still be preserved.

María Añón (Valencia, 1997) studied Cinematography at ECAM and Film Curation at EQZE. She made her directorial debut with the experimental documentary short film Un perro ladra detrás del depósito (A Dog Barks Behind the Tank), included in the IVC’s CURTS 1 2026 catalogue, which premiered at the D’A Film Festival in Barcelona and was selected for Alcances, Olhares do Mediterrâneo and MRGente, part of Madrid’s Márgenes Festival. She is currently completing post-production on her second film, El astro se ve en el zenit, while developing her third short film, Todo lo sólido desaparece en el mar, selected for the After ECAM development programme, Abycine Lanza and Animadeba.

L’installation d’une exposition, le me?nage fait dans les salles avant l’ouverture des portes, l’accueil au guichet qui succe?de a? la fouille de se?curite? a? l’entre?e de l’e?tablissement... Sce?nes de genre contemporaines au sein d’un muse?e historique.

Après une formation scientifique en école d’ingénieur, Hugo Orts intègre le Master Cinéma de l’École Nationale Supérieure Louis-Lumière en 2016. Diplômé en 2019, il est aujourd’hui monteur et développe depuis peu ses premiers projets en tant que réalisateur.

Winter of Machines juxtaposes Charleroi’s post-industrial landscape with the legacy of Futurism. Inspired by Fernand Steven’s mural Evocation de la chimie (1936–1938) in the Lycée Léonie de Waha in Liège, which celebrates science, industry and progress, Jan Locus explores the contrast between this utopian vision and Charleroi’s current struggles. By alternating images of the city’s industrial remnants with the mural’s promise, time seems suspended. The soundtrack by sound artist Els Viaene enhances its ghostly atmosphere. Have the avant-garde and the industrial age failed in their promise of progress?

Spanning the mediums of experimental film, photography, and sound his work often revolves around landscape as a tool in the creation of national and social identities, landscapes altered by extraction and industrialization. His films have been shown at IFFR, Rotterdam (NL), Internationale Kurzfilmtage Oberhausen (DE), Rencontres Internationales Paris/Berlin (FR/DE), Le FIFA, Montréal (CA), CROSSROADS, San Francisco (US), Asolo Art Film Festival (IT), ONION CITY, Chicago (US), BISFF, Beijing (CN) and DIGERATI, Denver (US) among others.

Every day thousands of workers make the river crossing from the South Bank to Lisbon. They come to work in the city. They make this journey all their lives, as if it were an endless stream of passage.

Studied at Lisbon Theatre and Film School, where he graduated in cinema. He is currently studying for a master's degree in Communication Sciences, specializing in Cinema and Television, at the NOVA University Lisbon.

À la tombée de la nuit, Stevy commence sa ronde en tant que gardien de nuit dans une mine de cryptomonnaie. Tourné spontanément dans la région de la Beauce au Québec, le film propose un portrait fantomatique et sensoriel. Il juxtapose l'étrangeté technologique du monde de demain (la mine de crypto) à l'univers rural déclinant et à la disparition progressive de ses figures masculines locales.

Né à Paris, Paul Chotel a gradué du Mel Hoppenheim School of Cinema en 2015. Il a depuis collaboré à une multitude de projets comme scénariste, monteur, réalisateur et producteur, ayant notamment co-écrit et co-produit Écume (2020), présenté en première mondiale à la 70e Berlinale et nommé dans le Canada’s Top Ten au TIFF. Son premier long métrage en tant que co-scénariste-réalisateur, Desvío de noche (2022), est présenté en première mondiale au FID Marseille.

An epistolary film constructed from VHS tapes sent from Srebrenica between 1993 and 1994 by the filmmaker’s father, depicting the mise-en-scène of “normal life” amid the war.

Ibro Hasanovi? (b. 1981, Ljubovija, former Yugoslavia) is a multidisciplinary artist based in Paris, working across film, video, photography, and installation. He studied product design at the Academy of Fine Arts in Sarajevo before pursuing contemporary art and cinema at Le Fresnoy – Studio National des Arts Contemporains in France. His practice explores the relationship between the political and the poetic, engaging with oral and individual histories, collective memory, and personal archives. His work has been exhibited at institutions including MAXXI (Rome), KADIST (Paris), Kunstverein Hamburg, Garage Museum (Moscow), Kunsthalle Wien, MACRO (Rome), Carré d'Art (Nîmes), Pera Museum (Istanbul), Casino Luxembourg, Moderna Galerija MG+MSUM (Ljubljana), Künstlerhaus (Graz), Münchner Stadtmuseum (Munich), Villa Romana (Florence), Washington Project for the Arts (Washington, D.C.), Austrian Cultural Forum (New York), Guangdong Museum of Art (Guangzhou), and Busan Metropolitan Art Museum, among other venues. His films and videos have been screened at festivals such as the International Film Festival Gent, Encounters (Bristol), États Généraux du Film Documentaire de Lussas, DokuFest (Prizren), Tempo Documentary Festival (Stockholm), Impakt Festival (Utrecht), and the Sarajevo Film Festival, alongside institutional presentations at the Centre Pompidou and the Museum of Contemporary Art Zagreb.

The video “Ljuba” explores two historical events from 1989 through the personal framing of a cameraman from Belgrade Television. In the summer of 1989, Ljubomir Sekuli? (known as Ljuba) documents the mass rally at Gazimestan in Kosovo—which both cemented Miloševi?’s rise to power and marked the prelude to the bloody breakup of Yugoslavia. Half a year later, Ljuba records the Romanian Revolution and the fall of long-time dictator Ceau?escu. Using a split-screen structure, the film also follows Ljuba as he returns to Bucharest to restage the images that once travelled worldwide, confronting what has endured and what has slipped from memory. The two events, though historically distinct, were both framed as popular uprisings. Yet the significance of 1989 in Yugoslavia remains largely overlooked in Western Europe.

Bojan Fajfri? was born in Belgrade, Yugoslavia, and has been residing in the Netherlands since 1996. He graduated from the Royal Academy of Fine Arts in The Hague and was a resident of the Rijks Academy in Amsterdam. His work presents a specific perspective on history, combining personal memories, collective historical consciousness, and the inevitable course of events. He primarily works with moving images and photography. He has exhibited projects at venues such as Palais de Tokyo in Paris, the Baltic Centre for Contemporary Art in Gateshead, the San Telmo Museum in San Sebastian, De Appel in Amsterdam, the Belgrade October Salon, and NGBK in Berlin, The Tobacco 001 Cultural Centre in Ljubljana, Dazibao in Montreal among others. His films have been screened internationally at film festivals, including Artists' Film International, Whitechapel Gallery, London, Sharjah Film Platform, the Film Festival Rotterdam, the International Short Film Festival Oberhausen, the Vienna International Film Festival, Doc Leipzig, the Tempo Documentary Festival in Stockholm, Rencontres Internationales Paris/Berlin/Madrid, and the Impakt Festival in Utrecht, to name a few.

La danseuse Sonja Vuki?evi?, était autrefois au centre du spectacle de masse “Slet”, dernière représentation d'une telle ampleur en Yougoslavie. Désormais âgée de 74 ans, elle évolue au milieu de bâtiments modernistes de l’ère socialiste. Mêlé au journal intime d’une adolescente écrit en 1988 (au moment des protestations qui aboutiront plus tard à l’éclatement de la Yougoslavie), le film retrace le passage du collectivisme socialiste au nationalisme naissant.

Née en 1982 en Serbie, Marta Popivoda est réalisatrice, artiste vidéo et chercheuse. Elle vit à Berlin. Son travail s’intéresse aux tensions entre souvenir et histoire, entre corps collectifs et corps individuels, ainsi qu’entre l’idéologie et la vie quotidienne, en se focalisant notamment sur les potentialités antifascistes et féministes du projet socialiste yougoslave. Privilégiant la pratique collective dans le cinéma et la recherche, elle est membre du collectif TkH ("Théorie en marche"). Son premier documentaire, Yougoslavie, How Ideology Moved Our Collective Body, a été présenté à la 63e Berlinale. Son travail est présenté dans de grandes galeries d'art telles que la Tate Modern London, le MoMA New York, etc. Elle a reçu le prestigieux prix d'art pour les arts visuels de l'Akademie der Künste Berlin.

En 2012, un bug informatique fait exploser en quelques secondes le feu d’artifice appelé le Big Bay Boom à San Diego. À partir d’images d’archives, le film transforme cet incident spectaculaire en métaphore, opposant l’émerveillement du public à la violence des interventions américaines dans le monde, et interrogeant la frontière entre beauté et chaos.

Né à Paris et d’origine argentine, je développe une pratique artistique nourrie par un héritage culturel multiple. Diplômé des Beaux-Arts de Paris en 2025, je m’inscris dans une double appartenance, entre Europe et Amérique latine, qui traverse mon travail de manière souterraine. Celle-ci se manifeste tant dans les questionnements liés à la mémoire et à la migration que dans l’attention portée aux espaces de transition, aux fragments et aux récits personnels.

Where ancient rock formations and untouched ecosystems intersect with modern technology and the desire for tourism, unique transitional zones emerge. A romantic yearning for pristine nature clashes with recreational activities and environmental awareness. The film captures this central tension of our time in fascinating, sometimes surreal images.

Thomas Isler (b. 1967) is a filmmaker, artist, and lecturer based in Zurich, Switzerland. His documentary films have been shown at international festivals and have been released in cinemas and on television. Max Philipp Schmid (b. 1962) is an artist, filmmaker, and lecturer living and working in Basel, Switzerland. His short films have been screened at numerous international festivals and have received multiple awards. His video installations are presented in group and solo exhibitions in Switzerland and abroad.

Construit comme une succession de tableaux vivants, Sans soleil (2024) est un film expe?rimental qui met en sce?ne un pyro paysage ou? l’humanite? contemple son propre effondrement. Cette vision, he?rite?e de l’e?puisement des ressources naturelles et des dérives industrielles de notre socie?te?, dessine les contours d’un avenir en proie au de?sastre. S’inspirant de « la trage?die du paysage » de Caspar David Friedrich et des « Cli-fi » sur l’habitabilite? de notre plane?te, Sans soleil imagine la mise a? mort du soleil dans un huis clos. Les matie?res fondent et se transforment en une sorte de lave dans une semi-obscurite? rougeoyante, mais ou? la combustion, loin de n’e?tre qu’une force de ravage, participe aussi paradoxalement a? l’e?mergence de nouvelles dynamiques du vivant. Sans soleil explore ainsi la tension entre disparition et renaissance, destruction et recomposition, et ouvre la voie a? une possible reconstruction.

Le Collectif Grapain est composé des frère et sœur Arnaud Grapain (né en 1989) et Maëva Grapain (née en 1992). Ils vivent et travaillent à Bobigny au sein du collectif Le Wonder, et ont étudié à l'École Nationale Supérieure d’Art – Villa Arson à Nice. Depuis 2026, ils participent au programme post-diplôme du Fresnoy – Studio national des arts contemporains à Tourcoing.  Ils sont lauréats du Prix MAIF pour la sculpture (2018), le Gustav-Weidanz Art Prize (2023), le Prix Art Éco-Conception d’Art of Change 21 et du Palais de Tokyo (2025), et la bourse Émergence de l'ADIAF (2026). Leur travail a fait l'objet d'expositions au Kunstverein Braunschweig (2020), à la Grande Halle de la Villette (2021), au Kestner Gesellschaft (2022), au Kunstverein Hannover (2023), au CAC Brétigny (2024), à la Triennale Greenlight en Norvège (2024), au Salon de Montrouge (2026), et bientôt au Yangpeyong Museum of Art.

Notes from Silences gathers fractured memories from Vieques and Bali, two islands on opposite ends of the world that seem like "paradise fantasy" on the surface, but conceal a common buried history. Unplanned footage, photographs, and snippets of voice recordings intertwine with the sounds of nonhuman kin that bore witness when humans choose to forget. Beneath what seems to be banalities of everyday life, lies the loudest echo of violence: the silences people continue to keep.

Alexandra Kumala tells stories of the untranslatable and the inexpressible. Experimenting across film & moving image, sound & forms of deep listening, as well as literary & text-based practices, she works and plays with nontraditional forms that reimagine new ways of seeing, listening, and connecting to stories that are normally abandoned or overlooked. Her films have screened at the Museum of Moving Image, Casa de la Cultura Diego Rivera, Musée de Guellala, Museo de Arte Moderno de Medellín, Lichtblick-Kino, Film Coop NYC, and at galleries, museums, and film festivals globally. Exploring memory, mythology, and the mutable human mind, her work has received support from the New York Foundation for the Arts, NYSCA, Artist Trust, The Field, Queens Council on the Arts, and the Northwest Film Forum, among others. With a multicultural upbringing and nomadic life across continents, her storytelling invites audiences to listen & look more deeply into cultural multiplicities, intricate global entanglements, and the constant shifting of borders, language, and power.

The future of humanity's precarious legacy is discussed along the lines of location issues in an endless online conference with 122 participants from civil society. All the experts agree: “Geology is more stable, reliable and predictable than political systems and societies”. A peace steamer cruises through the Moselle vineyards, past the NATO nuclear weapons base. In 1.5 years, the climate targets will be missed. The last and the penultimate generation will not meet. A praying mantis transformed into a stereoscopic pre-cyborg looks into a displaced past. On the Lower Rhine, a decommissioned nuclear reactor becomes an all-inclusive amusement park. There is still no final repository for highly radioactive waste in Germany, but “how are those who come after us to be warned of the danger? Isn't there also a right to forget?” A partially three-dimensional film about warning signs, feedback loops and communication problems, surrounded by living detectors, protest songs, cave drawings and the area between sign and object.

Juliane Jaschnow is an artist and filmmaker. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. Her work has been shown at international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig and steirischer herbst Graz. She is part of the Filmic Initiative Leipzig (FILZ). Stefanie Schroeder works in photography and film and is interested in social usages of photo, images of work/labour, (mental) landscape transformations, east germany and ghostphotographs. She studied at HGB Leipzig, participated in werkleitz PMMC and in MDM pilot program and is a member of FILZ Leipzig and of artspace.mpeg. She won the Bremen Video Art Award and the Aenne Biermann Prize.

On a cruise ship between Sweden and Estonia a shadow is travelling in a constructed imaginary world of glass. In a commercial murmur we find ourselves on a pilgrimage across the Baltic sea as we travel in Estonia’s history — searching in the night’s dusk.

Karolina Bergman Engman (b.1991, SE) is a Swedish-Estonian artist and film maker who completed her MFA at Malmö Art Academy in 2024. In her practice she focuses on environments in relation to collective memory and history, where she reflects an inner world. Through the camera she examines her perception as she is tracing a past of what is framed. To a point where the inner and outer world is blended. Her works and films have been recently shown at IFEMA + Film Festival (SE), Museum of Artistic Process and Public Art (SE), Den Frie (DK) and Cinema Visionario (IT).

While studying the conflictive relationship between socialism/revolution and feminism, Dora García came across diaries, notes, and letters from pivotal female figures as Hannah Arendt, Leslie Feinberg, Alexandra Kollontai, Audre Lorde, Rosa Luxembourg, María Dolores González Katarain (Yoyes), and Clara Zetnik, among others. A common theme in these documents is a sense of profound and bitter disappointment. Dora García proposes a collective exercise: a group reading of the collection she gathered of “Letters of Disappointment”, moderated by her. After the reading the participants are invited to discuss their personal experiences and specific disappointments.

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).

'The Murmuring Deep’ centers the rupture of traditional knowledge as the site of the sublime, where we can catch a glimpse of more-than-human sources of knowing and being.

Sarema Shorr is a British filmmaker based in Los Angeles. She is a BAFTA Scholar and holds an MFA from CalArts. Through embodied research, her films are in conversation with the external world, where boundaries of meaning are continually redefined through interaction. She uses film as a tool of investigation, play, and reciprocal transformation. Her work has been presented internationally at festivals and venues including Milwaukee Underground Film Festival, Antimatter [Media Art], Labocine, Lausanne Underground Film Festival, Rae–Nang Thailand, Whammy! Analog Media, REDCAT and the REEF LA.

On one hand, intergalactic particles or grains meeting a community’s fireworks—the explosions’ lights–momentary glows against the night sky. On the other hand, extracts from Gramsci’s life in prison, memories of a revolutionary thinker as he approaches death, alongside the inner workings of the planet, bubbling scenes, and volcanic land. While the film’s pace is slow, its stories carry millions of years, myths, stellar imagery, high-tech machinery, and also realities of life, especially in Sicily. Myth and Mercury’s ending segment offering a vision of scientific futures comes all of a sudden. Ultra-high energy neutrino detected in the Mediterranean, it has been declared. Records have been broken. Pulverised, even.

Rosa Barba, born in Agrigento, Italy, and based in Berlin, Germany, explores themes of permanence, impermanence, reality, and fiction through films, sculptures, installations, publications, and performances. Her work examines how space is influenced by temporal and linguistic constructs, challenging traditional narratives and semiotics. Barba deconstructs cinematic elements, merging physical materials with abstract concepts like time and sound. Her work is part of numerous international collections and her forthcoming and recent solo exhibitions include: Nevada Museum of Art (2027), Gropius Bau, Berlin (2027), Barbican, London (2027)Centre Pompidou, Paris (2026), Museum Haus Konstruktiv, Zurich Art Prize (2026), Albertina Museum, Vienna (2026), Calouste Gulbenkian Museum, Lisbon (2026), MAXXI, Rome (2025), MoMA, New York (2024, 2025), Centre Pompidou, Paris (2023), Tate Modern, London (2023), Neue Nationalgalerie, Berlin (2021-2022), and at Biennials such as the 53rd and 56th Venice Biennale, Sao Paolo (2016), Sydney (2014) and Performa (2013). Barba was awarded the Zürich Art Prize (2026), Smithsonian Artist Research Fellowship (2025), the Calder Prize in 2020 and the Fondation Prince Pierre de Monaco's International Prize for Contemporary Art in 2015.

A post-apocalyptic world—which is described through a voice-over haunts the gods and goddesses of the Gallo-Roman Museum in Lyon, filmed from very close up. Through a poem, the film paints a portrait of a doomed, lost, strange era that failed to keep its promises, yet remains abstract. A temporal and sonic rift: the sound is a character in its own right—a rather unsettling, threatening character, like an undefined entity colliding with a past that is itself inaccessible.

Inès Heddar (b. 1995) is an artist and researcher born and based in France, of Algerian origin. At the intersection of video, sound, drawing, publishing and performance, her work explores the notions of memory, territory and narrative, most importantly along the shores of the Mediterranean. She seeks to develop sensory devices that question the relationship between space, history and perception, with a poetic approach rooted in dreamlike imagery. Her installations invite the viewer to step into the territory where she wanders and find their own interpretative path through it. Inès Heddar’s work is an arrangement of reality through the image, whether it be in movement, in a fanzine, or on a sheet of paper. It is political and sensitive.

Bajo el cielo cayendo (Under the Falling Sky) constructs a miniature world within a maquette, where staged disasters—human-made accidents and ecological collapse—coexist with fragile scenes of emergent life. Filmed in a single continuous take, the camera glides through this microcosm in a meticulously choreographed sequence, spiraling in a 360-degree orbit that mirrors the cyclical motion of life and cosmic systems. This rotation dissolves the boundaries between catastrophe and renewal, embracing how mediated images can both obscure and reveal the layered narratives of crisis. Raw, unfiltered visuals merge with theatrical artifice: landscapes oscillate between decay and rebirth.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam, in The Netherlands. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy, Roubaix, France from 2003-2004. His work has been exhibited widely at venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Le Fresnoy, Roubaix; CAC, Vilnius; Art in General, New York City; Ludwig Museum, Budapest; Biennale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; Calouste Gulbenkian Foundation, Lisbon; the Biennale di Venezia and Documenta Fifteen. His works can be found at the collections of the Centre Pompidou; Tate Modern; Fundación Jumex, Mexico; Sandretto Foundation, Torino; Lemaître's collection; Constantini collection, Buenos Aires; Pinault Foundation, Paris; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon between others. In 2009 he was awarded a Guggenheim Fellowship.

This long take (2’ 54’’) was filmed in the Úpa River valley, made famous in Czech literature by the author Božena N?mcová in the 1850s, who depicted life around a bucolic and lively river. Several centuries later, the story is a different one. It is written on a survival blanket to reflect what the naked eye cannot see: endangered species, pollution, rising temperatures – a reality now common to European river systems. The river’s course crosses borders and spans time. The golden screen bears the figures drawn by the artist, held in the current by the hands of successive generations. The video was produced as part of an artist-in-residence programme in ?eská Skalice in the Czech Republic, at the invitation of Luxfer Gallery.

Catherine Radosa is a Franco-Czech visual artist, performer and filmmaker. She works at the intersection of places and images, words and situations, whether she encounters them or creates them, often in public spaces. Taking shape through encounters and immersion within places steeped in history, and sites defined by their social and ecological functions, her work is rooted in process and collective experimentation; it aims to create new spaces for reflection and representation. Her projects take the form of films, video projections on an architectural and landscape scale, images, multimedia installations, sound works, performances and site-specific interventions. Her work has been exhibited internationally over the past fifteen years, in solo and group exhibitions, at festivals, in cinemas and in public spaces: for example, Maison POP (Montreuil, 2023), Nuit Blanche Paris (2026, 2023, 2013, 2011), the Centre Pompidou (Paris, 2022), Académie du Climat (Paris, 2023), Cinéma Écran (Saint-Denis, 2023), Pragovka Gallery (Prague, 2026, 2021, 2019), Proyector (Madrid, 2021, 2019), Videoformes (Clermont-Ferrand, 2017), Centre de la Photographie (Geneva, 2019, 2016), DOX (Prague, 2014), Galerie Gabrielle Maubrie (Paris, 2013), Rencontres Internationales Paris/Berlin/Madrid (2012), Côté court (2009, Pantin)…

Dione is a film shot at the archaeological site of Dodona, Greece, home to the oldest oracle in the ancient Greek world. Divination here was based on listening to the manifestations of the living world: the rustling of leaves in the sacred oak, birdsong, and the resonances of bronze cauldrons. Drawing on this history, the film offers a contemporary reinterpretation of the oracle, making listening its guiding principle. The elements of the landscape — stones, water, trees, insects, wind and animals — become the protagonists of a sensory experience in which the boundaries between reality and imagination begin to blur. Developed in collaboration with composer and researcher Florent Caron Darras, the film's sonic exploration uses various recording techniques to investigate phenomena that ordinarily escape perception. Natural sounds and electronic transformations intertwine to create an acoustic landscape in which other presences and temporalities emerge. With Dione, Mélissa Epaminondi continues her exploration of our relationship with territories and the forms of life that inhabit them. The film invites us to shift our perception of the landscape, attuning ourselves to its multiple presences and temporalities.

Born in Bastia in 1977, Mélissa Epaminondi lives and works between Paris and Corsica. An artist and architect, she graduated from the École nationale supérieure d’architecture de Marseille-Luminy. Her practice explores the relationships we develop with the landscapes, architecture and environments we inhabit. Through films and installations, she investigates the sensory and perceptual dimensions of our relationship to place, as well as the connections between natural phenomena, memory and imagination. Her work creates experiences in which observation, listening and fiction intertwine. Her work has been presented at FRAC Corsica, Es Baluard Museum of Modern and Contemporary Art (Palma de Mallorca), Les Rencontres Internationales Paris/Berlin, the Centre d’art contemporain de Meymac, and Casa Conti – Ange Leccia. In 2010, she co-founded L140, a collective dedicated to exploring the relationships between art and architecture. From 2016 to 2022, she taught video art at the Université de Corse Pasquale Paoli.