Catalogue 2024

1560: the beginning of the so-called ‘Little Ice Age’. Uncanny celestial events ignite the skies over Germany and Switzerland, leading people to believe the world is ending. ‘Tomorrow, the Burning Heavens’ reconsiders these apocalyptic visions, once captured in hand-colored woodblock prints, and returns to the Alps to observe the industrial production of winter landscapes in a modern-day skiing resort. Here, past and present dreams and nightmares are melted together in a film about the interplay of image-making, technology and faith during times of environmental collapse.

Max Bloching (b. 1994 Germany) is an artist filmmaker and sound recordist based in Berlin. Max´s work is animated by an interest in participatory forms of filmmaking and a curiosity in the ways humans experience and imagine the world through sound and silence. Max`s work has been shown internationally at places such as APT Gallery London, Visions Du Reél and RAI International Festival of Ethnographic Film where he received the Willey Blackwell Student Film Prize. Max holds a BA in Social Anthropology from SOAS and an MA in Artists Film and Moving Image from Goldsmiths University of London.

BEFORE WE LOVE is an installation and a performance in three acts: CROSSCURRENTS, 12 GATES, and THE SHADOW SOCIETY. Inspired by the legendary UMBRA Poets Workshop (1961-63), it completes Atelier Impopulaire’s trilogy about the birth of underground artistic movements and civil rights activism in the African-American, Italian and Latino communities that had migrated to New York City’s Lower East Side by the early 1960s. 12 GATES is a large-scale multi-screen installation that integrates rare archival material with new Atelier Impopulaire’s footage, drawing on UMBRA’s literature to explore the fight against cultural oppression by the movements that advocated for social justice through multidisciplinary practices.

Pia Bolognesi is an artist, cultural activist and art historian based in Berlin with a background in Performing Arts, Film Theory and Visual and Environmental Studies. Giulio Bursi is a dramaturg, film-maker, independent film curator and professor based in Berlin. Educated in Film Theory, he was assistant director of Jean-Marie Straub and Danièle Huillet. Pia Bolognesi and Giulio Bursi have worked together as Atelier Impopulaire since 2012. Their practice involves moving-image, writing, installation, sculpture.

“Les villes n’existent pas. Il existe ma ville, ta ville, nos villes… Mes villes – lettres, mots, lignes et couleurs – restituent par touches éparses la somme des impressions fugitives qui finissent par dire la vérité d’un lieu.” Christophe Didier

Christophe Didier dessine et peint. Marie-Pierre Bonniol fait des films. Ensemble, ils réalisent Mes villes autour d'un corpus d'œuvres et d'impressions de villes allemandes. Ils vivent à Strasbourg et à Berlin.

For several months, I surveyed the area around Roissy Charles de Gaulle airport, exploring the territory of flows and interstices, crossing interchanges, the airport, building sites, fields, villages and more. I come across a detention center, a burnt-out street, the N104 under renovation, a motorcycle racing track, the traces of an evacuated Roma camp, warehouses...

Born in 1974, Nicolas Boone studied at the Écoles des beaux-arts of Lyon and Paris. Since then, he has made many videos, short and medium-length films which have been shown at festivals such as the Quinzaine des réalisateurs in Cannes, the FID in Marseille, the FNC and the RIDM in Montréal, as well as in contemporary art exhibitions such as Embrasser – dans l’œil du drone in Paris, Loop in Barcelona and the Venice Biennial.

A World in the Evening offers visual and literal poetry—poetry that cannot be reconciled with the brutality of history, with the death of a poet and the sleep of reason. Inescapable nightmares of the past are reflected in the present. Cities at night, the rebuilding of a fire-devastated fourteenth-century cathedral, a lonely eighteenth-century New Mexico mission, and the poetry and theatre of Federico García Lorca are among the inhabitants of A World in the Evening.

Dan Boord and Luis Valdovino have been collaborating since 1990. Their video work is in the permanent collection of MoMA, New York; the Art Museum at the University of California, Berkeley; and ZKM, Center for Art and Media, Karlsruhe, Germany. Their work has been exhibited at MoMA, New York; the Walker Art Center, Minneapolis; La Biennale di Venezia; Les Rencontres Internationales, Paris; Stedelijk Museum, Amsterdam; Centro Nacional de Las Artes, Mexico City; the Institute of Contemporary Art, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; Museo Nacional de Bellas Artes, Santiago, Chile; the Center for Contemporary Art, Tel Aviv; Berlin Video Festival, Berlin; Edinburgh Film Festival, Edinburgh; International Contemporary Art Festival SESC Videobrasil, Sao Paulo; Oberhausen Film Festival, Oberhausen, Germany; the Toronto International Film Festival, Toronto; and presented at the 50th Robert Flaherty Film Seminar, Vassar College, Poughkeepsie, NY. Dan Boord’s work has been presented at the International Public Television Conference in Stockholm. Luis Valdovino’s work has been broadcast on Independent Focus on WNET, New York. Dan Boord is Emeritus Professor of Critical Media Practices at the University of Colorado, Boulder, CO. Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO.

An ecstatic biopic about the world's most successful living painter. In vivid images, this AI hybrid film sheds light on the social role of painting in the field of tension between creativity, capital investment and spirituality. We are currently in the middle of the transition phase from analog to artificial reproducibility. Gerhard's unique painting techniques, especially squeegeeing, have triggered a worldwide hype. His techniques and ideas are being adapted, refined and improved by global “protagonists” and then flooded the markets (+social media). The myth of the “genius” writes itself into the DNA of an increasingly uncontrollable chain of creation as a fabulous and controversial homage.

Ulu Braun (1976) lives in Berlin and Finland. Between 1996 - 2005 he studied painting and film in Vienna, Helsinki, and Berlin. He has been using the medium of video to explore the field between the visual arts and auteur cinema since 1997 and he is one of the key figures who have transferred painting into video art. His works are regularly shown at film festivals and exhibited in art institutions.

Lancé dans une course poursuite avec le soleil initiée en 2012 dans « The Most Beautiful Attempt » Anton, 25 ans maintenant, pousse toujours inlassablement des cristaux de sel pour les tenir dans la lumière.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg (L), vivent et travaillent à Paris et Luxembourg. Les deux artistes démarrent leur collaboration en 2006, après leur rencontre au MUDAM de Luxembourg. Ensemble, ils développent un travail singulier (installations, sculptures-objets, vidéos, performances, photos), dont l’humain est le matériau principal et la rencontre le moteur. A partir de situations réelles et le plus souvent complexes, ils donnent corps à l’expérience du temps, de la durée ou de l’attente, en prise directe avec la matérialité d’un territoire et de ses limites – en particulier dans le contexte de situations d’enfermement. Attentifs à la marge plutôt qu’au centre, les artistes s’intéressent aux interstices flous où la société cantonne celles et ceux qu’elle marginalise ou invisibilise. « Notre univers, c’est la périphérie, c’est cet espace-temps qu’on ne veut pas voir ».

In the mountains and valleys of Sokndal, Norway, the BlackRock(US)- owned mining company Titania AS extracts the mineral ilmenite to create titanium white pigment. Sokndal is the most mined area in Norway, starting from the 1800's. Most of the region's inhabitants work in the mining industry. Titania A/S's quarry, based on open pit mining, is the world's largest ilmenite deposit, accounting for ten percent of the world's production. The black rock ilmenite-noritt is turned into titanium white pigment through different processes and branded as a product with "maximum whiteness". It is in everything from paint, paper, toothpaste, food, medicine and more. Hansen and Lie interacted with the landscape over several months and talked with many locals closely linked to the industry and the geography. Included in the film are a local activist who has taken action against Titania's waste dumping in the ocean, Titania's retired former geo-engineer, and a local mountain guide who knows the landscape and history like the back of his hand. 'Moving Mountains' follows traces of past and present mining in the landscape. While following the interventions in the landscape, the film asks how humans could act as supporting characters where the landscape is the protagonist.

The practice of artist and filmmaker Nanna Elvin Hansen (b. 1989, DK) moves in the murk between art and activism. Building audio and film projects via local, collaborative processes, her works unveil structural violence that impacts on human rights and displacement. Hansen graduated the School of Media Arts at the Royal Danish Academy of Fine Arts (2021). In 2015, she co-founded the collective project The Bridge Radio. Through their artistic work, Ase Brunborg Lie (b. 1983, NO) challenge societal and built structures, point out blind spots in the present and past and investigate how to create in the social, political and ecological present for a possible future. Site specificity, cross-pollination and critical reading of established histories are premised on queer/feminist and post/decolonial thinking, and often include collaboration with researchers, local initiatives, other artists/musicians/architects and others.

On the outskirts of the small town of Gommern, a heath garden has been inviting visitors for a walk since 1996. This was once the site of Ernst Reindel's rendering plant, who executed numerous people as an executioner during the Nazi era. The insistent camera view shows images in the here and now, while a stoic narrative voice recites original documents from Ernst Reindel's biography. What do we remember? How do we commemorate? What remains? The term "Begehung" is ambiguous in German. The title can be understood as "Begehung eines Ortes" (site visit) as well as a term from jurisprudence: "Begehung eines Verbrechens" (committing a crime). Since a corresponding translation in English seemed insufficient, we decided to keep the German title as the international title.

Thomas Brück was born in Zapopan (Mexico) in 1988. He studied time-based arts at the Burg Giebichenstein University of Art and Design in Halle and media art and cinematography at the Havana University of the Arts in Cuba in 2017. After graduating, he completed the Professional Media Master Class for artistic documentary shortfilm at the Werkleitz Gesellschaft in 2022 and was recipient of the Graduate Scholarship of the State of Saxony-Anhalt. In his artistic and cinematic work, he deals with concepts and constructions of reality and identity as well as the relationship between objectivity and aesthetic illusion. He is currently developing his first feature-length documentary film about historical and contemporary narratives of the appocalypse as a speculative vision of the upcoming end of the world. Thomas Brück lives and works in Halle and Leipzig.

Ce film-installation, projeté en boucle sur deux écrans, présente une variation sur la vision paroptique (la possibilité de voir avec la peau, sans le concours des yeux), la télépathie, la théorie des couleurs et le thérémine. Les différentes séquences introduisent l’hypothèse d’un cinéma imaginaire. Le film est présenté comme une série de rushes suggérant un film inachevé, en puissance.

Érik Bullot est cinéaste et théoricien. Auteur de nombreux films à mi-chemin du documentaire et du cinéma expérimental, il a publié récemment L’Attrait des ventriloques (Yellow Now, 2022) et Apunts de cinema (Filmoteca de Catalunya, 2023). Il présente en 2025 une exposition personnelle Voyages en kaléidoscope au Centre d’art Les Tanneries, accompagnée d’une publication Cinéma vivant chez Macula. Il enseigne le cinéma à l’École nationale supérieure d’art de Bourges.

This video is a scrapbook of dreams of (or by) animals inhabiting a world without humans. Natural Intelligence is “intelligence created by nature, natural evolutionary mechanisms,” - as opposed to artificial intelligence. With it, “there is a dynamic movement of natural intelligence that evolves from vague, fuzzy, and unconscious states to more concrete and conscious states, and thus realizing the essence of perception” (Perlovsky and Kozma, 2007, p. 1). It is beautiful and deeply flawed, but it levels out in the end.

Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculptures and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modelling, video editing, and image editing programs. Bunkley, a NZ/USA dual citizen, received a National Endowment for the Arts fellowship, two NY state grants, and the Rome Prize Fellowship in the USA. He has exhibited at the Museum of New Zealand Te Papa, had international screenings, including the White Box Gallery in NYC, the Athens Digital Arts Festival, at the Rencontres Internationales Paris/Berlin several times between 2003-2024, and exhibited video multiple times at File SaoPaolo. In 2012, he was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He participated in the Athens Digital Arts Festival in 2017 and File Sao Paolo (2017, 2018, 2019). Bunkley screened his video, Ghost Shelter/6, at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany, in 2018. He participated in the Visions in the Nunnery at the Nunnery/Bows art gallery in London in 2022 and in 2024 at Rencontres Berlin, Haus der Kulturen der Welt, Berlin, and he exhibited in Artweek Gyumri, Armenia. he was the award winner for Best Art | Experimental video/film at the New York City Independent Film Festival 2024 in NYC.

Generalized Hospitals: The Luke Luke & Laura Laura story …Just one more thing! VILM, Stereo, Color, 57:30, DCP, 2024 Generalized Hospitals: The Luke Luke and Laura Laura story …Just one more thing! is the latest collaboration by Darrin Martin and Torsten Zenas Burns reframing elements of nostalgic popular culture into contemporary dialogue with soap operatic tropes, fictional televisual humor, and interspecies relationships. Characters from daytime drama, 1970's children programming, gameshows, and sequential art history are reimagined and re-contextualized to consider new potential mutations and cohabitations to thrive in a changing environment. Transformation is unboxed, and memory solicited through easter eggs, lidar animations, appropriations, and original videos interweaving recognizable characters from television commingled with their new doubled variants. Just one more thing…. Our forecasted performative rituals may suggest ways that these characters merge human and non-human characteristics of past trauma into new bodies of possibility.

Burns & Martin both received BFA’s at Alfred University. Burns received his MFA in video and performance from the San Francisco Art Institute in 1993. Martin received an MFA in media and sculpture from The University of California, San Diego in 2000. Together, they have based their videos and installations on their research into diverse speculative fictions including re-imagined educational practices, appropriated horror genres, animation choreographies, soap-opera cosplay, and cryptid human love stories. Selected videos are distributed by VTape, Ontario, Canada and Video Data Bank, Chicago. They have participated in residencies at Eyebeam, Signal Culture, and The Experimental Television Center. Their single channel videos have screened at venues including The Museum of Art & Design, Pacific Film Archive, Aurora Picture Show, Migrating Forms, Video_Dumbo, Chicago Underground Film Festival, Madrid Museum of Contemporary Art, Stuttgarter Filmwinter Festival for Expanded Media, Oberhausen Short Film and Video Festival, European Media Arts Festival, Spectacle Theater, 18th Athens Digital Arts Festival, and the Florida Experimental Film/Video Festival. Their installations have exhibited at venues including Eyebeam, The Lab, Krowswork Gallery, Fosdick Nelson Gallery at Alfred University, Hobart and William-Smith Davis Gallery, Zhangzhou Museum of Art in China, and The Tack Room Project Space in LaVerne, CA.

An AI chatbot wonders about their digital memory as they travel through their infrastructures. Under the Pacific Ocean, they talk to an Internet fiber-optic cable. In the city of Santiago, they observe a protest by an ecofeminist group against a new Google data center. In the middle of the desert, the chatbot hears the tragic love story that led to the creation of the Atacama Salt Flat and discovers that cell phone batteries contain the tears of a volcano. Through this speculative, research-based narrative, the short film explores the socio-environmental resonances of digital infrastructures in Chile.

Josefina Buschmann is a researcher, filmmaker and media artist exploring technologies and ecologies. She is a member of the collective MAFI -Filmic Map of a Country-, with whom she collaborated as a filmmaker in OASIS (2024, Berlinale Forum), co-directed GOD (2019, Visions du Réel), and was the general editor of MAFI.tv (2012, IDFA Doc Lab). As a media artist, she created the installation THE FALLEN CLOUDS (2022, Ars Electronica) and the expanded documentary OPERATIONAL ATMOSPHERES (2019, Forecast Forum). Josefina holds a Master's degree in Comparative Media Studies from MIT, where she worked at the MIT Open Documentary Lab, and prior degrees in Sociology and Filmmaking. She has taught courses in media studies and visual and digital anthropology, and was the coordinator of the Visual Anthropology Lab at Universidad Católica de Chile.

With the help of two scenes from two different Hollywood films, a narrator weaves a winding tale about the inability of language to articulate its own origin.?

Erik Bünger is an artist, writer and composer whose work represents an ongoing investigation of the human voice and its paradoxical relationship to the human body.

Direct action is a tactical strategy of protest that seeks to achieve an end directly and by the most effective means. DIRECT ACTION is a contemporary portrait of one of the most high-profile militant activist communities in France: a 150-person strong rural collective that successfully resisted an international airport expansion project in 2018, created an autonomous zone between 2012 and 2018, survived multiple violent eviction attempts by the French state and spawned a new ecological movement in 2021. Using a collaborative and immersive observational approach, the film documents the everyday lives of a diverse ecosystem of activists, squatters, anarchists, farmers and those labelled by the government as “eco-terrorists”. Can the success of a radical protest movement offer a path through the climate crisis?

Born in 1978, the Berlin-based artist and filmmaker produces films with his own company CASKFILMS. His work explores new forms to address political and social issues. His films have screened at festivals including in Berlin, New York, Rotterdam and Edinburgh. His short film Laborat won a Silver Bear at the 2014 Berlinale. The artist and filmmaker was born in the USA in 1976 and is currently based in Marseille, France. His works focus on the intersection between ethnography and psychedelia and has been presented around the world. He was an exhibiting artist at documenta 14 in 2017 and his work has already been shown at the Berlinale several times, most recently in 2018 with The Rare Event in Forum Expanded.

A team of night workers arrive at the factory for another night of labour, and wait for their shift to begin.

Sam Calafiore is an Italian-Australian filmmaker based in Naarm (Melbourne). He is interested in telling stories about working-class people. Same Old, Same Old is his debut short film. He is currently in development on his next short film, to be shot late-2024, and is currently writing his debut feature film, which concerns the casualization of the workforce.

It starts with a sudden hole in the ground. As the narrator’s voice explains at the beginning of Adina Camhy’s Crater, a hole in the floor of her apartment opened up overnight – a negative space, the trace or scar of a mysterious event. Accompanying this narration, as in the rest of this stringently composed film essay, we see appropriated images of initially unexplained origin. Only at the end of the work, which was created out of a cooperation with Dan Robert Lahiani, do we learn that the material comes primarily from NASA sources, a geo-information producer, various YouTube channels, and the Yad Vashem Holocaust memorial. What connects all of these finds is, on the one hand, the voiceover narrative, which draws a reflective arc based on various crater appearances on earth and in space: depth and abyss as evidence of past moments of violence. On the other hand, the frequently coarse-grained images, which are also interlocked through their surface structure, often reveal flaws: visual gaps as counterparts to a supposedly omnipotent vision. The musically subtly accentuated network (with sound design by Margarethe Maierhofer-Lischka) spreads out over far-flung materials – and yet is held together concisely by the narrow encircling and multi-perspective illumination of the crater phenomenon. Key roles are played by the Ramon crater in the Negev desert, the Israeli astronaut Ilan Ramon, who named himself after this same crater, and a drawing by the Shoah victim Petr Ginz, who depicted the earth as seen from the craters of the moon. All of this and much more is congenially interwoven in this meditation on “dynamic memorials”, whose negativity continues to keep us focused. Getting used to the real hole in the ground at some point may have proved possible, but the intractable facets of the mental phenomenon have us feeling continually uneasy, and rightly so. (Christian Höller)

Adina Camhy, born in Graz, lives in Vienna and Graz (AT). Camhy studied architecture at TU Graz and UPV Valencia (ES) and Master Critical Studies at the Academy of Fine Arts Vienna (ongoing). Adina Camhy’s works are shown in public spaces, swimming pools and coffee houses as well as at film festivals, cinemas and exhibitions in Austria and abroad. Exhibition venues include MIT Massachusetts (2024), Belvedere 21 (2023), Steiermarkschau (2023), Leopold Museum Vienna (2022), Kunsthaus Graz (2021), Amos Rex, Helsinki (2020), Art Cube Artists’ Studios / Manofim Jerusalem Contemporary Art Festival, Jerusalem (2020), Botanique, Brussels (2020). Camhy’s short films have been screened at film festivals such as BFI London Film Festival, Diagonale – Festival of Austrian Film, Doclisboa, Curtocircui?to Festival International De Cine Santiago de Compostela, Milano Film Festival, Uppsala International Short Film Festival or Werkleitz Festival. She has received scholarships, grants and prizes such as the Art Promotion Award of the City of Graz (2017), the Graz Kulturjahr 2020 grant for the collaborative project GrazRand, Pixel, Bytes + Film (2022) or the annual scholarship of the Province of Carinthia for interdisciplinary art forms (2023). In 2023 spent two months in Trieste for an artist residency (AiR Trieste, funded by the Province of Styria) and researched the topic of Karst/ Karso/Kras in the Capitalocene.

The film revolves around a forgotten event: the 1972 riots directed against guest workers in Afrikaanderwijk, a neighbourhood of Rotterdam. It poses questions such as how we remember, the role of subjectivity in shaping our collective memory, and the transformative potential of re-enactment as a means of reawakening the past. Central to this film is a meticulous focus on memory, as it seeks to unravel the subjective nature of individual recollections, recognising that memory is not a fixed entity but rather a fluid and subjective phenomenon. The aim of the film is to highlight contrasting shades and nuances that exist among various individual remembrances of the Afrikaanderwijk riots, allowing for a diverse range of perspectives to be acknowledged and woven together. Reenactments feature as pivotal elements within the project, which not only allows for the recreation and revisitation of the past, but the process of reenactment itself operates as a potent tool for reclaiming forgotten narratives.

Cihad Caner (b. 1990, Istanbul) is an artist based in Rotterdam. His practice explores the politics of the image through the mediums of video, photography, music, motion-capture, and CGI. Caner’s research-driven practice revolves around (re)presentation, language, marginalisation and alterity. His fictional CGI characters are often multi-lingual protagonists in non-linear, metaphorical narratives that employ humour, absurdity, and poetry to critique the status quo. Recently he has exhibited at Akademie der Künste, Berlin; Kunstinstituut Melly, Rotterdam; Kasseler Kunstverein, Kassel; Nest, Den Haag; Shahin Zarinbal, Berlin; Blitz Malta, Valletta; EYE Film Museum, Amsterdam; Július Koller Society, Bratislava; Kunsthal Mechelen, Mechelen; Nieuwe Instituut, Rotterdam, and ?stanbul Modern, ?stanbul, among others. Caner was a resident artist at the Rijksakademie van Beeldende Kunsten (2021-2023).

Banzavóis is an invented word, in assonance with maize and perhaps dialectal amalgam, coined by Carlo Emilio Gadda for corn, a symbol of Lombard agricultural production. Banzavóis may also stands for empty bellies, the laborers and sharecroppers who found job in large numbers in the first Lombard industrial plants at the end of the 19th century. The word suggests a geographical-political shift in an imaginary South America: brought back to nowadays Brianza, it is well suited to its landscape rich in tropical flora, globalized right into the inner structure of a drastically changed nature. Banzavóis follows for two years the radical transformation process of the former Isotta Fraschini industrial area in Saronno, 20 km from Milan. A coring throughout a century, a kaleidoscopic journey in the history of a company abandoned for 30 years, six hectares of ruins and six of invasive species. The factory becomes a palimpsest for a narration in which antifascism, memory of work, conflict and discontinuation are gradually interwoven.

Lorenzo Casali works mainly in site-specific projects, which start from the analysis of the complex network of relationships existing in a given place, from the study of the cultural, social, political and economic stratifications that define it. Since the early 2000s he has participated in prizes, screenings, exhibitions and residencies in Italy and Europe. Since 2010 he has worked in the artistic duo Casali + Roubini. In addition to artistic research, he combines teaching activity, currently at the Academy of Fine Arts in Rome (photo documentation) and Bergamo (video editing).

Trois Rives is a portrait of an imaginary river. Crossing it from east to west, or taking a detour to the south, from red to green, from undergrowth to the city, to its industrial zone: the film attempts to map the workings and organization of our civilization through the time of flowing water. In terms of filmmaking intentions, each shot is filmed on foot to the very limit of its narrative, until the image is exhausted. I'm interested in this approach because it allows me to work on the entrances and exits of the field, the micro-events that are usually invisible. I like to show the landscape as it thinks. In any case, this is the feeling that duration can give the viewer, when the different relationships and transformations that exist within a landscape are brought to the fore. And I think that's the great strength of digital, the beauty of relationships.

Damien Cattinari was born in 1993 and lives in Marseille. After studying geology for 5 years, he graduated from the Lussas documentary school in Ardèche. Through the prism of poetry, his films and photos seek to explore the fragility of the environment, landscapes and the world yet to come. As was the case during his geological mapping campaigns, his visual research is above all concerned with finding a “contact zone”, an image where several worlds worlds meet and interact. Recent screenings include: ÉTATS GÉNÉRAUX DU DOCUMENTAIRE (2019), FESTIVAL INTERNATIONAL JEAN ROUCH (2019), DOC EN COURTS (2019), PREMIÈRES OEUVRES (2019), VIDEODROME 2 (2022), DOBRA FESTIVAL (2022), Mesa Lendit exhibition at 6b (2022) As well as a photographic exhibition Où sont les arbres at the Centre Géographie in Paris as part of the territoire en images festival (2022).