Catalogue 2025-2026

Under certain influences, we develop a framework but is there anything that goes beyond this framework? Is it the body or the spirit influenced and shaped by cultures and beliefs? This video presents the process of thinking, a dialogue with self-spirit and friends.On inclusion within the country, the border, the body, and the spirit, are things that exist for a purpose free from their limitations in spirit? Do it for yourself and experience the truth. There are three parts in this work narrated from three locations, Taipei Island, Thailand, and Golden Triangle. Here we see a temporary place built in Taipei Island, molded with local materials, and later it will disappear over time. However, we don't know what will be happening to them in the end, just like those election flags buried in the ground and weathered for 20 years. They were created and dug up for a purpose but later disposed over time to become a part of the landscape. Taipei Island is quite like a dumping ground of things, in which their purposes were forgotten and got lost. For the people displaced around the island, their body is the house of the spirit but belongs to their countries. This video also describes about Golden Triangle in which the things are experienced same in Taipei Island. The place is located in the middle, but in the middle that can not be identified. Where does our self-identity come from? Is it shaped by the country, or is it indoctrinated by our own body? Finally, I let go of my thoughts and let my spirit wander freely because this may be a good way of experiencing the truth of things- a real exchange.

( b.1999, Taipei, Taiwan ) is an artist who lives and works in Taipei. The vocabulary words used in the work consists of various fields of knowledge, such as nature, technology, and history to construct a multi-perspective viewing. The mediums include installations, videos, and photographs. The core of the work stems from life experiences, exploring and identifying self, spirits, places, and histories. The individual is viewed from a topological perspective, and the ideas are generated by navigating through different systems and coordinates to interweave a common location in points. Through different processes, the purposes are to view how these experiences have impacts on the individual and shape multiple subjectivities.

Opus III explore le paysage des montagnes de l’Atlas à la fois comme un territoire physique et comme un topos symbolique. Tournée entre la Tunisie et le Maroc, l’œuvre prolonge les recherches initiées dans Opus I et II, en confrontant le paysage visible à ses résonances mythologiques. La pièce envisage l’Atlas non seulement comme un massif géographique, mais comme une figure archétypale façonnée par des récits récurrents, des croyances et des mémoires collectives. À travers un langage visuel lent et contemplatif, Opus III devient un passage entre la présence matérielle des montagnes et les strates immatérielles de sens qui les habitent. L’œuvre invite le·la spectateur·rice à déplacer son point de vue et à entrer dans un espace où paysage, mythe et perception s’entrelacent.

Haythem Zakaria (né en 1983 en Tunisie, basé en France) est un artiste transdisciplinaire et performeur sonore. Travaillant entre la vidéo, l’installation, la photographie, le dessin et le son, il explore la manière dont les paysages, les mythes et les formes de mémoire façonnent la perception, et comment le visible peut s’ouvrir à des dimensions plus fugitives de l’expérience. Sa pratique s’ancre dans la recherche de terrain, les temporalités lentes et une attention affinée à la résonance des lieux. Depuis 2010, son travail a été présenté à l’international dans de grandes expositions, biennales et espaces d’art indépendants à travers l’Europe, l’Afrique du Nord, le Moyen-Orient, l’Asie et l’Amérique du Nord, notamment à documenta 15, la Biennale de Venise, le Japan Media Arts Festival, Cairotronica, Dream City, Kunstraum Kreuzberg/Bethanien, Casa Árabe, ainsi que dans de nombreuses institutions à Paris, Londres, Berlin, Pékin, Rabat, Tokyo et San Francisco. Lauréat du Grand Prix du Japan Media Arts Festival pour Interstices, Zakaria continue de développer des projets fondés sur la recherche, où l’image, le son et la matière se croisent, ouvrant un espace d’enquête sur les archétypes, la mémoire et les seuils entre le visible et l’invisible.

In a decaying urban wasteland, a woman’s routine walk with her dog turns into a search when the leash slips. As they move through deserted industrial spaces, both begin to adapt to the absence of control, transforming from domesticated beings into defiant strays. Their shifting relationship unfolds as a quiet study of dependence, rebellion, and autonomy within an oppressive landscape.

Andy Xianyi Zhang is a London-based filmmaker and moving image artist, and a recipient of The FLAMIN Fellowship (2024–2025). Originally from Shanghai, she works at the intersection of experimental film and artists’ moving image, exploring themes of urbanization, alienation, and self-discovery. Her practice employs a restrained yet defiant visual language, investigating the relationship between human presence and space through the aesthetics of slow cinema and non-linear narrative structures. Her work has been exhibited internationally, including at the Beijing International Short Film Festival, Ugly Duck (London), and Punch Gallery (Washington D.C.), and has been featured in NOWNESS Asia and Artist Talk Magazine. Zhang holds an MA in Film from the University of the Arts London.

The Snow to Fall (2024) bears witness to the obscure contours of a heritage site undergoing maintenance. Two voices, whose presence is known through subtitles at the two ends of the screen, discuss in an exhaustive language the interiors of the room, the story of a boulder encountered in a mountain house, and the dust that keeps coming back. They hold on to the conversation to survive the time, but the time does not end. Through a sustained gaze at the often invisible labour of care in memory institutions, the film explores the unruly temporality of care, the elusive shapes of kinship, and what remains of those that fail to become history.

Else/Xun is a researcher and artist who works primarily with moving image and creative-critical writing. Inhabiting chronic times, their practice-based research investigates the politics and potentials of care in the systematic carelessness of neoliberal societies. They fabulate dialogues that attend to the functioning of language and power relations, telling stories to trace alternative modes of belonging and becoming centred around interdependency, care, and radical kinship. Else/Xun is an Artist in Residence at CW+ of Chelsea and Westminster Hospital NHS Foundation Trust (2024-25) and a member of Neighbours Group at Studio Voltaire, London (2025-28). Recent exhibitions and screenings include East Wing Biennial (The Courtauld Institute of Art, London, 2025), European Media Art Festival (Osnabrück, 2025), Sonic Disruption (Tate Modern, London, 2024), and Queer Currents (ROZENSTRAAT, Amsterdam, 2023). As part of the artist collective Hebianhengge ????, they have spoken about their research on Chinese queer language at Manchester China Institute (2022) and Queer China UK (2022). They work and live in London and hold an MRes in Arts & Humanities, followed by an MA in Contemporary Art Practice from the Royal College of Art.

À l’été 2023, le gouvernement de Jiujiang a lancé le projet de dépollution du lac Gan Tang. En quelques semaines, ce lac ancestral, fort de plus de deux millénaires d’histoire, a été entièrement asséché. Non loin de là, dans le parc Gan Tang, un garçon se réveille sous la pluie. C’est là que le destin de Gan Tang l’attend.

ianming Zhou (Alaric) travaille avec des médias fondés sur l’image, le son et l’installation. Il explore les zones intermédiaires entre paysages physiques et paysages conceptuels. Ses œuvres ont été présentées notamment à Antimatter, Mimesis, Interfilm, Experiments in Cinema, Non-Syntax, Leiden Shorts, RPM Festival, entre autres.