Programme Paris 2022

L'œuvre clé, The Single Screen, donne un aperçu de la série de performances que Joëlle Tuerlinckx et son équipe That's it! ont réalisées au musée de renommée mondiale Dia:Beacon (États-Unis) entre 2015 et 2018 sur invitation de Jessica Morgan (Nathalie de Gunsberg Director, Dia Art Foundation). Ce faisant, l'artiste confronte, de manière conceptuelle et humoristique, l'expérience du temps et de l'espace d'un musée à celle d'une salle de cinéma. Sur un écran de projection, l'espace s'étend, déborde, déploie ses sujets, doubles et multiples. Une coproduction d'Escautville, Dia Art Foundation, VAF et S.M.A.K. (Gand, BE).

Since the 1990s, and mainly after her participation in Documenta 11 in 2002, the artistic journey of the Belgian artist Joëlle Tuerlinckx (°1958) has gained momentum, with solo and group exhibitions in major institutions around the world (including the Museo Reina Sofia in Madrid in 2009, the Haus der Kunst in Munich in 2013, the Hermitage in Saint Petersburg in 2014 and her participation in Skulptur Projekte Münster in 2017). Today Tuerlinckx is among the most internationally renowned Belgian artists of her generation.

Materiality Will Be Rethought by British-Irish artist and choreographer Joe Moran was developed as a site-specific live performance before being reimagined as a film work. The work navigates dance’s potential to animate and disrupt architectural space, the physicality of the dancer’s voice and the moving body as a site of political unrest and complex subjectivities. Materiality Will Be Rethought was commissioned by Whitechapel Gallery, London, in dialogue with the exhibition Carlos Bunga: Something Necessary and Useful (on display at the gallery 21 Jan – 6 Sep 2020). It is performed by dancers Temi Ajose-Cutting, Thomas Heyes (Blackhaine), Sean Murray and Eve Stainton, and created in collaboration with editor Sue Giovanni and cinematographer Alana Mejía González.

Joe Moran is a British-Irish artist and choreographer based in London with a wide-ranging practice incorporating theatre and gallery performance works, critical writing, curatorial projects and drawing. His work centres the body and embodied presence as a site of complex subjectivities and political unrest, with queering frequently deployed as its principal critical strategy. His work is informed by a background in improvisation and experimentation, and a fascination with the problems and opportunities of formal choreographic composition and notions of expanded choreography. Joe is Artistic Director of Dance Art Foundation through which his performance and curatorial work is produced and has worked internationally as a dancer with choreographers Deborah Hay (USA), Stina Nyberg (Sweden) and Siobhan Davies (UK) amongst others. Recent commissions and performances include Whitechapel Gallery (2020), Sadler’s Wells (2019), Nottingham Contemporary (NottDance, 2019), The Lowry Galleries (2019), London Contemporary Dance School (2019), Wysing Arts Centre (2018), Bluecoat (2018) coinciding with the Liverpool Biennial, Kettle’s Yard (2018), Sadler’s Wells (2017), Delfina Foundation (2016), ICA (Block Universe/ fig-2, 2015) in collaboration with Eva Rothschild and David Roberts Art Foundation (Frieze Art Fair, 2014). Notable collaborations include with composer Kaffe Matthews, editor Sue Giovanni, visual artists Eva Rothschild, Carlos Bunga and Magali Reus, and dancers Temitope Ajose-Cutting and Andrew Hardwidge. Joe contributed a chapter to the publication?Who Cares? Dance in the Gallery & Museum, wrote Materiality Will Be Rethought, an essay on dance and the exhibition space for the Whitechapel Gallery Carlos Bunga exhibition catalogue and Nothing About Us Without Us, a commissioned article on artist advocacy published by Siobhan Davies Dance in its inaugural Material journal.

Us, humans, the one species present in every latitude of the earth have never really settled, from hunters and gatherers to refugees and expats. Throughout human history reasons for exploration vary; trade, fear, ambition, or curiosity. Still nomads, our quest to chart every reachable corner has been fundamental to the dissemination of symbolic structures growing from wealth and power into different forms around the globe. Fata Morgana balances between that primal urge to explore the unknown and the instinctive need to make a home and belong... Pulling or being pulled? Coming, going or returning? The physicality of struggle, disappearance and emergence within this piece becomes a metaphor reflecting on Poetics and Politics, Geography and Geometry, Dreams and Death, as well as memories of Future and Past. With the uncertainty and hope of new beginnings across the ocean, the transient figures glimmer and nearly blend into their surroundings, flirting with symbolisms of ritual: the platonic geometry, immersion/ascension, and their perpetual journey. These travellers move oblivious of any limits but their own, challenging the very notion of borders; which are, anyway, invisible and futile drawings of power onto an ever-shifting landscape defiant of any divisions. Inspired by the artists own attempts of somehow always carrying home with them, the piece is a video loop meditating on the emotional ebb and flow of the many departures and the inevitability of a return. A return home, that whether it be a place, memory, feeling, or a word it is always a reflection of oneself.

SEBASTIAN BETANCUR MONTOYA: A common conceptual thread legible in his artwork is the constant preoccupation for the body[ies] and its relation with[in] the surrounding space and its limits/conditions; the themes of home, language, migration, belonging and uprooting have become unavoidable for someone as him, who has lived on the move, away from his birth place half of his life. Sebastián´s work has been part of exhibitions, publications, art residencies, and art fairs in Colombia, The Bahamas, Qatar, Russia, and Germany and participated in other events such as The 2015 Oslo Architecture Triennial, the 2015 Kuwait pavilion for the Venice Biennale, NYT art for tomorrow 2016, and the 2018 Istanbul design Biennial. ABI GREEN: Born and raised in London, she was educated at Fine Arts College, Chelsea College of Arts and went on to graduate with a BA (Hons) in Photography from Middlesex University London. Abi’s work has been featured on Vogue and Vogue Italia online, Le Book and It’s Nice That. Nominated to exhibit at the D&AD, New Blood Awards, London, in 2009 and Mother London’s, Open Book in 2015, she has also been published both in the UK and the Middle East, including magazines such as Notion, Crack, Elle and Twenty-six. Driven by interests in colour, light art, and sculptural objects, she is often influenced by surrealism, modern and industrial design, which enhances her contemporary visual style. Her projects carefully balance a minimalist approach with a graphic, colourful aesthetic resulting in a distinctive eye-popping quality. A key part of her image-making is the humorous twist that underpins her creative concepts, with this unique approach she hopes to leave her audience with a taste of her playful nature.

"1550 San Remo Drive" was filmed in February 2017 on the premises of the Thomas Mann House in Pacific Palisades, California, USA. The video features quotes from Thomas Manns diaries (1940-1943), architect JR Davidson and advertisements from the real estate companies which marketed the house, before it was bought by the German government in November 2016 for $13.25 million. The video features detailed shots of the uninhabited house before its recent renovation, quotes from Thomas Manns diaries (1940-1943) and advertisements from the real estate companies which marketed the house. "1550 San Remo Drive" reflects on personal, economical and representational desires and aspirations.

Niklas Goldbach, born in Witten, Germany, lives and works in Berlin. After studying Sociology at Bielefeld University and "Photography and Video" at the Unversity of Applied Sciences Bielefeld, he was awarded with the "Meisterschüler" degree at the University of the Arts Berlin in 2006. In 2005 he received the Fulbright Grant New York and majored in the MFA program of Hunter College, New York City. In his videos, photographies and installations Goldbach is involved in the relation between architecture and ethics within modernist traditions and postmodern cities. Established between reality and fiction, Goldbach's works use architectural concepts and elements to create ambiguous perceptions of man-made environments. In his recent videos and photographs, he appropriates urban environments as stages to examine the relationship between subjectivity and hierarchical societal structures within and beyond the nation state through the lens of a globally expanding interconnectivity of these sites. In his earlier film works, his often duplicated protagonists have colonized epic stages of modern architectural complexes, postmodern urban environments or alleged paradises defying civilisation, all finding their commonality as places oscillating between utopia and dystopia. Niklas Goldbach received several scholarships (among others Stiftung Kunstfonds Bonn 2010, Arbeitsstipendium Bildende Kunst des Berliner Senats 2013, Projektförderung des Berliner Senats 2014, Dresdener Stipendium für Fotografie 2016, Villa Aurora Los Angeles 2017) and presented his works in numerous solo shows, group exhibitions, and festivals in venues such as the Museum der Moderne, Salzburg, Museo Reina Sofia, Madrid, Mori-Art Museum, Tokyo, Neuer Berliner Kunstverein n.b.k., documenta 14 public programs, Berlinische Galerie - Museum of Modern Art Berlin, Cornerhouse, Manchester, National Taiwan Museum of Fine Arts, Centre Pompidou, Paris, Houston FotoFest Biennial 2016 and the Short Film Festival Oberhausen.

"Night Life" provides a glimpse into the behavior of wildlife after dark and serves as a reminder of the unwitting persistence of nature. For this piece a trail camera was moved periodically to capture various angles and shots at night throughout the seasons. The animals (mostly deer) were then framed within circles against a black background and choreographed into compositions that follow their relationships with one another while creating new interactions by compressing a year’s worth of footage into fourteen minutes. "Night Life" is a meditative portal through which a nocturnal world parallel to ours reveals the resolve of its inhabitants within an everchanging environment. In the process, our relationship to the rhythms of nature is linked to personal associations, memories and metaphors.

Matthew Garrison was born in Albany, NY, and grew up in Chicago. After living and working in New York City for eleven years, he moved to Pennsylvania to teach art and technology at Albright College. His work is exhibited and screened internationally including New York City, Korea, India, Panama, Brazil and Singapore. Garrison's art explores a dialog among intimate space, landscape and the environment.

In an unknown near future and past, a filmmaker is trying to retrace the steps of Silvia. “Who is Silvia? What is Silvia?” Silvia has gone missing. In this filmic reconstruction, Silvia drifts with the forest, attempting to attune with its temporalities. In a quest for co-existence, Silvia bridges the supposedly opposing world-views of ‘Sequency and Simultaneity’, presence and duration. At the borders of not only the forest but also of science, the destructive powers of a proprietarian society only obey the laws of succession. Here, the socialists plans of the post war era are being demolished and cleared for new and profitable housing. But in Silvia’s archive, city infrastructure and forest root systems are being integrated. Silvia’s recordings are cut in intervals where time itself becomes unstable. Through a numbering system of repeating patterns, progression is broken. Silvia has abandoned the society of ‘means to an end’. In this movement lays the path to un-build the walls that have infiltrated all aspects of this world. In the film there are excerpts by: Ursula K. Le Guin, The Author of the Acacia Seeds' and Other Extracts from the Journal of the Association of Therolinguistics and The Dispossessed, 1974. Walter Benjamin, Painting, or Signs and Marks, 1917. Una Canger, What the Eye Sees, 1986. Prints, photographs, drawings and architectural plans by among others: Florence Henri, Lotte Stam-Beese, Alma Buscher and Silvia.

In recent years, Pia Rönicke has been investigating different botanical collections that show traces of colonial and geopolitical conditions. She is in her work concerned with problems of space and spatial transformations. She is interested in the connection between workspace and filmic space, and how we conceive historical matters in relationship to our daily activities. Rönicke often works with archives and the practice of collecting is a recurring theme in her practice. She works with film, prints, sculptures and objects, which together builds narratives. CURRICULUM VITAE Pia Rönicke Born: Denmark, Roskilde. 1974 Education 1995-1999 The Royal Danish Academy of Fine Art 1999-2001 California Institute of the Arts. Solo Exhibitions (selected): 2022: Drifting Woods, Munkeruphus, Denmark 2021: Drifting Woods, Deserted Forest, Gävle Konstcentrum, Sweden 2020 Astrid, Lotte og Florence, Astrid Noacks Atelier, Copenhagen 2019: one artist / 2 films / one week, gb agency, Paris 2018: Word for Forest, Parallel Oaxaca, Mexico 2017: the Cloud Document, Overgaden. Institute of Contemporary Art 2015: The Pages of Day and Night, gb agency. 2012: Aurora, Museo Tamayo, M?xico City. Dream and action find equal support in it, gb agency, Paris 2011: Dream and action find equal support in it, Andersen’s Contemporary, Copenhagen 2010: Scanning Through Landscapes, WALDEN AFFAIRS, Den Haag 2009: Facing, CENTRO CULTURAL MONTEHERMOSO KULTURENEA, Vitoria, Spain. 2008: A Usual Story from a Nameless Country, gb Agency, Paris Travel Stories, Casco, Utrecth, Holland. 2007: Rosa’s Letters - Telling a Story, croy nielsen, Berlin. 2006: Rosa’s Letters - Telling a Story, gb Agency, Paris Capitol Punishment, in collaboration with Olga Koumoundouros Glassell School of Arts, Houston. The Plan is Dictator. Lunds Konsthall, Lund, Sweden.* 2005: Hoardings II, public project, Tate Modern. London Without a Name. Gallery Andersen’s, Copenhagen. Land/Documents. Display Gallery, Prague. 2004: Without a Name, Gallery gb Agency, Paris. Landscapes of Resistance,Trafo Gallery, Budapest. Six Architects – An Architectural Rorschach Test, •• A collaporation with Michael Bears. Lunds Kunsthal, Sweden. 2003: Seven Architects – An Architectural Rorschach Test, Schindler residency, The Makey Apartments, Los Angeles ••A collaporation with Michael Bears. 2002: ‘A Place Like Any Other’, Gallery Tommy Lund, Copenhagen, Denmark. Group Exhibitions (selected): 2022: Busan Biennale, Museum of Contemporary Art, Busan (MoCA Busan) Flowers, MAMAC, Museum of Modern and Contemporary Art, Nice 2021: Acts of Listening: A Common Attempt to (Re) Articulate a Feminist Position, Astrid Noacks Atelier, Copenhagen Perspectives #01,Fonds regional d’art contemporain, Alsace The Secret Life of Plants, Casa da Cerca, Almada, Portugal 2020: The City, BEK – Bergen Centre for Electronic Arts, Bergen 2019: Artistic Undressings of the Royal Seaport, Moss exhibitions, Stockholm Drawing Attention, DEN FRIE, Contemporary Artcenter. Kbenhavn I slipped into my metamorphosis so quietly that no one noticed, DEN FRIE This is Not An Apricot, SixtyEight Art Institute, Copenhagen 2018: Case of Emergency, public project, Gävle, Sverige 2018: Word for Forest, Parallel Oaxaca, Mexico 2017: AMIF, LUX Scotland. Tramway, Glasgow. Collaboration with Henriette Heise, Deirdre Humphrys, Mia Edelgart Conversation I: Family, work, art, surroundings, Tom Christoffersen. Pia R?nicke, S?nder Boulevard 88, 3.tv 1720 Copenhagen V. E-mail: piaronicke@gmail.com Mapping with Plants, book work and symposium, Hamborg Art Academy. DFU Kino, screening, Den Frie Udstillingsbygning. 2016: Botany Under Influence, Apexart, New York. But Still Tomorrow Builds into My Face, Lawrie Shabibi, Dubai. 2015: A story within a Story G?teborg International Biennial for Contemporary Art.Old News, cneai, Paris. Kvinder frem. Museum of Contemporary Art, Denmark. Lokale, Flensborggade 57, Copenhagen 2014: Photography and Architecture. Photographic Center, Copenhagen Human- Space-Machines. Henie Onstad Kunstsenter (HOK), Oslo. Buildering : Misbehaving the City, Contemporary Arts Center (CAC), Cincinnati, Ohio 2013: Reports from New Sweden, Tensta Konsthall. Human- Space-Machines: Stage Experiments At The Bauhaus, Stiftung Bauhaus, Dessau Fokus, Nikolaj Kunsthal, Copenhagen. 2012: Horizons persistants, Centre d’art le LAIT, Albi Cities of Light: Film Programme curated by Inheritance Projects, Devi Art Foundation, Gurgaon, India. Newtopia: The State of Human Rights, exhibition for the City of Mechelen, Belgium VISIT TINGBJERG, Artfestival in Tingbjerg. A Gathering, locus Athens, Athen Envisioning Buildings, MAK, Wien 2011: Ficciones Urbanas, Centro Cultural Koldo Mitxlena, San Sebastian. Community without Propinquity, Milton Keynes Art Gallery, UK Terms of Belonging (gaaafstand collaboration with Nis R?mer) Overgaden. Institute of Contemporary Art, Copenhagen. L'idee de nature, Mulhouse Kunsthalle, Frankrig 2010: hem ljuva hem, Konsthall C, Stockholm. THIS STORY IS NOT READY FOR ITS FOOTNOTES, Ex Elettrofonica, Roma. Danmark 2010 - en vejledning til nationen for 'verdens lykkeligste folk'. (gaaafstand collaboration with Nis R?mer) Overgaden. Institute of Contemporary Art, Copenhagen. Wiels, Rehabilitation, Bruxelles – Brussel Both Before and After, gb agency, Paris Mostra Internacional de Films de Dones de Barcelona, Film festival, Barcelona. Where are yesterday's tomorrow? Film screening, Mus?e d'Art Contemporain de Montreal. Montreal. 2009: Changes in the contemporary city, Sculpture International Rotterdam (SIR), Coolsingel cinema, Rotterdam. The Curve is Ruinous (film screening program), Grazer Kunstverein, Graz. After Architecture, CASM, Barcelona. In May (After October), Gallery TPW Toronto Gets Under the Skin (film screening program), The Storefront for Art and Architecture, New York Os demos, Publik, Copenhagen 2008: Overcoming, Ernst Museum, Budapest After October, Elizabeth Dee gallery, New York Zero Gravity, The Week of Contemporary Art in Plovdiv, Bulgaria U-TURN Quadrennial for Contemporary Art, Copehagen The Map is not the Territory, Esbjeg Artmuseum, Denmark Technically Sweet, Participant Inc, New York Danskjävlar – A Swedish declaration of love, Kunsthal Charlottenborg. Copenhagen. A NEW STANCE FOR TOMORROW, The Gallery Sketch, London 2007: “The Other City”, Hungarian cultural center, New York. “Sue?o de casa propia”, La casa encendida, Madrid “Archaeologies of the Future, Sala Rekalde, Bilboa. ”Building Society”, Contemporary artcenter La Panera, Lleida, Spain. “Imagine Action”, Lisson Gallery, London. “A Number of Worlds Resembling Our Own”, Smart Project Space, Amsterdam. Habitat/Variations, B?timent d'art con temporain, Geneve “Anachronism”, ARGOS, Brussels. "Elephant Cemetary”, Artist Space, New York "Dibujos animados (Cartoons)", Museo Colecciones ICO, Madrid 2006: Exportable Goods, Krinzinger Projekte, Vienna Dreamlands Burn, Mucsarnok / Kunsthalle Budapest Version Animee, Centre pour l'image contemporaine, Geneve. Urban Appearances, video parcour at Rosa-LuxemburgPlatz, Berlin Closely Observed Plans, Transit workshops, Bratislava. Super nova, Pommery#3, Reims, France Esplanaden, The Frie, Exhibition Hall, Copenhagen. 2005: At the Same Time Somewhere Else, Fruitmarket Gallery, Edinbourg gb Agency. Paris. Opening exhibition, Andersen’s Gallery, Copenhagen. Urban Cirkulation, public project, Berlin. 2004: Channel _0, CATV Project, Local TV-NETWORK, AIAV, Japan Non Standard Cities, Stadtkunstverein, Berlin. Cycle Tracks Will Abound In Utopia, ACCA, Melbourne Architectual Adventures, Overgaden, Institute of Contemporary Art, Copenhagen. Monument, an exhibition in the city of Copenhagen. 2003: Abcity, Trafo, Budapest. Plunder, Dundee Contemporary Arts, Dundee, Scotland. Feu de bois, Frac des Pays de la Loire, Nantes, France. Rent a Bench, Trapholt Moderne Museum of Art, Kolding, Denmark. Coup de Coeur- a sentimental choice, CRAC Alsace, Altkirch, France. Video festival, Creating New Spaces, Kunstverein Langenhagen, Germany. Venice biennale, Utopia Station, Venice. gb agency, Present Perfect, Paris. GNS, Palais de Tokyo, Paris Nomadic Structures, Cubiitt Gallery, London. Mursollaici, Centre Culturel Suisse, Paris. 2002: Home Scenes: 8 days of revision. The Schindler House, Los Angeles. Site-seeing: disneyfication of cities? Ku?nstlerhaus, Vienna. The Fall Exhibition, Charlottenborg, Copenhagen, Denmark. ••A collaporation with Johan Tiren. Rent-a-bench, in the street on bus benches, Los Angeles. Culture meets culture, Busan Biannale, Korea. Urbane Sequenzen, Kunsthalle Erfurt/Museum Schloss Hardenberg Manifesta 4, European Biennial of Contemporary Art, Frankfurter Kunstverein, Frankfurt am Main, Germany* ’Concrete Garden’, Museum of Modern Art, Oxford 2001: ‘Dedalic Convention’, MAK – Austrian Museum for Applied Arts, Wien. ‘Blick’, Screening touring Nordic and international venues. ‘Exile Video’, Rum46, Aarhus, Denmark. ‘New Settlements’, Nikolaj Contemporary Art Center, Copenhagen, Denmark. ‘Take Off’, Aarhus Art Museum, Aarhus, Denmark 2000:‘Site Geist’, The Porter Troupe Gallery, SanDiego, USA. ‘No swimming’, org. by Heike Ander, Kunstverein Mu?nchen, Germany. ‘Use your illusion/part 3’, Duchamp's Suitcase, Arnolfini, Bristol, England. ‘Momentum’. Nordic Biennale for Contemporary Art, Moss, Norway. ’Taenk om/What if?’, Moderna Museet, Stockholm,Sweden.

In her video installation “Westerwald: A Visitation”, the Berlin artist Sandra Schäfer - based on August Sander's series of Westerwald farmers - deals with the transformation of the rural region in which the artist herself grew up. Sandra Schäfer juxtaposes August Sander's perspective with her own and contemporary view. For it is also about how a region, its landscape and agricultural use have changed over the course of time. In her artistic work, Schäfer is interested in the various contemporary witnesses and their entanglements: How do the relatives/portrait subjects speak about the (artistic/documentary) pictures by August Sander? What does it mean to hear the dialect that always also marks a class difference? What knowledge is there about the photographer and his approach? How does this differ from that of photo curators in the museum context? And what does it mean for the artist, who was born and raised there, to return to create this artistic work?

The artist Sandra Schäfer works with film and video installations. Therein she deals with processes of unfolding and rereading of documents, images, spatial narratives and performative gestures. Often her works are based on longer researches, in which she is concerned with the margins, gaps and discontinuities of our perception of history, political struggles, urban and geopolitical spaces. Her works were exhibited at 66th and 67th Berlinale (Forum Expanded), Berlin; Camera Austria, Graz; Museum für Gegenwartskunst, Siegen; Schirn Kunsthalle Frankfurt; mumok, Vienna; Museum Ludwig, Cologne; Depo, Istanbul; La Virreina, Barcelona. Schäfer also is professor at the Academy of Fine Arts Munich and an associated member of the feminist film distributor Cinenova in London. She edited the books: Moments of Rupture: Space, Militancy & Film, Spector Books, Leipzig (2020), stagings. Kabul, Film & Production of Representation, b_books, Berlin (2009) and Kabul/ Teheran 1979ff. Filmlandschaften, Städte unter Stress und Migration, b_books, Berlin (2006, together with Jochen Becker and Madeleine Bernstorff).

Taking as its starting point the Neolithic figurines found throughout the Danube region from Croatia to the Black Sea through Serbia, Romania, North Macedonia,Bulgaria and Greece Women Minor Speculations is part road trip, part time travel and part speculative fiction using fragments of time, archaeological fragments, sound fragments and imaginary audio files trying to weave a potential whole from many distinct parts. During a period of four years I collected materials in film, images, sounds, and text dealing with remains as evidential material, with landscapes as witnesses, with interwoven biographies of archaeologists, their objects and subjects of research (the figurines, the constellations, cement, gossip and songs) in an exploration of how real and unreal objects of material culture produce gendered interpretations, collisions and hallucinations of public accounts, using technologies of memory, data storage devices to fracture the official historical narrative through minor histories, minor narratives and minor speculations. Shot over a fiveyear period on 35mm, 16mm, digital Bolex, Digital 8, mobile phones and still cameras the film involves a tentative encounter of two female explorers in south eastern Europe meeting through materials and separated by 6000 years.

Nicole Hewitt is a visual artist working in film, video, installation, performance, spoken word and text. Her work has recently been shown at The Museum of Contemporary Art Zagreb, Pogon Centre for Independent Culture, Zagreb; Sonic Acts Academy, Amsterdam, The Museum of Modern and Contemporary Art Rijeka; Invisible Savicenta – Savicenta; international festivals such as Days of Croatian Film, Hiroshima International Festival of Animation, International Documentary Film Festival Amsterdam, Festival of New Film Split, Rencontres Internationales Paris/Berlin/Madrid, International Film Festival Rotterdam, EMAF, New Media Festival Seoul, Mumbai International Film Festival, Montreal International Festival of New Cinema and New Media, etc. Retrospectives of her film, video and animation work were parts of Holland International Animation Film Festival Utrecht (2007) and ANIMATEKA (2006), Nicole Hewitt, Museums Quartier Vienna, 2004; Nicole Hewitt, Galerija Nova, Zagreb, 2004; UrbanFestival, Zagreb, 2011; Spaport Biennial 2009/2010, Banja Luka; Women With Vision, Walker Art Centre, Minneapolis, 2008, Insert, Retrospective of Croatian Video Art, MSU, Zagreb, 2006; Here Tomorrow, MSU Zagreb, 2002., etc.). Hewitt is cofounder of the artist run collective Studio Pangolin , is part of the sound collective Soundspiels and teaches at The Academy of Fine Arts, Zagreb. Hewitt lives and works in Zagreb and London.

‘Where Lakes Once Had Water contemplates how the Earth is experienced and understood through different ontologies – ways of being, seeing, sensing, listening and thinking – that reverberate across art, Indigenous thought, science, ancient and modern cultures, and the non-human.’ Sonia Leber and David Chesworth travelled with a team of Earth and environmental scientists who are investigating changes in the climate, landscape and ecology over 130,000 years. Their journey took them to Australia’s Northern Territory, to spectacular yet challenging environments, from locations of long-term aridity to lush, green waterways. Where Lakes Once Had Water channels the experience, where Indigenous rangers, Elders and community members collaborate with scientists. Working across the ancient shorelines, everyone is receptive to the signs, signals and rhythms of the land. Meanwhile, non-human cohabitants continue their struggles for survival. Leber and Chesworth deploy video as a tool, scanning tree lines, erosions, termite mounds, and the effects of water, sun and fire. Their disquieting sound design encompasses natural and human-made sounds, and the hidden signals and energies that exist beyond human hearing. The project is a journey across audio-visual realms, scientific endeavour and Indigenous knowledge – a coalescence of efforts to understand the ancient land. "Where Lakes Once Had Water" was commissioned by the Australian Research Council Centre of Excellence for Australian Biodiversity and Heritage (CABAH) in association with Bundanon. It was filmed on the lands and waters of the Mudburra, Marlinja, Jingili, Elliot, Jawoyn and Larrakia communities in Northern Territory, with additional filming and editing on Barkandji, Dharawal, Djabugay, Yidinji and Wurundjeri Country. University of Wollongong Art Collection, Australia.

Australian artists Sonia Leber and David Chesworth are known for their distinctive video, sound and architecture-based installations that are audible as much as visible. Leber and Chesworth’s works are speculative and archaeological, often involving communities and elaborated from research in places undergoing social, technological or local geological transformation. Their works emerge from the real but exist significantly in the realm of the imaginary, hinting at unseen forces and non-human perspectives. Leber and Chesworth’s artworks have been shown in the central exhibitions of the 56th Venice Biennale: All The World’s Futures (2015) and the 19th Biennale of Sydney: You Imagine What You Desire (2014). Solo exhibitions include What Listening Knows, Messums Wiltshire, UK (2021) and the survey exhibition Architecture Makes Us: Cinematic Visions of Sonia Leber & David Chesworth, Centre for Contemporary Photography, Melbourne, Australia (2018) touring to Griffith University Art Museum, Brisbane (2019) and UNSW Galleries, Sydney (2019).

The work is composed of two separate films followed by each other. Both films explore transcendental issues through archaeological and illegal excavations of tombs. "After Life" consists of a sequence of meditative short scenes picturing the ruins of a small Faliscan necropolis Cavone di Monte Li Santi in Italy and its surrounding natural elements. The rock-cut chamber tombs of the necropolis had been illegally excavated before they were archaeologically discovered in 2015 – a phenomenon still faced by many rural archaeological sites. At the center of "Red Impasto Jar" is a looted archaeological tomb object. In antiquity, the funeral was a significant ceremony where entombing of the body was just one component in the complex sequence of events. This ancient Faliscan tomb item dating back to the 6th century BCE was passed on to the archaeological museum (Mazzano Romano, Italy). The jar is radically altered and damaged by being cemented into the structures of a house as a decorative element. The film portrays the state of the pottery focusing on the detailed choreography and documentation of the object with a slow 360º rotation on a robust industrial motor against a monochromatic background.

Sound, perception and imagination are essential ingredients in the research and practice of Jonna Kina (b. 1984). Her work reveals the value of fictional viewpoints in non-fictional investigations. Kina’s works have been shown in the Tokyo Photographic Art Museum; Fondazione Pastificio Cerere, Rome; Dunkers Kulturhus, Helsingborg; Musée de l’Elysée, Lausanne; International Film Festival Rotterdam; Hasselblad Foundation, Gothenburg; Espoo Modern Art Museum EMMA; Kumu Art Museum, Tallinn and in Sara Hildén Art Museum, Tampere, among others. Kina has recently been awarded the Finnish Art Prize “Below Zero” (2018) and her film Arr. for a Scene was awarded as the “Best Nordic Short Film” at Nordisk Panorama Film Festival in Malmö (2017). She was also shortlisted for the VISIO Young Talent Acquisition Prize in Florence (2017).

“Water & Coltan” transports its viewer directly to the places of the struggle of women in artisanal coltan mining camps in South Kivu in Democratic Republic of Congo. Superimposed with a posthuman near-future scenario of the former coal mining Ruhr area in Germany the 360° documentary immersive experience combines two local sides of one and the same violent global phenomenon: the extractivist relation to natural and human resources with its long-term consequences for the environment and society.

Daniel Kötter (Germany, 1975) is a documentary filmmaker and theater director. His research based works alternate between media and institutional contexts. They have been shown worldwide at film festivals, in galleries and theaters. Since 2007 visual research on urbanization and political landscapes leads him to the African continent and the Middle East. His major works include the film and performance series “state-theatre” about urban conditions of performativity in the cities of Lagos, Tehran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014), the research, exhibition and film project “CHINAFRIKA” (2013-2019) and the film trilogy “Hashti Tehran” (2017, Special Award of the German Short Film Award), “Desert View” (2018) and “Rift Finfinnee” (2020, DEFA Award DOK Leipzig) about urban peripheries in Tehran, Cairo and Addis Ababa. Since 2019 Daniel Kötter was working on the series of spatial performances and 360° films “landscapes and bodies” on the consequences of extractivism in Germany, West Papua and Democratic Republic of Congo. His 360° film “Water & Coltan” (2021) is premiered at IDFA DocLab Competition.

There he sits proudly on his motorbike, encompassed in majestic red and the dazzling admiration of the others. Round and round he goes, becoming more and more beautiful and exalted. For only he can explore the jungle. And no, he won’t hand over his motorbike, not even on loan. A playful re-enactment with reversed roles that takes aim at the hubris of the colonial conquerors.

The filmmaker and video artist was born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in ?ód?. He has made several short films and video works. He currently lives in Mexico where he is taking a doctorate in film theory while teaching film and making social documentaries. He is also developing his debut feature film.

The film follows the journey of Alex, an Ultras member, in his hometown Sfax,Tunisia, while visually representing his inner thoughts, feelings, frustrations and ideas to showcase the impact and influence of the Ultras movement on the city's urban scene and culture.

Youssef Ksentini is a film director and a visual artist from Sfax, Tunisia. In 2009, he started experimenting with street art, design and music production with his underground local Ultras group before starting studying film directing and screenwriting. He got his master degree in Tunis in 2015, won 48HFP Tunis twice in 2014 and 2016 and was involved in other projects as a film director before leaving in 2018 to NYC, USA on an art visa where he spent two years there and wrote and directed two short films. In 2021 he moved to Paris, France to get a professional master degree in contemporary art market at IESA.

“… Junkyard explores the accumulated car wrecks as archeological remains for the future - a future that is undergirded by the consumptive cultures of petroleum, rare earth minerals and metals of which the car is emblematic. Paul Virilio’s argument about the relationship of technology and accidents is illuminating in this sense: "every time that a new technology has been invented,” he writes “a new energy harnessed, a new product made, one also invents a new negativity, a new accident.”[1] In this sense, the easy conclusion would say that the people who invented the car also invented the car accident. But what happens, when we think about not individual accidents but the industry as a whole as an extended scale of a systematic accident that leaves traces of wrecks as the memory of past archaeological periods, whether that pertains to chemicals, metals or residual traces of media of past automobile cultures? In other words, what if we think that the whole industry, with production, distribution, excavation and use, and what it has been doing to the earth’s “resources,” the organisation of labour and gender roles, an historical accident that undermines the viability of organised human existence? – the car industry as the accident of the fossil fuel culture” …

Felix Luque Sánchez (Oviedo, Spain, 1976) is an artist whose work explores how humans conceive their relationship with technology and provides spaces for reflection on current issues such as the development of artificial intelligence and automatism. Using electronic and digital systems of representation, as well as mechatronic sculptures, generative sound scores, live data feeds and algorithmic processes, he creates narratives in which fiction blends with reality, suggesting possible scenarios of a near future and confronting the viewer with her fears and expectations about what machines can do. Luque’s installations are configured as autonomous and uncontrollable systems in which each element plays a role in both their functional and visual design. The machines are thus conceived not only in terms of the processes they carry out, but also as objects of aesthetic contemplation. Each artwork is divided into different parts or sections, that can be read as chapters of the same narrative, constitutive elements of a system, or attempts at exploring a single subject. This fragmentation counters the apparent oneness of the piece and the seemingly perfect operation of the machine. Failure and vulnerability are present in the way that these devices are forced to maintain delicate balances, pursue nonsensical dialogues, generate incomplete renderings of reality, and finally express themselves by means of a sound score that results from their own activity and the physical processes involved in it. The artist consciously plays with the contradictory perception of technology as purely functional while at the same time imbued with a mysterious purpose, and the fear that machines may replace humans. Inspired by science fiction, he draws from its aesthetic and conceptual foundations the tools to elaborate speculative narrations and address the spectator using preconceptions about technology in popular culture. The outcome is a series of artworks that fascinate by their technical elegance and intriguing opacity, at the same time attracting and distancing themselves from the viewer.

Un chien, une fille, des adolescents et d’autres créatures fantastiques font l’insurrection de leur vie quotidienne à travers des marches dans la ville, des détournements d’espaces et autres actions à travers lesquelles ils observent et transforment la réalité et le monde autour d’eux.

Noé Cottencin (France, 1994) a étudié l’image en mouvement à l’Académie Gerrit Rietveld et au Sandberg Institute. Son travail, à travers des récits qui prennent différentes formes (dessins, films, interventions, publications), s’intéresse principalement à la mise en commun des individualités. Il vit et travaille à Amsterdam et Los Angeles.

Wild Filly Story is starring a pack of adolescent girls on a therapy horse stable in the outskirts of Amsterdam. The casts are regular visitors, who are simply there to ride, who are there for occupational therapy, or there as a temporary replacement from school. Playing out a fictional, yet custom-fit script that prompts questions of friendship, misfit, normativity, fetishization, and female empowerment. The young girls method-act through stages of agitation, thriving on the artist’s own rural childhood trauma in Sweden, a horsegirl´s obsessions, and her recent short-lived career as a porn film director: teens pulling hair, grand stallions being objectified, food fights, horse healing, and in the backyard of the barn a kissing scene is being made. A red thread through the film: a young girl’s horse is taken away to be slaughtered that the horse community later feast on. A ghost—an EMO teen, white-painted, unfitted, potentially dead—grimes her way through a hardcore song from the London underground “Drop Dead” with the gang of horse girls as her backing choir. Meanwhile, a cowgirl talking about a stallion having its balls cut off, giggling through her characterization of its masculine rage being tamed.

Josefin Arnell (1984) has recently presented exhibitions, screenings, and performances at Athens Biennale; Wiels, Brussels; UKS, Oslo; Van Abbemuseum, Eindhoven; Moscow International Biennale for Young Art; Auto Italia, London; Kunsthalle Münster; Beursschouwburg, Brussel. In 2018 she won the Theodora Niemeijer Prijs; a national art prize for emerging female artists living or working in the Netherlands. Arnell lives and works in Amsterdam Through combining modes of autobiographical and fictional storytelling, she explores representations of femininity, the aesthetics and politics of violence, and the way expressions of power and control manifest in group dynamics. The Teenage Girl, The Horse, and The Mother are recurring characters placed beside clumsy allegories of conflicted human conditions or environmental catastrophe. These characters have endless monologues rather than conversations while navigating contemporary infrastructures with impossible demands. She uses humor and absurdity as political devices, but also as important tools to access moments of emotional catharsis. Trashy performativity, camp aesthetics, the grotesque, and soap opera affects are set in combination of documentary, scripted, and improvisation methods. Additionally to her solo work she is involved in multiple collaborations and self initiatives. Most noticeably the artist duo: HellFun aka Josefin Arnell & Max Göran. HellFun prefers to be brave and pathetic rather than drowning in shame.

Equal parts systems literacy and kaleidoscopic ecological fantasia, “Pervading Animal” is a film about butterflies, computer viruses and all the things they touch. Tracing the creation, spread and destructive legacy of the first ransomware computer virus the film finds in its wake surprising connections between the US invasion of Panama, the aesthetics of pioneering computational art and the construction of a butterfly conservatory in New York.

Graeme Arnfield (b. 1991, UK) is an artist filmmaker and composer living in London, raised in Cheshire, UK. Producing sensory essay films from networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on e-flux & Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University.

The black-and-white 8mm film of the abandoned facilities of Turku County Prison (1835–2007), documents the layers of messages drawn, scratched and burned on the cell walls. The markings are passages to the shadow of an individual’s psyche, and expose an underbelly which a society simultaneously both generates and hides. The film becomes a codex of a collapsed civilization and evidence of a forbidden zone in the centre of the city. On top of the inmates’ messages, a second layer of graffiti by building squatters, trespassers and other participators has emerged, turning the walls into thickets of obscure visual information and indecipherable communication. The flow of images is punctuated by John Cage’s (1912–1992) composition “Perilous Night” (1964), described as a journey to the nocturnal side of the soul.

Saara Ekström works in film, photography, text and installation. Chronotopes where time and place densify, time that nurtures and erodes, the ambivalent desire to both remember and forget are at the core of her art. Ekström’s work has been shown extensively in various museums and festivals in Europe, the Americas and Asia. She received the Finnish media art prize AVEK-award in 2018 and the prizes of SW Finland in 2017, Finnish Art Society in 1995 and the Aboa prize in 1994. She has been the Helsinki Festival Artist in 2005 and was nominated for both Ars Fennica and Carnegie Art Award prizes in 2010.

The story is about a young couple, they go for a walk in an old church where their parents used to go. Here, they shared about their identity, their past, and their doubts about their fate. They finally overcame their doubts and moved on to a new stage in life.

Huynh Cong Nho, born 1991, Viet Nam, Nho experienced of short courses of writing scripts, montages, director, Project presentation of the Autumn Meetings with the director Phan Dang Di, artist Julie Beziers, director Tran Anh Hung. He is an indie filmmaker in vietnam.

In her videos, Schulz provides a candid approach to her subjects through careful camerawork, ever- oscillating between proximity and distance. These slow observations demand significant concentration on the subject matter, for instance in her 'Home Series', in which she portrays men in their apartments. Here Schulz asks strangers if they would be open to develop a relationship in which the camera functions as the main instrument of communication. By doing so, she breaks the tension of subject/object relations, race and gender. As time goes by, we see these men in their apartments pondering over their lives, while further intimacy is being developed with the artist.

Jana Schulz (*1984 in Berlin) received her MFA in 2018 from the Academy of Fine Arts Leipzig. Recent exhibitions, film screenings, residencies and prizes include Galerie Eigen+Art Leipzig (2022), KW Institute for Contemporary Art Berlin (2021), Videoart at Midnight Berlin (2021), Center for Contemporary Photography Melbourne (2020), Kunsthalle Bremerhaven (2020), Eigen+Art Lab Berlin (2020), Rencontres Internationales Paris/Berlin (2020), Anca Poterasu Gallery Bucharest (2019), Galerie Eigen+Art Leipzig (2019), Kunsthalle Wien (2018), Museum der Bildenden Künste Leipzig (2018), BPA// Berlin Program for Artists (2020 – 2021), International Studio & Curatorial Program New York (2019), Marion Ermer Preis (2018) and Villa Aurora grant (2018) awarded by Studienstiftung des deutschen Volkes.

A boy longing to become part of a motorcycling group leads us into a silver horizon, where through an array of moving images of dust, remote landscapes, and boys dressed in fragrant leather, we witness visual portrayals of what it means to feel ‘foreign’.

Vukan Žarkovic (1997, Serbia) is an up-and-coming filmmaker based in Amsterdam (Netherlands), Nicosia (Cyprus), and Belgrade (Serbia). He was born in Belgrade but grew up in Cyprus, where his inspiration and storytelling come from. He graduated from the Gerrit Rietveld Academy in Amsterdam with a B.F.A. in Audiovisual Arts. During his studies, he spent one semester in Jerusalem at the School of Visual Theatre. In 2022, he made the short film Aromana.

“Whoever You Are” is a cinematic adaptation of Walt Whitman's seminal poem, “Whoever You Are Holding Me Now In Hand” directed by Javier De Frutos and produced by Whoever You Are Productions. Following a lifelong scholarship and appreciation of American literature, De Frutos adapted Walt Whitman's poem into a screenplay for the film. Within “Whoever You Are”, De Frutos utilizes several different mediums of execution including dance and vocals, which he combines using his unique directorial and choreographic style blended with dexterous editing.

Shocking, sensual, raw, radical – these are words synonymous with work by Olivier award-winning director and choreographer Javier De Frutos. Renowned for creating brutal yet beautiful film and stage work, De Frutos has consistently stunned audiences with his ability to make work that not only is violently challenging, but also sears the stage and screen with its intelligence and wit. Prompted by the pandemic to expand their film-making practice, producers Paul Chantry and Rae Piper of Whoever You Are Productions, invited De Frutos to collaborate with them in creating a new short film. This collaboration sought to build on a fruitful prior relationship which Chantry had enjoyed with De Frutos, that had involved working together on several productions, two of which had been filmed for the BBC ("Eternal Damnation to Sancho & Sanchez" and "The Most Incredible Thing"). Chantry and Piper had enjoyed a longstanding relationship of 7 years collaborating with award-winning company Evenlode Films and Productions, who were additionally invited to join the project.

A young woman and her friends join a car repair shop as “Belia”(colloquial Egyptian for apprentices) to learn the craft from the Ustas (craft headmasters). They explore what this relationship creates as it merges labor with everyday life rhythms to open up a new space for movement.

Eman received her BA degree in acting and directing for theatre from Helwan University in 2017.From 2013- 2014 She joined NAS independent school for street theatre arts. From 2016 till 2019, She studied at MAAT|Contemporary Dance School, (3-Year Full-Time Professional Training Program). Different Martial Arts styles are a source of inspiration for the quality of her movement, like Taijiquan, and Shaolin Kung Fu which she has through her education at MAAT|Contemporary Dance School and later on at Meshkah Martial Art School.

One Buenos Aires afternoon in the dominican hairdresser saloon, in which characters from different origins reunite around the musical feeling of the place. From dancers to performers and actors, clients and reggaeton singers.

MA in Documentary Cinema and Profesor Assistant at Universidad del Cine, Buenos Aires. PhD Candidate at University NOVA, Lisboa. Currently working on my first feature film. I'm interested in the notions of displacement, ritual and longing. In color, rhythm, body and mixing genres in a surrealist way.

An uncanny narrator searches for the meaning and form of a mysterious cultural performance speculated to have started after the second world war, in Northern Uganda. As the search unfolds, the film sonically and anecdotally questions notions of cultural legacy, kinship, individual and collective memory.

Ayo is a Ugandan born visual artist and filmmaker currently based in The Netherlands. Her practice is based on a desire to seek out counter narratives, and to explore both pleasurable as well as uncomfortable ways of re-telling histories. Recent projects investigate intangible forms of cultural heritage and informal knowledge production held by unofficial bodies. Ayo holds an MA in Fine Art (cum laude) from the Piet Zwart Institute in Rotterdam.

This associative stream of visuals, culled from the past, reflect on the roles of art, labor, and journalism in contemporary Sri Lanka, facing a dubious future ahead. Memory and ethnographic deconstruction cascade in an obliterated form, forging a dire and prescient assemblage.

Rajee Samarasinghe was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. His filmmaking practice was born out of a desire to understand the circumstances around his childhood and his work often navigates the terrain of memory, migration, and impermanence within the framework of deconstructing the ethnographic image and the colonial gaze in contemporary media. Rajee is currently working on his debut feature film, "Your Touch Makes Others Invisible," which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s inaugural PRISM program. Rajee was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020, and had solo shows at the Museum of Modern Art (MoMA) and the Berwick Film & Media Arts Festival in 2021. His short films have been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, MoMA Doc Fortnight, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance, SFFILM Festival, REDCAT, CROSSROADS at SFMOMA, Vancouver International Film Festival, Guanajuato International Film Festival, Media City Film Festival etc. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others.

In a Dutch wetland nature reserve we move across the water surface.* The images accelerate and change to infrared; we see the nature sanctuary as through the eyes of the dragonfly that can 'see' many times faster than a human being possibly can perceive. The flight ends where several canals meet; by the water at the foot of a silent witness, a timeless, overgrown bunker. *Striking fact: the former peat exploitation waterways of the Peel bog area have grown themselves into protected nature reserves in the midst of extremely industrial livestock production.

Michiel van Bakel (1966, Deurne NL) studied astronomy (Leiden university) and psychology (Nijmegen university) for several years before he chose for autonomous visual art, at art school (Den Haag and Arnhem). Van Bakel expresses himself through film and videos, sculpture and installations. His work focuses on people and their surroundings, often resulting in a poetic reality. It conveys a fascination for the tension between man and technology, perception of time in our delicate man-made ecosystem.

The romantic landscape paintings often portrayed weather condition, topography of national landscape, religious themes, spirituality of nature and hunting scenes. Obsidian Blue Pearl is a minimalistic road movie mirroring the emotions of the driver through the landscapes (s)he has chosen to look at.

Jussi Eerola (b.1969) has worked as a cinematographer on many internationally rewarded short films, documentaries and tv-features since 1992. He has collaborated with many visual artist’s e.g. Eija-Liisa Ahtila, Mika Taanila, IC-98, Elena Näsänen and Anu Pennanen. His directional debut was a documentary about electro-hypersensitive people titled Refugees of Technocracy (2009). Documentary film The Return of the Atom written & directed together with Mika Taanila premiered at Toronto IFF 2015 and was given the NORDIC:DOX award at CPH:DOX in 2015. In 2014 he started a production company Testifilmi Oy together with Mika Taanila and visual artist duo IC-98 (Patrik Söderlund and Visa Suonpää) and has produced several of company's films. Eerola's first short film Blue Honda Civic (2020) premiered at IFF Rotterdam and was awarded three times at international film festivals.

The ‘Z’ Unit’s operation in a world far from our own was an experiment of sorts, a test. And this place, inhabited by beings different from ourselves, served as a laboratory. A successful outcome would secure the Z Unit’s future, enabling its enterprise to expand and its methods to be applied to other worlds. An investigation into imperial image-making, and destruction.

Miranda Pennell is an artist filmmaker based in London. Her recent and current work uses photographic archives as the starting point for a reflection on colonial legacies. She originally trained in contemporary dance, and her award-winning videos exploring choreography in everyday life have been widely screened and broadcast internationally. Pennell received an MA in visual anthropology in 2010 from Goldsmiths College, University of London, and undertook practice-led PhD research completed in 2016. Selected screenings and exhibitions include Intersectional Georgraphies (2022) Martin Parr Foundation, Bristol; Lahore Biennale (2020),Tanzbilder at the Neues Museum Nuremberg (2019), one-person programme at the Stuttgart FilmWinter Festival for Expanded Media (2019), Miranda Pennell: choreographies and archives at the Film Museum Munich (2017), Choreocinema: Siobhan Davies & Miranda Pennell, Barbican, London (2017), Co-op Dialogues 1976-2016: Lis Rhodes & Miranda Pennell, Tate Britain (2016),  All Systems Go, Cooper Gallery, Dundee (2016),  Europe – The Future of History at Kunsthaus Zurich (2015), and The World Turned Upside Down, Mead Gallery (2013). 

Celilo Falls is the oldest continuously inhabited community in North America, the site of a traditional fishery on the Columbia River. For 15,000 years, the cascading waters sustained the lives of many indigenous tribes. In 1957, the completion of the Dalles Dam–a massive hydroelectric generator–inundated the falls, displaced most of the families that subsisted at the site and obstructed the migrating salmon, white sturgeon and other anadromous fish. Today, only a few families reside at what is now a man-made lake. Shot from Horsethief Butte, an outcropping of basalt, we see the petroglyphs and pictographs created by indigenous people who once came here, communing here above the tumbling waters. An ethnographer records the spoken language–Chinookan–of the community just five years before they were displaced. The butte was carved out by the glacial activity of the last ice age, and stands in defiance to the signature winds wailing up the Columbia Gorge. This is a vignette of Celilo Falls during the 2020, SARS-COV-2 pandemic.

Don H?i Phú Daedalus (b. 1983) grew up in the shadow of the country's largest public observatory—an area so remote and sparsely populated that it served as the first plutonium-processing plant for the Manhattan Project. Shortly after the oldest human remains in North America were discovered near his hometown, Daedalus left to attend the University of Washington, where, coincidentally, the remains were to be held during the decade-long legal dispute between the Kennewick tribe and anthropologists. He lives and works in New York.

Soot Breath / Corpus Infinitum is a film dedicated to tenderness. It reproduces a radical sensibility learned from listening to the blues, from listening to skin, to heat, and from listening to echoes, listening itself. Soot Breath // Corpus Infinitum is a newly commissioned film and installation by Arjuna Neuman and Denise Ferreira da Silva. Against and instead of apprehension, it fosters an image of existence in which attention twins the gentleness of touch as recalled by haptic and sonic expressions.

Arjuna Neuman is an artist, filmmaker, and writer. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological. Denise Ferreira da Silva is a practicing artist and an academic - Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico- political challenges of the global present. She is a member of several boards including Haus de Kulturen de Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.

El Tiempo is a collaboration with the volunteers of the Reina Sofía Museum, a group of pensioners that play an active role in the museum’s educational programmes. Through the creation of a collaborative experimental film, El Tiempo examines the intangible, explores personal and collective memories, and delves into the relationship between this group and the Museum, representing a symbiosis of bodies and artworks. The project started in 2019, with the idea of making a film set in a dystopian present, where the Museum is closed to the public as a result of the collapse of modern society. Western culture has therefore lost its hegemonic role, causing the abandonment of the institutions that sustained it. In this context, the volunteers appear to be the only people who inhabit the Museum. The framework of this fictional thread, facilitated the development of group and individual performative actions, and allowed a series of encounters of bodies, space and artworks. This work was shot just before the pandemic and the editing and post-production process took place during the confinement. This experience deeply redefined the project and those images that were created as a vision of an imagined present, began to represent a plausible reality.

Claudia Claremi (Madrid, 1986). Visual artist and filmmaker. Graduated in Documentary Film from the Escuela Internacional de Cine y Televisión de San Antonio de los Baños (Cuba) and in Fine Arts from University of the Arts London (UK) and the Instituto Superior de Arte de La Habana (Cuba), and she has participated in alternative programmes of study and critical practice such as VISIO (Lo Schermo dell’Arte, Florence), P.O.P.S. (Colectivo Ayllu, Matadero, Madrid), Campus (Latitudes, Barcelona) and La Práctica (Beta Local, Puerto Rico). Her films Firefly, Bat and The woodland, among others, have been shown and awarded at international film festivals such as Raindance, Ann Arbor, Ji.hlava, FIC Guadalajara, Documentamadrid or Márgenes. Her work has been part of many exhibitions and she has also obtained the XXI Generación 2021 award, XXXI Circuitos award, the Matadero CREA grant. In 2020-21 she has completed El Tiempo, a film in collaboration with the Reina Sofía Museum in Madrid.

If I could wish for something takes its title from a Friedrich Holländer's Weimar song. The lyrics of ‘Wenn ich mir was wünschen dürfte’ are sung from the perspective of a woman who seeks to be happy, but not too happy, because sadness has become a refuge for her. This feeling is typical of the fraught ‘love story’ between feminism and socialism, between love and revolution. ‘The woman question’ has been tiptoed around by every revolutionary movement since the nineteenth century. These decades of disillusionment are part and parcel of feminist history.

Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).