Catalogue 2024

Synopsis "Sra. Gaivota" 3D Animation. Year 2023. Duration 00:10:02 Comissioned by Pivô Satellite, Sâo Paulo. Brazil In the midst of an urban landscape, a seagull moves through mountains of garbage and waste in a coastal city. This is the second video in a series where talking birds, the first being "Il Piccone Parlante"(2022) explore themes ranging from the environmental impact of cities to the labor and financial struggles of seagulls, their relationships with each other and with humans. "Mrs. Seagull" features an inner monologue as she reflects on fragments of her life and her connection to the environment. Her voice is a blend of deep thoughts and observations, and as the narrative progresses, she invites us to contemplate the complex interaction between wildlife and the decaying contemporary world. This video is a hybrid poem, where the texts were created in conversation with an artificial intelligence platform, resulting in an intertwined narrative of information, humor, and absurdity.

Mónica Heller (1975, Buenos Aires - Argentina) lives and works in Buenos Aires, Argentina. She has a degree in Arts from the Universidad Nacional de las Artes (2003) and completed the Artists' Programme at the Universidad Torcuato Di Tella (2009-10). Her exhibitions include ‘Las botitas que todxs temen todxs quieren’, at Piedras Galería, Buenos Aires, Argentina (2024); ‘Sra. Gaivota’, at Pivô Satélite, São Paulo, Brazil (2023); “El origen de la sustancia importará la importancia del origen”, Argentine Pavilion at the Arsenale, 59th Venice Biennale, Italy (2022); “Del orden cósmico al orden cosmético”, at the Museo de la Mulher, Córdoba, Argentina (2021). Her work and research address various visual narratives in which animation, painting and character design reflect on contemporary issues, such as the use of technologies in relation to the body and knowledge, the socio-environmental impact and the capitalist crisis. Heller is an artist known for her 2D and 3D animation works created with freely available CGI libraries. Her self-taught approach to digital technology, combined with her dedication to craftsmanship, defines her work ethic. In both her animations and paintings, she sets out to undo rational logic and indulge in surreal scenarios in which absurd coexists with the sinister.

Aux abords du village de Cumanayagua à Cuba, Feguenson, un jeune cinéaste haïtien rencontre Armando Abril, un adepte du culte afro-cubain « Palo Monte ». Vivant seul, Armando offre son service comme “Transporteur” aux personnes qui souhaitent communiquer avec les morts, les esprits. Puis un jour, Feguenson sollicite l’aide d’Armando afin de communiquer avec son grandpère maternel Dolciné Jean, ancien prête vodou, décédé il y a 11 ans. Le film met en scène cette rencontre et la complicité entre un homme riche d’expérience, de connaissances supposées occultes et un jeune ingénu, à travers un voyage dans l’univers « Palo Monte », très proche du vodou haïtien, où la frontière entre le réel et l’imaginaire se fusionne.

Feguenson Hermogène a étudié la sociologie à l'Université d'État d'Haïti. Après plusieurs ateliers de réalisation et de production à la Fondation Connaissance et Liberté (Fokal) à Port-au-Prince, il réalise son premier documentaire "La déchirure" en 2016. Ce court métrage a été sélectionné dans des festivals en France, au Canada, et a remporté une mention honorable au Festival Internacional De Cortometrajes Libélula Dorada en République dominicaine. Il a travaillé comme assistant de production sur des longs métrages tels que "Zombi Child" du réalisateur Bertrand Bonello et "Kidnapping INC’’ de Bruno Mourral. Et en tant que réalisateur de reportages audiovisuels pour le journal Ayibopost. En 2022, Feguenson a réalisé le court métrage documentaire "Cuando llegue la noche" qui a remporté le prix du meilleur court métrage documentaire à la 31e édition du Festival Cine Plaza à Cuba, et le prix du meilleur court métrage étranger lors de la "Mostra de Audiovisual Universitário e Independente da América Latina (22e MAUAL)" au Brésil. En juillet 2024, Feguenson a été gradué en réalisation documentaire à l’EICTV (Escuela Internationale de Cine y Television de Cuba).

Wang, an unemployed and destitute artist, received an invitation from a producer to leave the city and film the lives of mountain people. During a period in the mountains, he returned to a beautiful world. However, this is not everything, he is trying to return to the city?his hometown, and win back his life. He is like an aimless old Jeep, running around with the aim of not becoming scrap metal.

Hongbo Zhou graduated from Beijing Film Academy, with a master’s degree in 1999. His graduation film, A Fish Who Wants to Fly, was selected for Cannes Film Festival 2000, Cinéfondation. Since then, Zhou has made several features and documentaries which were screened at various international film festival.

A portrait of my pal Jorge Lozano, lensed in our A Space gallery exhibition as he talks the talk. He brings back early moments in Toronto, Sam the Record Man meets Norman McLaren. His outsider immigrant frames underline a marriage of art and politics, forever searching for new approaches that will birth new ideas. Along the way he muses on the backdrop of his ongoing experimentalisms (150 movies and counting), moments of which punctuate his address. He winds up with an unrehearsed and deeply felt take on race and the unending wound of “where are you from?”

Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

"Ombazu yaKouHerero yazikama okuza kororowa." A studio in Berlin-Kreuzberg. Simon Tjimbawe has chosen this location to answer questions sent by a museum in Braunschweig. The museum is exhibiting Chief Kahimemua’s belt, which will be soon given back to Namibia. Kahimemua was an Ovambanderu leader, who was executed by Germans in 1896. His descendants are related to Tjimbawe’s family.

LAURA HORELLI is a visual artist and flllaaer living in Berlin. She has been researching the historical relations between Nalibia and Gerlany since 2016, particularly the relationship of the liberation lovelent SWAPO and the East Gerlan state during the Cold War. Horelli was born in Helsinai, grew up partly in Nairobi and London. SIMON TJIMBAWE is a Herero born in West Berlin. His father was a lelber of the liberation lovelent SWANU who studied econolics in Leipzig in the 1960s. He is a fll sound lixer and lives and woras in Berlin.

Two parallel stories in post-full scale invasion Ukraine. Oksana is a psychologist and dance teacher at the Centre for Creativity, a community space in Kosiv, west Ukraine, now repurposed as a hub for volunteers to make soup, salo and camouflage nets for the front lines. Margarita is an artist and volunteer medic, working to evacuate wounded soldiers, civilians and animals, while still maintaining her practice as a painter. A meditation on resistance, the role of art in extreme times, and the ways in which people relate to or make sense of the war.

The collaborative practice of Marta Hryniuk and Nick Thomas is devoted to the radical potential of film and video, paying close attention to themes of collectivity, a subjective relation to history, and possibilities for resistance. They seek out places and subjects which offer insights into ways of living ‘otherwise’, opening up questions around freedom, agency and solidarity. They are interested in the utopian social projects of the twentieth century and their legacies, feminist and migration histories, and the ways in which individuals embody and respond to historical forces. Their work often takes the form of portraiture; collaborating with individuals and small groups allows the artists to think about broader themes while embracing subjectivity, tactility and embodied knowledge.

The soldier's mind was a turbulent sea of anxiety and resolve as he arrived at the abandoned battle camp, where the hasty departure of others left him grappling with solitude and the weight of his duty.

Lin Htet Aung is a 98 born self-learned filmmaker and time based media artist based in Myanmar. In his earlier days, he wrote avant-garde poems and published underground poetry books. He started making short films in 2017.His short films have been selected and awarded at several international film festivals including International Film Festival Rotterdam (IFFR), Internationale Kurzfilmtage Oberhausen, Kurzfilm Festival Hamburg, Ruang Rantau Exhibition (United States) and so on. He is a directing fellow of the 2023 CHANEL X BIFF Asian Film Academy, a Prince Claus Seed Awardee 2023, and a participant of Locarno Filmmakers Academy 2024.He is now developing his debut feature project “Making A Sea” which got the Asian Cinema Fund ACF for Script Development from Busan International Film Festival (BIFF) 2024 and won the Fellowship Prize at the Southeast Asian Film Lab at SGIFF 2023.

Né dans une vieille maison de Xiachun, à Zhuhai, dans la province du Guangdong, cet endroit détient des souvenirs collectifs pour ma famille et pour moi. Il y a vingt ans, le développement urbain a conduit à sa démolition, pour faire place à de nouveaux quartiers résidentiels. Nous avons ensuite passé seize ans dans divers logements locatifs, avant de retrouver nos pas dans notre quartier d'origine en 2016. Mes souvenirs de la vieille maison sont vagues, car j'avais seulement trois ans, mais chaque membre de la famille conserve des mémoires et des histoires distinctes à son sujet. C'était là où mes parents ont passé leur carrière et où ma grande sœur a vécu son enfance et sa jeunesse. Ce travail est un projet d'images générées par IA. Utilisant l'apprentissage profond, les modèles de texte à image et d'image à image, il tente de reconstruire les mémoires de notre vieille maison telles que gardées dans la mémoire de ma famille. Ce projet ne se limite pas à l'application de la technologie; il explore le rôle de l'IA dans la documentation et l'enrichissement de l'histoire familiale, particulièrement pour les familles aux riches backgrounds culturels. Cette méthode sert à enregistrer et à préserver des expériences diverses, facilitant les échanges et la compréhension culturels. Grâce à l'IA, j'explore en profondeur notre histoire familiale, comprenant l'importance de la vieille maison et son rôle dans la formation de notre mémoire collective.

Xueyi Huang, artiste sous le nom de Snow, est une artiste des médias numériques originaire de Zhuhai, en Chine. Elle détient un baccalauréat en Design de performance numérique du China Academy of Art et une maîtrise en Arts numériques de Goldsmiths, Université de Londres. Sa carrière couvre les effets visuels, les moteurs de jeu et l'interaction numérique. Les créations de Snow sont profondément influencées par ses expériences éducatives et de vie tant en Chine qu'au Royaume-Uni. Utilisant des technologies telles que l'art génératif, l'apprentissage machine, la réalité augmentée et la capture du mouvement, Snow se consacre à produire des œuvres narratives qui entrelacent les mémoires personnelles et culturelles, présentant un art numérique émotionnellement résonnant.

He pays him a visit in Frankfurt during his work trip in Europe. The last time he saw him was in Beijing, back in 2015, and this could be the last time he sees him.

Shuli Huang is a writer-director and cinematographer born in Wenzhou, China. His second short film, Will You Look At Me, premiered at the 61st Semaine de la Critique where it was awarded Queer Palm of Festival de Cannes 2022, and went on to win Short Film Jury Award at Sundance Film Festival 2023. Goodbye First Love, his latest short film will premiere in competition at Berlinale shorts 2024. As a cinematographer, Shuli lensed several Chinese independent feature films including Farewell, My Hometown, which received the New Currents Award at Busan International Film Festival 2021, and Borrowed Time, selected for International Film Festival Rotterdam 2024. Shuli studied film production and cinematography at Beijing Film Academy. In 2019, he moved to New York City, pursuing an MFA in film directing at New York University’s Graduate Film program.

Poème graphique vidéo. Adaptation des dessins sur papier -Leporello de 20 pages . Depuis CHAOS HUMAINE (NOUTRES/Il faut prévenir les petites filles) 2020, je transpose les dessins en vidéo poèmes. C’est une autre façon de lire cette histoire de déplacements de la fée Utopia en cours d’écriture graphique. Il s’agit ici de l’épisode 2 de son échappée : Utopia a quitté secrètement son endroit de vie. Errance, pensées et rêverie, c’est aller vers "t·soi"..

Plasticienne, vj-dj, enseignante, organisatrice d’évènements artistiques et de collectifs,(B&b unlimited, le noyau, les Inapproprié.e.s, Femn’Furious) Dans l'équipe du Festival Jerk Off depuis 2019. Le métissage et les féminismes se matérialisent au fur et à mesure de ses choix techniques diverses mixés : Audio-visuelles, performances, Mix live, écritures graphismes et dans leurs connexions incessantes. Les sources peuvent être iconiques ou littéraires, sociologiques ou poétiques, passées ou actuelles, Historiques ou banalement crues Elle met en scène des personnages fictifs depuis1996, comme la fée UTOPIA que l’on retrouve dans des performances, des situations burlesques, dans les dessins, les photographies, les éditions, les installations ou les vidéos. Le rôle principal de sa démarche reste l’absurdité de notre comédie humaine autocentrée et anthropocentrée.

In the heart of the Amazon River, four years to the day after a devastating fire consumed the National Museum of Brazil, a diverse and passionate group of individuals gathers to rewrite history in a captivating journey of rebirth. "Apagada" is a 20-minute film by Unfold and Alexandre Humbert for Atlas of Lost Finds, an international research project sparked by the fire that turned 18 million of the museum's artefacts into ashes on September 2, 2018. Among the few remnants of this renowned collection are several digital 3D scans, which we can consider the digital 'spirit' of these lost treasures. A multidisciplinary team of Brazilian, Indigenous and international makers and researchers worked together to breathe new life into these spirits, focusing on the lost artefacts of pre-Columbian ceramics from Brazil's Marajo region. The team masterfully combines ceramic 3D printing with ancestral craftsmanship knowledge to recreate these artefacts on the very island where they originated from over five hundred years ago. "Apagada" explores the profound impact of revitalizing erased heritage. It raises essential questions about the role of digitisation in preserving heritage and the significance of this endeavour for local communities, which have lost their history due to fire, or colonial past. The film celebrates creativity, collaboration, and the powerful potential of rediscovery, questioning, and cherishing our shared heritage.

Alexandre Humbert (1989, FR) is a conceptual designer and filmmaker who writes, directs and constructs Cinematographic Objects. He graduated with honors from ESAD Reims (FR) in 2011 and from the Contextual Design Master department of Design Academy Eindhoven (NL) in 2013. He has since collaborated with a large number of designers, artists, architects and cultural institutions to poetically stage objects, gestures and contexts through installations, fictions, documentaries and experimental films. From 2014 to 2016, he trained in various production techniques and developed his critical sense of the image through the production of several short formats. His unique approach received recognition in 2017 with the launch of the film series Object Interview, 19 episodes involving 103 contributors in Europe in which 31 objects discuss seemingly innocuous topics: fishing, psychoanalysis, marriage, insomnia... By giving these objects a voice, his films emphasize the emotional, verbal and non-verbal interaction that exists with all the objects that surround us, whatever their form. He was then invited to explore the narrative potential of objects in a variety of contexts, including Design Museum Gent (BE), Musée d'Art Moderne du Luxembourg (LU) in 2018, Jerusalem Design Week (IL), Schloss Hollenegg for Design (AU) and Guangzhou Museum of Art (CHN) in 2019. In the same year, he co-curated the exhibition "The Object is Absent" at MU Art Space, which was nominated for the Dutch Design Award 2020 and he also directed the fiction film Sleeping Beauties, shot at Burj al Babas in Turkey, in which he links architecture to its pictorial representation in a context where screens continue to multiply. In 2020, after completing his film Les Impatients, shot during the first lockdown, he was offered a a one-year residency at the Musée des Arts Décoratifs in Paris (FR) to follow the life of the museum through its collections and exhibitions, extracting contextual poetic narratives. The designer-cinematographer directed The object becomes in 2021, following the attitudes, words and gestures of nine protagonists of circular design, resource regeneration in Belgium. The film premiered at Palazzo Anteo Cinema during Salone Del Mobile. Awarded with the Mondes Nouveaux Grant from the French Ministry of Culture in 2022, he completed the production of his first experimental feature-length documentary, D'un moment à l'autre, which follows the production process of 35 artists across France and premiered in 2024. His latest film, Apagada, shot in the Brazilian Amazon and co-directed with Belgian design studio Unfold, has just received the Henry van de Velde Award in Belgium and an honourable mention at MDFF 24. His work has been exhibited and screened internationally and is part of the collections of Design Museum Gent (BE), Musée des Arts Décoratifs de Paris (FR) and MUDAM Luxembourg (LU). Alongside his practice, he teaches film construction at ENSCI Les Ateliers (FR) and the Design Academy Eindhoven (NL), and lectures on the subject at numerous other schools.

"Die for a Moment" plunges the protagonist into an intense reflection on his previous way of life. Before arriving on the island, he was trapped in a monotonous and superficial routine, consumed by the demands of a society that valued material success over authenticity and human connection. However, as he enters the isolated, stark beauty of the wintry island, he is confronted with the nakedness of his own existence and the false pretensions that once guided him. "Die for a Moment" is a film born from the chance encounter between Abraham Hurtado and Manos Kotsaris in Berlin. Driven by a joint artistic quest, they decide to venture to a winter island, with only each other's company and the determination to create a film with no other resources than their determination and challenges of doing this film.

Abraham Hurtado is an artist with practices based on constant experimentation and very diverse expressions. His work is traversed by a line of research "body in crisis." Digging in human behavior as a response to a society's condition for its means of production and the commodification of all ways of thinking and being, has become a need. Hurtado understands the body as the container of the emotions, both personal and social; Generating patterns of “antisocial behavior”, states that Abraham explores as a paths to find other ways to operate, to adapt and survive the contemporary society His practices focus on discomfort as is constantly mirroring us, addressing, through the individual experience, problems which are political and symptomatic. If the personal is political, the political invades the core of every individual. www.abrahamhurtado.com Founder and Artistic Director of AADK Spain, in Murcia Region since 2012, based in Centro Negra, (Blanca), Space for research and experimentation. The platform offers space to work to more than 500 artists from different backgrounds and disciplines from all over the world. www.aadk.es . Hurtado has curated several exhibitions and festivals between 2010 and 2022 in cities such Berlin, Lisbon, Murcia, Barcelona, Tel Aviv, Seville, Gent, Stockholm… among others.

Through the voice of Little Jela, the film tells the story of the events that marked a generation and shaped the future of the landscape of Lika, a neglected and sparsely populated region of Croatia. The living conditions impacted on the personal lives of the people who lived there, their solitude, relationships, opportunities, apprehensions and hopes. Little Jela embodies several members of my own family which is predominantly composed of women – mothers, grandmothers, sisters and aunts.

Ana Husman’s practice disassembles the structures and textures of cinematic elements through film, installation, books, sound, image and text. Husman experiments with the possibilities of animation, documentary and fictional cinematic methods, and the possibilities of recorded voice and its articulation. Her working process questions and plays with the positions of the amateur and the professional subject of performativity, the medium itself, and the structures that dictate and produce patterns of behaviour. She teaches at the Department of Animation and New Media at the Academy of Fine Arts in Zagreb, and is a co-founder of the documentary film organisation RESTART where she has been holding film education programs for children and young people for many years. Since 2003, she is a member of Pangolin, an artist-run organisation working in film, visual arts and research practices, where she produces films, books and other works. Her works have been shown at film festivals and exhibitions worldwide.

‘The Seventh Shift’ is a film and a 3-screen installation about a woman who manages to maintain her integrity by avoiding the paradigms imposed by the social conditions of existence, focusing instead on the world beyond material dimension with its many limitations. Continual ritual gestures that do not involve obtaining a profit and an irrational faith in an unattainable have become the main basis of the film in which the prosaic mundanity is not expressed explicitly but through the visual poetry of a town in decay.

Artiste et cinéaste ukrainienne, Nataliya Ilchuk s'intéresse aux variations de la perception de la réalité dues aux effets des médias de masse, à la représentation à l'écran de l'identité façonnée entre différentes époques, et examine les défis que représente le fait de refléter l'expérience vécue au-delà des conventions artistiques contestables.

An explorer from the past (or present) arrives in the Galapagos Islands for the first time to have a tactile encounter with rocks and tortoises. In the darkness of the volcanic tunnels the beasts transfigure freely. Giant tortoises hold the mystery of the universe in the scars on their backs, and to their misfortune they are also a craved food for hungry sailors who prowl the Pacific Ocean aimlessly.

Oscar ILLINGWORTH (1993, Ecuador) is a non-fiction filmmaker and editor who studied Film at the University of Navarra in 2016. He has taken part in various film projects in South America and participated at Berlinale Talents BAFICI in Buenos Aires.

The unité d’habitation is a modernist residential housing typology developed by Atelier Le Corbusier. The first unité d’habitation building in Marseille, France was built between 1947 and 1952. The building houses 337 apartments with 1200 inhabitants. The apartments were originally equipped with built-in furniture designed by Charlotte Perriand. The flat roof is designed in collaboration with an architect Blanche Lemco van Ginkel as a communal terrace with sculptural ventilation stacks, a running track, and a shallow paddling pool for children. The building is the first and finest example of vertical urbanism. Moi aussi, je regarde is an experimental documentary film which portrays widely reproduced building the unité d’habitation through the stories of its female inhabitants in an attempt to give the building its own agency to not only be looked at but to be empowered to look back in the masculine world of modernity.

Ingel Vaikla (1992, Tallinn) is a visual artist and a filmmaker based in Brussels working primarily with video, 16 mm analogue film and found footage. Vaikla’s artistic practice focuses on representation of architecture and on the relationship between spaces and their communities. She is on a constant search for visual language that would not simply observe architecture as a sculptural form but would translate the existential, conceptual and ideological qualities spaces manifest. Her works The House Guard, Roosenberg, Double Exposure, Papagalo, What's the Time?, EUR42 have been screened internationally at film festivals and art institutions such as IDFA in Amsterdam, Kunsthalle Wien, EKKM in Tallinn, Beursschouwburg and Bozar in Brussels, Manifesta 13 in Marseille, Videonale in Bonn, Tramway in Glasgow, EMAF in Osnabrück, Busan International Video Art Festival etc.

Construit à partir de doublages de films de vampires et d’archives familiales, Les immortelles est un collage vidéo en quatre chapitres qui place les filiations mères-filles au cœur d’une fable sur l’immortalité. Entre rapprochements et éloignements, les corps flottants et recombinés tentent de coexister entre la vie et la mort. Tournée avec membres de ma famille (la mère, la fille, la soeur, la petite-fille), ce film explore les traces de mémoires que nous portons en nous et qui, comme des fantômes, prolongent la vie hors de soi.

Myriam Jacob-Allard est une artiste interdisciplinaire qui travaille principalement la vidéo, la performance, le bricolage et l’installation. Sa pratique s’intéresse à la culture populaire et à partir de témoignages, et en puisant dans les chansons et les mythes locaux, elle développe une réflexion sur la transmission matrilinéaire, la mémoire et l’oubli. Son travail a été présenté dans de nombreuses expositions individuelles et collectives ainsi que dans des festivals au Canada et à l’international : IFF Rotterdam, Festival des Cinémas Différents et Expérimentaux de Paris (Prix du jury), Dok Leipzig, Uppsala SFF, IFF Message to Man (Centaur Prize for Best Experimental Film), Tallinn Photomonth, et lors d’expositions récentes: Musée national des beaux-arts du Québec, Glassbox Nord à Paris, Dazibao à Montréal, Musée des beaux-arts de Montréal, Mains d’œuvres à Paris, Musée d’art contemporain de Montréal. Elle détient une maitrise en arts visuels et médiatiques de l’UQAM. Récipiendaire de plusieurs prix et bourses, elle reçoit la Bourse Claudine et Stephen Bronfman en art contemporain (2015), la bourse du Studio du Québec à Paris (2022) et la bourse du Studio du Québec à Berlin (2025).

The Creep is a poetic meditation on power, storytelling, violence, masculinity, and things that creep. To creep is to move quietly, with stealth, to avoid detection. A creep is a person who produces feelings of discomfort and fear in others. Creeps creep. Their violence is experienced as affect - felt rather than seen - it is hard to quantify and therefore hard to prove, sometimes even hard to believe. People creep. So can institutions. Time creeps. So can pleasure. So can death. The film borrows the visual language of Sergio Leone's 1960's and 70's spaghetti westerns to explore Walter Benjamin's idea of mythic violence: wherein oppressive and fascist power is understood as being accumulated and maintained by disingenuously performing itself as natural law. The film plays out as a darkly humorous duet between an Outlaw (played by the artist themselves), and an unseen Mountain 'there yonder'.

Melanie Jame Wolf is an Australian born artist who makes work about love, gender, economies, and ghosts of many forms. She holds a Master of International Performance Research from University of Helsinki and lives and works between Melbourne and Berlin. Her work is always performance based and increasingly incorporates video and the screen as performance objects or spaces. Often working under the name Savage Amusement, she has presented work in various contexts including: Kiasma Museum of Contemporary Art, HAU - Hebbel Am Ufer, Sophiensaele, Hitparaden Festival of Performance Art & New Theatre, NGBK, & FOLA – Festival of Live Art. 2015 she premiered the solo performance work, “MIRA FUCHS” at Tanztage Berlin.

In I Cannot Now Recall, Kersti Jan Werdal guides the viewer through a selection of Yvonne Rainer’s dreams, chosen by the filmmaker from a collection of Rainer’s journals archived at The Getty Museum. Constellated first through Werdal’s selections, and then refracted through the readings of a street-cast filmed in LA High Memorial Park, Rainer’s dreams appear as nodes on an anxious psychic ecosystem. As the material distills from private reflection into script into performance, what emerges is a vital interchange between desire and disquiet. References to the medium of film seem to further entangle the relationship between filmmaker and subject, as well as the relationship between film and viewer. Joined by doubles and guides, in unfinished buildings and the depths of outer space, the dreamer explores her subconscious with a probing appetite for expansion and wholeness – but who the dreamer is exactly remains an open question.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Her films often focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. When scripted, typically material is adapted from various sources such as letters, journals, news articles, transcripts, and so forth. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally however, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts. Her work has shown at IDFA, Camden International Film Festival, Prismatic Ground, Pesaro International Festival, Festival Ecrã, Blum & Poe, Galerie Allen, Anthology Film Archives, Northwest Film Forum, and Metrograph.

"I close my eyes. The crowd makes me smile, breaks my body, and that's the end" By presenting the festive events which escorted the projection of the film "Jean Galmot aventurier" by Alain Maline, where the filmmaker’s father played a role, the images of Moune Ô reveal the survival of the colonial inheritance within a Western collective unconscious always marked of stereotypes. From little gestures of daily life, the resistance toward oppression comes in its own rhythm.

Maxime Jean-Baptiste is a filmmaker based between Brussels and Paris. He was born and raised in the context of the Guyanese and Antillean diaspora in France, to a French mother and a Guyanese father. His interest as an artist is to dig inside the complexity of Western colonial history by detecting the survival of traumas from the past in the present. His audiovisual and performance work is focused on archives and forms of reenactment as a perspective to conceive a vivid and embodied memory. His first film NOU VOIX (2018) was selected in about thirty festivals and art exhibitions and was awarded the Jury Prize at Festival des Cinémas Différents et Expérimentaux de Paris (FR). His second movie, LISTEN TO THE BEAT OF OUR IMAGES (2021), co-directed with his sister Audrey Jean-Baptiste was selected at CPH:DOX (Special Mention), Hotdocs, ISFF Clermont-Ferrand, Sundance Film Festival, IDFA among many others. His next film, MOUNE Ô (2022) will have its world premiere at the Berlinale (Forum Expanded), in february 2022.

La Panadella, an emblematic Catalonian road town in stasis, awaits the arrival of uncertain visitors. As its inhabitants move through their monotonous routines, a mysterious signal begins to pulse through space.

Joel Jimenez (b. 1993, Costa Rica) is an artist and filmmaker based in Madrid, Spain. His interdisciplinary practice combines photography, film and installation, integrating historical research and environmental psychology to explore the complex dynamics between humans and their surroundings. His work focuses on spaces with layered identities and stagnant conditions, challenging linear historical narratives and dissecting the imprints of trauma and power embedded in these landscapes. His work has been exhibited internationally, including PhotoEspaña (Madrid, 2021), PhotoVogue (Milan, 2024), Paris Photo (Paris, 2024), Les Boutographies (Montpellier, 2022), among others. He has been featured in publications like British Journal of Photography, Der Greif, GUP Magazine and Revista Balam. He is the recipient of the Paris Photo Carte Blanche Étudiants Award (2024). His films have been screened in festivals such as Aegean Film Festival (GR), INTHEPALACE Film Festival (BG), D’A Film Festival (ES), Signs of the Night (TH), and ARKIPEL Jakarta International Documentary and Experimental Film Festival (ID), among others.