Catalogue 2024

My first visit to England after a gap of two years, it’s as if I’m discovering each subject for the first time. Objects picked up one by one. Every form seems to contain its dissolution, a premonition of loss. Holding on to the edge of a cloud, a hungry ghost throws its wishes to the sea.

James Edmonds is a British artist-filmmaker living in Berlin. His work is driven by personal observations and a poetic approach to the everyday that is both formalistic and lyrical. His films have been shown at various international festivals and art-spaces including TIFF Toronto, NYFF New York, MoMI New York, Ann Arbor Film Festival, Kurzfilmtage Oberhausen, Curtas Vila do Conde, Open City London, FICUNAM Mexico City, and EXiS Seoul. He also makes paintings and installations, writes texts and poems, teaches workshops, and has organised various screenings and events in Berlin including the Light Movement film-series, and the Grass Harp exhibition and edition series in collaboration with Petra Graf.

Toxic Inheritances (2024) tells stories of white phosphorus. Light-bearing and brutally hot, white phosphorus is pyrophoric, meaning it combusts on contact with air. The video considers the role of inheritance and storytelling in human-chemical relations, and grammars of the (super)natural. It is a deepening of the artist's studio exploration on the subject of toxic inheritance and a sort of fictionalised sketch of a family tree for the chemical.

Clementine Edwards is a Rotterdam-based artist working between sculpture and writing. They're the artist and editor of The Material Kinship Reader, co-edited with Kris Dittel, which thinks material beyond extraction and kinship beyond the nuclear family. Clementine’s practice engages with craft, climate crisis, gender and how lived experience, including trauma, narrates meaning-making. It asks, How to honour and remember the worlds that we are immersed in, and the contexts that shape us, nourish us and resist us? In 2022 Clementine was a Gerrit Rietveld Academy fellow in Amsterdam and a LiveWorks fellow at Centrale Fies in Dro. Among other places they’ve exhibited and performed at Tent Rotterdam, Temporary Gallery, Koln, Framer Framed, Amsterdam and Stavanger Museum.

STATEMENT, mes essentiels Je frictionne les mots avec les images. Dans ma famille, on s’est toujours beaucoup écrit. On a toujours beaucoup photographié et filmé. Les lettres, messages, un livre avec une couleur pour chaque enfant. Films, photos, textes, des espaces à travers lesquels je me faufile. Images traces, anagrammes d’écart, de perte et de retrouvailles. Architecturer le vertige de mes voyages. Créer un espace refuge parmi les dérapages de vie. Créer des précipités visuels pour s’ôter des maux. Redécouvrir les images par la boucle. Ne pas suivre la ligne… C.=

Écrivaine, photographe, cinéaste. Chrystel Egal est une artiste pluridisciplinaire. Sa pratique artistique oscille entre l’exploration des expériences limites et une démarche introspective méditative. Ses installations mêlent photographies, films et textes. Elles, visent à “cartographier les centralités humaines”. Elles s’inscrivent dans un parcours initiatique où son « Je » est un désir profond de s’accorder avec l’Autre. En 1993, elle a inventé le "Portrait-fiction". Son travail s’articule autour du rapprochement des êtres. Cela passe d’une part par le corps [matériel] et d’autre part, par l’émotion [immatérielle]. D’un côté, le corps est sondé au travers d’expériences limites. Des initiations comme rituels de révélation : le risque, le travestissement, les laissés pour compte, la drogue. Le corps est considéré comme outil de perception du monde. Un champ d’expérimentations. Un lieu de mise à l’épreuve. En 1993, elle a inventé le "Portrait-fiction". Un autoportrait ouvert sur l'autre. De l’autre, l’émotion, la vibration, l’énergie et la lumière sont appréhendées comme moyens d’investigation de ce qui est au-delà du physique et qui révèle un autre langage. La série (my) mandalas, blancs sur noir, en est une expression. Ces calligrammes sont autant de tatouages intérieurs, palpitations de son existence. À la croisée de différents champs de l’art contemporain, elle a été tour à tour : Ecrivaine Kovalam Beach – New York est mon excès-Romans publiés aux éditions Actes Sud. Photographe, vidéaste avec plus de 40 films réalisés depuis 1993. Certains font partie de la collection de la Maison Européenne de la Photographie à Paris.

A unique slideshow documenting two long-haired trans men falling madly in love. Over the course of one year, the artist couple Samira Elagoz & Z Walsh gathered photographs from real-life events such as their first kiss, meeting each other's parents, long-distance thirst traps, a beach wedding, and top surgery and its subsequent recovery. A sweet and steamy celebration of T4T love with life and art all tangled up.

Samira Elagoz is a Finnish/Egyptian transmasculine artist. He has toured in various international film, visual art, and performance contexts, and won several awards, including Silver Lion at the Venice Biennale Teatro in 2022. Elagoz combines performance art and film, creating his unique brand of “docu-fiction”. Z Walsh is a Brooklyn-based transmasculine artist focusing on photography. Z is known for his raw, intimate depictions of his subjects and himself. Throughout his work, Z is dedicated to elevating trans voices and combating transmasculine erasure.

Despite the didactic promise of its title, Carl Elsaesser’s new film will not teach you how to complete this obscure action. The phrase itself, at once ridiculous and noble, is pleasure enough, and its tone fits perfectly on a work that walks a thin, dandyish path down the border of farce and elegy. Another pleasure: it isn’t about anything, though it’s of quite a lot. Of fathers (who might teach one how to run a trotline, or sit on a porch, or disappear); of other films (particularly a pair by adopted fathers Michael Snow and William E. Jones); of at least two kinds of cruising; of the winter in Maine and the streets in New York and the many kinds of light to be found in and around both (ranging from snowy diffusion to snare-hit clarity). But one needn’t know these films or Maine or New York, not any more than one need know what a trotline is, to be hooked by the ongoing oddness of Elsaesser’s rhythms, which move gently, languidly toward new raptures of illumination. (Text: Phil Coldiron)

Carl Elsaesser is an experimental filmmaker who mixes genres and materials to critically investigate the overarching presence of the historical without losing sight of individual experiences of human connection. His works have screened regularly at festivals including The Berlinale, The New York Film Festival, Cinema Du Reel, European Media Arts festival where he won the German Film Critics award for best film, and the Ann Arbor film festival where his debut film won the award for most promising emerging experimental video artist. He's had the honor of receiving grants and residencies throughout his career including a Minnesota Arts Council grant, a fellowship with Macdowell and residencies with the Ellis Beauregard Foundation, Hewnoaks and The Squeaky Wheel Media Center. His work has been written about in publications like the LA Review of Books, Millennium Film Journal and FilmExplorer by Kevin B. Lee.

The boy is familiar with his surroundings. His path is linear and without any detours. Slowly, doubts creep into his mind and he begins to question the status quo. Where does his path lead?

Jonas Erler is studying at the Academy of Fine Arts Leipzig (HGB) in the class of Heidi Specker. In 2022 he took part in the Connecting Talents program "Visegrád in Short(s)" of Filmfest Dresden under the mentorship of Csaba Bollók and in 2024 in the Oberhausen Seminar. He works closely with the Chemnitzer Filmwerkstatt. Currently he is working as assistant director for Luise Donschen.

Based on the fascination for amusement parks and their connection to cinema, the film ‘Shady Talk’ was realized that documents a fictitious amusement park. The script was written in the form of an exchange of letters. We sent each other texts from an autobiographical perspective over the course of a year. Invented memories of a visit to the thempark accompany the visual material as descriptive fragments. Documentary footage was shot in various amusement parks in Europe: in Park Duinrell in Alkmaar, in Disneyland in Paris, in Praterpark in Vienna, in Tibidabo in Barcelona and in Tivoli in Copenhagen. The examination of these places is initially focussed on showing empty scenes of these places that are normally filled with crowds of people. We are interested in the connection between our everyday surroundings and film as fiction. We want to move away from aesthetic concepts that are based on reality as a stage. The environment does not serve us as a stage for the narrative in the film, itself becomes the main protagonist. The film differs from the actual amusement park. We are more interested in the formal expression of film than using it as escapism, enabling the experience of fictional places.

Swan Lee is currently based in Amsterdam and Julian Ernst lives and works in Vienna. In 2019, Swan Lee and Julian Ernst founded a collective ‘cicada’. The name ‘cicada’ describes a creature that only begins to become noticeable at dusk. With its loud chirping, the insect lends a sound to this time of day, which takes place in a transitional moment of transformation from light to dark. Conceptually, the exhibition formats also move in an intermediate space. The duo develop their exhibition formats based on architectural structures or the mystical past of places. The immersive installations attempt to explore the boundaries between the conventional idea of a suitable environment for artistic works and cinematic stagings. The individual objects themselves often recede into the background and become pillars of the overall concept. Focusing on the communal, i.e. by creating spaces for people to come together. The creation of walk-in sceneries is often associated with the combination of different techniques and media to create a world that seems very far from ours and at the same time very close to ours. In this in between space of seeing and remaining unseen is used to create vivid, moving shots in physical space.

A solitary traveller is journeying around the Balkans where he is making a 16mm film about the architecture of psychiatric hospitals in the region in preparation for a PhD proposal. As his journey progresses he changes his original plan and begins to fraternise with the patients, filming them instead. As he becomes more immersed in the environments he visits, he is eventually noticed by relatives in one of the hospitals. They decide to teach him a lesson and follow him out of town to a cave.

Deniz Eroglu (b. 1981, based in Berlin and Amsterdam) works with film, video, performance, sculpture. Thematically his work centres around cultural identity, human relations, the institutionalisation of life, Utopias, “enlightened“ individuals”, loneliness. His work has been shown at Stedelijk Museum; Sharjah Art Foundation; MMK; Staatliche Kunsthalle Baden-Baden; MAXXI Museum; Statens Museum for Kunst; ARKEN Museum; Kunstverein Harbuger Bahnhof; Kunstmuseum Brandts; The Marrakech Biennial and Kunsthalle Darmstadt.

“Our Non-Understanding of Everything #09” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

“Our Non-Understanding of Everything #12” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

Parallel (work in progress demo) tells the story of the fissure–the modes of blindness and longing, of not seeing and being unseen, of being together yet also apart–at the heart of an intimate exchange. The installation is constructed of an elongated strip of portraits which can be viewed from both front and back. On either side of the installation are displayed close-up faces of a range of individuals. Each of the individuals stares at a parallel figure sitting across from them, their back to the camera. The parallel figure’s face is visible from the reverse side of the installation, as is the back of the person we saw on the front side. Beyond the more immediate scene of the gaze exchange between the figures, we can see, through cracks in the wall behind them, a hint of an open landscape. At an almost undetectable speed, the two rows of portraits–those who are facing us and those who are not–drift along, and then off of the edge of the screen. New pairs continue to slip in endlessly. The pace of the rows’ drift (front and back), however, is slightly mismatched. This gap in the rate of their movement results in a subtle dissonance: the parallel figures slip away from each other as well as away from us. As they drift, they intermittently obscure the individuals they face. Short texts–segments of online messages written to an unknown other–are, at irregular intervals, read out loud by one of the visible characters. The same text might be performed by different people. Several distinct texts might be read by a few characters at once. The link between who we see and the story we associate with them is, thus, like their image, unsettled, interrupted and displaced. The video attached is a work in progress edit demonstrating two possible scales for the project's display.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY) and the Jewish Museum (NY) among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

La mouche drosophile est un modèle parfait pour la vie en laboratoire, fabriquée en masse pour produire de la connaissance en masse. Elle vit, meurt, aime, dans le cylindre d’un tube de plastique. Dans une boîte plus grande, celle d’un centre de recherche du comportement animal, des humains produisent des expériences étonnantes avec ces insectes. Témoins de ces expériences, la perception que nous avons de ces animaux familiers est petit à petit transformée.

Maud Faivre (1986) Maud Faivre vit à Bruxelles et y travaille comme photographe. Ses projets photographiques s’intéressent au travail des autres (Les villes invisibles, avec des archéologues), au paysage de moyenne montage (Transjurassienne) ou aux oiseaux (Birding). Elle collabore régulièrement avec des architectes et des paysagistes sur des projets à long terme, et répond à des commandes publiques autour du paysage et de l’architecture. Depuis dix ans elle accompagne les e?tudiants de l’Ecole Le Septantecinq de Bruxelles - ou? elle a étudié - dans le Cantal pour y photographier le paysage, le ba?ti, les habitants, une ruralite?. Modèle animal, co-réalisé avec Marceau Boré, est son premier film. Marceau Boré (1986) Musicien et preneur de son, Marceau Boré s’initie a? l’ornithologie, sensibilise? par sa rencontre avec des naturalistes. Il sort du studio et des salles de concert pour chercher a? capter les sons de son environnement et recre?er des paysages sonores. C’est ainsi qu’il re?alise des cre?ations pour le cine?ma documentaire et démarre sa collaboration avec la photographe Maud Faivre, arpentant à deux les paysages et rencontrant les gens qui les défendent. Ensemble, ils réalisent leur premier film avec des éthologues, en huis clos, dans un centre de recherche fondamentale du CNRS où l’on étudie le comportement des insectes sociaux.

Ivan Faktor decided to visualize his state with Parkinson's disease with a mobile phone camera. After 50 years of filmmaking, his passion for art and life persists. He is filming himself, his wife, the yard, the street, the studio, and the light attractions in his house. Faktor records everyday life but disrupts the daily structure by intervening in reality, using light or optical obstacles like his trembling fingers. Through interventions in documentary situations, he creates a surprising inner world of an artist imprisoned in space.

Ivan Faktor is a Croatian avantgarde artist. He is engaged with experimental film, photography, video and video installations. He has been shooting films and video works continuously since 1975. Since 1979, he has been participating in conceptualist actions and exhibitions, performances with video and film and setting up installations. He participated in 1995 at the 46th Biennale in Venice (A Casa/At Home 2), and in 2002 was the representative of Croatia at the 25th Biennial in Sao Paulo. He received numerous awards, both for his visual art and films.

Ivan est professeur à la retraite. Il a connu la lutte armée dès l’âge de 13 ans. Il n’en parle jamais. Fabrice, son fils, est musicien et poète improvisateur connu sous le nom de Fantazio. Un gouffre semble séparer les deux hommes, mais lorsqu’ils montent ensemble sur scène, tandis que l’un joue de la contrebasse, l’autre retrouve ses talents d’orateur et le plaisir qu’il a connu au lycée de parler en public. Une caméra s’invite entre eux, comme pour mieux résoudre des énigmes enfouies. Mais Fantazio butte sur son projet : emmener Ivan à Bruxelles pour y visiter l’un de ses vieux compagnons de résistance. S’en suit un voyage, au travers un temps compté, parfois fait d’éternité.

Fantazio est né Fabrice Denys en 1972. A douze ans il se muni d’une contrebasse et crie ses fantômes en rejoignant les guerriers urbains du mouvement punk. Depuis il réalise six album, multiplie les rencontres artistiques et se produit en concert dans des scènes underground à travers l’Europe.Il parle de plus en plus dans ses concerts jusqu’a l’écriture d’un monologue autobiographique qu’il produit sur des scènes de théâtre, sans musique. Frédéric Mainçon est né en 1972 D’abord chef opérateur sur des fictions et des documentaires, Il se rapproche de l’art contemporain et contribue à fabriquer des images pour des plasticiens. Depuis 2005 il réalise des films documentaires. Par ailleurs musicien, ses sujets de prédilection sont la musique, les rapports filiaux, le déni, la dénégation, le post-colonialisme.

Newly built high-rise buildings in multiple areas of accelerated regeneration across London are abstracted in a series of free-falling motions. Through this abstraction comes an attempted reclamation of London’s skyline.

Syd Farrington is an artist and filmmaker living and working in London. His work has been shown internationally at International Film Festival Rotterdam, London Short Film Festival and Kasseler Dokfest, among others. Working with film, his work explores the physical effect of contemporary capitalism on the changing landscape of London. Often using place and landscape as a starting point, He navigates the interrelation of personal and shared experience, drawing from the vast history of cinema and modes of structural filmmaking.

Khabur is the longest tributary of the Euphrates, a transboundary river crossing the border between Turkey and Northeastern Syria. The film departs an archaeological site in the valley of the Khabur River and follows the journey of Tell Halaf's archeological collection towards Berlin where it has resided since 1930. It traces the circulation of violence in different times and contexts along the Khabur River and engages with the economic and political power relations that have been transforming the landscape of the Khabur valley, displacing beings and their belongings. The film addresses photography and archeology as two disciplines emerging from the colonial-imperial enterprise, critically engaging with the imperial grammar of institutionalised archives, and examining the way it could be recycled, reimagined, and rehearsed.

Nafis Fathollahzadeh is an artist and researcher from Iran, based in Berlin. Fathollahzadeh works at the intersection of artistic research, video art and photography. In the academic years 2020-22, the are a fellow researcher in the Rosa Luxemburg Foundation’s scholarly program on Authoritarianism and Counter-Strategies and are affiliated with EUME at Forum Transregionale Studien in Berlin. They are an art director and co-editor of Momentography of a failure, a multidisciplinary artistic and urban research platform for collaborative thinking, artistic collaborations, digital mapping and publishing. In 2019, Fathollahzadeh was awarded a prize of the Deutsche Gesellschaft für Photographie for their project Momentography of a failure. They were the recipients of an DAAD International Scholarship for Artists.

In 1934, the Portuguese New State displayed, at the Portuguese Colonial Exhibition, the ultimate symbol of its virility in Rosinha, a native of what was then Portuguese Guinea. The film questions the idea of Portugal's so-called "gentle racism", by looking back at more than a century of colonial discourse.

Marta Pessoa was born in Lisbon in 1974. She studied cinema at the ESTC and has worked as Director of Photography since 1996. In 2013, she formed the production company TRÊS VINTÉNS along with Rita Palma and João Pinto Nogueira. Among other films, directed LISBON’S UNDER ARREST (2009), WARRIORS (2011), THE LURKING FEAR (2015), DAMSEL WARRIOR (2020), A NAME FOR WHAT I AM (2022) and ROSINHA AND OTHER WILD ANIMALS (2023).

Excavations in the southern Portuguese city of Lagos unearthed a huge 15th-century landfill site a few years ago. Alongside a variety of implements, the archaeologists found human remains. There were more than 150 skeletons in all, of men, women and children—and some of them were tied up. Genetic analysis confirmed that they were the skeletons of Africans who had been enslaved by traders and brought to Portugal. Perhaps they died during the voyage or shortly after their arrival; in any case, they were not given a proper burial. This shocking discovery exposed the concealed history of Portugal. Over the course of four centuries, six million people were transported in this way under the Portuguese or Brazilian flags. In Tales of Oblivion, Dulce Fernandes investigates the traces left in today’s landscape by this horrific trade in human beings. The calm camera tracks steadily from site to site—the former landfill is now a parking garage topped by a minigolf course—and museum objects bearing witness to the history of colonialism. In a quiet but thorough way, this essayistic film reveals a hidden past.

Dulce Fernandes is an Angolan-born, European-raised and Brooklyn-based filmmaker. Trained in documentary fimmaking at the International Film and Television School (EICTV) in Cuba and at the Downtown Community Television Center (DCTV) in New York, Ms. Fernandes is a former photojournalist and human rights activist. Ms. Fernandes holds a B.A. in Journalism from Lisbon Technical University, a certificate in Film Studies from the School of the Art Institute of Chicago, and a M.A. in International Relations from the City University of New York. Letters from Angola is her first feature-length documentary.

The title of this video, La Main vide, comes from the etymology of the word karate, composed of the Japanese words kara (“empty”) and te (“hand”). Shot in a Parisian karate club in the 13th arrondissement, the video follows the training of karatekas. We watch as they learn, perfect their technique and strive to master their gestures, making sure they're right and well placed. The camera captures these different movements, isolated or intersecting with others, forming a kind of choreography.

Lorraine Féline creates films, performances, drawings and paintings. Her work is observational: she observes, with a minimum of intervention, gestures and bodies in movement, captured on the spot. She draws and photographs her surroundings, then paints snapshots of everyday life. She also makes films that are portraits of people at work. Her videos are short-format, independently produced, and shot in small teams to immerse herself in the site, as close as possible to the people being filmed.

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

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