Paris 2026 Programme

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.

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.

How does one become a ghost in one's own house? Barefoot, with loose hair and a torn dress, Veronika Dräxler portrays Henriette Poincaré – as a reflection, a shadow, a fleeting presence between walls. She crosses the threshold between subject and object, presence and absence, history and imagination. The work questions the relationship between space and body, power and representation. The title refers to a historical label: Henriette – a woman of German and Italian origin from modest means – was branded by the press as a femme sulfureuse, a "demonic woman," because she married Raymond Poincaré as her third husband shortly before he was elected President of the French Republic. During World War I, she was the Première Dame at the Élysée Palace. Later, she lived at 26 Rue Marbeau, a townhouse in western Paris, where she died in 1944. That house – later home to German male and female diplomats – becomes a central cinematic character. The camera explores it as a portal, an archive, a witness. Architecture becomes a vessel of memory, shifting from object to subject, constantly renegotiating its meaning in changing political systems. Simultaneously, the film investigates the woman’s role beside a man in public office – and the subtle transition from subject to object in the shadow of his function. A memory tinged with Henriette’s biography opens a window to Bavaria: in an abandoned villa in Wolfratshausen a reproduction of the painting The Anatomist (Gabriel von Max, 1869) – a man examines a dead young woman: body, silent presence, surface of projection. What does the male gaze reveal? Femme Sulfureuse is a poetic exploration of female presence in diplomatic spaces – and a radical act of reclaiming agency. “Femme Sulfureuse” is supported within the framework of the Verbindungslinien program of the BBK Bavaria, funded by the Bavarian State Ministry of Science and the Arts, as well as within the PhD program SACRe – Sciences, Arts, Création, Recherche at the École normale supérieure / Université PSL, Paris.

Veronika Dräxler is a German–Ecuadorian artist and filmmaker who uncovers forgotten graves, enters into dialogue with the dead, and gives bodily presence to women rendered invisible by history. Working at the intersection of performance, experimental cinema and essay film, she explores how violence, memory and power relations become inscribed in bodies and places. Her films combine historical research, embodiment and fiction to bring traces of the past into the present. She is currently pursuing a practice-based PhD in the SACRe programme at ENS–PSL in Paris, where she is developing Femme Sulfureuse, an artistic research project exploring invisible female diplomacy, memory and architectures of power. Her works and research have been presented internationally, including at Manifesta 11 (Zurich), ZKM (Karlsruhe), Museo Pumapungo (Cuenca), the Sorbonne (Paris) and Escuela Politécnica Nacional (Quito). Her experimental film Traces of Life / How to Kill received a Special Mention from the jury at the Turicine Festival (Quito), where it had its South American premiere. She lives and works between Paris and Munich.

'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.

This long take (2’ 54’’) was filmed in the Úpa River valley, made famous in Czech literature by the author Božena N?mcová in the 1850s, who depicted life around a bucolic and lively river. Several centuries later, the story is a different one. It is written on a survival blanket to reflect what the naked eye cannot see: endangered species, pollution, rising temperatures – a reality now common to European river systems. The river’s course crosses borders and spans time. The golden screen bears the figures drawn by the artist, held in the current by the hands of successive generations. The video was produced as part of an artist-in-residence programme in ?eská Skalice in the Czech Republic, at the invitation of Luxfer Gallery.

Catherine Radosa is a Franco-Czech visual artist, performer and filmmaker. She works at the intersection of places and images, words and situations, whether she encounters them or creates them, often in public spaces. Taking shape through encounters and immersion within places steeped in history, and sites defined by their social and ecological functions, her work is rooted in process and collective experimentation; it aims to create new spaces for reflection and representation. Her projects take the form of films, video projections on an architectural and landscape scale, images, multimedia installations, sound works, performances and site-specific interventions. Her work has been exhibited internationally over the past fifteen years, in solo and group exhibitions, at festivals, in cinemas and in public spaces: for example, Maison POP (Montreuil, 2023), Nuit Blanche Paris (2026, 2023, 2013, 2011), the 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 (Clermont-Ferrand, 2017), Centre de la Photographie (Geneva, 2019, 2016), DOX (Prague, 2014), Galerie Gabrielle Maubrie (Paris, 2013), Rencontres Internationales Paris/Berlin/Madrid (2012), Côté court (2009, Pantin)…

Dione is a film shot at the archaeological site of Dodona, Greece, home to the oldest oracle in the ancient Greek world. Divination here was based on listening to the manifestations of the living world: the rustling of leaves in the sacred oak, birdsong, and the resonances of bronze cauldrons. Drawing on this history, the film offers a contemporary reinterpretation of the oracle, making listening its guiding principle. The elements of the landscape — stones, water, trees, insects, wind and animals — become the protagonists of a sensory experience in which the boundaries between reality and imagination begin to blur. Developed in collaboration with composer and researcher Florent Caron Darras, the film's sonic exploration uses various recording techniques to investigate phenomena that ordinarily escape perception. Natural sounds and electronic transformations intertwine to create an acoustic landscape in which other presences and temporalities emerge. With Dione, Mélissa Epaminondi continues her exploration of our relationship with territories and the forms of life that inhabit them. The film invites us to shift our perception of the landscape, attuning ourselves to its multiple presences and temporalities.

Born in Bastia in 1977, Mélissa Epaminondi lives and works between Paris and Corsica. An artist and architect, she graduated from the École nationale supérieure d’architecture de Marseille-Luminy. Her practice explores the relationships we develop with the landscapes, architecture and environments we inhabit. Through films and installations, she investigates the sensory and perceptual dimensions of our relationship to place, as well as the connections between natural phenomena, memory and imagination. Her work creates experiences in which observation, listening and fiction intertwine. Her work has been presented at FRAC Corsica, Es Baluard Museum of Modern and Contemporary Art (Palma de Mallorca), Les Rencontres Internationales Paris/Berlin, the Centre d’art contemporain de Meymac, and Casa Conti – Ange Leccia. In 2010, she co-founded L140, a collective dedicated to exploring the relationships between art and architecture. From 2016 to 2022, she taught video art at the Université de Corse Pasquale Paoli.

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 takes a look at young people in times of mounting uncertainty and crisis through a series of decelerated, non-narrative scenes. Presented entirely in singular one-takes, the work turns toward the private – silence, solitude, the moments in which we feel unobserved – as a way of articulating a shared generational feeling. Each scene depicts young people in intimate and personal everyday moments: a dancer rehearsing alone at night in his studio; a young girl walking home from school, absorbed in a game she is playing by herself; a group of sleeping teenage boys at dawn who have fallen asleep after some party; a hotel clerk, sitting in silence. Time appears to have halted – each moment preserved indefinitely and stripped of its inherent transience. At the same time a subtle and quiet discomfort lingers in every scene: a melancholic uncertainty, as if the installation’s characters are silently waiting for a catastrophe that could erupt at any moment.

Casper von Bülow (*2003) is an artist and filmmaker based between Munich and Berlin. Following a brief career in acting in his late teens, his focus shifted toward his own work as a filmmaker. Currently, he is a student of video artist and filmmaker Julian Rosefeldt at the Academy of Fine Arts Munich. Photocopies is the first work he has shown publicly since he began his studies. In between his studies, he has worked for artists and filmmakers such as Anne Imhof and 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).