Catalogue 2024

Hole is the Bubble i Blew is a hybrid-documentary combining video, generative animation and composite imagery. It is a choral history of shared intimacy where days and nights loop as an apartment window emerges from a burning tunnel; from this window a small group of people share stories of platonic and erotic love through space and time that separate like oil on the surface of water. "Movements pulse into the void, actions become sentient, consequences wait for the morning that will never be."

christopher tym (UK) is an artist-filmmaker based in The Netherlands that explores the (dis)locations between 'virtual+natural' environments. By combining film and animation he creates hybrid spaces where humxns bend time as they navigate their relationships with each other and their evolving world/s. His current projects focus on eco-centric moving image where new insights of form and time challenge our preconceptions of the Anthropocene. christopher teaches hybrid-animation and is a core tutor at the Gerrit Rietveld Academie, Amsterdam.

Fade portrays the rural life of a grandmother in Japan while persimmon trees enter the late season.The grandmother’s tenacious care for traditions, trees & home, the film poetically depicts the tableaux of forgotten rural memory of the post-war; the glimpse of human spirit and persistence appear in the passing of seasons, awaiting the new beginnings.

Asako Ujita (1997, Osaka, Japan) is an artist/filmmaker based in London. In her practice, she is interested in exploring history and working with the archival - from news, found footage, to informal recordings such as dairies and letters. Beneath the layers of calm and dream-like tone of her films, these narratives of the past weave into current socio-political issues such as post-colonialism, ecology, gender, and identity. She considers this stitching of time a reconstruction of myth, evoking psychological experiences of collective memory, trauma and imagination in the present. Her work has been screened and awarded internationally, including the Grand Prix award at 25 FPS Festival, Croatia, Alchemy Film and Moving Image Festival, UK, Regeneration at Barbican Centre 2021 London, and Speculative Future; Climate Crisis at Horniman Museum and Gardens, 2020 London.

No flickering. No noise. No artefacts. No hard lights that cast shadows. No fog, clouds, trees or buildings. No conditions of slow-moving or stopped people for long periods. No moving objects whose appearance is similar to the target in the areas of interest. No waving objects that cause the continuous modification of the image in the area of interest, for example a meadow with tall grass. The target must have a minimum height of 30 pixels, which is at least 1/10 of the image height. The body of the target must be visible for at least 3/4 of its height. The target must have a minimum area of 100 pixels and stay in the interested area for a time of at least 1 second. The target must also maintain a sufficient dissimilarity from the background, which means at least a colour difference of 5% or a brightness difference of 10%. The image must have a resolution of 640x360, 640x480, 320x180 or 320x240 pixels and must be in landscape orientation with 16:9 aspect ratio. The camera must be mounted at a height between 3 and 5 metres and the camera lens must not be dirty, wet or steamy. The accuracy to be expected is under ideal environmental and installation conditions. Recall: 95%

Utkarsh is a filmmaker and writer from Delhi, India.

Dans une zone industrielle de la Mongolie intérieure, des mineurs extraient une ressource stratégique cruciale pour notre mode de vie, et ce, dans des conditions humaines et environnementales difficiles. C'est ici que proviennent 80 % des minéraux des terres rares, essentiels à la fabrication des technologies numériques. Un mineur travaillant sur le site partage ses réflexions sur sa vie et ses conditions de travail. White Cloud est un film développé avec une IA générative qui offre une perspective unique sur le district minier de Bayan Obo.

Emmanuel Van der Auwera (b. 1982, BE) works multidisciplinary with video, theater, sculpture, printmaking and often in tension between art and technology, reality vs. simulation and the trivialization of violence. Finding his material in the rampant image production of a global screen culture, he is interested in the meaning of images and how they depict reality while at the same time constructing it. Van der Auwera is the winner of the Goldwasserschenking awarded by WIELS and the Belgian Royal Museums of Fine Arts. His work has been featured in exhibitions at the Pinakothek der Moderne, Munich; WIELS, Brussels; Centre Georges Pompidou, Paris; Palais de Tokyo, Paris; Centro per l’Arte Contemporanea Luigi Pecci, Prato and the HeK - House of Electronic Arts, Basel; amongst others. In 2023, Van der Auwera's work was presented in exhibitions at the Biennale internationale des arts numériques de la Région île-de-France (Paris, FR), Z33, House for Contemporary Art, Design & Architecture (Hasselt, BE). In 2024, his work was shown in the Biennale de l’Image en Mouvement 2024 - BIM 24 (Geneva, CH), KW Institute for Contemporary Art (Berlin, DE), 8th Yokohama Triennale (Yokohama, JP), Kunsthal Charlottenborg (Copenhagen, DK), Kunstverein Hamburg (Hamburg, DE), Deichtorhallen Hamburg (Hamburg, DE), and Royal Academy of Fine Arts (Antwerp, BE).

Filmed in Tokyo and Yokohama, of girls brings a variety of contemporary voices in resonance with two distinct female voices from Japan’s literary and political past. Both popular authors of their time—the period from the late 1920s on—Fumiko Hayashi and Yuriko Miyamoto both died young, in 1951. They each had a strong feminist and class consciousness as well as an impressive literary voice, but came from very different backgrounds and expressed their ideals through different paths. The power and contradictions in both these women’s words reverberate in dialogues and images of an intergenerational cast moving through the various spaces of knowledge, memory and culture, and reflect today’s struggles around gender, politics, and love

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, always shown in specially developed architectural settings, she shows widely in the art and museum context. Recent solo presentations include: unset on-set at Museum of Contemporary art Tokyo (MOT) 2022/23, tono lengua boca at CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her work was recently included in Delinking and Relinking, collection presentation van Abbemuseum 2021-2026; Sonsbeek 20->24,, Arnhem 2021; of bread, wine, cars, security and peace… at Kunsthalle Wien, 2020; Chicago Architecture Biennial 2019, Singapore Biennial 2019. Her films Two Stones (2019) , Hier. (2021) and of girls (2023) premiered in the International Competition of FID Marseille.

Container ships, infrastructures of the digital economy, mines and cityscapes of contemporary California are brought into an associative montage that expands via the soundtrack of improvisational musician Zsolt Sorés. In a film without dialogue, landscape images and music produce a raw and psychedelic anti-effect in which musical delays reflect on the surfaces of the images and support the montage: Individuals are networked, but Silicon Valley's digital enterprises are inaccessible, public space closed off by smart fences.

The artist and filmmaker Clemens von Wedemeyer, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Mass (1999), Otjesd(2004), From the Opposite Side(2007), Muster / Rushes (2012), The Horses of a Cavalry Captain (2015), Esiod 2015 (2016), Transformation Scenario (2018)

Dans un avenir dystopique, les humains ont dû masquer le soleil pour rester en vie sur Terre. La sècheresse est extrême et la planète se transforme peu à peu en un brûlant désert où les survivants, installés dans les caves des grands observatoires, vivent dans une perpétuelle éclipse. Pour combler l’image d’un soleil qu’ils ne peuvent plus voir et dont ils n’ont pas de souvenir, ils chargent un logiciel d’Intelligence Artificielle de le reconstituer. À cette fin, l’IA choisit l’image mentale d’une jeune femme. En s’inspirant sur la structure en photo-roman avec voix off du film La Jetée (1962) de Chris Marker, Chroniques du soleil noir propose un récit de science-fiction où un algorithme est missionné pour recréer le passé grâce à une image d’enfance de la protagoniste, comme dans le film de Marker. En recyclant des photographies de l’album personnel de l’artiste, des images publicitaires et des clichés scientifiques de la collection de l’Observatoire de Meudon, retraités par une IA, le film porte sur notre rapport avec la technologie d’une manière inquiétante et ironique. La vidéo se compose comme une fable contemporaine qui nous donne à réfléchir sur la cohabitation de temps et la non-durabilité de notre manière d’habiter cette planète. Le film est réalise avec le soutien du Hangar Y, en partenariat avec l’Observatoire de Paris-PSL

Gwenola Wagon est artiste et chercheuse. Elle enseigne à l’École des Arts de la Sorbonne à l’Université Paris 1. À travers des installations, des films et des livres, elle imagine des récits alternatifs et paradoxaux pour penser le monde numérique contemporain. Elle arpente le globe virtuel avec ses premiers films Globodrome, enquête dans l’espace de l’hyperinformation et des infrastructures d’Internet en collaboration avec l’artiste Stéphane Degoutin avec qui elle co-réalise World Brain, le livre Psychanalyse de l’aéroport international. Après Bienvenue à Erewhon, Virusland et Chroniques du soleil noir fables post-cybernétique avec Pierre Cassou-Noguès, elle publie le livre Planète B un essai qui mêle enquête et fiction afin d’appréhender un monstre en pleine expansion.

In Memory Architecture, a surveyor travels to the north of Sweden to survey a site for the building of a new data centre. This systematic task of transforming the terrain into a digital model quickly becomes a desperate search for some kind of underlying structure of the surveyor’s surroundings.

Alexander Walmsley (UK, b. 1992) is a filmmaker and photographer. In his research-based practice, he investigates how our understanding of the earth is shifting, mediated by the new technological, environmental and social realities of the 21st century. His recent work has been shown at the Daejeon Biennale of Arts and Sciences, Tirana Art Lab, Sharjah Art Foundation, The Photographers' Gallery, and Athens Digital Art Festival. He was a commissioned artist for the Albanian pavilion of the 59th Venice Biennale and was shortlisted for the Deloitte Photo Grant in 2023 and Istanbul 212 Photography Prize in 2021. He previously studied Anthropology and Archaeology at the University of Cambridge (UK) and the University of Geneva (CH), and is currently a lecturer at the Film University Konrad Wolf in Potsdam, Germany, where is also undertaking an artistic PhD on the subject of real-time representations of the planet.

Alors que le lancement de lunes artificielles est imminent, un couple de retraités trouve refuge dans une obscurité qui s'estompe. En tentant de rattraper le rythme de la modernité, leur quotidien retrace la généalogie de cette luminosité à venir jusqu’à ses origines terrestres.

Yuyan Wang (b. 1989, China) is a filmmaker and multidisciplinary artist. Her work focuses on the impact of image creation in media, representation, and the attention economy. By deconstructing and recontextualizing inherent meanings of found materials, her practice probes the continual mutations within the industrial production chain of images, a perpetual development leading to an abstraction of reality. Her work has been showcased at Tate Modern, Palais de Tokyo, the 12th Berlin Biennale and various festivals, such as Berlinale, IFFR, European Media Art Festival, Indie Lisboa, receiving numerous awards.

On the one hand, the short film OPEN CALL deals in an artistically condensed way with the current manifestations of the ideological shift towards a society of total personal responsibility, the pressure to 'perform' and 'deliver' as perfectly as possible on the stage of life and work in order to survive the increasingly merciless competition between individuals. On the other hand, the escalating competition and social coldness lead, absurdly enough, to countless advertisements constantly assuring us how much they 'love' us and their products. The questioning choir off-screen represents the doubts as to whether we really want to take part in this game. This rhetoric, which is part of a broader intertwining of neoliberal capitalism and emotions that Eva Illouz has labelled "emotional capitalism", has become increasingly widespread in recent years, particularly in social media, but also increasingly in politics.

Stefan Panhans & Andrea Winkler are artists and filmmakers collaborating on films and video installations that are shown internationally at film and media festivals and in numerous solo and group exhibitions.Their work undertakes a mental archaeology of hyper mediatization and digitalization, examining their influence on the mind and power relations in society.

In the GDR Opposition Archive in Berlin, Anna Zett traces known and unknown fears of her childhood. The artist interweaves samizdat and archival footage with a stirring collage of underground music from the late GDR (composed by Matti Gajek). Video recordings by activists from the Environmental Library, the New Forum and the punk scene in East Berlin, fragments of the televised revolution, and highly condensed voices from a poetry cassette recorded in 1986 combine to create an associative and intimate narrative. In ceaseless escalation, the archive thriller leads to the second occupation of the Berlin Stasi headquarters with hunger strike in September 1990 – a political event that is barely known today despite its far-reaching consequences. There is fear. There is anger. There are people who, despite profound experiences of violence, insist on emotional connection and political self-determination. The short film ES GIBT KEINE ANGST opens up a pulsating resonance space that keeps vibrating long after.

Anna Zett is a Berlin-based artist and writer. Rooted in poetry, collage and improvisation, their transmedia practice seeks to host, witness and experience new connections at sites of loss and damage. This work results in films, books, radio plays, installations and live-formats, most recently f.ex. the participatory research ‚Postsocialist Group Improvisation‘. Since their first film release in 2014, Zetts work has been shown in international contexts of contemporary art, film, performance and discourse, such as Berlinale Forum Expanded, Serpentine Gallery London, Whitney Museum New York, Berlinische Galerie, Or Gallery Vancouver, HKW Berlin. Zetts publications include two experimental radio plays for the German public broadcast and the literary text collection ‚Artificial Gut Feeling‘ (Divided Publishing, 2019). Since 2024 Anna Zett co-teaches the class for Performative Arts at HGB Leipzig.

Qirat is loosely based around an oral family anecdote of a robbery that took place in the lush valley of Fez in northern Morocco during the 1980s. In the film, the events have been transposed to Ouarzazate, located on the edge of the Sahara Desert in central Morocco. Here the anecdote is reconstructed freely, over the course of a single Friday, shot solely during dawn, dusk and finally night.

Amin Zouiten (born 1994) is a Swedish-Moroccan filmmaker and artist educated at Malmö Art Academy and the Academy of Fine Arts in Vienna. His works and films have been shown at Malmö Art Gallery, Recontres Paris/Berlin, International Short Film Festival Oberhausen, Kunsthal Charlottenborg, CPH:DOX, and Tempo Documentary Festival, Uppsala Short Film Festival. In 2024, he was the recipient of the Cultural Award of the City of Stockholm and the Bernadotte Scholarship, awarded with an upcoming solo presentation at the Royal Academy of Arts in Stockholm. Beyond his own artistic practice, he has served as an assistant editor for filmmaker C.W. Winter and as a visiting tutor at Malmö Art Academy and the Royal Danish Academy of Fine Arts in Copenhagen.