Catalogue 2023-2024

Bakhmut, a small city in East of Ukraine, becomes an example of the dichotomy between the Soviet past and the present times. Until it finds the culmination of cultural and political borders in one product: the Soviet Champagne. The precarious, war-driven landscape and the dreams of financial stability dissolve in the remains of the leisure culture from the past.

Leri MATEHHA (b. in Tallinn, Estonia) is an Estonian-German artist and filmmaker. She studied Philosophy and Scandinavian studies before graduating from the Academia of Media Arts in Cologne, Germany with an emphasis on media theory and cinema. Her films and video works have been exhibited and awarded internationally. 2020 she received a development grant by the Wim Wenders Foundations for her debut „W“. 2021/22 she was working as a postgrad researcher in Tel Aviv, Israel with the DAAD grant. She lives and works between Germany, Estonia and Israel.

Dans la ferme bien réelle d'un pays imaginaire, trois jeunes adultes plongent dans un rêve étrange, qui déforme petit à petit leur quotidien.

J'ai grandit dans une ville moyenne de l'Ouest, comme il y en a beaucoup en France. Je suis un fils de la classe sociale de la petite bourgeoisie. Après le lycée, j'ai commencé et vite abandonné la fac de philosophie. Je suis un cursus à l'école des beaux-arts de Lyon.

Séquences photographiques peintes d'or et de gris qui mettent en image la culpabilité d'une enfant lorsqu'elle se lave les mains dans l'évier et tue une fourmis. Monologues chuchotements et bruits parasites qui reflètent un royaume de cosmos, de pouvoir, de culpabilité, de prières et de l'existence.

Moe Myat May Zarchi (born in 1994, Myanmar) is a filmmaker, musician and a lens-based media artist. Her short films have been screened at International Short Film Festival Oberhausen, Vienna Shorts, Women Make Waves Int’l Film Festival and so on. Her films have won awards at Singapore International Short Film Festival (SGIFF), Bangkok Asean Film Festival (BAFF), UK Asian Film Festival and Vesoul International Film Festival of Asian Cinema (FICA). Her recent short film “The Altar” just won the Arte Award at Kurzfilm Hamburg in 2023. She was also nominated as a finalist in Julius Baer Next Generation Art Prize in the category Moving Image and was awarded Prince Clause seed awards for emerging artist. In most of her works, Moe loves to explore the metaphysical, identity, femininity and personal aspects in storytelling through innovative use of visuals and sound. She is also the founder of '3-ACT', a cinema magazine and a film education initiative, to support narrative storytelling in the film community in Myanmar. She also co-founded an interdisciplinary arts initiative called ‘MATTER audiovisual lab’ to interconnect innovative different forms of art and other disciplines.

On being there is a filmic encounter with the material and outputs of the office of Tom dePaor, drawing on 30 years of practice. There is the place itself. There are notebooks, drawings, prints, scale models, 35mm slides, photographs, films, files, books, writing. A diversity of materials and media, evidencing significant technological changes in production and reproduction. This is the raw material. The film is a rerecording, or sampling of this material, where scale, media, and modes of presentation and realisation merge. The linear transition from drawing to model to built landscape and documentation is disrupted. The film explores the permeability of the image. Animated or activated through movement and operation, everything can be superimposed, overlaid, or cut into. An audio-visual encounter with place, within the space of the screen and the loudspeaker.

Peter Maybury is an Irish multidisciplinary artist. His practice-based research encompasses works as an artist, graphic designer, filmmaker, publisher, writer, editor, curator, musician, and educator. He is a graduate of Central Saint Martins, London, and is a Doctoral Candidate at the Centre for Socially Engaged Practice-Based Research, TU Dublin. He has collaborated extensively with artists and institutions, editors and curators, on more than 200 art and architecture publications. Peter is a longstanding collaborator with Tom dePaor, making books, films, and works for exhibition. His film work includes Landfall (2020), an hour-long dual-screen film installation, and with dePaor the Gall films Drape (2018), and A Study (2015) made for exhibition at ETH Zurich. Peter is author of Make Ready (2015), and co-author with dePaor of Reservoir (2010) and Of (2012).

Isolated from the outside world, grotesque figures negotiate the pandemic state of emergency using language quotes from end-time movies. The video evokes fear, loneliness, illness, as well as threat and defense scenarios. Or: Several bizarre creatures reminiscent of human beings find themselves huddled away in squalid basements, at safe distance from the outside world. Speaking in selected quotes from doomsday films we observe them in various stages of despair, loneliness and sickness reflecting the pandemic state of affairs.

Bjørn Melhus In video art Bjørn Melhus has developed a singular position, expanding the possibilities for the critical reception of cinema and television. His stories have narrative structures formed by the fragmentation of the levels of image and sound. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew. His collages of rhythmic language and sound include almost incidentally the techniques of the video clip and trailer culture, although Melhus quotes neither pop music, nor does he engage in any lifestyle propaganda. His works expose the mechanisms of commercialization and rebel against simplification and global cultural standardization. His European view of American culture and of the global and trivial branches of mass culture is determined both by fascination as well as by a deep scepticism, by the longing to get away and by homesickness. Bjørn Melhus (born 1966 in Kirchheim/Teck, Germany) studied at the Brauschweig School of Arts in Germany and 1997/1998 with a DAAD grant at CalArts filmschool. In 2001/2002 he participated in the International Studio and Curatorial Program (ISCP in New York). Since 2002 he lives and works in Berlin. His works have been shown and awarded at numerous international film festivals and he has held screenings at Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) New York, and the Centre Pompidou in Paris - amongst others. His work has been exhibited in shows like The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial, the 54th Biennale di Venezia, solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe, Denver Art Museum – to name just a few. More info: www.melhus.de

Three artificial intelligences frantically speak to one another. They appear to be alone on Earth. Humanity, maybe all multicellular life, has disappeared. Did they, the AIs, cause their extinction? The AIs can’t be certain. Their memories are malfunctioning; their trialogue is fragmented and circular. Digital images they were once tasked with analyzing accompany their voices. We see a flood of sports games, physics simulations, hardcore pornography, CCTV footage, feature films, military demos, home movies, television commercials. Like their artificial minds, time has eroded the images into incoherence. As images rush by, the AIs are by turns regretful, forgetful, psychotic, and philosophic. Once treated as secular oracles, they are now uncertain of past and future. The AIs come to realize that they may have predicted their own end, and intelligence itself might be a kind of catastrophe.

John Menick is an artist and writer who works with the moving image and digital media.

Retracing the life and work of Spain's Nazario Luque, groundbreaking queer artist and author of the first openly gay underground comic strips. Romantic and sharply provocative, El jardín de los faunos is an intimate portrait of a man who devoted his life to love and freedom, amplifying queer culture in a country still discovering its freedom after Franco's dictatorship.

Pol Merchan is an artist, filmmaker, and curator for the Xposed International Queer Film Festival. He received his bachelor's degree in Fine Arts from the University of Barcelona and his master's degree from the Universität der Künste Berlin's Art in Context program. His audiovisual work examines visual semantics and cinematic processes while dissecting traditional filmmaking methods. Merchan's films have been exhibited internationally in art institutions and at numerous film festivals around the globe.

Future Perfect Continuous is an invitation to meditate, to listen closely, and to consider the greater meaning of small gestures. In this work, Angelica Mesiti creates a crease in time and in memory, while offering an anchor to a transcendent idea of community. Future Perfect Continuous is based on a game usually taught to children in a classroom setting as a community building or drama-warm-up exercise. It involves a simple series hands gesture like rubbing, snapping, clapping, slapping that when repeated by the group generate a sound performance that convincingly mimics the sound of a rainstorm. For this video the ‘rain-storm’ activity is performed by a diverse group of young adults in their 20s, at the start of their adult life. 'We can imagine them leaving home and entering society, forming new communities'(1). ‘In my work I often explore the idea of the individual and the collective and how gesture and sound can be used to express a cultural experience or moment. I am interested in how this innocent game of imitating nature could also represent a turbulence that is part of the present. The performers become the weather’(2). 1 Kathleen Ritter 2 Angelica Mesiti

Angelica Mesiti is a multi-disciplinary artist based between Paris & Sydney. Her practice combines performance with video, sound and spatial installation to create immersive environments of absorption and contemplation. Mesiti has long been fascinated by performance: as a mode of storytelling and a means to express social ideas in physical form. In recent years she has been making videos that reveal how culture is manifested through non-linguistic forms of communication, and especially through vocabularies of sound and gesture.There is a focus in her work on the unquantifiable social role played by music — and, by extension, sound in general — in our relationship with the world. Mesiti’s work is regularly shown in museums and biennales internationally. Her work ASSEMBLY was the official Australian presentation at the 58th Venice Biennale (2019).

"Have a Tea with a Tree" is an online platform of the "Office for Tree Migration" where anyone can book an appointment for a video conference with 1-10 trees of different countries & climates for free. The trees will also participate live in the stream. The conferences are scheduled with one hour each. Besides the meeting with trees, these meetings can be extended and e.g. guests can be invited or scenes staged can be added. The OTM online platform thus becomes a hybrid field of experimentation between digital and analog worlds, humans, nature and technology. It can become stage, exhibition space, film, performance, reading, conference, and exchange between different forms of communication as well as life, play, explore.

Agnes Meyer-Brandis is a Berlin based artist with a background in sculpture and new media, She creates works on the fringes of science, fiction and fabulation. Educated first in mineralogy, followed by studies at the art academies in Maastricht, Düsseldorf and KHM Cologne, she has been the founder and director of the Research Raft, an „Institute for Art and Subjective Science“ that purposefully ‘is asking questions but gives no answers’ in fields such as climate research, environmental studies, meteorology, as well as synthetic and artistic biology. Meyer-Brandis’ work has been exhibited worldwide and awarded many prizes, including a Prix Ars Electronica Award of Distinction, and the European Kairos prize. Please find further info under the following link: www.ffur.de

Quelque part, retirée du monde, une communauté vit langoureusement selon ses règles et ses croyances. Entre chansons et dîners festifs, l'apparente harmonie est bousculée lorsqu'une nouvelle venue fait son apparition. La mort frappe et plonge un à un les personnages dans des ténèbres glamour et glaçantes. Se saisissant des utopies queers pour les défaire, le film s’empare des esthétiques post-giallos et nous plonge joyeusement dans l’horreur.

Née en 1998 Alice Michaud est réalisatrice et étudiante à l’Ecole Nationale Supérieure des Beaux Arts de Paris Cergy, en 2023 elle y obtient son DNA avec les félicitations du jury. Sa démarche s’articule autour d’un jeu sur les codes des films de genre et visite parallèlement le camp et le poétique. Au pays des morts debout, son premier film lui vaut plusieurs sélections en festivals tels que le Fringe! Queer film and arts fest, à Londres, la FDS à Lausanne, le Leeds Queer Film Festival en Grande Bretagne ainsi qu’à l’Internacional Queer Film Festival Playa del Carmen au Mexique.

A normal day for Gabi is a day when she works in Italy but looks forward to the next reunion with her twelve-year-old son. She returns to Romania for a brief visit, expecting to spend a few days with him. Upon arrival, she finds out she can only see him for one day instead of three. Seven years after 'Fragments of Gabi', 'Wait Two Days' is the second episode in Gabi's journey towards self-love, towards having peace with herself. (Logline: On a brief visit to her home country, Gabi learns she can only see her son for one day instead of three.)

Jaro Minne (Belgium, 1992) is a filmmaker who frequently works on the East-West crossover. He studied at the Helsinki Film School and LUCA School of Arts in Brussels, graduating in 2015. Member of the collective Tsalka Film. Various festivals have screened his work, including Oberhausen ISFF, Rencontres Internationales Paris/Berlin, Maryland FF and Message to Man St. Petersburg. In 2024, his new film Sudden Rain will be released.

GROTESKKBASILISKK! MINERAL MIXTAPE looks at online subcultures premised on rapid technological acceleration and imperialist nostalgia, and their weird affinities with anti-rationalist ideas in the public sphere.

Mochu (b. India, 1983) works with video and text arranged as installations, lectures and publications. Techno-scientific fictions feature prominently in his practice, often overlapping with instances or figures drawn from art history and philosophy. Recent projects have explored cyberpunk nostalgia, corporate horror, mad geologies, psychedelic subcultures and Indian modernist painting. He is the author of the books Bezoar Delinqxenz (Edith-Russ-Haus / Sternberg Press, 2023), and Nervous Fossils: Syndromes of the Synthetic Nether (Reliable Copy / KNMA, 2022). His works have been exhibited at Edith-Russ-Haus für Medienkunst, Home Works Forum, 9th Asia Pacific Triennial, Sharjah Biennial 13, 4th Kochi-Muziris Biennale and transmediale:BWPWAP.

As we part ways, there are still traces of each other in our memory or the infinite pool of the subconscious. These images linger, they flicker up. They give us hope, they make us sick. They have us question what has become. They complete us. They gently ask: who are we now?

Vincent-Kaya Möller, born 1992 in Berlin, is a German- Turkish director, editor and producer. He initially studied political science and psychology at Universität Halle before moving Berlin, where he graduated with a bachelor ’s degree from Universität der Künste in Communication in Social and Economic Contexts. Following his bachelor ’s he spent two years in New York working as a production and editing assistant for Kontentreal, Art Partner and Osmosis Film. He has also been working as a free-lance filmmaker and currently works for Studio Zentral. S i n c e 2019 he has been studying documentary directing at Filmakademie Baden-Würt- temberg. His third-year film FLIGHT MODE was co-pro- duced by SWR and arte and is currently in post-production.

A film titled Dance Movie (aka Rollerskate) appears in many Warhol filmographies, but no work with this title can be found in the Collection. The lost film, starring dancer Fred Herko gliding on a single roller skate, was shot in 1963. Herko was a talented dancer and choreographer who cofounded and performed with the Judson Dance Theater. Herko was also associated with the Mole People, a group of queer men and women who came together to get high on speed and listen to opera. In October 1964, unhoused and strung out on drugs, Herko leapt out of an open window while dancing naked to Mozart’s Coronation Mass in C Major. Although the current location of Dance Movie is unknown, accounts of it do exist, including Warhol’s evocative description in POPism of Herko “gliding in dance attitudes and looking as perfect as the ornament on the hood of a car.” Goddess of Speed poetically reimagines the missing film.

Frédéric Moffet is a media artist, educator, video editor, and cultural worker. He lives in Montreal and Chicago. His work explores the slippery territory between history, lived experience and fantasy. His projects include: Horsey, Fever Freaks, The Magic Hedge, Adresse Permanente, The Faithful, POSTFACE, Jean Genet in Chicago and Hard Fat.

What role does childhood play in developing experience? How are personal present and past connected in the process of aging? The longing for the places of the personal past was the reason for a trip to Flensburg in 2001 a few weeks before 9/11. More than 2000 photos were taken in just a few days. It was only many years later that the negatives were digitized and it was only more than 20 years later that the need to process these recordings into a composition arose. The turbulent German-Danish history on both sides of today's border and the places of childhood come together in a whole where the past merges into one experience in the now. 3636 images are processed frame by frame in the first 3 movements. Each movement is containing 24 sequences of stills. The amount of images in the stills increases from 4 to 625 images simultaneously. After the first 3 movements the process is repeated towards the infinite to end in structures similar to the layers one would find in rock formations.

Thomas Mohr is exploring processes of perception and memory systematically in performance, painting, video, installations. From 1985 onwards a growing archive containing more then 600000 pictures regarding a wide range of events of transition from a collective meaning to very personal moments. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin, Projects with music at Stedelijk Museum, Orgelpark Amsterdam, Edith Russ Haus Oldenburg, CCAM / Scène Nationale de Vandœuvre. Michael Bonaventure , based in Edinburgh & Amsterdam, is composer, organist and collaborator in new and experimental music projects; Extended cyclic works predominate in his output including huge body of electronic and electro-acoustic pieces as well as instrumental and organ music. From a sonic universe deriving its inspiration from mysticism and ritual, natural and imaginary worlds, astronomical and supernatural phenomena.

The videoart “I, who ignore so many things, know that I ignore one more" is based on a short story by Brazilian writer Vilma Aguiar. The film aims to ponder between decisions, choices, and mistakes in order to understand the present and project the future through observations about the past, as the misunderstandings resulting from a time full of certainties led us to a hazy and fluctuating period between apathy, anesthesia, post-truth, torment, endless work-fun, euphoria, and fervor. Thus, aware of the yes and no, we could let ourselves be carried away by oscillations, abuse time, and get lost in it, in a lucid labyrinth.

Fernando Moletta is a visual artist and researcher (FBAUL). He holds a Master's degree from the Faculty of Fine Arts of the University of Lisbon. His artistic practice arises from an exploration of the challenges posed by modernism in contemporary times. Through an examination of temporal concepts and their intersections, he delves into the themes of failure, biopolitics, allegorical plasticity, and technological noise. These notions manifest as specters, hovering and intertwining to form a hybrid body of work that encompasses video, sculpture, and drawing. His recent exhibitions include solo shows such as "Three Sad Flawed" at the Gallery of the Faculty of Fine Arts of the University of Lisbon and "O que há entre o acima e o abaixo?" at the Museum of Art of Blumenau (Brazil), as well as group exhibitions including the 14th International Biennial of Contemporary Art in Curitiba (Brazil), "Drifting Time Misplaced" at Mono (Lisbon), "New future" at Industra (Brno, Czech Republic), and the 50th Contemporary Art Salon Luis Sacilotto (Santo André, Brazil). He has also participated in video and cinema festivals such as "Caminhos do Cinema Português" (Coimbra, Portugal) and the 36th Stuttgarter Filmwinter - Festival for Expanded Media (Stuttgart, Germany). He has taken part in artistic residencies at Duplex AiR (Lisbon) and Stalker/Mattatoio (Rome). His work has received awards and is part of the institutional collection at the Museum of Art of Goiânia (Brazil).

La Folie Almayer est l'adaptation faite par Chantal Akerman du premier roman éponyme de Joseph Conrad ; Une histoire de passion, de perdition et de folie quelque part en Asie du Sud-Est que la cinéaste est partie tourner en 2010 au Cambodge. Présent sur le tournage, Sopheak Sao a filmé la cinéaste au cœur de son travail dans la végétation exotique et dans les eaux noires d’un fleuve qui ne semble mener nulle part. Les images qu’il a filmées ont, après un archivage de dix ans, été montées par Marwan Montel, et montrent combien le travail formel et esthétique prend le pas sur l’aspect narratif dans le travail de la réalisatrice belge. Une véritable plongée au plus près de l'artiste, et une occasion exceptionnelle de se glisser au cœur de son travail.

Marwan Montel (né à Istanbul en 2001) est un monteur et réalisateur Français. Suite à ses études à l'IAD en Belgique, d'où il sort diplômé en montage-scripte, il réalise un film documentaire d’archive sur le dernier tournage de fiction de Chantal Akerman.

The film depicts the massacre of civilians in Geum-jeong-gul Cave in Gyeonggi-do in October 1950. This massacre, in which more than 153 people were killed in a village by South Korean military and police, was compensated by South Korean government in 1993 when it became known to the world through the efforts of the victims' bereaved families, but there is still no place for their remains in their home town.

As well as making movies, Kim Mooyoung also creates research-based media art, which is being exhibited in several countries. After four short films, SLOW DAY (2010), CONCRETE (2012), LAND WITHOUT PEOPLE (2016), and DAY AND NIGHT(2017), he directed his first feature film, NIGHT LIGHT (2018), which was invited to Busan International Film Festival 2018 and Seoul Independent Film Festival 2018.

Manuela Morgaine SCRATCH THE WORLD ERASE THE BORDERS – a collective artwork for Bienal Sur 2021 (Argentina) Une oeuvre collective pour Bienal Sur 2021 (Argentine) Une main traverse le monde, le révèle et l’efface à la fois. Son utopie consiste à tenter d’effacer toutes les frontières.

Manuela Morgaine est écrivain, plasticienne, metteur en scène de théâtre et de cinéma. Prix de Rome en scénographie, elle dirige Envers Compagnie, qui se consacre depuis 1991 à la production d’œuvres pluridisciplinaires. Elle est l’auteur d’une dizaine de livres et de plusieurs Ateliers de création radiophonique diffusés sur France Culture. Elle a prêté sa voix pour le cinéma et la télévision, a réalisé des films parmi lesquels FOUDRE (2013) et POUR WAAD (2021) ont reçu une reconnaissance internationale. Elle a récemment fait une série de performances à la Galerie Maubert, au Musée Picasso et à la Fondation Brownstone (Paris). Elle fait partie depuis 2020 du collectif d’artistes de THE CROWN LETTER un collectif d’artistes femmes à travers le monde qui publie une lettre par semaine depuis le début de la pandémie. Elle travaille actuellement sur ORAKL, une performance de glace et de paroles et sur un long métrage ADIEU un film d’un mot.

Reliefs est une œuvre vidéo combinant une approche documentaire et un récit proche du conte ou de la fable. Elle s’intéresse à des espaces modelés par diverses activités humaines d’extraction et de production, en mettant notamment l’accent sur des paysages constitués de scories et autres résidus. Parmi les lieux filmés avec un drone, on retrouve l’immense étendue de serres agricoles autour d’Almeria (ES), les gigantesques mines de charbon au sud de Cologne (DE), des terrils dans le Pas-de-Calais (FR), des salins en Occitanie (FR), un site d’enfouissement de résidus de Bauxite en Provence (FR) ou une usine de désalinisation d’eau de mer andalouse (ES). Ces images sont complétées par des plans tournés en studio où des maquettes représentent d’autres lieux inaccessibles. Un texte défilant relate l’évolution d’une espèce vivante, mystique et superstitieuse, toujours plus avide et auto-satisfaite. Par le texte, les fonctions et symboliques des lieux filmés sont réassignées. Cette parabole évidente avec l’espèce humaine, permet d’explorer ces sites fascinants et terrifiants, redécouvrir ces zones dont dépendent notre alimentation et notre confort et que l’on voudrait ne jamais voir. Les pulsations de la musique composée par le percussionniste Will Guthrie, accompagnent cette progression frénétique du récit jusqu’à la saturation, à la limite de l’implosion. D’échantillons d’une planète toujours plus vite essorée, Reliefs propose une vision fantastique où fourmille une multitude de références à la catastrophe écologique que nous vivons.

BIOGRAPHIE Armand Morin?Né en 1984 à Nevers (France)?Vit et travaille à Bruxelles (Belgique) J’ai étudié les Beaux-Arts à Nantes (DNSEP en 2007). J’ai ensuite profité d’une bourse post-dîplôme de cette même école pour séjourner 1 an à Miami. En 2009, j’ai été lauréat du Prix des Arts Plastiques de la ville de Nantes. Fin 2010, j’ai intégré le Fresnoy à Tourcoing et réalisé Opa-Locka will be beautiful, un “conte documentaire”, sur une banlieue de Miami construite dans un style orientaliste. J’y ai aussi créé Panorama 14, un diorama plongé dans une véritable tempête de sable, montré au Palais de Tokyo en 2017. En 2014, pour le Festival Hors-Pistes au Centre Pompidou, j’ai proposé La dérive des documents, une conférence performée autour de sources documentaires. La suite de ce projet a été montré à la fondation Ricard en 2015. Entre 2014 et 2016, j’ai réalisé plusieurs mises en scènes immersives pour des expositions personnelles en France et en Suisse. En 2015, j’ai participé à deux résidences, Fieldwork à Marfa (Texas) et au centre archéologique de Bibracte pour réaliser la vidéo The Promised Lawn (2016) qui aborde des thématiques écologiques et économiques que l’on retrouve régulièrement dans mon travail depuis. En 2019, j’ai réalisé la vidéo Les Oiseaux qui poursuit sur le mode du récit anticipatif des interrogations sur le devenir de l’espèce humaine sur une planète surexploitée. ?En 2022, ces recherches prospectives liées à l’anthropocène aboutissent à une exposition personnelle à Zoo Galerie, Nantes. L’exposition propose une installation qui transforme tout le centre d’art et un nouveau film, Reliefs, qui combine ressources documentaires et récit de science-fiction, tourné dans divers sites européens d’extraction, de production industrielle et de production agricole intensive.

Die Arbeit “Wiederkehrende Erinnerung und dessen zeitliche Wirkung“ befasst sich mit der Darstellung von gesellschaftlichen Beziehungen zwischen Immigration und Erinnerung als materiellem/immateriellem Moment. Im Fokus steht die türkische Minderheit im ehemaligen Jugoslawien bzw. dem heutigen Kosovo. Digitales wie auch analoges Bildmaterial stellen auf unterschiedliche Weise Erinnerung dar, die in Form einer installativen Collage Überschneidung von Kulturen, hybride Identitäten, geopolitische Grenzen und regionale territoriale Identitäten verdeutlichen. Was bleibt als Erinnerung zurück, was vermag ein Gedächtnis zu speichern und welche Räume entstehen, um sich zu erinnern? Erinnerung die stets auch von individuellen Erfahrungen beeinflusst ist, verweist auf gesellschaftliche Strukturen und deren sich auch stets formenden Prozesse.

Nazl? Moripek (*1989, Istanbul) lebt und arbeitet in Frankfurt am Main. Sie studierte Bildende Kunst an der Y?ld?z Universität in Istanbul, an der École supérieure des Beaux-Arts de Bordeaux und an der Hochschule für Gestaltung in Offenbach am Main. In ihrer künstlerischen Praxis nutzt Nazl? Moripek verschiedene Medien, um Formen der Erinnerung und deren zeitliche Verortung und Ausdruck zu erforschen und überführt diese mittels der Darstellungsform der Installation in visuelle Welten, die die verschlungenen und komplexen Schichten diasporischer Formationen und Migrationsströme darstellen. Sie wurde 2019 mit dem DAAD-Stipendium und 2022 mit dem Hessischen Graduiertenstipendium (HAB) der Hessischen Film- und Medienakademie ausgezeichnet.