Programme Paris 2026

Aggregate Body is a diagonal exploration into the dreams of transparency, utopia, and the radical fetishisation of commodities that ultimately flattened the distinctions between human subject and objects in the World Exhibitions of the 19th century. Examining mimicry mechanisms as mythological lures toward the inorganic, the film sketches a zone of encounters between biology and myth, iron-and-glass constructions, and computational reason, establishing a non-linear, time-folding narrative of a rogue concrete computer that dreams of the Crystal Palace before it’s conception.

Diego Behncke is a Berlin-based artist and musician working with sculpture, installation, synthetic sound and film. His work explores gesture in its relation to technology, using abstraction and synthetic procedures to build fictional systems through a material perspective. Recurring concerns in his work include automatism, artifice, machine-listening, bio-mythographic structures, and anorganicity. His work has been exhibited and performed in Germany, Canada, Japan, South Korea, The Netherlands, France, Belgium, Portugal, and Chile. As part of his practice, he runs the experimental music label Prensa Manual.

Aldous Harding is playing at my mother's house interweaves the voices of artists, philosophers, and musicians with a sonic composition designed to evoke a pivotal moment in the artist's life: the death of his mother, to whom the film is dedicated, and the existential crisis that followed. Constructed as a collage of YouTube videos, the film revisits the melologue, a lesser-known relative of melodrama and a musical form popular in the eighteenth century, in which spoken monologues are accompanied by music, particularly at moments of heightened emotional intensity. This expressive form seems to be re-emerging today in unexpected contexts, including social media reels and shorts, where emotionally charged soundtracks accompany the voices of public figures, contributing to the construction of intensely dramatized narratives. The final film emerges from a performative gesture: during a full moon, the artist recorded the collage as it played on his television screen. The resulting work oscillates between an associative, non-linear structure that remains opaque and enigmatic, and the immediacy and emotional force characteristic of Hollywood melodrama.

Roberto Fassone (1986) is a visual artist and performer. He lives and works in Florence. His research explores the limits of imagination and the strangeness of existence. In 2023, he received the MAXXI Bulgari Prize for Digital Art with a trilogy created in collaboration with an artificial intelligence fed with hallucinogenic mushrooms. In 2025, he received the Termoli Prize with a documentary dedicated to his own basketball team. In recent years, he has exhibited and presented his work in national and international venues, including: Current Plans (Hong Kong, 2026); MAXXI (Rome, 2026, 2025); Museo del Cinema (Turin, 2026); MACTE (Termoli, 2025); Palazzo Collicola (Spoleto, 2024); MAMbo (Bologna, 2024); Maison du Savoir (University of Luxembourg, 2023); Ars Electronica (Linz, 2022); Visions du Réel (Nyon, 2022); ICA (Milan, 2022); MACRO (Rome, 2022); MAXXI (L’Aquila, 2021); Mattatoio (Rome, 2021); Lo schermo dell’arte (Florence, 2021); Italian Cultural Institute, Paris (2020); Fanta-MLN (Milan, 2016, 2019, 2023). While this biography was being written, the sun was shining at the Vismarkt in Groningen.

Future of Yesterday (2026) invites viewers into the rehearsal rooms, skate parks, and venues of the Rhine-Main region. Marking fifty years of punk history, the film traces a sonic evolution—from the operatics of a 1910s gramophone to the crash of 1980s hardcore. Developed in horizontal collaboration with the bands Blinded and One, the musicians steer the narrative, using their own lyrics to articulate a stance of sobriety. The Straight Edge ethos of "clean fun" is presented not merely as a subculture, but as a deliberate political choice: a rejection of hedonism in favor of a self-determined life. Captured through tracking shots and rhythmic slow-motion that mirror the scene’s self-imposed discipline, the film follows a generation finding its voice. As the narrative moves from the privacy of the garage to the shared ritual of the stage, the protagonists refashion inherited codes into anthems like "The only way to be free is to be myself." In doing so, they reclaim the Future of Yesterday as a sovereign presence in the now.

Bárbara Wagner (1980, Brazil) is a filmmaker and photographer. Since 2011, she has collaborated with Benjamin de Bruca, whom she met at the Dutch Art Institute. Their work often addresses the current culture’s relationship with traditions and cultural preservation, especially in emerging economies and in the postcolonial framework. Their work has been shown around the world, including at the Berlin International Film Festival and the Locarno Film Festival. In 2019, they represented Brazil at the Venice Biennale.

In a mountain village in western Rajasthan, a woman lives between silence and recurring dreams. A white crocodile with wounded wings drifts through her inner world. At times, thick honey emerges from her navel, and the presence of someone she once knew seems to return. As these moments gather, the borders between her body, memory, and the surrounding landscape begin to blur.

Aryan Malviya is a self-taught filmmaker based in Jodhpur, Rajasthan, India. His filmmaking philosophy is rooted in capturing reality with minimal intervention, allowing moments to unfold organically in front of the camera. Aryan has a deep interest in Rajasthan’s villages, folklore, and rural mythologies. His storytelling draws from these rich cultural traditions, blending realism with the mystical to capture the oral histories and forgotten tales of his land.

Dans la brune, des silhouettes avancent à l’aveugle et se métamorphosent en êtres végétaux.

Marie Reinert est née en France en 1971, elle vit et travaille à Valmondois (France). Elle développe une pratique de l’art placée aux frontières de la vidéo, de l’installation, du dessin, et de la performance et du son. Son travail se déploie dans des résidences, les plus souvent menées à l’intérieur du monde du travail. Générant des collaborations avec les personnes sur place ou invitant des intervenants à agir/intervenir, elle a collaboré avec des danseurs, des architectes, musiciens, des ergonomes etc... Le corps s’impose comme l’axe de sa recherche: procédant par stratégies d’infiltration, d’observation, d’archivage pour examiner les systèmes, les codes et les protocoles qui conditionnent les mouvements des corps dans leur environnement spatial et social. Marie Reinert a participé à de nombreuses expositions en France et à l’étranger : The See is glowing, Rijeka 2020, Croatie, Biennale de Lyon, 2019, France, Nanjing festival, China (2016/ 2017), Défense Yokohama, Frac Paca, Marseille 2014/2015, Aichi triennale, Nagoya, Japon (2013), Dutch National Bank, Amsterdam (2013) ; Festival Hors Pistes, Centre Pompidou, Paris (2013) ; Centre de la Imatge, Barcelone (2012) ; Musée de l'Arsenal, Kiev (2011) ; Stedelijk Museum, Amsterdam (2011) ; Bunker, Berlin (2011) ; Printemps de Septembre, Musée des Abattoirs, Toulouse (2010) ; MAC/VAL, Vitry-sur- Seine (2009) ; Le Plateau, Frac Île-de-France (2007). En 2021, son film Article 15 reçoit la Mention Spéciale du Prix du Cnap au FIDMarseille.

Trees – climate refugees, activists and wanderer through time and space Since 2016, Agnes Meyer-Brandis and her “Office for Tree Migration (OTM)” has been studying the migration of trees and plants in different climate zones and along tree lines: How they go North, how they climb uphill in the Californian white mountains or how they enter the wetlands, which are drying out due to global warming. In this short video, we see OTM Agent Sloan at work – which essentially consists of observing imperceptibly slow changes using various real-time analysis programmes – at the OTM centre in Hyytiälä, Finland. Observing migrating trees can be tedious and boring, so Agent Sloan has started singing. The time-lapse images come from the longterm camera system installed by OTM in the Siikaneva bog, which has been recording there since 2021. The monochrome images correspond to the average vegetation colour of each synchronous camera image. The colours provide valuable ecological data for scientific analysis. The Office for Tree Migration (OTM) is a long-term interdisciplinary art and research project by Agnes Meyer-Brandis.

Agnes Meyer-Brandis is a Berlin-based artist working at the fringes of art, science and technology. She creates films, installations, instruments and performative formats that explore the boundaries between fact and fiction, knowledge and imagination. With a background in mineralogy, sculpture and new media, she develops long-term artistic research projects combining experimental technologies with imaginative storytelling. In 2003, she founded FFUR – Research Raft for Subterranean Reefology, an evolving artistic institute exploring unknown and overlooked realities. Working across fields such as climate research, environmental studies, meteorology and synthetic and artistic biology, FFUR deliberately asks questions rather than providing answers. Meyer-Brandis has been honoured with several awards, including the European Kairos Prize, and two Prix Ars Electronica Awards of Distinction. In 2026, her Office for Tree Migration was awarded the S+T+ARTS Grand Prize of the European Union. Her works, including the film Moon Goose Colony, have been shown at internationally renowned museums, art institutions and major festivals, including the Centre Pompidou in Paris (FR), the Hamburger Bahnhof – National Gallery of Contemporary Art Berlin (DE), the Serlachius Museums Mänttä (FI), HeK - House of electronic Arts Basel (CH), apexart New York (US)., Daejeon Museum of Art, South Korea, ZKM Karlsruhe (DE).

At the foothills of the San Gabriel Mountains the everyday trades volleys with the cosmos. certainties is a lousy custodian’s record of life on a warming planet. In certainties, footage from three years spent on the border of the Angeles National Forest turns into an extended apology to the natural world. The film sits uneasily between feelings of culpability and insignificance, testing and abandoning theories of cause and effect, and reflecting on the uniquely destructive radiance of the human presence.

Calum Walter is an artist working in sound and moving image. His recent work has focused on human and machine error, collective anxieties, and the cultural moment as it is shaped by emerging and consumer technologies. His films have screened at the Berlinale, Sundance, Toronto International Film Festival, New York Film Festival, Rotterdam International Film Festival, Ann Arbor Film Festival, Rencontres Internationales Paris/Berlin, FIC Valdivia, Images Festival, Slamdance and the Hong Kong Arts Centre. He is a 2018 MacDowell Fellow and has received awards from the Harpo Foundation and the Illinois Arts Council. He lives in the Los Angeles area and teaches in the Film/Video program at CalArts.

This film traces Arizona’s desert as it is reshaped into a hub for data centres and semiconductor manufacturing. Moving through altered waterways, the film exposes tensions between technoutopian visions and drought-stricken ecologies. Guided by offscreen voices and Tohono O’odham poet Ofelia Zepeda’s ‘Cloud Song’, ancestral knowledge counters the rise of industrial ‘cloud’ infrastructures.

Su Yu Hsin is an artist and filmmaker who lives between Berlin and Taipei. She approaches ecology from the point of view of its close relationship with technology. Combining fieldwork with interdisciplinary collaboration, she develops analytical and hydropoetic narratives that examine water as both a carrier of environmental history and contested medium within technological regimes. Her video installations are exhibited worldwide in museums and International Art Biennials: Bundeskunsthalle Bonn, the Centre Pompidou-Metz, the Museum of Contemporary Art Busan, Taipei Biennial 2020 and 2023, ZKM Karlsruhe, Berlin Museum of Modern Art, among others. Her films have been screened at Kurzfilm Festival Hamburg, Taiwan International Documentary Festival, Image Forum Festival and Experimental Film and Video Festival in Seoul, among others.

“Our Non-Understanding of Everything #13” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

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

Blue Skin is a nine-minute short film by Vivian Caccuri centred on Sabethes albiprivus, an elusive blue mosquito inhabiting South American rainforest canopies. Feeding on primates and rarely seen by humans, its encounters with people can signal habitat disturbance, making its iridescent beauty both captivating and unsettling. Developed with scientists from Fiocruz, internationally recognised for its research on infectious diseases, the film draws on a week of exclusive filming access to a laboratory. Ultra-slow-motion macro cinematography reveals living mosquitoes’ anatomy, movements and life cycle at a scale beyond ordinary perception. No artificial intelligence was used. From hatching eggs to a mosquito biting a human whose skin turns blue, the narrative moves between scientific observation and speculative fiction. Ecological disruption becomes a bodily transformation as fact and invention contaminate one another. Caccuri and Portuguese sound designer Vasco Pimentel, whose collaborators include Wim Wenders, Samuel Fuller, Raúl Ruiz and Miguel Gomes, created an enveloping soundscape inspired by forest life. Through magnified bodies, slowed movements and sound, the film transforms a creature associated with fear and disease into a source of fascination, dissolving the forest’s apparent distance from human life.

Born in São Paulo in 1986, Vivian Caccuri lives and works in Rio de Janeiro, Brazil. After graduating with a degree in Fine Arts in 2007, Vivian Caccuri has participated in numerous group exhibitions in Brazil and abroad. Highlights include the 33rd Panorama of Brazilian Art at the São Paulo Museum of Modern Art (MAM-SP) in 2013; the 32nd São Paulo Biennial – Incerteza Viva (Live Uncertainty) in 2016; the Future Generation Art Prize at the Victor Pinchuk Foundation, Kyiv, Ukraine, in 2017; and, in 2018, the 11th Mercosur Biennial and the People's Biennale as part of the Kochi-Muziris Biennale, India. In 2019, she participated in Somos Muit+s at the Pinacoteca de São Paulo; The Shape of a Circle in the Mind of a Fish with Plants (General Ecology Project), featuring a commissioned work at Serpentine Galleries, London; the 58th Venice Biennale – May You Live in Interesting Times; TabomBass at Faena Art, Miami; and As If: Alternative Stories from Then to Now at The Drawing Center, New York. In 2020, her work was included in Freedom is Outside the Skin at Kunsthal 44Møen, Denmark, and The Musical Brain at High Line Art, New York. Caccuri has also presented solo exhibitions at galleries and institutions, including Água Parada at MAC Niterói in 2018; A Soul Transplant at Röda Sten Konsthall, Gothenburg, Sweden, in 2019; Mosquito Revenge at Kunsthal 44Møen, Denmark, in 2022; and Blue Skin, her first major institutional solo exhibition in Brazil, presented at Centro Cultural Banco do Brasil São Paulo (CCBB São Paulo) in 2026. Her work is part of the public collections of the Museu de Arte do Rio (MAR), the Pinacoteca de São Paulo, and the Institute of Contemporary Art, Miami.

A bifurcated film that intimately stages two distinct documentary elements: a death diary and a child’s game of playing sick. Seated in a living room before a small and youthful audience, a performer (Toby Jones) gives a long reading of a cancer diary (written by Philip Atkins, father of director Ed Atkins). The text is an almost unbearably personal document of rapid bodily decline, feelings of longing and self-pity, the loss of independence, the social life of the hospital, the administration of terminal illness, and the recognition that one has loved and been loved. It’s excruciating, tender, tedious, and buoyed by an irrepressible gallows humor. During the reading, the camera circles the actor and audience, bringing their faces in and out of emotional legibility. When the diary is over, Jones lays down on the floor and reenacts a child’s game of feigned illness, demanding a number of fantastical treatments from his partner (Saskia Reeves), who pretends to be an ambulance driver. While the patient lies prone and unresponsive, the ambulance driver treats him by, for example, feeding him magical potions, sticking post-it notes on his face, and covering him with tissues. Nurses come and go, but none for me presents intimate, appropriated material at a slight emotional distance, with the aim of paradoxically heightening that intimacy or making it available in a voyeuristic fashion. Both the diary and the game are attempts to rehearse the unimaginable and turn grappling with death into pleasure.

Ed Atkins has had solo exhibitions at New Museum, PS1, the Stedelijk Museum, Serpentine Gallery, and Martin-Gropius-Bau and, in 2025, Tate Britain. Steven Zultanski is the author of ten books of poetry. With Atkins, he co-wrote and co-directed Sorcerer — a play, a film, and a book.

You send me’ is a project created by Iria Vrettou (animator) and Andrew Stephens (musician). The piece draws from the queer revolutionary history of jazz, the blues queens and explores jazz as an experience of exteriorization inspired by the works of Fred Moten. The three hand-drawn animated loops are comprised of hundreds of drawings each. They explore the evolutionary origins of dancing as a primordial language and pleasure as a revolutionary act. They are conceived, and unfolding, as a world of many worlds, a (queer) oddkin. In collaboration with dancers Adonis Vais and Anastasia Delta, and Adrianos Efthymiadis & Ariadne Strofylla, the creatures come to life through the original music written and performed by Andrew Stephens in collaboration with Ben Goldberg, Georgia Heers and Jayla Chee. The project was commisioned by curator Nadja Argyropoulou for the exhibition ‘Outraged by Pleasure’, and evokes the title of the show in its core.

Iria Vrettou (she/they) is an artist, born in 1995 and based in Athens. They hold a Diploma in Animation from University of the Arts London and an MA in Contemporary Art Practice- Moving Image from the Royal College of Art, London. Their work is primarily focused on concepts and modes of hybridity as methods of research and practice, whilst addressing aspects of hand-drawn animation, performance and installation in relation to their conceptual, ecoqueer functions. Their practice critically examines the function of the ‘screen’ in the context of cultural production and political processes, and explores the creation of artworks that can work as disquieting, complete spatiotemporal experiences. Within this framework, in the last couple of years they has developed a keen interest in the real and symbolic life of volcanoes. They have participated in various art projects in Athens, London, New York, Seoul and others. They have been awarded the Stavros Niarchos Foundation Artist Fellowship by ARTWORKS (2021). They were a resident of International Studio & Curatorial Program (ISCP) in New York City (2022). They are awarded and pursued a Fulbright Fellowship at Columbia University in New York City (2024-25)

The film explores the garden of DADA Artist Hannah Höch, wich was laid out as a collage and served as her living space, refuge and source of inspiration during Nazi era. The Garden becomes the starting point for a subjective cinematic exploration in which images, traces and voices intertwine. Original audio recordings from contemporary witnesses offer a glimpse of Hannah Höch beyond her public image. 

Dirk Peuker Born 1970, Friedrichroda; lives and works in Berlin. He Studied experimental filmmaking at the Universität der Künste Berlin and Fine Arts at the Akademie der bildenden Künste Vienna. He is teaching film and video at Weißensee Academy of Art Berlin since 2009.

'Ritraccia' is a dual-screen work inspired by Italian filmmaker Pier Paolo Pasolini. One screen follows a woman as she retraces and redraws a new trajectory through the locations of Pasolini’s films. The other screen retraces paths at two historical sites in Rome: the Foro Italico, an example of Italian Fascist architecture; and the Fosse Ardeatine, the site where 330 Italian civilians were executed by German occupation troops during World War II. The work is narrated by Pasolini who reads excerpts from his poem, 'The Ashes of Gramsci'.

John Di Stefano is an artist/filmmaker, writer and academic. His creative practice focuses on reconciling the personal with the social, the everyday with history by revisiting archival material. This documentary-based work often deals with his own immigrant past seen through a queer lens. He currently teaches at Concordia University (Montreal) Cathy Lee Crane is an experimental filmmaker and producer whose work mines the historical archive to produce lyrical films of speculative history. She was a Guggenheim Fellow and currently teaches at Ithaca College (New York)

In Leisure, a female trick rider performs the ancient war trick of falling from the saddle and feigning death. The fall interlaces with images of workers in Hazmat suits cleaning an amusement shooting range, alongside found footage of U.S. Army soldiers posing in a Mannequin Challenge. The camera circles in these static scenes, which are all part of an entertainment industry where playing dead and playing with death coexist in a loop of maintenance, repetition and exhaustion.

Freja Sofie Kirk is a visual artist based in Berlin. She graduated from The Royal Danish Academy of Fine Arts in 2024 and has had solo exhibitions at palace enterprise, Copenhagen, 2026; O—Overgaden, Copenhagen, 2026; Simian, Copenhagen, 2024; and Inter.pblc, Copenhagen, 2024. She has been included in group shows at KLEMM’s, Berlin, 2026; Centre for Photography, Copenhagen, 2026; NEVEN Gallery, London, 2025; Kunsthal Charlottenborg, Copenhagen, 2024; 5533, Istanbul, 2023; Copenhagen Contemporary, Copenhagen, 2022; Bianca D’Alessandro, Copenhagen, 2022; and Kunstforeningen Gl. Strand, Copenhagen, 2020.

Filmed at Aoyama Hachi and Kinone Pension, two locations which tributes to the act of protest and resistance against authoritarian power, the work follows a group of people dancing, walking, reading, and discussing various aspects of conflict, life struggles and their answers to this with initiatives and creative work. Throughout the film, they exchange personal stories and insights, each scene bringing differing but overlapping issues. Aoyama Hachi is a small club in the Shibuya area of Tokyo that hosted the first queer feminist WAIFU parties in 2019. Kinone Pension is a house surrounded by strong metal walls squeezed between the runways of Narita Airport, a memento from the Sanrinzuka Struggles, which has aimed to halt the airport construction. The conversations also evoke the work of the author Fumiko Hayashi and pioneer filmmaker Kinuyo Tanaka, two strong feminist and class-conscious artists popular in the middle of the last century. The appearance of the contemporary cast reacting to this, connects us to queer feminist presence in a world still dominated by patriarchal values. Appearances and dialogues by aliwen, Andromeda, Chelsea Szendi Schieder, Hanna Hirakawa, Kanae Tanikawa, Midori Morita, Takeru Arai, Yiqing, Yoshiyuki lshikawa

wendelien van oldenborgh is an artist-filmmaker who uses the cinematic format as a methodology for collaborating with participants in different scenarios, to collectively create film works. Her installations are exhibited worldwide in the art and museum context. Recent solo presentations include: Dance Floor as Study Room 2024/25 at YCAM, Yamaguchi; unset on-set at Museum of Contemporary Art Tokyo (MOT) 2022/23, tono lengua bocaat CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her films Two Stones (2019) , Hier. (2021), of girls (2023) and A Prelude (2025) premiered in the International Competition of FID Marseille and first feature, Lyrical Vengeance, premieres at the Envisions Competition at IDFA 2026 Amsterdam. Since autumn 2025 she is professor at the Academy of Fine Arts in Vienna.

Comment devient-on un fantôme dans sa propre maison ? Pieds nus, les cheveux défaits, vêtue d’une robe déchirée, Veronika Dräxler incarne Henriette Poincaré – comme un reflet, une ombre, une présence fugace entre les murs. Elle traverse la frontière entre sujet et objet, entre présence et absence, entre histoire et imagination. Elle interroge la relation entre espace et corps, pouvoir et représentation. Le titre fait écho à une désignation historique : Henriette – femme d’origine allemande et italienne, issue d’un milieu modeste – fut qualifiée par la presse de femme sulfureuse, parce qu’elle avait épousé Raymond Poincaré en troisièmes noces, juste avant son élection comme Président de la République française. Pendant la Première Guerre mondiale, elle fut Première Dame au Palais de l’Élysée. Elle vécut ensuite au 26, rue Marbeau, un hôtel particulier dans l’ouest parisien, où elle mourut en 1944. Cette maison – devenue plus tard résidence de diplomates allemand·e·s – devient une partenaire à l’image. La caméra la parcourt : comme portail, comme archive, comme témoine. L’architecture devient dépositaire de mémoire, se transforme de l’objet au sujet et renégocie sa signification à travers les régimes politiques successifs. Parallèlement, le film examine la position de la femme aux côtés d’un homme en fonction publique – et le glissement silencieux de son rôle, du sujet à l’objet dans la fonction de l’autre. Un souvenir teinté de la biographie d’Henriette ouvre une fenêtre vers la Bavière : dans une villa vide à Wolfratshausen, une reproduction du tableau L’Anatomiste (Gabriel von Max, 1869) – un homme observe une jeune femme morte. Corps, présence muette, surface de projection. Que révèle le regard masculin ? Femme Sulfureuse est une exploration poétique de l’agency féminine dans les espaces diplomatiques – et un acte radical de réappropriation. Femme Sulfureuse est soutenu dans le cadre du programme Verbindungslinien du BBK Bayern, financé par le Ministère bavarois des Sciences et des Arts, ainsi que dans le cadre du doctorat SACRe – Sciences, Arts, Création, Recherche mené à l’École normale supérieure / Université PSL, Paris.

Veronika Dräxler est une artiste et cinéaste germano-équatorienne qui remet au jour des tombes oubliées, entre en dialogue avec les morts et redonne corps à des femmes invisibilisées par l’histoire. À la croisée de la performance, du cinéma expérimental et de l’essai filmique, elle explore la manière dont la violence, la mémoire et les rapports de pouvoir s’inscrivent dans les corps et les lieux. Ses films mêlent recherche historique, incarnation et fiction pour faire ressurgir les traces du passé dans le présent. Actuellement doctorante au sein du programme SACRe à l’ENS–PSL à Paris, elle développe *Femme Sulfureuse*, un projet de recherche-création autour de la diplomatie féminine invisible, de la mémoire et des architectures du pouvoir. Ses œuvres et ses recherches ont été présentées à l’international, notamment à Manifesta 11 (Zurich), au ZKM (Karlsruhe), au Museo Pumapungo (Cuenca), à la Sorbonne (Paris) et à l’Escuela Politécnica Nacional (Quito). Son film expérimental *Traces of Life / How to Kill* a reçu une mention spéciale du jury au Festival Turicine (Quito), où il a été présenté en première sud-américaine. Elle vit et travaille entre Paris et Munich.

While studying the conflictive relationship between socialism/revolution and feminism, Dora García came across diaries, notes, and letters from pivotal female figures as Hannah Arendt, Leslie Feinberg, Alexandra Kollontai, Audre Lorde, Rosa Luxembourg, María Dolores González Katarain (Yoyes), and Clara Zetnik, among others. A common theme in these documents is a sense of profound and bitter disappointment. Dora García proposes a collective exercise: a group reading of the collection she gathered of “Letters of Disappointment”, moderated by her. After the reading the participants are invited to discuss their personal experiences and specific disappointments.

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).

'The Murmuring Deep’ centers the rupture of traditional knowledge as the site of the sublime, where we can catch a glimpse of more-than-human sources of knowing and being.

Sarema Shorr is a British filmmaker based in Los Angeles. She is a BAFTA Scholar and holds an MFA from CalArts. Through embodied research, her films are in conversation with the external world, where boundaries of meaning are continually redefined through interaction. She uses film as a tool of investigation, play, and reciprocal transformation. Her work has been presented internationally at festivals and venues including Milwaukee Underground Film Festival, Antimatter [Media Art], Labocine, Lausanne Underground Film Festival, Rae–Nang Thailand, Whammy! Analog Media, REDCAT and the REEF LA.

On one hand, intergalactic particles or grains meeting a community’s fireworks—the explosions’ lights–momentary glows against the night sky. On the other hand, extracts from Gramsci’s life in prison, memories of a revolutionary thinker as he approaches death, alongside the inner workings of the planet, bubbling scenes, and volcanic land. While the film’s pace is slow, its stories carry millions of years, myths, stellar imagery, high-tech machinery, and also realities of life, especially in Sicily. Myth and Mercury’s ending segment offering a vision of scientific futures comes all of a sudden. Ultra-high energy neutrino detected in the Mediterranean, it has been declared. Records have been broken. Pulverised, even.

Rosa Barba, born in Agrigento, Italy, and based in Berlin, Germany, explores themes of permanence, impermanence, reality, and fiction through films, sculptures, installations, publications, and performances. Her work examines how space is influenced by temporal and linguistic constructs, challenging traditional narratives and semiotics. Barba deconstructs cinematic elements, merging physical materials with abstract concepts like time and sound. Her work is part of numerous international collections and her forthcoming and recent solo exhibitions include: Nevada Museum of Art (2027), Gropius Bau, Berlin (2027), Barbican, London (2027)Centre Pompidou, Paris (2026), Museum Haus Konstruktiv, Zurich Art Prize (2026), Albertina Museum, Vienna (2026), Calouste Gulbenkian Museum, Lisbon (2026), MAXXI, Rome (2025), MoMA, New York (2024, 2025), Centre Pompidou, Paris (2023), Tate Modern, London (2023), Neue Nationalgalerie, Berlin (2021-2022), and at Biennials such as the 53rd and 56th Venice Biennale, Sao Paolo (2016), Sydney (2014) and Performa (2013). Barba was awarded the Zürich Art Prize (2026), Smithsonian Artist Research Fellowship (2025), the Calder Prize in 2020 and the Fondation Prince Pierre de Monaco's International Prize for Contemporary Art in 2015.

A post-apocalyptic world—which is described through a voice-over haunts the gods and goddesses of the Gallo-Roman Museum in Lyon, filmed from very close up. Through a poem, the film paints a portrait of a doomed, lost, strange era that failed to keep its promises, yet remains abstract. A temporal and sonic rift: the sound is a character in its own right—a rather unsettling, threatening character, like an undefined entity colliding with a past that is itself inaccessible.

Inès Heddar (b. 1995) is an artist and researcher born and based in France, of Algerian origin. At the intersection of video, sound, drawing, publishing and performance, her work explores the notions of memory, territory and narrative, most importantly along the shores of the Mediterranean. She seeks to develop sensory devices that question the relationship between space, history and perception, with a poetic approach rooted in dreamlike imagery. Her installations invite the viewer to step into the territory where she wanders and find their own interpretative path through it. Inès Heddar’s work is an arrangement of reality through the image, whether it be in movement, in a fanzine, or on a sheet of paper. It is political and sensitive.

Bajo el cielo cayendo (Under the Falling Sky) constructs a miniature world within a maquette, where staged disasters—human-made accidents and ecological collapse—coexist with fragile scenes of emergent life. Filmed in a single continuous take, the camera glides through this microcosm in a meticulously choreographed sequence, spiraling in a 360-degree orbit that mirrors the cyclical motion of life and cosmic systems. This rotation dissolves the boundaries between catastrophe and renewal, embracing how mediated images can both obscure and reveal the layered narratives of crisis. Raw, unfiltered visuals merge with theatrical artifice: landscapes oscillate between decay and rebirth.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam, in The Netherlands. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy, Roubaix, France from 2003-2004. His work has been exhibited widely at venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Le Fresnoy, Roubaix; CAC, Vilnius; Art in General, New York City; Ludwig Museum, Budapest; Biennale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; Calouste Gulbenkian Foundation, Lisbon; the Biennale di Venezia and Documenta Fifteen. His works can be found at the collections of the Centre Pompidou; Tate Modern; Fundación Jumex, Mexico; Sandretto Foundation, Torino; Lemaître's collection; Constantini collection, Buenos Aires; Pinault Foundation, Paris; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon between others. In 2009 he was awarded a Guggenheim Fellowship.

Ce plan-séquence (2'54'') est tourné dans la vallée de la rivière Úpa, connue dans la littérature tchèque par l'autrice Božena N?mcová, dans les années 1850, qui dépeint des vies autour d'une rivière bucolique et vive. Plusieurs siècles plus tard, l'histoire n'est pas la même. Elle s'écrit sur une couverture de survie pour refléter ce que l’œil nu ne voit pas : les espèces menacées, la pollution, la température qui monte - une réalité désormais commune des réseaux fluviaux européens. Le cours de l'eau traverse les frontières et le temps. L'écran d'or porte les figures tracées par l'artiste retenues dans le flot par les mains des générations qui se suivent. La vidéo a été réalisée dans le cadre de la résidence de création à ?eská Skalice en République Tchèque, sur l'invitation de la Galerie Luxfer.

Catherine Radosa est artiste plasticienne, performeuse et réalisatrice franco-tchèque. Elle travaille à la croisée des lieux et des images, des mots et des situations, qu’elle les rencontre ou qu’elle les provoque, souvent dans l’espace public. Prenant corps dans la rencontre et l’immersion au sein de lieux porteurs d’histoires, de sites marqués par leurs fonctions sociales et écologiques, son travail relève du processus et de l’expérimentation collective; il vise à créer de nouveaux espaces de réflexion et de représentation. Ses projets prennent la forme de films, de projections vidéo à l’échelle de l’architecture et de paysage, d’images, d’installations multimédias, d’œuvres sonores, de performances et d’interventions in situ. Son travail est présenté à l’échelle internationale depuis une quinzaine d’années, au sein d’expositions personnelles, collectives, dans le cadre de festivals et au cinéma et dans l’espace public : par ex. Maison POP (Montreuil, 2023), Nuit Blanche Paris (2026, 2023, 2013, 2011), Centre Pompidou (Paris, 2022), Académie du Climat (Paris, 2023), Cinéma Écran (Saint-Denis, 2023), Pragovka Gallery (Prague, 2026, 2021, 2019), Proyector (Madrid, 2021, 2019), Videoformes (Clermond-Ferrand, 2017), Centre de la Photographie (Genève, 2019, 2016), DOX (Prague, 2014), Galerie Gabrielle Maubrie (Paris, 2013), Rencontres Internationales Paris/Berlin/Madrid (2012), Côté court (2009, Pantin)…

Dione est un film réalisé sur le site archéologique de Dodone, en Grèce, où se trouvait le plus ancien oracle du monde grec. La pratique divinatoire y reposait sur l’écoute des manifestations du vivant : le bruissement des feuilles du chêne sacré, les chants des oiseaux ou les résonances des chaudrons d’airain. À partir de cette histoire, le film propose une réinterprétation contemporaine de l’oracle, faisant de l’écoute son principe de construction. Les éléments du paysage — pierres, eau, arbres, insectes, vent et animaux — deviennent les protagonistes d’une expérience sensorielle où les frontières entre réel et imaginaire se brouillent. Développée en collaboration avec le compositeur et chercheur Florent Caron Darras, la recherche sonore explore, grâce à différents dispositifs de captation, des phénomènes habituellement imperceptibles. Sons naturalistes et transformations électroniques composent un paysage acoustique où se révèlent d’autres présences et temporalités. Avec Dione, Mélissa Epaminondi poursuit une recherche sur notre relation aux territoires et aux formes de vie qui les habitent. Le film invite à déplacer notre perception du paysage, à l’écoute de ses présences et de ses temporalités multiples.

Née en 1977 à Bastia, Mélissa Epaminondi vit et travaille entre Paris et la Corse. Artiste et architecte, elle est diplômée de l’École nationale supérieure d’architecture de Marseille-Luminy. Sa pratique interroge les relations que nous entretenons avec les paysages, les architectures et les milieux que nous habitons. À travers des films et des installations, elle explore les dimensions sensibles et perceptives de notre rapport aux lieux, ainsi que les liens entre phénomènes naturels, mémoire et imaginaire. Son travail propose des expériences où se mêlent observation, écoute et fiction. Ses œuvres ont notamment été présentées au FRAC Corsica, à Es Baluard Museum of Modern and Contemporary Art (Palma de Majorque), aux Rencontres Internationales Paris/Berlin, au Centre d’art contemporain de Meymac et à la Casa Conti – Ange Leccia. En 2010, elle cofonde le collectif L140, consacré aux relations entre art et architecture. De 2016 à 2022, elle enseigne l’art vidéo à l’Université de Corse Pasquale Paoli.

Mateus Lagoa and his wife Irene will celebrate their 20th wedding anniversary at a most luxurious resort on a tropical island, leaving their teenage son dangerously adrift. Before departure to paradise, during an unexpected night spent apart, the side effects of the vaccines strike them - fevers, fainting spells, shivers, hallucinations of all sorts. A melancholic mood creeps in and their world seems somehow fractured, capable of unsuspected and dangerous promises.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998, he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen, Vila do Conde, IndieLisboa and have been shown in the most relevant film festivals worldwide. Two times nominated for the EFA – Best European Short Film Award. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin, Filmadrid and Oberhausen FF. In 2013, he was invited into the renowned DAAD Artist Residency, Berlin. His recent films include Exotic Words Drifted (2023), O Teu Peso Em Ouro (2022) and The Detection Of Faint Companions (2021).

Prelude: where are you i miss you is conceived as a site-specific installation for a gallery presentation in two interconnected rooms on the bel étage of a nineteenth-century townhouse on the Mauritsweg in Rotterdam. Taking the architecture of the gallery as its point of departure, the filmwork transforms the space into the imagined home of a young woman and a young man. Through a three-channel film work, a sequence of short scenes unfolds across adjacent rooms, offering fragmentary glimpses into their daily lives. Rather than constructing a linear narrative, the work dwells on moments of proximity and distance, presence and absence, suggesting the emotional contours of a shared domestic space. The filmwork occupies a space between domestic interior, artist's studio, and film set, where existing architecture and cinematic fiction become inseparable. A house that has long functioned as a gallery and presentation space temporarily returns to its possible former life. Visitors/ spectators are invited in an environment that unfolds like a novella, where moving images, sound, and material elements evoke the memory of two young lives. Continuing our ongoing exploration of film, installation, and constructed environments, where are you i miss you, considers how architecture can hold fiction, memory, and the quiet narratives embedded in everyday space.

Nanouk Leopold and Daan Emmen have both graduated from the Willem de Kooning Academy in Rotterdam and have been working together under the name Leopold Emmen since 2008. Nanouk Leopold also studied directing at the Netherlands Film and Television Academy in Amsterdam. Nanouk Leopold is a film, theatre and opera director and screenwriter who makes feature films that have premiered at a.o. Berlin and Cannes. Her work is celebrated for its consistent artistic character, its restrained expression, and the way space and location determine the story. Daan Emmen is a visual artist who makes sculptural installations and works with analogue and digital photo and video techniques. He also works for a socially engaged foundation, within the context of art education and vocational studies. Together Leopold and Emmen have developed an interdisciplinary practice, that focuses on the crossover between art, film, theatre and architecture. We make in situ and staged film installations. Our work explores the possibilities of a cinematographic and spatially designed narrative.

Sulphur Edges is a choreographic encounter shaped with and through place. Created during Forum Dança’s PACAP 8/Mystery School residency, this one-hour film unfolds across San Miguel’s thermal sites, public pools at the ocean's edge, the traces of a mine and the shell of an abandoned hotel. These locations act not as a backdrop but as co-agents in the process of sensing, listening, and transmission. Guided by Meg Stuart’s direction, the performers respond intuitively to the elemental conditions of each site. Movement arises from relation — to temperature, texture, invisible forces, and to one another. Bodies waver along thresholds between stillness and trembling, containment and release, public space and private reflection. Edges of architecture, voice and presence remain permeable. Fantasy flickers in the in-between, where a pool becomes a portal, a ruin becomes a score and attention becomes the work itself. The camera moves as a choreographic partner, tracing tensions between body, sites and atmosphere. What remains is a record of relations — provisional, porous, alive.

Meg Stuart is a choreographer, director, and artist living and working between Berlin and Brussels. Her practice spans performance, moving image, and installation, approaching the body as a sensitive terrain where memory, sensation, and imagination converge. She is drawn to moments of disorientation and transformation, where habits loosen and new ways of sensing and relating can emerge. Since founding Damaged Goods in 1994, Stuart has developed an expansive body of work, from solos and large-scale choreographies to films, collaborative processes, and research platforms. Her projects grow through long-term collaborations with performers, musicians, visual artists, scenographers, filmmakers, and thinkers. Improvisation runs through her practice as both method and ethic: a way of listening closely to bodies, environments, and the forces moving between them. Moving image extends her choreographic thinking, with the camera acting as a partner in tracing how bodies resonate within architectures, landscapes, and transitional spaces. Stuart also initiates contexts for collective inquiry and transmission, including zero point and the Mystery School of Choreography. Her work is presented internationally. Her distinctions include the Golden Lion for Lifetime Achievement (2018), Deutscher Tanzpreis (2018), Bessie Award (2008), and Guggenheim Fellowship (2023).

Early morning. Trains pass by. A man and a woman are lying in bed. She wakes up, gets dressed, and begins to talk. He listens silently.

Elit ??can (b. Istanbul) is an actress and filmmaker based in Hamburg. Since her debut in 2006, she has built a substantial career in acting, an experience she is now integrating into her work as a writer and director. After graduating from Koç University with a degree in Media and Visual Arts, she further developed her craft by earning a Master's degree in Film from HFBK Hamburg. Her filmography as an actress includes acclaimed titles such as My Only Sunshine (Berlinale 2009), the Academy Award-nominated Mustang (Cannes 2015), Sibel (Locarno 2018), and Pillar of Salt (Berlinale 2019). Her recent credits include Kaan Müjdeci's Hamlet, Asl?han Ünald?'s Afloat, and ?lker Çatak's Gelbe Briefe. She is also an alumna of Berlinale Talents and Sarajevo Talents.

« Photocopies » porte un regard sur les jeunes à une époque marquée par une incertitude croissante et des crises, à travers une série de scènes au rythme ralenti et non narratives. Entièrement réalisée en plans-séquences uniques, cette œuvre se tourne vers l’intime – le silence, la solitude, ces moments où l’on se sent à l’abri des regards – afin d’exprimer un sentiment générationnel partagé. Chaque scène dépeint des jeunes dans des moments intimes et personnels du quotidien : un danseur répétant seul la nuit dans son studio ; une jeune fille rentrant de l’école à pied, absorbée par un jeu auquel elle joue toute seule ; un groupe d’adolescents endormis à l’aube, qui se sont endormis, épuisés après une after-party ; une réceptionniste d’hôtel, assis en silence. Le temps semble s’être arrêté – chaque instant est préservé indéfiniment et dépouillé de son caractère éphémère inhérent. En même temps, un malaise subtil et discret persiste dans chaque scène : une incertitude mélancolique, comme si les personnages de l’installation attendaient en silence une catastrophe qui pourrait éclater à tout moment.

Casper von Bülow (* 2003) vit entre Berlin et Munich. Après une brève carrière d'acteur à la fin de son adolescence, il s'est tourné vers la réalisation de ses propres œuvres en tant que cinéaste. Il étudie actuellement sous la direction du cinéaste et vidéaste Julian Rosefeldt à l’Académie des Beaux-Arts de Munich. « Photocopies » est la première œuvre qu’il a publiée depuis le début de ses études. Parallèlement à ses études, il a travaillé par le passé pour des artistes et des cinéastes telles qu’Anne Imhof et Maren Ade.

This documentary weaves together two stories of disappearance: that of Atzin Molina, my high school friend who vanished in 2019, and that of Atzin, the Totonac rain deity, believed lost or dead amid the oil-driven devastation of Veracruz, Mexico. Through these two figures who share a name—one human, the other divine—the film traces a landscape of absence, where grief, ecological violence, and spiritual erosion become inseparable.

Manuel Bayo Gisbert is a Mexican filmmaker, photographer and journalist. His work examines systemic violence in relation to territory, memory and history. After surviving kidnapping and torture in 2020, he began a long-term, multimedia audiovisual exploration of serious human rights violations in Mexico through collaborative and intimate processes; this project, A Solid Home, explores the history of violence in Mexico through still and moving images. His projects have been adapted into articles at The New York Times and have been exhibited internationally, including a solo show at the Rayburn House Office Building of the United States Capitol Complex in Washington, D.C., organized by Amnesty International and the National Security Archive. ECOS, his first exhibition in Mexico, presented his work alongside pieces by fellow artists Graciela Iturbide and Musuk Nolte. He is currently editing his feature-length fiction debut (The Territory) and developing a second fiction film.

St, Mary’s Parish, Jamaica, April 1760, in a cave near what is now known as Tacky Falls, Tacky’s Rebellion is unfolding as the most significant revolt of the eighteenth-century in the Caribbean, three decades before the Haitian Revolution. An unimaginable leap (2026) traverses loosely associated events and places: 16mm footage of daily life in contemporary Jamaica; caves as portals; and a celebration of Jamaican Independence Day at a cricket club in Manchester. Moments of respite and celebration are negotiated alongside the threat of ecological degradation and bauxite mining, in order to consider the relationship between revolutionary time, the climate emergency and cinematic form.

Hope Pearl Strickland is an artist-filmmaker from Manchester, UK, working with experimental and documentary-based modes. Their work wrestles with the choices undertaken when we visualise racialised violence, attempting to ask how we might live in a world and relate to one another with care whilst amongst and against systems of power and control. Films move across archival, 16mm and digital practices. Hope’s work has screened internationally at film festivals including the 59th New York Film Festival, BFI London Film Festival (2022), International Film Festival Rotterdam (2025) and Berwick Film and Media Arts Festival (New Cinema Awards, 2025).

Dans une société où les traditions priment sur la volonté des individus, Awa, une jeune veuve, est contrainte d’épouser le frère cadet de son défunt mari. Refusant cette union imposée, elle se retrouve confrontée à une violence familiale qui la pousse à un acte désespéré.

Sara Gadiaga est un réalisateur et photographe sénégalais. Titulaire d’une licence en informatique et gestion obtenue en 2023 à l’ENSUP de Dakar, il s’est intéressé très tôt au cinéma. En 2020, il rejoint le collectif Ciné Banlieue pour poursuivre sa formation cinématographique. Il a travaillé en tant que chargé de programmation au Centre Yennenga et a réalisé son film de fin d’études intitulé XAM-XAM, un documentaire retraçant son parcours universitaire. En 2022, il a été chargé de programmation à Ciné Banlieue, puis en 2025, il a occupé le poste de chargé de programmation à la Fédération des Ciné-Clubs du Sénégal.